#ugh i hate the fourth

[thenamessparkplug]

i went on a BUNCH of yapping under the cut about dumb shit lmao

sort of??? a vent?? ig?? idk im just gonna post it before i convince myself not to

i have this one vivid memory of a fourth of july several years ago, im not sure quite how many, i assume i was somewhere from 9-12 years old? anyways my dad drove my family up to some street id never been before and we all sat out on the sidewalk to watch the big fireworks they were setting off over the water. that was the only time i really ever remember actually enjoying watching fireworks. they were bright and colorful but distant, and there was a noticeable buffer between the explosion and the sound that followed. the concrete was warm and it smelled like summer. im not quite sure how long we sat out there. could have been anywhere from 10 minutes to an hour but i couldn't have told you the difference.

its kind of ironic how important this holiday is to me no matter how much i despise it

not in the sense that i care about american independence day, but a hell of a lot of things that would be hard to forget have certainly happened.

i could have died this day two years ago.

it was nobodies fault.

windy night, unstable firework, happened to be sitting in the wrong place at the wrong time.

but i got away with only a small burn.

i think a lot about what could have happened had things gone slightly differently. had i been sitting farther forward. had i not moved fast enough. would i still be here? maybe im being over dramatic but i honestly dont know. i dont know what could have happened.

i was away from home that year. far away from my parents. and as funny as it is earlier that day i was genuinely contemplating if i had died today what would i have been worth. did i do anything worth remembering, had i been somebody worth caring about. and i didn't know.

ive changed a lot in those past two years. the person who looks back in the mirror is not that same kid who laughed at the thought of death when it stared him in the face. ive been to hell and back, im an emotional wreck, and its become kinda hard to breath sometimes but yknow we tough it out.

i still am afraid to die. but now its not because i feel as though ive done nothing of value, but because now i feel as though i actually have something to lose.

because despite everything somebody does care

and despite everything i have done something of value, even if it was just making somebody laugh once

there have been days where i wished that firework had ended it after all

thats something i cant deny

but to finally understand that yeah somebody would miss me

is enough to hope i get to sit on that warm sidewalk and watch the sky again someday

[markantonys]

just accidentally stumbled on an egwene hate reddit thread and everyone was bitching about how she tries to act like rand's equal when she's only the second-most powerful authority figure on the continent, and one sane person was like "well, balance was a huge theme of the series, so it's pretty clear that RJ did consider the dragon and the amyrlin two halves of a whole and that rand is meant to be egwene's equal co-authority rather than her superior" and of course they were downvoted to hell. and this one little thread just really epitomizes how the readers who approach WOT as a male power fantasy just fundamentally will never understand the series and its themes and the story it was ACTUALLY telling.

[walking-existential-crisis]

Me realising I have to actually write my whole fic and not just little paragraphs in between with no context: Fuck

[pynkhues]

https://x.com/snow_droplet/status/1865547272773107943?t=OrRO9eiW3eSiHoRz95mKoA&s=19

Love this, anon. There's such an interesting throughline in these stories where so many of these characters are desperate to be understood for who and what they are - it's arguably a built-in factor of the structure of the interviews/biographies as they're written as books - and the unknowability of a character like Gabrielle, and that deeply rooted desire to remain unknowable, really makes her such a point of difference to so many characters in the series. I just really adore her, and I can't wait to get to meet the show's version of her. I hope her and Lestat's relationship is as fucked up as possible, haha.

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[steelycunt]

i luv 2 luv a book i love starting a book i am excited about…have nothing to do all day but read hopefully in the garden of the weather perks up i need to find some good books to put on my tbr..

[muirneach]

wahhhh guys i have to rip out like two entire sections on my neckwarmer knitting wip and i was ALMOST DONE 😭😭😭 but its just too fucking talllllll :’( photos before i take it out for posterity. first off a little commotion as it slayssss outside of this error. clap and cheer. but anyways i was working on the final motif which are going to be hearts but i need to go back and take out that entire fourth repeat of leaves even tho i did as many as the pattern calls for!! its just so tall like if i keep going it will be like to my forehead when i finish. not ideal! sorry for the garish censoring but just so u get an idea of how tall it is on my face

[artheresy]

Just read an utterly emotionally devastating entry in the "One or both of teen!Skk gets sent to the future and adult!Skk has to deal with it" kind of ficsUGH

I've read very few, but I want to read more it's such a good trope I need more

The way people use that trope either to get teen!Skk or (imo the better choice) Adult!Skk to reflect on their dynamic LIKE A H it's genius

[steffyanie]

gods fuckign damnit mark, why.........

[this-is-mimosa]

fuck, i guess i have a crush on the teaching assistant...

[violencewithwings]

My friend and I are tandem reading Iron Flame and it’s hilarious to me how differently we’re reacting to things

[maxz-b]

the bullet point in the to-do list just says miami baby! which is really unfair given its actually post-sprint, post-quali, race, post-race, post-race party. which means i cant get the instant validation of crossing it off yet cause ive only written post-sprint and i am going to start gnawing at furniture soon

[atenceladusiaawfytbwb]

If I were like, commando, I would be bleeding less into my clothing than I am with this period pantys. So uhhh, if a could turn back time, I'd rather shove those 20 dollars up my ass, literally, than waste them into this stupid pantys. Literally. If I held a just beheaded bull over my pants, they wouldn't be as soiled with blood as they are right no over this stupid useless piece of shit period pantys. It's not a joke, or an exaggeration, and someone somewhere deserves to die for this design. No no no, if a got Will Graham-ed my stomach right now, my clothes wouldn't be half as bloody as they are right now, over the expensive protection of this period pantys. I don't want retribution, I don't want a return, I don't even want to turn back time or a poetic justice. I want to ah uh ahhhhhhh that thing, you know, that 'girl' thing, you know

[d1anna]

sorry i haven’t been online i’ve been hyperfixating on bolstering my dynasty in ck3

[qt-kt]

"omg we're so sad you were closed you can't do that again" "I wanted to come here last week why'd you close" "I can't believe you were closed all last week I needed pastry!" BITCH WE WERE ON VACATION!!!! STOP TRYING TO MAKE ANY OF US FEEL GUILTY FOR DARING TO TAKE TIME OFF JESUS CHRIST

[youraverageaemondsimp]

Metanoia ;

Aemond Targaryen x Transmigrated!Strong!Reader

>> Chapter I : The Beginning.

Summary: "Be careful what you wish for" is what everyone says, you realise that you should've taken them seriously when you find yourself reincarnated as a character in the show who never existed.

WARNINGS: CANON TYPICAL INCEST, CONTAINS SPOILERS OF F&B, S1 AND S2, reader's appearance isn't described, only the fact that she is a strong, you can imagine her however you like, the picture used in the header is only to capture the feel of the story. A/N: divider credits to @cafekitsune

masterlist // next

“Jesus Christ, fuck this show, fuck everything, what the fuck is wrong with the writing?” You exclaim in annoyance after witnessing the scene that was supposed to be heavily impactful be butchered.

“That is the most anticlimactic death scene I've ever witnessed, this has to be a joke.” You furiously ramble. You decided to give House of The Dragon a try after your friend had recommended it, the show currently has released three seasons, with the fourth season in production, you thoroughly enjoyed season one and decided to binge all the seasons.

However, everything started to go downhill from season two, yet you still decided to watch for the sake of your favourite characters, daemon and aemond, only to witness the battle that was supposed to be intense and stressful get finished in the span of two minutes.

You stared at the screen, rolling your eyes in annoyance as you witnessed Aemond falling into the lake along with Vhagar, Daemon was knocked off Caraxes too and fell to his death.

They wrapped up the battle in mere moments, which made you angry as you were so hyped up to see them fight.

“Ugh, I never hated a show more than this, waste of my time, they did season one so well, what happened to rest? I did not expect this.” You sigh in frustration, feeling like you just wasted your time.

“If only… If only I ever get a chance, I'd change entire plot and script because fuck this.” You lay down on your sofa, staring at the ceiling, the show still playing in the background. You recollected the entire plot in your head, thinking of every moment in the show, trying to come up with an easy solution.

“If only they had married Jace to Helaena, it would have been peaceful.. Or at least if they had an older daughter married to Aegon or Aemond.” You mumble, but then shake your head, “What am I saying? Things still would've been complicated anyway.” You wonder in disbelief at your own words.

You yawned loudly, stretching out your limbs and blinking your eyes rapidly, your vision began to get blurry and you sighed in content, finally willingly wanting to sleep after you forced yourself to stay up all night to binge the series.

Your vision darkened slowly as you closed your eyelids, head spinning as you took slow breaths of air, cool breeze brushes past your cheeks and before you know it, you're slowly succumbing into slumber.

You blink your eyes open, realising you fell asleep, you sigh stirring on the soft sheets, entangling them between your legs.

Soft sheets?

Your sofa doesn't have any sheets.

You quickly blink again, taking the note of a translucent veil hanging from above, surrounding the bed you're in, creating a curtain around your bed.

Why were you in bed?

You sit up looking around, taking in your surroundings, your eyes widening in fear as you don't recognize this room at all, ancient tapestries, brown wooden furniture, and the source of light being only from the candle.

Have you been kidnapped?

You look down at your body, noticing you are in a white nightgown instead of the shorts you fell asleep in. Your heart begins to race and you panic, unable to understand where you are or how you got there. You steady your breathing, wondering if someone kidnapped you to play a role in a mediaeval film of theirs? But why would anyone do that?

The sound of metal clanking harshly against the floor and a small scream made your head turn the direction it came from, the liquid in the decanter spilling out rapidly as the person behind the fallen cutlery stood in shock.

“The princess is conscious!” She yells loudly before turning around and running out of the room in a hurry.

Princess?

Is this a prank?

You barely have any moment to think when you hear the sound of multiple footsteps coming from outside to your direction, you could almost feel the ground rumbling, noting that everyone was rushing to this room.

You push the veil to the side and stand up, getting out the bed and examining your surroundings, looking at the sigils and the paintings. All of this looked familiar somehow.

A small gasp echoed through the room, coming from the entrance, which made you turn around to take a look at who was in the room once again. Your eyes widened at the sight.

A lady with platinum blonde hair, blue eyes stood in front of you, someone who resembled Rhaenyra and next to her stood Jace and Luke breathing heavily, looking at you in shock.

Did the house of the dragon cast kidnap you to play a prank on you?

That sounds too unreasonable.

“Oh my sweet daughter!” Rhaenyra rushes over to you, embracing you tightly, tears flow down her cheeks as she peppers you with kisses “I-i i cannot believe this, you finally woke up after many years.” She sobs, you look at her questioningly. “Sister.” Jacaerys speaks up, coming to you and joining the embrace of you and Rhaenyra, Luke joins in as well.

“We missed you.” Jace says and you stare at all of them confused.

This has to be a joke.

They notice the expression on your face and their faces immediately drop, “Your grace, the princess woke up after many years, she might not be able to recognise you.” The maester chimes in, Rhaenyra nods, sniffling yet understanding your condition.

“Emma? Is this a joke?” You question, referring to the actor of Rhaenyra, “I’m not Aemma darling, she is your grandmother.” Rhaenyra corrects you. “I think she must be confusing the names of everyone due to her hazy memory.” The maester tries explaining, you sigh.

Yeah this must be a dream.

You shake your head gently and immediately slap yourself to wake yourself up.

“Ouch!” You yell in pain, cupping the cheek you slapped yourself on, Rhaenyra is mortified and the guards rush in and hold your arms back so you don't further hurt yourself.

This is not a dream.

You can’t feel pain in your dreams and you will wake up right before impact.

You look at Rhaenyra’s face, she is as real as a living person, standing right in front of you.

She looks just like Emma. of course, after all Rhaenyra is indeed played by them.

But this is not them.

She is not Emma

You can feel the vibe, it's very different.

You’ve met Emma before in costume, yet they did not give off the vibes as what Rhaenyra is giving off right now, after all, when you met them; it was just a show, but now it's your reality.

Did you die in your world?

You’ve definitely transmigrated into this show, but as who?

Did Rhaenyra ever have a daughter? You knew she didn't.

“Mirror, get me a mirror.” You ask and they look at you questioningly, your form begins to shake as the realisation is too overwhelming, there are many questions in your mind, “Please!” You cry, and immediately a servant moves and rushes over with a mirror.

Your eyes widen.

It's you.

You had not become someone else, but you remained as yourself. “What is my name?” You ask, “Y/N.” Rhaenyra replies. Your mind begins to spin, you are in another world as yourself, you have not possessed anyone else, which means your body must’ve disappeared from your world.

You try to stay calm in this situation, breathing heavily, “You are?” You ask, wanting to reconfirm, you watch as Rhaenyra's face crumples into that of a sad face, probably feeling hurt that her own daughter doesn't recognise her.

“I'm your mother, you are my eldest daughter, they—” She points at Jace, Luke and Joffrey, “—are your younger siblings.” You turn towards them.

You nod, pretending to play the part while you figure out everything. “I'm sorry, I do not remember.” You apologise and Rhaenyra shakes her head, “It is alright, you have been unconscious since the past six years, this is better than losing my daughter.” She replies.

“Six years… Did I fall unconscious after Aemond lost his eye?” You think out loud and Rhaenyra looks at you in shock, “You remember him?” She asks and you clear your throat, “It's hazy, my memory.” You answer back.

“Your grace, the event was probably traumatic for her, hence why she can remember it in parts.” The maester explains it to Rhaenyra, you mentally thank the maester for covering up for you always.

You noticed how they were all dressed up, looked as if they were about to leave but their plans were cut short, and you recognize this gown of Rhaenyra.

It was the gown she wore when she left for King's Landing, in order to settle the matter of Luke's right to driftmark. “You guys were departing somewhere?” You ask, wanting to really confirm it, “Hm? Huh, Yes, We were about to leave for King's Landing.” Jacaerys answers your question.

“Can I tag along?” You blurt the question.

“.. Tag along?” Lucerys repeats your words in confusion, your language confusing him.

“I mean to say, can I come along?” You ask the question in a proper manner, Rhaenyra shakes her head, “No- you've just woken up, you might still be weak- I cannot risk-”

“Mother! I am perfectly fine!” You cut her off, breaking free from the guards hands and running around the room, doing jumping jacks, showing her that you aren't weak and are perfectly capable of physical activity.

Rhaenyra watches in shock, seeing you move like this but she chuckles, shaking her head in comic disbelief, “I guess she has not changed after all.” The maester comments which makes Jace and Luke smile.

“Very well, Pack the princess’ belongings, and get her ready for departure, we will depart two days later.” Rhaenyra orders the maids and you smile at her.

“But mother, I do not have many dresses—”

“You do, I had them tailored every year, whenever you grew, hoping that you would wake up.” She replies softly and you just then realise how Rhaenyra loves her children.

“The maesters said that you might not ever wake up, and that your body will be stunted from growth, yet… I'm glad their predictions never came true.” She smiles gently at you, you smile back.

The maids come in with a bath as everyone leaves, some of them begin packing your belongings. You notice how your body doesn't look how a person in a coma state should be looking especially in the mediaeval times, but instead you seem to be well taken care of, treated as if you were alive.

The maids quickly finish your bath and dress you up, you have to pretend to get used to this atmosphere and era even though you're highly uncomfortable, the mere thought of having servants made you feel bad.

And with that, the night fell, you couldn't sleep thinking about how you're going to deal with everything, could you really prevent war from happening? It happens due to a misunderstanding in the show right? What if the misunderstanding doesn't occur? Your mind was filled with such thoughts through the whole night.

In King's Landing.

“My queen, Rhaenyra, has sent a letter saying that their arrival will be delayed further.” The master sums up the contents of the letter in the council room, in front of Aemond who had been called by Alicent for an urgent matter.

“Why so?” Alicent asks, furrowing her brows.

“Princess Y/N had woken up from her unconscious state.”

An ear piercing shattering sound of glass is heard through the entire room, when turned to look at the origin, It is known that Aemond had dropped the wine glass he was drinking from.

“Y/N is awake?” Aemond asks the maester.

“Yes my prince.” The maester replies.

Aemond's heart begins to pound in his chest loudly, his mind spiralling at the thought of you finally waking up all these years later.

“Please excuse me.” Aemond gets up from the chair, excusing himself from the council and leaving the room, his brain occupied with the thoughts of you.

There wasn't a day where Aemond hadn't thought of you, he would at least think about you once a day- the news of you waking up from unconsciousness made the adrenaline in his body rush.

He felt like a hungry snake that had been starved for many years who at last found a prey to feast on, he felt like a drought-stricken land finally receiving rainfall, he felt like a garden void of any flowers which started to bloom once again.

He was thrilled.

He reminisces of the fond memories you both shared, he could never ever forget them, smiling at the thought of you.

He wondered if you had changed or remained the same.

Whatever it was, he couldn't wait.

He couldn't wait to receive you.