#this is a non issue in like every way i just

[meelusinee]

AN OPERA HOUSE ☆ T.N X READER

in which you’re Theo's girlfriend and went to visit him on tour.

pairing: singer!theodore nott x singer!reader

tags: band!au, mostly fluff

word count: 2.6k

warnings: none, just fluff! (and mattheo getting water bottles thrown his way)

author’s note: my first post! for starters, i made a small playlist for this fic if you’d like to check it out. theodore, who i imagine as a cigarettes after sex singer. secondly, while english is my first (and only) language, that does not mean i claim it in any way shape or form (aka this will probably suck ass)

AN OPERA HOUSE | T.N x SINGER!READER

God, he hated interviews.

The lights that were blaring in Theodore’s face, along with the sound of people walking around both in front and behind the set, were really starting to piss him off. Theo didn’t know how Enzo and Mattheo did it, both of them smiling bright as if they were having a nice fuck or smoking a rather heavy cigarette.

Theodore really could use a cigarette right now. Either that, or you.

Thoughts of nicotine and you had been running rampant in his mind ever since he had to leave you for his national tour, the tour that celebrated the release of the band’s newest album Cigarettes After Sex. A debut of sorts, Theodore wasn’t really sure what to call it. If he were to name it anything, he’d want to name it his love letter to you. But Mattheo had said he couldn’t do that, so he stuck with the band name.

“Today is a rather special day for you, isn’t it?”

Theodore’s mind zoned back in as Blaise gently nudged his leg, his posture straightening up as the interviewer finally started asking questions. Perhaps they needed time to make the lights even brighter, Theo thought, his hand moving to cover the frown growing on his face. 

“Very special indeed,” Mattheo said, his signature smirk that got a lot of people involved with the band plastered on his face. “We just released an album, did you hear?”

“Yes, I did!” the interviewer said, smiling brightly as she adjusted the notes in her hand. “I was hoping we could ask you some questions about it, the musical process and making it mostly.”

Theo hummed non-committedly as the rest of them nodded their heads. Questions about music production didn’t sound too bad compared to a media interrogation.

“Do you mind if we did an introduction?” the lady asked, her fingers patting the cards.

“Course not love,” Blaise said, waving his hand casually as he sat up straighter. Theodore rolled his eyes, looking down at the ground. Blaise was always the biggest player out of the four of them. And that said a lot, seeing as though Mattheo Riddle was in the band as well. 

Theodore watched as the cameras focused in on each of them, the interviewer putting her cards down momentarily to introduce them to the show. “Today is a very special day for all of us, I can imagine.” she said, smiling as she made some sort of dramatic hand gesture towards them. “Today, I’m here with the members of Cigarettes after Sex. We’re going to ask questions about their newest album.”

“I’m so excited.” Lorenzo squeaked, straightening up as he and Mattheo made funny faces to the camera.

“I wanted to start with the first question I had, which was how working on the album went.” she started almost instantly, sitting up a bit straighter. Theo rather appreciated that about her. “I mean, there’s four people in your band, and a lot of timing and other issues that you’d have to work on together. Does that stuff come easier to you than to others, do you think?”

“I think we work pretty well together, right?” Lorenzo asked, leaning forward to look at the other three before smirking in Theo’s direction. “Other than Mr. Grumpy over there, he gets pissy a lot.”

“Oh definitely.” Mattheo said, smirking as he ruffled Theo’s hair. “But it’s okay, because he writes us songs and mothers us whenever we drink. We love him very dearly.”

“It’s not my fault you decide to get concerningly drunk almost every time we hit a bar.” Theo grumbled, sitting up a bit straighter as he prepared to answer the question seriously. “We work as a team a lot of the time, especially when it comes to music. The only non-negotiable is the lyrics, which I write by myself. Other than that though, it’s free reign.”

“So things like instruments and rhythm are all decided by everyone in the band collectively?” the interviewer asked.

“Pretty much,” Blaise explained. “Usually Mattheo and Enzo make a starting beat for songs, and Theo and I usually build guitar chords off of that. Theo here has most of the control with singing though, rhythm and stuff.”

“That’s really cool.” the interviewer nodded. “I wish my family had that amount of coordination during the holidays.”

The four of them chuckled at varying degrees, with Mattheo winking at the interviewer after. “Maybe if we came over we could give you some pointers.”

“That sounds really lovely, actually.” she said, the comment obviously getting to her. Her cheeks became visibly more flushed, fingers tapping faster against her notes. “I wanted to ask you guys a little bit about the lyrics though, if you don’t mind.”

And here we go.

“That’s all Theo’s field.” Lorenzo said, all three of their fingers dramatically pointing at the top of Theo’s head. He really felt like walking out for a smoke, and maybe burning them all with the ashes out of spite for their existence. But he wasn’t going to let them know that.

“Now, I’m sure you can guess where this is headed,” she chuckled softly, flipping one of her flashcards over. “I was wondering what the inspiration for your songs was. Do you have a muse or anything of the sort?”

Theodore sighed, feeling the moment almost pause in time as he tried to think of an answer. He very much did have a muse, you were waiting at home in his bed. Even still, he wasn’t sure if he wanted that public. Especially since the both of you were rather quiet creatures.

He supposed it couldn’t hurt too much though.

“I do,” he whispered, clearing his throat after he spoke. He didn't realize how choked he would sound speaking. “Yeah, she’s really pretty.”

“Theo’s got a girlfriend!” Mattheo teased, poking Theo’s cheek teasingly. “He’s got a girlfriend who he loves very much. That woman has stolen his heart from me!”

“For shame of her, the audacity even.” Blaise chuckled amusedly, both Mattheo and Enzo playing a heartbroken bit. Theo smirked softly as Mattheo dramatically rested his head on Lorenzo’s shoulder, fake sobs escaping his mouth as they mourned over the loss of a non-existent relationship. 

“You’ll be fine.” Theo said, gently patting Mattheo’s back.

“I’ll never recover from this.” he sniffled, sitting up a bit straighter. “Mark my words.”

It was a midsummer night, the sweltering heat doing nothing to deter the line of fangirls waiting at the entrance gates. The muggy and dense air seemed to surround everyone with a humid blanket, every bit of contact made as they tried to get through the doors like a match on gasoline. The concerts you went to weren’t usually this crowded and suffocating. 

Then again, you usually never went to such well known-bands.

Luckily for you, you had been able to sneak a VIP seat ticket for the higher tip-tops of the opera house, a fitting venue for the band that was playing tonight. Cigarettes After Sex was flashing on the monitor they had set up near the back of the stage, the camera zoomed in to focus on the currently empty microphone stand. 

Voices filled the area as everyone began to take their seats, some people pushing and shoving as they made their way around with water and sneaked in alcohol. Some of them had on merch for the band, some of them didn’t. Most of them wore darker clothes though, lots of black with leather jackets and heavy boots.

Your eyes zoned in on the screen as the lights began to dim, the voices all hushing as four men walked out onto the stage. Lorenzo Berkshire was the drummer, one of the most well-known band drummers that you could name off the top of your head. Mattheo Riddle was already stationed by the keyboards, his unruly curls already a little damp from the humidity inside the room. Blaise Zabini walked out with his bass guitar in hand, a role you knew he took on just so he could look hot while strumming the strings. Then came out Theodore Nott. 

Your boyfriend.

You could tell that the heat was affecting him the least out of all of the band members, his waterline covered in the tiniest bit of eyeliner. You smiled softly as you recalled the memory of putting eyeliner on him when you two first started dating, the giggling fit the both of you had broken out into as the other three begged you to do their eyeliner as well. 

He looked beautiful in the lighting too, his outfit framing his figure in an almost holy light. You were almost tempted to start writing a song about it right then and there. But now wasn’t your time, now was the time of the band.

You supposed the band thought the same thing as well, Blaise’s fingers beginning the strum the opening of their most popular song. Theo made his way up to the microphone stand, smiling softly at the crowd as he began to sing. His voice was just as angelic as his face, echoing through the opera house like the ghost of a long forgotten lover. He had completely captivated the room, the silence barely just quieter than the sound of his voice. 

“Your lips, my lips,” you smiled softly as he sang the lyrics, leaning your head on your hand. “Apocalypse.”

You remember the time when he wrote that song. Your tongue was barely darted out as you tried to focus on not messing up the edges of a painting you had been working on, the brush trembling with your hands focused. It was a galaxy, the blues and purples blending together in a  jaw-dropping beauty of a display. Mattheo had come into the room as you finished, a low whistle escaping his mouth as he glanced over at it.

“Looks like an apocalypse.”

Apparently, those words had rung through Theo’s mind for the week after that. He eventually sat you down on the bed, pulling out his guitar as he began to sing the lyrics to you. They needed a bit of polishing with the rhythm, his fingers plucking the wrong strings at times as he sang. But it was one of the most beautiful pieces you had heard regardless, tears welling in your eyes as you moved to hug him. That hug also ran through Theo’s mind for yet another week, in which he had apparently produced an entire studio album based on you. 

You smiled softly as the end of the song came about, the final string echoing through the silent theatre. Theo had gone to grab a bottle of water by the speaker, his eyes locking onto yours.

You winked playfully, smiling at the blush that covered his features. You also just remembered that he had not expected you at the tour. 

“You need to come get your lover boy,” were the words that rang through your phone speaker as you tried to press it against your ear.

“What?” you asked again, pen in your hand as you spoke.

“I said,” Mattheo’s voice rang through the speaker. “You need to come get your lover boy. He is really depressed right now, like, really. He’s missing you terribly and is currently refusing to work because of it.”

You heard him and Blaise beginning to argue in the background, the both of them knowing that Theo would eventually get up. But Mattheo seemed to think that you being there would solve every single one of his problems.

“I don’t know if I can go, Mattheo,” you mumbled, placing your notebook down. “I doubt I could get a spontaneous ticket.”

“Don’t worry about that,” he said. “I already sent a driver to pick you up, he’ll be there in about 10 minutes. I’m just calling to let you know.”

“You what?” you said, looking at the phone incredulously. “Mattheo, I don’t have any time to pack! What would I wear?”

“You say that as if Theo won’t buy you a whole wardrobe based on you liking a single piece of jewelry!” Mattheo said back, groaning as Blaise called for him. “I gotta go, make sure you get in that car and come over. He’s really, really missing you.”

“Mattheo, I swear to Merlin.” you began, but didn’t have any time to finish as you heard the beeping at the end of the line. 

(divider)

“Is that amore mio?” Theo asked Blaise incredulously, looking over at the other three before catching Mattheo’s smirk. “Oh, you bastard.”

“You were missing her!” he said, running away from the keyboard so Theo could throw water at him. “It's not my fault you got depressed!”

“She is meant to be resting, testa di cazzo!” Theo said, sighing as he put the bottle down. No doubt that would be clipped in magazine headers across the country. Theo looked over at you, a soft smile coming on his face when you came into vision. You still had that smile on your face, if not brighter now that you were giggling. He smiled back, picking up his microphone again.

“For our next song,” he spoke into the microphone, placing it back on the stand. “I think it’d be rather nice to sing something about the building we’re in as well. Something about the opera house.” he said, smirking softly as the crowd of fans began cheering. The lights dimmed again as the music began playing, his eyes closing as he let it run through his soul.

“Built an opera house for you in the deepest jungle,” he began, the music coursing through his veins. The words flowed out of him like a waterfall, his voice sweet as candy as he began walking back and forth at the front of the stage. Though every time the chorus hit he found himself in the middle, eyes focused on yours as he sang the lyrics. 

“I was meant to love you, and always keep you in my life. I was meant to love you, I knew I loved you at first sight.”

The lights cut off completely as the equipment turned off, a smile growing on Theo’s face as the end of the concert came. 

“Theo!” you squeaked as you saw him, waddling up to him like a happy penguin as you embraced him in a hug. You hadn’t seen him in over two weeks, the longest either of you had ever spent apart. “I never want to abandon you ever again.”

“If anyone was doing the abandoning, it was me.” he chuckled, his arms wrapping around you as he kissed your forehead lovingly. “I missed you so much principessa,” 

“I missed you too,” you mumbled, burying your face in his chest. “Teddy.”

“Are you calling me a teddy bear?” he chuckled softly, pulling away from the hug to cup your face lovingly. His eyes were filled with devotion you only thought possible in dreams and fairytales, that was until you eventually met him at least. 

“Yes I am.” you smiled softly.

“You are ridiculous.” he chuckled softly, pressing his lips against yours as he caressed your cheeks lovingly. “Merlin, I love you.”

“I love you too.” she whispered lovingly. 

The two of you stood comfortably in the silence, wrapped in a hug neither wanted to leave. That was until Mattheo popped in.

“Told you that you missed her!”

His face had rather quickly met two empty water bottles. 

AUTHOR'S NOTE

thank you so much for reading! i got kind of lazy during the end of this, i'm not going to lie to you (it's three am), but! if you want more of these two lovely beauties i might maybe make a part two! (i originally drafted this with reader as a singer in mind, so if you'd like to be singing some adrianne lenker songs to theo just let me know)

please like and comment and all that jazz, i practically live off of validation at this point.

[cannoli-reader]

Just some thoughts:

I didn’t understand how pervasive such expectations could be in a mono-cultural society.

This, I think, is a major problem with the show writers (and for Rings of Power as well). WoT & Middle-Earth are absolutely monocultural, and instead, the writers decided to make them the same as their own world. Ironically, growing up in a multicultural society, or working in a multicultural city like New York, Los Angeles or London, has eroded their ability to consider, embrace or understand a different sort of cultural background. To paraphrase The Incredibles, "If every culture is special, no one is."

Perrin has difficulty understanding Faile’s culture.

The same thing could probably be said of Rand and Aviendha, or of Mat and Tuon. Or perhaps not ...the characters are more aware that cultural differences fuel misunderstandings.

I think some of the biggest issues in this regard, outside of the overt problem Perrin has (Faile is aware and working the problem - she's simply getting no help at the other end), are actually between Rand & Elayne. Because class is culture as well. Elayne does not see herself as a superior class to any of the non-noble characters (and it's not channeling or lust - the first character she befriends is Min), and so is unaware of any such difference, but Rand is absolutely aware of her status and creates distinctions in his own head.

With Aviendha and Tuon, their Two Rivers partners stumble over specific cultural practices (like proposal/marriage rituals), and belatedly give indications of interest that were not intended as such (the ivory bracelet and the razor horse), but otherwise, culture isn't really a thing. Mat and Tuon more or less know what they are getting into from the start, and as the OP says, are aware of the cultural divide and both are actively trying to bridge it. The problems with Rand & Aviendha, for all they are superficially blamed on ji'e'toh, are more a factor of their own personalities and self-images than cultural problems. Again, Aviendha's nominal relationship to Rand is to facilitate his cultural understanding.

When Elayne is bewailing her inability to approach Rand or initiate an exploration of their potential for a relationship, Egwene cites some of the courting practices of the Two Rivers, which Elayne seems to find rather unhelpful, and to be fair to her, are rather impractical in their circumstances. Egwene simply intends this as an example of the principle that there are ways to communicate romantic interest without taking the risk of openly stating/asking to the other party, but what they are overlooking is how culture is a language. Rand would understand what Elayne meant if she did the things Egwene mentions, in the right context. Instead, Elayne & Egwene go with their on-page approach. And while part of Rand's refusal to accept the depth of Elayne's interest and affection for him has to do with personal factors, a good chunk is that he sees a gulf between them thanks to her rank, that she is unaware of.

In Elayne's aristocratic culture, marriage between people who have never met is not unexpected, and her own marriage might be pursued through any method, up to and including high-level diplomatic negotiations. In Rand's, everyone knows everyone, they grow up in each other's pockets, and marital partnerships evolve organically, with both of them knowing each other to a considerable degree as the relationship forms and by the time it is formalized. Basically, he does not know Elayne nearly well enough for him to be comfortable considering the level of commitment she wants (and refuses to tell him). Furthermore, marriage is an economic partnership, and it being a preindustrial society, male physical labor is going to be a significant source of the income for a family, and thus men are conditioned to consider their obligation to support and "do right" by their partners. This is the premise behind the obligation to marry Aviendha which he perceives after their sexual encounter. Because of his imposed vocation to save the world, Rand is not free to "do right" by a wife, and so, in turn, he does not feel as if he is in a position to make any requests of Elayne, relationship-wise, especially anything that might imply a commitment he cannot fulfil.

This stuff is cultural, because it is all utterly meaningless to Elayne's situation. She is vastly wealthier than he, and does not need his partnership. At her economic level, and in her society, the lack of a male partner is not as detrimental to child-rearing that it might be in a rural agricultural community. She is not at all thinking of that kind of propriety, because she has been raised in a royal court, in part by a cosmopolitan teacher in Elaida, and her mother has also received a partial education from a transnational institution. For Elayne, propriety is whatever her mother says it is, and the possible repercussions to her public image. As we see when she does become pregnant, that's not a whole lot. The closest to negative opinion seen is Elenia's prejudicial judgment (largely driven by her wish to see herself as a superior candidate for the throne, and thus inclination to exaggerate or invent disqualifying factors in Elayne) that her choice of lovers is poor, due to the presumed social status of the father of her children. So Elayne is not working under the same relationship constraints as Rand, and is completely unaware of their operation on him.

On the other hand, Elayne is feeling emotionally vulnerable in her situation, having carried a one-sided torch for him for more than a year, and feels that the risk of crossing her mother is all she is prepared to take. She's willing to take whatever risks come with a relationship with Rand, up to and including death (re: Ilyena), she does not feel she is asking too much to want Rand to make the first moves, and be the one to initiate the next development in their relationship. So when she asks him for a kiss, she dismisses any correlation between physical expression of affection and commitment. And Rand's experience with noblewomen and sexual relationships is actually surprisingly extensive at this point in his life, having been the recipient of attentions of Saldaean noblewoman in situations he considers implicitly sexual (though they do not), approached by two different married women in Cairhien at a party, and being made to understand that they want to have sex with him and do not consider their own marriages an impediment. And just the night before his "first date" with Elayne, Berelain propositioned him, claiming that his purported betrothal was no obstacle to their engaging in intimacy. So when Elayne says their kiss doesn't mean anything, Rand has what he considers to be a body of evidence that she, a noblewoman, means exactly that. Where Elayne, in her rather sheltered upbringing (as the sole heir to a throne, there is a greater urgency to protect her, and as a future Aes Sedai, sex and men were kicked well down the road on her educational journey), feels like she is basically putting out and giving away samples of the proverbial milk before selling the cow, Rand thinks she is just using him for fun times.

And that's just before he conquers Caemlyn, and his combination of Two Rivers indifference to noble bullshit and foreign protocols and Daes Daemar tutelage with a particularly Cairhienin flavor, manages to do all sorts of things wrong so that Elayne's coronation and their relationship are almost mutually exclusive goals by the time she shows up.

Tuon finds out that sul'dam can learn to channel, yet she continues to insist that damane should be leashed.

Those two concepts are not mutually exclusive or contradictory. There is a difference between learning to channel and channeling. Channelers are seen as a danger to society, and that is a danger that women who can only learn to channel will never manifest. Tuon's explanation of the difference is rational and true. There is a difference between the potential to do something and the choice to do it. Tuon cannot channel, and unless she goes out and learns how, she will never present the same sort of threat. This was a thing back in tGH where Rand was told that, because he was born with the spark, like all damane, would not be able to stop himself from channeling. Whereas Damer Flinn reached a very old age without ever manifesting the ability, so he is the male equivalent of a sul'dam. There is a difference. You can't slot this into your conception of bigotry.

The Wheel of Time, culture and gender

Something I find really interesting about WOT is how it explores the way gender is culturally constructed. So many of the characters have very strong culturally ingrained expectations about gender roles and relationships, and when characters come from different backgrounds, then there can be confusion and misunderstanding. Characters often attribute the misunderstanding to gender, when it’s really about culture - culture as it pertains to gender.

I remember when I first read the scene where Elyas tells Perrin, “I’ve only ever met about five Saldaean women I’d call meek, or even mild-mannered” (TPoD). At the time, I found that unconvincing. How unrealistic! I thought. Coming from the same culture doesn’t give women the same personality! I mean, being raised in the same family doesn’t give you the same personality! I realise now that Elyas is not saying that Saldaean women have the same personality. He’s saying they are all brought up have certain expectations of women should behave and how they should be treated, and so on.

I didn’t understand how pervasive such expectations could be in a mono-cultural society.

Keep reading

[raayllum]

What Is Up With Terry :: the Thread of Necessity

Intro

Terry is an interesting character in a lot of ways. He's unflappably kind and optimistic, accepting even to a fault, and he's an elf with no issue with dark magic yet doesn't seek out its use for himself. He's a non-traditional antagonist for starters, he's trans without being overly sanitized, and he most notably provides a sounding board for more overtly 'evil' characters like Viren in season four and Claudia in seasons five and six. Most of this is in service of Claudia's goals, with Terry not having many of his own goals outside of his support of Claudia and Viren; this is, mind you, not too dissimilar from Soren with Ezran in arc 2 as well, or even Amaya with Janai.

I also think he's a very important in a character in a lot of ways, for the ease with which he explores and exemplifies

You can love / support Viren and Claudia and that doesn't make you a 'bad person' in the show

You can be okay with dark magic without changing your mind and that doesn't make you a bad person either

You can kill someone in TDP and that doesn't automatically make you a bad person either

We know all of this is true (and will likely continue to be true) as we know in S7 there is an episode about Terry related to him still having a "true and pure heart," which is about as classical "good guy protagonist" speak as you can get. In those lenses, I think Terry was a fantastic choice in introducing a new character to not only contrast against Claudia and Viren, but also in terms of getting us to be more sympathetic towards them (particularly Viren) than we might've been inclined towards in arc 1.

That said, I think the most important thread that Terry carries is that he is a character who truly and wholly does whatever is necessary for his cause, nothing more, nothing less.

But what does that mean, tangibly, within TDP's narrative? Well, let's talk about it:

Necessity

The concept of necessity—I needed to do this, or I have to do this (even though I don't want to)—is one that has been central to TDP for a while. We see this characters who cite a lack of agency ("He was going to take Claudia's life, I had no choice" / "Every step I took, I took because I had to" / "I'm sorry. I have to do this") throughout the show, both dark mages and not, particularly Rayla, Soren, and Callum.

And in return for perceived necessity, as Harrow states, "I have done terrible things. I thought they were necessary. Now I don't know." We increasingly see people justify, or struggle to justify, worse and worse actions. Claudia's mindset has become very transactional, for example ("He saved you, and now we have to save Aaravos" / "It's a mistake! I saved you! You owe me your life!"). Generally speaking, the show treats these things labelled as necessary as unnecessary (hence the regret they experience, and even Terry disagreeing more adamantly than he ever has before).

This is, of course, because 4x09 and 6x09 together very clearly spells out what is important for Terry to believe something is necessary: it must be done entirely out of love, no more and no less.

I've seen you do a lot of awful things, dark magic things, but I always believed in you because you had a reason [saving your dad]. But what you just did, the way you tricked that Moonshadow elf? It was just cruel.

Maybe it started out as a story of love, but along the way it got twisted. [...] He isn't doing anything for love. He's doing it out of revenge.

To Terry, you do what you have to do but go no further; you don't give into anger, you don't give into revenge. You act entirely out of love, and keep acting out of love and let it temper you. This is why Terry resonates, I think, and seeks guidance from Viren after the mage's initial assessment of what's been happening, emotionally:

This is similar in practice to why Viren (and Claudia to a lesser extent) are characters with such fraught paths. Not only because of their dark magic use, but because of their denial. Viren violates Lissa's safety and trust to save Soren, but then blames Soren for it; Claudia heals Soren and brings back Viren, and doesn't understand why fixing things physically wasn't enough. "I had no choice" for them means "I have no accountability," and that's why they kept spiralling deeper till Viren broke out of it. He atones then not by swearing off dark magic (although it helps) but by taking full agency in the choice to do dark magic and in what manner (not sacrificing his family again) and without a desire for ego, which was his biggest character flaw in a lot of ways.

The reason I bring this up is to provide a contrast for Terry in a few ways, such as

Terry always being very emotionally open, rather than repressing or offloading blame onto other people

Mandates that he had no choice (4x03, 4x04) but to kill Ibis verbally, but is also aware that it very much was

Is able to accept that this was a choice and move on

Terry does what he believes is necessary. He feels things about it. He doesn't go further into outright self destruction, and he doesn't escalate to what harm is deemed unnecessary. That doesn't mean Terry's levelheadedness can't be a flaw (he absolutely should have told Claudia to give up magic in 6x04) or that what he believes is necessary always is / that his choices are perfect (they're not), but that in his contrast to Claudia and Viren, he continually provides that contrast. He can be held at sword point by Rayla, a total aggressive stranger, and still recognize that withholding her family from her is what he deems as unnecessary cruelty (but more on that later).

For now I want to talk about patterns, specifically two that he engages in with Claudia.

Patterns

The first pattern is unsurprising, perhaps, given that Claudia-Rayla have continually had parallels, given that:

1) Claudia keeps leaving him

This is, of course, most obvious in 6x01 when Claudia states her intention to do so, or even in 6x09 wherein Aaravos literally lifts her away from Terry:

But we also see it earlier on with even the choices Claudia makes in her mission. Terry is a passive person, much like how Claudia at her core is ("Tell me what to do" + 90% of interactions with Viren that aren't about saving him), and therefore Claudia leads the way, and Terry is happy to let her.

He never really considers that he might be a core part of her truth, and that she wants more active advice (see the way Rayla counsels Callum about his dark magic use, comparatively, in 6x03, or nudges him forwards elsewhere throughout the seasons). While Terry isn't wrong to encourage Claudia to think staunchly for herself, and in fact she very much should, it does leave her more vulnerable to the next first person willing to tell her what to do: Aaravos.

We also see Terry's passivity go even further back to one of his first episodes, as well as in the S5 finale.

Each entry in the pattern is a little different.

4x03: Claudia leaves / goes in alone and fails at her mission. Terry follows and saves her by killing Ibis at great cost to his personal emotional state.

5x09: Claudia leaves / goes in alone and fails at her mission. She goes further into Aaravos' clutches (the ocean here metaphorically) and returns of her own accord.

6x01: Claudia succeeds at bringing back her father but cannot make him stay. She leaves on her own in an attempt to break her family's cycle of abandonment without realizing how she's continually perpetuating it, but returns in a devastated and dejected state.

6x09: Claudia succeeds at her mission of freeing Aaravos, and the Startouch elf takes her literally into his clutches and away from Terry.

Each time it is her choice to leave, with only 4x03 firmly having Terry following without her returning by her own merit. Whereas Claudia plays out her family's cycle of abandonment with all its members—her mother, her brother, and finally her father—Terry plays it out with just Claudia, over and over again. This doesn't mean their relationship is bad or that some of these times are unreasonable—Terry is willing and supportive to let her go in 4x03 and 5x09 much the way Callum is supportive of Rayla in 4x09, 6x05, and 6x09—but it is a pattern that has then taken on a negative slant in S6 and will likely to continue to worsen in S7 before it gets better either in the season or beyond.

Then, we have the pattern of how

2) Claudia gradually stops listening to him.

This is probably more interwoven with the thread of necessity than the previous pattern, since as stated before, sometimes when Terry is letting Claudia go off on her own while it's imperfect in the narrative, it makes sense within their dynamic / resources. Like as previously mentioned, too, Terry is more often correct than he is wrong about the next moves people should make. He's right that Claudia will need help in 4x03, he's right that they should go look for her in 4x07, he's right that she needs rest in 5x02, and right to be wary and against Aaravos in 6x09.

In the beginning, Claudia listens to him.

But as the seasons go on, this gradually changes with twice back to back in 5x06.

T: It won't chase us anymore, you won. It's trapped. Please. C: You're right. It won't follow us. But not because it's trapped.

Season six is arguably the season where Claudia listens to him the least despite Terry reaffirming her agency most directly (6x04) as she ignores or doesn't listen to every reservation he has.

T: It's him. It's your Dad. C: Then I have to... T: No! Please! Please don't... I don't think you should see him like this. C: I have to! I came all this way to see him one last time. I need him to show me the right path. T: This won't give you answers. Only anger. Only pain. I'm so sorry. He's gone. He is gone.

And Terry, who does things only that are necessary, only out of love, would know the difference: unlike Rayla, or Claudia, or numerous other characters arguably in the show, he always has, particularly when given broader context the way he is in 6x09 (which hasn't always been true in his relationship with Claudia, either).

None of this is to say that Claudia is a Bad Partner or that your partner should always listen to you, either, because neither of those things are true in life or in TDP. Healthy couples in TDP disagree all the time in both healthy and unhealthy ways. Rayla left Callum when he explicitly made her promise not to, and Callum did dark magic to save her twice despite 100% knowing it's not what she wold've wanted.

But the first thing I want to address is the difference between Claudia leaving out of grief and trying to feel in control after losing everyone but her boyfriend, and Rayla leaving out of grief and trying to feel in control after losing everyone but her boyfriend because they are wildly different for one main reason.

Rayla left in the middle of the night while Callum was sleeping because "you’ll wake up and try to stop me… from doing what I know I have to do. Leaving. But I can’t let you stop me, Callum. No matter how much I want to. [...] And if you said even one word to me, I wouldn’t be—couldn’t be. If I stay even until your eyes open and you yawn your silly morning yawn, I’ll break" (TDP reflections, Dear Callum).

Terry, meanwhile, is actively begging and pleading with Claudia, and he is still abandoned. Granted, Claudia seemingly comes back within a day or two, not two years, so that does mitigate things, but the fact remains that Rayla thought she wouldn't be able to leave to protect Callum if she even heard him speak a word or yawn, and Claudia was able to leave to protect herself while having a full on conversation. Ouch.

Nor does this completely absolve Terry of the one time Claudia straight up asks him to tell her what to do, or what he thinks she should do, Terry doesn't (6x04). He's not wrong that she needs to choose the way and figure out what she needs, but him emphasizing that he can't tell her what to do and then immediately accepting her premises that Viren can and should tell her what to do is something that's already bitten both of them in the ass.

Terry also only asks Claudia to listen to him, really listen, and to tell her what she should do when he thinks it's absolutely necessary.

This is also one of the reasons why she and Terry are suited to each other. Both value and respond to necessity, scaffolding everything else on top of what needs to be done or doesn't need to be done. What's risky about this mutual understanding is the potential for it to stop being so mutual if they start to have different views on what's necessary. And as we see in 6x09, that's happening more and more. What is going to continue happen when Claudia keeps viewing Aaravos' actions as necessary, and Terry doesn't?

Questioning

So Terry is, presumably, going to increasingly be wary and against Aaravos. What is that going to look like?

We have a decent idea, honestly. As stated / noted before, Terry actually pushes back against Claudia fairly often. He's just rather gentle about it, and usually is trying to prioritize her wellbeing (or someone else's) when she isn't. Examples include:

4x09 over the coins / being cruel

5x01 ("You'd think if dark magic does this to a person they might not do it")

5x02 over resting

5x06 over attacking the dragon

5x06 over killing the dragon

6x01 over her leaving

6x04 with telling her what to do

6x08 over seeing Viren's corpse

6x09 in helping / freeing Aaravos

However, we're also yet to see him be angry in his questioning or when pushing back, which is what I think would be most interesting to see change (think the moment where Iroh finally yells at Zuko beneath Lake Laogai). His pushback with Claudia has gotten more and more consistent as well as more dire throughout the seasons, and just like how Viren and Claudia eventually disagreed and split up, I think Terry and Claudia will too. How permanent that split will be, I think, is up to her (I could see parallels happening between Soren and Terry teaming up to try and bring her home, with Ezran and Rayla doing the same for a brother-partner tag team Callum duo), but I do think that Terry's testament of "I love you, I will never leave you" is apt foreshadowing to see what it would take for him to break his promise, and do just that.

To what he knows needs to be done, even if that means walking away.

Misc. Season Thoughts

Terry also has some interesting things that don't fall under the necessity umbrella that I wanted to talk about as well. One of those things is

TERRY AND IDENTITY

This isn't to say I think Terry actively has an identity arc in seasons 4 through 6 the way other characters (Callum, Rayla, Viren) are, but that Terry like most of the main cast is linked to arc 2's continual increased emphasis on identity and choosing your own identity. This is true particularly in 4x01, which opens after the intro with Callum running through / clarifying his titles (or identity roles) and concludes with Viren and Terry being introduced to one another. Terry gives details on his name ("[Terrestrius] is a bit traditional, but my friends call me Terry") and then asks for clarification on what he can call Viren.

Later on in S5 and S6, we see Soren and Rayla respectively see through the 'monstrous' / threat of others by reaffirming their similarities ("I know what this is like. I know how you feel" / "This storm isn't your rage, it's your grief. I know how you feel") and bestowing agency through naming conventions. Rayla identifies the monster isn't a monster but a pet, and more than that, gives Esmeray back her name. Elmer does the same when he overthrows Finnegrin and Soren likewise affirms it: "We literally didn't [defeat him]. Elmer did."

Why is this relevant? Well, in an arc that's all about emphasizing over and over again to see other people's personhood by using their name(s), recognizing that you have a choice, and choosing who you want to be...

So often queer characters in media are regulated to their queerness being happenstance (i.e. they fulfil a certain story role regardless and just happen to also be queer) or it's all their character gets to be (a "figuring out queerness and/or a coming out" arc). One of the reasons I myself (as a queer and trans person) has always deeply appreciated Terry as a queer character, specifically as a trans character, is precisely the way that his transness is interwoven with TDP's broader themes of chosen identity, self-actualization, and knowing / name motifs. In having these themes and ideas for multiple cis characters, Terry's interplay gets to be enhanced by his trans identity and simultaneously let him enhance the thematic explorations the series has going on, and I think that's pretty cool. Identity is one of the main themes of s4, and for Terry as well, so it's nice to see the ways that's reflected.

I expect season 7 to challenge his identity further ("I'm going to be strong enough to do whatever I need to do and still have feelings") if forcing him to confront who he wants to be, who Claudia is becoming, and who he thinks they can still be together. In a lot of ways I'm expecting S7 to be a sister season to S4 thematically even as S7 builds on S5/S6 in terms of plot and character arcs, since S7 seems geared to be about identity directly even more than S4 was (and much more than S5 or S6 were).

TERRY AND COMMUNICATION

If season four is about identity, season five has a strong emphasis on communication. This is, again, likewise true for Terry, as he encourages Claudia to communicate in various ways across the course of the season.

The situation is urgent, and you're worried I'm not treating it that way.

Terry consistently having clear communication is also something that puts him in direct contrast to Aaravos, who is a master manipulator and very careful liar-not-liar in his own way. Terry is always open and while thoughtful does not really bottle things up; he communicates clearly with other people and is comfortable doing so, and is very good at validating others as well. Whenever he does push against Claudia, he always clearly explains why he's doing so or why he disagrees but leaves the choice of what to do next in making amends or carrying on up to her. Aaravos, meanwhile, continually withholds or omits information, and presents things in certain ways in order to get, well, his way.

I don't have as much to say for season six, given that Terry is only in about half the season (6x01, 6x03, 6x04, 6x08, 6x09) and one of those is entirely silent. I'd say his main idea in s6, like s4 with identity and s5 with communication, would be the theme of Questioning (scaffolded under 'supportive'). He's supportive of Viren and Claudia's searches for meaning alongside his own increase questioning of what they and Aaravos are doing and why. I'll be curious to see what his main character beat may be in s7 going forward.

Conclusion

There's more I could talk about with Terry (Viren dreaming in 5x03 of chasing after Claudia only for her not to listen, only for Terry to live out that worst fear in 6x01 directly, for example) but I think for now these are the main things I wanted to discuss without going further into speculation than I already have. I hope this maybe brought a new perspective or appreciation for Terry as a character and for his arc in the show so far! As always, thank you for reading and I hope you enjoy.

[suzukiblu]

Thank-you sentences for Waywren Truesong; weird amnesia Timberkon. (( chrono || non-chrono ))

“Tim should stop being a fancy gadget snob and remember to utilize every resource available to him,” Bernard retorts matter-of-factly, trying not to have an existential crisis about that and just scrolling through a few more blurry candid photos of the apparent Super . . . kid, or whatever, he doesn’t know. No, wait, Superboy was “the Kid” for years, he needs to come up with something else. “Superchild”? “Superpreteen”? 

“Superfuckingweird��, maybe. 

If nothing else, camera phones are way too good for only photos this crappy to have ended up on the internet, so that’s very weird and suspicious and unlikely as fuck. 

Note to self, Bernard thinks, and tries a few more Superboy-related searches that end in absolutely zero Superboy-related results coming up. Which is also weird and suspicious and unlikely as fuck, frankly, but in a more expected way since, again, the “unrealitied” issue. 

Thought there might be some relevant overlap there, considering. 

“Seriously, should I know this kid?” he asks. “Like, do you know him or–” 

“I think he’s Superman’s kid,” Superboy says, his voice very, very quiet. 

Bernard stops talking. He does not actually know one single thing about what Superboy’s personal relationship with Superman was like, between the evil cyborg and Hawaii and Young Justice and the Teen Titans and literally dying, but from the way the guy just said that . . . 

Well, he maybe has a hypothesis or two, is all. Or at least a hypothesis or two about how Superboy saw said relationship, or maybe just how Superboy maybe might’ve figured said relationship was as close to certain kinds of relationships as he was ever gonna get, or . . . 

And now Superman doesn’t even know him.

[script-a-world]

Submitted via Google Form:

How can a world have no major religions but a vast number of small ones. Like no religion accounts for more than 1% of the entire population except maybe atheist for maybe 5% of the population? But what does that say about the distribution of culture/countries?

Tex: Major religions are often major because they are state-backed - i.e., they have lots of money at their disposal, so they become economically and thus culturally relevant. Religion answers, approximately, two major questions: 1) Are we alone in X or Y manner? and 2) I’m scared of X thing that I have difficulty understanding, what is Y solution?

For a place like Earth, the planet that we know the most about, there are no planet-wide confirmations about the physical existence of any deity in particular (as in, shows up in a grocery and says hello to you in an entirely unambiguous manner that all onlookers can agree upon). This means that religions on Earth are predicated on the idea that belief - and, thus, willpower - makes the deity real. Or at least “proves” it. Your mileage may vary.

Because of this, the real-world religions that you can observe and study will have many, many commonalities to the two general questions I stated above. The first question usually contains subjects such as sentience, and the emotional frills of that. The second question usually contains subjects such as death and the process of dying.

In order to have many distinct religions, you would need a lot of unanswered questions for various societies to answer, a severe lack of contact and communication between groups of societies, and most importantly a lack of (or lack of need of) money. The more travel there is, the more people of different backgrounds will talk to each other, and the more ideas will be confronted, shared, and discussed. Trade would correspondingly be low, because of the lack of travel.

Utuabzu: There’s a couple things to consider here. Firstly, how are we defining religion? This isn’t a trick question, it’s a genuine issue. The Abrahamic concept of religion doesn’t really carry over well to other spiritual traditions. Most other belief systems are more local and action-focused (orthoprax, concerned with what one does, rather than what one believes), and often lack any mandatory set of beliefs, or standardised mythology. Religions like Chinese Folk Religion, Shintō, Hinduism*, etc. can have wildly varying pantheons and myths depending on where you are and who you ask. So depending on your definition every tiny village could have its own religion, because it has its own version of the cultural mythos and its own pantheon including some distinctive local gods and dropping some more common cultural ones.

Universal (applicable to everyone regardless of origin or location), proselytising (actively attempting to convert people) religions are rare. There’s only actually a few of them. Most notably, Christianity and Islam. They are both also orthodox religions (concerned with believing the correct things), which means they have a standard mythology and theology (or several competing standards that have historically attempted to resolve their differences via murder). A third, very notable difference they have with most belief systems is that they are exclusive, you can’t (or at least you’re not supposed to) combine them with other belief systems. Most non-Abrahamic belief systems are more or less fine with syncretism (combining belief systems), most clearly seen with the way Buddhism** is practiced concurrently with folk religions across Asia.

So, in answer to the actual question, your best bet here is to just not have an equivalent to Christianity or Islam. I suggest reading up on non-Abrahamic and pre-Christian/Muslim religions and religious practices, as that should give you an idea of what such a world might look like. I’d expect it to be colourful and diverse, with cities filled with temples and shrines to an ever-expanding array of deities and hosting various festivals much of the year. Many people would likely layer a philosophy like Daoism or Stoicism over their day-to-day religious practice, and it would be common and expected for people to show respect to or make  offerings to local deities when traveling. Religion would be a thing you do, not what you believe.

*Hinduism is less a religion and more a family of closely related religions and spiritual traditions that all originate on the Indian subcontinent. Which is why the Indian government considers Jains and Buddhists to be Hindu.

**Buddhism can be described as a religion or as a philosophy, depending on who you ask, what the context is, and whether Mercury is in Gatorade. Western definitions don’t really apply cleanly to non-Western contexts.

[toxifoxx]

scratches back of head

[sun-marie]

Like as a self-proclaimed fan of romance in video games (including dating sims my beloved), it really feels odd when I hear people say a game isn't worth it because it lacks romantic options. The first Pillars of Eternity game doesn't feel empty when it doesn't allow the Watcher to smooch someone, bc that's not the focus of the game and the depth of the character writing and world building are so rich even with the absence of romance. As a Kaidanmancer ME2 is my favorite Mass Effect even without romancing anyone because the characters are wonderful regardless and the atmosphere is immaculate. Is Fire Emblem Echoes a lesser FE game bc I can't choose who Alm loves? Or are they trying to tell a story of two bound souls connected across a continent?

In my mind when it comes to RPGs, romance options are and always have been a luxury. Role Playing Games have a story to tell, first and foremost, and sometimes romance doesn't always fit with that story. Again, I love romance options in RPGs, but the absence of them shouldn't devalue a game. And trying to force games that aren't focusing on romance to do so, while there are many many dating sim-type games out there explicitly CENTERED on exploring romantic options, is a losing battle with a lesser end.

[snixx]

you know as a neurodivergent person I only have two fucking requests of anyone I consider a friend: 1) do not cold shoulder or get aggressively angry with me for something you didn't bother to communicate you had a problem with and 2) do not fucking infantalize me and treat me like a naive fragile broken child who is a burden on everyone in my life. shouldn't be too hard right??? insane how many neurotypicals are fucking incapable of doing the bare fucking minimum

[kingofthewilderwest]

In discourse, if there is a mild word that gives benefit of the doubt, nuance, wiggle room, neutrality, and a respectful amount of broadness, and a similar word that goes balls to the fucking wall like a targeted missile attack, 90% of the time you really should be using the mild word.

[working-dreamer]

It’s wild how shipping culture has changed so drastically over time on the internet.

In the old days people shipped characters who either had only one line of dialogue with each other, never even met, or not even from the same piece of media. It was the wild west and sure some ships were uncomfortable but people had the mindset to just block the tag and stay away from ships they didn’t enjoy.

Nowadays? It’s more like people have to clarify that their ship isn’t canon compliant, character adjacent, and story irrelevant otherwise they get a flood of comments saying “but this character isn’t like this in canon” and some people legitimately get angry if you’re not following the canon.

Like- shipping and fandom culture from what I understand it is about engaging with media in a way that caters to you. And if you don’t like a ship or show just… block the relevant tags and don’t engage in the ships? The internet isn’t supposed to cater to us- we have to cater ourselves to our internet environment. And no matter how many times people may harass others over a fandom or ship they don’t like, those ships are not gonna disappear.

The internet has just been getting worse when people have decided to place morality in their opinions by saying things like “if you enjoy the ship then you support (insert horrible thing here that’s usually completely unrelated to the ship itself)” when it used to be “eh, not my thing” and people just moved on.

And for the record this isn’t about a specific ship or anything- just an observation of how fandom has evolved (and regressed) over the years and I find it fascinating from a sociological perspective cause we still don’t know how having the internet from birth affects the development of kids and how that affects how they interact with others- isn’t that scary?

I know that’s slightly unrelated but the way people engage in media has been changing over they years and that also involves fandom and the maturity level thereof in the internet space and someone smarter than me could probably write a whole thesis paper about fandom culture and how the internet has hindered the social development of people and how that affects community specifically from a fandom lens.

Just- for your sanity younger internet children: it’s not worth harassing others over something as trivial as ‘it’s not canon that this character kisses another character.’ Just find ships you like. Block ships you don’t. And just enjoy your time doing what you like!

You can’t control the internet but you can nurture your little corner of it.

[worstloki]

saw someone on twitter say "one of the main characters in a loki show should have been thor odinson, not some random Sylvie or Mobius.

...... It's like a written law"

wdyt do you agree

I don't think it was necessary to make Thor a main character in a Loki show, the same way it WOULD be possible to throw together a Thor movie without having Loki be a main focus.

The issue comes in the quality of the narrative itself, and writing that if evidently without intention to care for (whichever) main character's importance will not work out. Neither the Loki series nor Thor 4 cared about the arc, motivations, history, or continuity of the titular characters beyond trying to make the media marketable.

Overall messaging can add a layer to the impact a story will have. Musical score can be a bonus way to control tone or tie a story together. Supporting cast can be vital to tell a good story. Prioritising their presence over anyone's (especially Loki's) characterisation is what the Loki series suffered from, not that other, original-adjacent characters were there.

[kindheartedgummybears]

you wanna know what??

I am

TIRED

of overmasculinized werewolves!!!!

I WANNA SEE A

WEREWOLF

WALKING AROUND IN A CVNTY LITTLE OUTFIT!!! WALKING THE STREETS!!!! DISEMBOWELING CREATURES!!!!

I WANNA SEE WEREWOLVES COVERED IN BLOOD AND GORE WHILE WEARING A SHORT SKIRT AND CROPTOP WITH HELLO KITTY ON IT!!!!

I WANNA SEE A WEREWOLF WALKING AROUND IN COTTAGE AND FAIRY AND PRINCESS CORE OUTFITS!!!!!! WITH A DEAD MANGLED RABBIT IN ITS MOUTH!!!!

AND MAKE THE WEREWOLF

D I S G U S T I N G ! ! !

[listen-to-the-inner-walrus]

...wait, people are genuinely upset that greta gerwig didnt get nominated for best director for the toy commercial movie when the movie got nominations for best supporting actor, best supporting actress, best original song, best production design, best costume design, best picture, and best adapted screenplay for which greta gerwig was nominated?

[pa-pa-plasma]

kind of frustrating that people took "fat does not equal unhealthy" to mean "fat is not unhealthy." sometimes being obese IS unhealthy & excess fat can cause a lot of problems. ignoring health issues isn't progressive. real "oranges kill people with depression" moment

[ivan-fyodorovich-k]

well lots to think about there

[solipseismic]

sorry u know it's late when i start adding commentary to other ppl's linguistics posts