the fact that irving canonically survives through the end of asunder to be at wynne's funeral is so fucking funny to me. nothing but love and respect for MY unstoppable cockroach morally grey machiavellian mage dad!!! he's survived in his position through multiple attempted rites of annulment and blood mage plots popping up left right and center around him. the chantry keeps trying to stamp him out but his dodge game is simply out of this world, divine. civil wars, political machinations and minefields, chantry atrocities, this wily old motherfucker is dodging and weaving his way through it all, not-quite-no-hits-taken-running-it-but-honestly-close-enough-under-the-circumstances style. if solas does succeed in tearing down the veil I would fully believe that one of the like three people still alive at the end of it all would be a very weary 90 year old first enchanter irving going 'oh this shit again huh'. the maker has cursed him for his hubris and his paperwork is never finished (affectionate, it's fine he canonically loves paperwork)
ok i swear i'm not going to talk about my breakup forever but the thing that just keeps bothering me:
i know that not getting what you need in a relationship is a COMPLETELY valid reason to end it but also. i feel like having a very vulnerable moment where i opened up about my struggles with intimacy and being relieved that i didn't have to keep doing things i wasn't comfortable with, then being dumped a YEAR later because of my lack of intimacy. is something i should be allowed to be very hurt by???
NO MORE ASSOCIATING THINGS WITH FEMMES ONLY BECAUSE THEY ARE PINK!HYPERFEM FEMMES ARE GREAT AND I LOVE YOU CAMPY FEMMES WHO EMBODY PINK BUT ALSO JESUS CHRIST CAN YOU GUYS NOT GO MORE THAN ONE DAY W/O TRYING TO SHOEHORN FEMMES INTO BEING ONLY PINK UWU BABIES. I AM FEMME AS IN GRASS AS IN DIRT AS IN TREE BARK AS IN WEEDS SPROUTING THROUGH THE SIDEWALK CEMENT. FEMME AS IN GENDER NONCONFORMITY AS IN FUCK YOU MY FEMININITY IS WHAT *I* SAY IT IS. FEMME AS IN DEPTH AND DARKNESS AND WARMTH AND TERROR. FEMME AS IN CAVES. FEMME AS IN LIGHTNING. FEMME AS IN AN AMALGAMATION OF TRAITS THAT I HAVE DECIDED ARE FEMININE REGARDLESS OF WHAT SOCIETY SAYS. FUCK IS IT THAT HARD TO UNDERSTAND?!???
Pac: Take care of Ramon, take care of Richas, ok? See you on the other side, big boy.
Fit: [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. [Fit tries to lasso Pac] You're coming with me.
Pac: No, I need to leave!
Fit: You're coming with me. You are not dying today! You are not dying today!
Pac: I need to leave, Fit! I'm sorry, I'm sorry!
Ironmouse: Are you guys like, having sexy time?
Fit: There's homosexual activity going on Mouse, don't worry about us, ok?
Ironmouse: You guys, we don't have time to be gay right now.
[ Full Transcript ↓ ]
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Pac: I'm just here to say goodbye to you, Fit.
Fit: Goodbye? We're not– we're gonna be fine, we're going to get out of here, don't worry.
Aypierre: Yeah, don't worry!
Pac: I know, but like– I will sleep until the end, you know? I will pass through this moment sleeping, man. I won't be able to be awake for the moment.
Fit: [Laughs] You know, it's– I mean, if that's how you wanna go, but– I mean, that- I mean, isn't that bed kind of like.... I don't know, it's–
Pac: No no, I will be staying on the sofa, you know, I will be staying on the sofa.
Fit: Oh the sofa. Ok, that's a nice sofa! Yeah, that is a pretty nice sofa.
Pac: Yeah, it's a nice sofa right? No, yeah– I'm going to stay on the sofa, you know? So, since I will be going Fit... [Pac starts tossing Fit all his items]
Aypierre: [Not paying attention to their conversation] Is that bigger cell? I don't think it's a bigger- biggest one.
Fit: Oh... Thank you Pac, thank you.
Pac: Everything you need to survive, ok?
Fit: Wow.
Aypierre: Wow.
Pac: And if you need this one also, maybe, who knows? [Throws him more items]
Fit: Ohhh, well hey– just take this to remember me by, ok? [Tosses him a photo of himself – the same one Aypierre was carrying all day yesterday]
Pac: [Laughs] Ok, I will sleep holding the picture you know, like this. You know, I will dream about you, Fit. And I hope this is gonna be good dreams. I see you in the other side. Good luck, my friend.
Fit: The other side... Yeah, you know, yeah, we– we– you know? It's been an honor, Pac. It's been an honor, you know?
Pac: Yeah, for me too, you know? Take care of Ramon, take care of Richas, ok?
Fit: Ok.
Pac: See you on the other side, big boy.
Fit: I will sing your praise– Oh yeah, hey– [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. You're coming with me.
Pac: No, I need to leave!
Fit: You're coming with me. You are not dying today! You are not dying today!
Pac: I need to leave, Fit! I'm sorry, I'm sorry!
Fit: Sorry, there's–
Pac: I'm sorry!
Ironmouse: Are you guys like, having sexy time?
Fit: There's homosexual activity going on Mouse, don't worry about us, ok?
Ironmouse: You guys, you guys– we don't have time to be gay right now, come on. There's no time.
Pac: No, there's no time! Oh, goodbye Fit...
Fit: Ok, c'mon, no no no, come on, we got this we got this!
you ever think about how edwin got like. no warning, no time time to process, nothing, when he reappeared on earth faced with the fact that virtually everyone he knew in life is dead. his parents? probably died in the 1950s or so (at best) almost forty years prior to edwin’s return. if any of his classmates were still around, they’d have been elderly, possibly senile, and in a few years they’d all be gone– except, of course, edwin. nothing looks the same, cars look like spaceships, there actually are spaceships, he can no longer see the stars, and everyone he knew is dead.
I’ve been highly confused as to why Michael “deeply openly thirsting on Twitter about David Tennant for half a decade” Sheen is half-in half-out the closet but apparently Wales is absurdly homophobic lmao what the fuck how is a country the size of New Jersey that much of a hater bruh we out number the shit out of you
One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.
I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.
Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.
What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.
Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.
I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
wait. did one of the loops actually become a red giant? petition to call that one Loop-king (like looping. get it. hahah. ill see my self out.)
Haha yeah!! Loop-king, King of Loops, figurehead of the universe, constellation formed by the collapsing stars and wishes that bind them, that define them, a responsibility and love born of generations of dying stars and supernovas and stardust and new stars - or something like that!