#wanted to add my thoughts to this discussion

[smollsmule]

Ok my queue spit this out after I saved it for later, so let me add some nuance here. Because this is a very importand issue, actually.

Of course nobody is prohibited from readin the books they enjoy. Hell, I like me some easily digestible fluff too! Some of my favourite book series are ya (and genuinely great books despite being “easy to read”).

There is something to be said however about limiting yourself to only engaging with that level of difficulty in reading. And before you come at me, I know that many people don't read at all and to many others reading is simply a hobby to unwind after a long day, where they just wanna turn their brain off and have some fun. Which is a totally fair reason to read. BUT. Reading (or more broadly, literacy) will never be just that. You live in an age of (mis)information and you WILL be confronted with texts (speeches, video clips, what have you) that are hard to dissect. Especially the ones that don't seem like it at first glance.

Media literacy is not only about how quickly you can summarise a paragraph or being able to pull quotes to show how maybe a character could be read as queer (although both of those things are a very good indicator of having advanced literacy). It's the VITAL skill of filtering and assesing information presented to you before so you can make an informed choice to internalise or discard it. It's being able to understand the information in the first place by grasping a complex thought presented to you in writing or in a speech because the simple truth is that not all truths are simple.

Media literacy gives you the ability of identifying that someone is trying to make you believe something and parsing why they're doing it by identifying the tools they are using. Which means you also need to know the tools they have at their disposal. It also means being able to connect points brought up before in the same or different texts to see if there is inconstencies or leaps in logic or if the argument someone is making only looks good because they use big words and a sentence structure that “feels” smart, but actually falls apart as soon as you poke at it a little.

Forgive me sounding alarmist, but if you can't read at that level people who have these tools WILL have power over you and you won't even have the tools to notice that they do. Even if people are not actively trying to harm or manipulate you, if you're unable to engage with their ideas you will get left behind in certain vital discussions and that not only feels like shit because everybody gets it but you, but it also again makes you incredibly vulnerable to those who do have bad intentions!

Now does that mean you only get to read Proust from now on? Of course not! I still do believe that a piece of literature can directly and fundamentally change your life. I know it has for me. However, that is a personal opinion and it doesn't mean I can force anyone to engage with deep philosophical manifestos on what it isto be human in this world. And even less that I want to do that, despite me thinking that literally ANYONE could benefit from reading that kind of thing. But you NEED to be able to read complex texts outside of your comfort zone for honest to god survival. I am so fucking serious.

And, hey! The good news is that this is not some secret mystical power you either get blessed with or not. It is a skill you can train, by reading challenging material. Books with more complex sentence structures, more nuanced ideas or arguments. Books that force you to think about them. I hate to say it but the only way to get better at reading is to read. It doesn't have to be fiction but i will be very real with you, I doubt that - if you're putting down a book because it's unreadable to you based on the chosen perspective - you'll be the type to pick up scientific essays or anything like that.

Don't cut yourself off from vital skills by locking your mind in a box. You are capable to handle those more complex texts, and I'd wager you'll even enjoy it once you find your niche (yes! you still get to have preferences!). You just need to give yourself a chance to learn.

[meanbossart]

im so curious-- how well does DUDrow get on with the other companions? I've only seen your art and going off that I feel like: he gets along with Shadowheart, Gale I think he borderline cant stand, and Wyll/Lae'zel/Karlach I have no idea how he'd feel about them but id love to know!

So, funfact, because I was not familiar with these kinds of games at the time I played BG3, I practically stuck with the same exact party the entire playthrough. I distinctly remember swapping Wyll in for Astarion once at the end of act 2 because I thought he NEEDED to be there to find Mizora, and I replaced Gale with Karlach when I went to kill Gortash. Otherwise... It was pretty much always just DU drow, Shadowheart, Astarion and Gale. I did this because they were the characters I liked most, so I wanted to see all they had to offer.

Anyways, I mention this because it reflects how DU drow related to everyone - which is to say that he didn't. He picked his favorites (two because he liked them, one because he has fireball) and didn't get particularly close to anyone else.

BUT, there were definitely notable dynamics!

Lae'zel: She's dead. He killed her night 3 or something. Before that he thought her annoyingly demanding and over the top. I don't think DU drow even remembers her by the end of the game.

Gale: Just to add to your original observation, Gale and DU drow have a little bit of history. Gale tries, for about half of the campaign, to pursue him romantically. DU drow keeps turning him down and is either misinterpreted or ignored, and by the time Gale does give up on him their relationship has completely soured to the point where they are constantly shooting daggers at each other. (this reflects a romance bug I got in my first run, except I didn't realize it was a bug. Either way I think its more interesting storytelling than the intended experience.)

Wyll: DU drow was profoundly frustrated by Wyll every step of the way. He found him to be incredibly naive and a bit delusional in his pursuit for heroism, and could never relate to Wyll's perspective or choices - the few he made for himself, at least. They definitely had the least in common and DU drow avoided interacting with him most of the time.

Halsin: He didn't care for Halsin much. He was vaguely helpful but by the time they got to the shadow-cursed lands DU drow had the impression he'd only been dragged here to help him clear his conscience, which he didn't appreciate. Also, he couldn't bear to have someone in camp be taller than himself. Halsin was left behind in Act 2.

Jaheira: DU drow fucking loves Jaheira. They bickered and borderline insulted each other and had a great time doing it. He can respect anyone who will call him a monster, threaten to murder him in his sleep, and make light fun at him the next day. It helps that she's hot, also.

Minsc: Weird hamster man. Ocasionally rendered him speechless. Puzzling human being.

Karlach: He didn't get Karlach, but he was often amused by her and curious enough to want to hear what she had to say. There was a similar issue here as Wyll's where he just couldn't relate to her enough to have much to discuss, but Karlach at least had an edge to her that made her far better company. They got along pretty well when the topic wasn't serious, but when it came to the problems she actually faced their perspectives shifted significantly. DU drow thought everything could be fixed, that accepting her own demise was a cowardly thing to do - and as they approached the end, and she asked him if he would stay with her when she died, he thought she was weak. I don't know if he ever discusses it with anyone, but he feels guilty about her death to this day and sees it as personal failure.

[ice-cream-writes-stuff]

NRC And RSA

(What if Yuu went to Royal Sword Academy for a Exchange/Transfer student program?)

-

Yuu sat on the plush bed, the private room given to them was rather luxurious than the room they shared in Ramshackle. Little bits of belongings still sat in their luggage, a few trinkets (Y/N) had been packed to remind Yuu of NRC during their stay.

The magicless student smiles at the thought of their dorm and friends. Sighing as they eye the special uniform the RSA students had provided them.

While the rather, “princely” students were rather kind in their greetings, Yuu still didn’t feel all too comfortable. The quiet sounds of the ocean clear their thoughts as they get up from the bed. Peaking outside from the satin curtains, the small waves crashing along the sandy shore. 

After finding out that Yuu would be going to the school alone, Headmaster Crowely graciously offered Yuu a new phone. While you kept the old one. 

“To keep in touch during the trip!” Yuu heard the Headmage state, smiling too sweetly, clearly hiding his true intentions.

Picking up their phone, Yuu skims through the messages you had sent as soon as they left.

Pictures of Grim sleeping in class, pictures of you and Grim sitting next to the first-years at lunch. Then a photo of you, unaware, talking with a nervous student as figures zoom into the scene. Too blurry to make out the familiar uniforms on their persons. 

“Grim probably took that photo…” Yuu laughs. Before a knock is heard on the door. 

Yuu heads over, not before taking a small pick of the ocean.

Opening it up, preppy voices cheer loudly. “WELCOME TO ROYAL SWORD ACADEMY! YUU!”

-

“I miss Yuu…” You bemoan, lightly banging your hands on your face. Groaning in annoyance as Ace side eyes you. “(Y/N), Yuu’s fine. Probably annoyed with all those high-horse RSA students though.” Deuce makes a small sound of agreement. 

Grim munches on his tuna melt, a bit quiet… Which was never a good sign.

-

Yuu sat with Chenya and Neige, a few other students seated with the as well during lunch. The NRC picks at the dishes served as they listen to the small discussions going about. Occasionally giving a small response when a question was asked to them personally.

“Hmm.. Yuu~! I’m curious about something, if you don’t mind me asking..~” Chehnya smiles, eyes bright like a curious cat.

“Yes?”

“How’s (Y/N) doing? I haven’t seen’em in a bit, so I wanted to know.~” Chenya purrs out, laying a lazy hand on Yuu shoulder. Neige, overhearing, beams. White as snow skin becoming a soft pink as they lean in as well. “Oh yes! How are they? I haven’t seen them much since the masquerade event at Noble Bell College.” 

The actors red as rose lips turn into a frown, “My schedule has been so packed I haven’t had time to see them around town..” The boy wilts at the thought of missing his chance to see you as Snick offers him a sympathetic pat on the back. 

Yuu hears more chatter from a few other students popping in to add their own statements about (Y/N).

Rielle, Yuu recalled him from somewhere… Had spoken up. “I’ve seen them around the beach a few times!” 

“Really?”

“Uh-huh!”

Yuu blinks, the conversation becoming bigger than expected. But, they grin just like their fellow NRC friends. 

“Well, (Y/N) is good. I mean, they are Dorm Head of our Dorm, along with meetings with the other Dorm Leaders…  As VICE Leader, we’re with each other often.” Yuu smiles, shrugging. A certain glint in their eye. 

Neige's features become more flustered as he tries to ask another question. Before being interrupted by Yuu’s phone ringing.

-

“GRIM! GIVE IT BACK!”

“No! I wanna’ send Yuu photos of my tuna can tower!”

“Grim!” You try to grab the phone back as Jack follows after, but Grim was surprisingly quicker! Epel manages to corner the fur-ball, “Oi! Ya’cat! Give it up!”

“Epels accent is out! He’s pissed!”

Ortho readies his laser cannon, trying to get the perfect aim. "Grim, stand still please!" Grim shouts to as he tries to figure out away to avoid capture.

“Grim?”

“Yuu!”

“YUU!?”

The first-years shout all together, happy to hear the student.

Sebek grabs Grim by the scruff of his collar, handing him over to you as everyone gathers by the lounge area. Discussing about their day as Yuu talks about their own, “I gotta go guys.. I’ll see you in a couple days!”

“Give’em hell Yuu!”

“Good luck Yuu!”

“See you soon!”

Hanging up the call, Yuu returns back to the lunch table, a satisfied expression on their face. Maybe even a bit sentimental if you looked close enough...

-

[To celebrate the news of Twst FINALLY GETTING THE ANIME SOON. I decided to write a small fic for yall! Enjoy! Thanks for reading! LET ME KNOW HOW I DID! IM SO HAPPY WE GETTING THE ANIME!!!]

[angelasscribbles]

Changes: A ONiC One-Shot

Series: One Night in Cordonia, a @choicesprompts Round Robin Event.

Fandom: TRR mostly

CRACKSHIP ALERT: Drake x Bertrand

Word Count: 1,593

Rating: NSFW

Warnings: Lemons 🍋🍋🍋

A/N: This pairing was initiated by @harleybeaumont during the round robin event titled One Night in Cordonia. I cannot remember who requested it or if it's something @harleybeaumont and I thought up during one of our epic late night discussions. Either way, it somehow got brought up today and I went to send her the little bit of it that has been sitting in my WiP folder forever, but once I opened the Word doc, I decided to add a few quick details and then just kept going until it was finished. 🙃

This was not the writing project I had intended to work on today, but I don't get to choose where the inspiration strikes.

It's pure smut. Just so you know.

The rest of my stuff can be found here.

Bertrand stood in the Beaumont study, surveying the damage and contemplating the last several weeks.

The terrorist group responsible for the attack had been rounded up, and the authorities had finally left. He was happy to reclaim his study from Bastien. They had left the room in disarray, and he set about tidying it up.

He was kneeling on the floor, examining a discolored spot on the carpet and muttering about the King's Guard's complete lack of decorum with the door to the study opened. Whoever it was hadn't even bothered to knock.

Bertrand leapt to his feet with indignation, "This is a private room! Have you no manners?"

An amused voice answered him. "No need to get up on my account."

Bertrand paled and took a step back as Drake ambled into the room like he owned the place. Shutting the door behind him, he ignored Bertrand's outburst about manners and smirked at him. "I like the way you look on your knees."

"I…don't know what you're trying to imply—"

"What?" Amusement danced across his face as he took in the other man's discomfort. "Have you forgotten the last time you were on your knees in front of me?"

The lord of Ramsford flushed from the top of his head down to the tips of his toes. Burning with shame and, distressingly, desire, he stuttered out an answer. "I…. Of course not! I mean…. That's not what I—"

Drake took a step toward him with a smirk. "You were really good at it."

"I…that…." Bertrand took another step back, bumping into a bookshelf and sending a miniature statue of a horse crashing to the ground.

Drake continued his advance until he stood directly in front of the duke, blocking any chance of a dignified retreat. "Why are you so nervous?"

"I'm not!" Bertrand gulped loudly, belying his statement.

"No?" The bigger man shifted his weight slightly as he rested a hand on either side of his intended target.

Bertrand's eyes widened as shock, fear, and undeniable excitement flooded through him. He didn't trust his voice, so he simply shook his head.

A soft scoff issued from Drake as his eyes traced his face, settling on the set of lips that had brought him so much pleasure just a few weeks before.

He hadn’t been able to stop thinking about it.

It was true that they had both been under the influence of some type of chemical that removed sexual inhibitions, but the fact remained that those impulses had to exist in the first place in order to be inhibited.

His disdain for Max's older brother had always masked a deeper emotion. Sexual attraction to other men wasn't new to him, but the realization that he had always been drawn to this particular man was.

"Tell me you don't want this." Drake's hand caressed Bertrand's cheek. "If you don't want me to kiss you right now, tell me to stop." He paused, giving the other man plenty of time to protest.

For a heartbeat, they stood frozen in time, face to face, staring into each other's eyes. Then Bertrand went weak in the knees as his eyes fluttered shut and his head tipped slightly up, lips parted, inviting the kiss.  

Drake's lips crashed into his and he was falling, tumbling into a vast unknown, terror and exhilaration colliding inside him.

Bertrand Beaumont had never been good with women. He didn't understand what they wanted, he didn't understand how to attract them. He had never felt much of a pull to them at all. But this. This was different.

He had kissed a handful of women in his time. Their lips had been soft and yielding and the entire experience had been somehow wrong and off putting. His previous experiences with kissing had been nothing like this. This kiss was rough and demanding, the stubble that scratched his face sent red hot flames licking through him. His hands reached out to grasp not soft flesh, but hard muscles. He whimpered helplessly as his body reacted. His rock hard erection was evident as Drake's body pushed into his.

He wanted to die of shame until he realized that Drake was having the exact same reaction. Their cocks pressed against each other through the fabric of their pants as their hips ground against each other.

Bertrand had never felt another man's cock pressed against his own before, much less while it was hard. The thought that Drake was hard because of him was almost more than he could bear. Desire burned all the embarrassment out of him as he begged for more. "Please… I need—"

Before he could finish the thought, strong hands spun him around and jerked him sidewise away from the bookshelf, and pressed him against the wall. His pants were yanked down his body, leaving his ass bare and his dick throbbing. A foot forced his legs apart as a finger found his puckered hole. His mind was so clouded with lust that he barely registered some sort of lube being applied before a finger probed inside him. Warm breath tickled his ear as a voice rough with desire whispered in his ear. "How does that feel?"

"So good…" he gasped out as an ecstasy he had never imagined washed over him.

A soft kiss landed on the back of his neck. "I'm going to fuck you now. Hold still."

Bertrand's eyes squeezed shut as his body vibrated with pleasure and anticipation. "Yes…. Please…."

A feral growl broke free from Drake's throat at the pleading tone of the man trembling under his touch. It was all he could do to keep himself from slamming into him. Instead, he inserted himself slowly and gently, sliding in an inch at a time, giving the other man a chance to adjust.

A cry of ecstasy was torn from him as Drake hit the prostate.

His name falling from Bertrand's lips was the end of his restraint. No longer gentle, he moved his body at a more desperate pace, pulling himself out and shoving back into the man who was now writhing frantically beneath him.

Bertrand's feet tried to come out from under him as all the strength left his body. Blackness clouded the edges of his vision as the pleasure became all encompassing. A hand closed around his cock and stars exploded across his field of vision as the orgasm overtook him.

Drake slammed into him one last time with a roar, pinning his body to the wall as he emptied himself into him. He kept his body pressed into him until his cock finished pulsing.

When he finally stepped away, Bertrand was left with his pants in an undignified tangle around his ankles, a pleasurable soreness and the proof of what had just transpired leaking out of him. He turned to face the man who had just taken his innocence and awakened desires in him that he had not known he possessed, tripping over his tangled pants as he did so.

"Whoa there!" Drake caught him and then stepped back with a satisfied smirk as he fastened his own pants.

Hyperaware of Drake's eyes on him, he scrambled to redress himself, ignoring the sticky mess on his backside. Not knowing what to say, his eyes dropped to the floor as both mortification and gratification pinged through him at what had just transpired.

"Hey." Drake's finger found his chin and lifted his head. With a smile more tender than he had ever seen on his face, he told him, "You did great."

The mortification drained out of him, pride and happiness taking its place. "Really?"

"Really." He looked closer at Bertrand's expression. "Wait. Was that your first time with a man?"

Bertrand's eyes fell once again to the floor. "My first time….with anyone." Kissing women had been bad enough, he had never been able to push himself further with any of them.

Drake's eyes widened in surprise. "I'm sorry. I didn't know—"

"What?" Bertrand's head snapped up in alarm at the regret in Drake's voice. "Don't be sorry! That was…. It was… you were…. I mean…"

The smile returned to Drake's face as understanding dawned on him. "It's okay. You don't have to say anything else. I'm glad you liked it."

The alarm on Bertrand's phone went off, bringing him back to reality. "Apologies. I'm needed at a budgetary meeting soon."

"No problem. I have shit to do, too. See you around."

Panic sliced through him as he watched Drake make it to the door. "Wait!"

Drake paused and turned around. "Yeah?"

Bertrand fought against the tidal wave of insecurity and anxiety that threatened to silence him. For once in his life, he was going to ask for what he wanted. "Is there any chance we could… um…. " He faltered as embarrassment threatened to pull him under.

A grin pulled Drake's lips up as he watched Bertrand stumble over his words. He decided to put him out of his misery. "Are you asking if we can do this again?"

"Yeah." If he said no, Bertrand was going to drop right through the floor.

"You can count on it." Drake thumped the edge of the door frame on his way out, humming happily as he strolled down the hall.

Bertrand slumped against the wall as relief and disbelief surged through him.

He had no idea what this all meant. No idea what tomorrow would bring. There was only one thing that he knew for certain.

Everything was going to be different now.

[eregyrn-falls]

^^^^^^ !!!!!

There's so much I'd like to add but it would be carrying coals to Newcastle. Great post! (And a lot of great tag-rants in the notes, too.)

I did want to add one thought to this set of tags from @achromaticegoist, about the punch in particular.

It took me a long while to realize it, but not only is the punch reflective of a whole lot of things about Ford's state of mind on his arrival back through the portral... but, it also serves as some really interesting closure (and I'm not even sure the writers realized it).

In the episode, it's told out of order, so we see the punch FIRST. But later in the ep, when we see the fight that led to Ford going through the portal in the first place, what happens is that he and scan are scuffling, and there's that moment when Ford pushes Stan off with his foot and inadvertantly presses Stan against the glowing (apparently red-hot) symbol on the side of the control panel.

Stan screams in pain, of course. And immediately, Ford is suddenly worried, and contrite. He says, "Stanley! Oh my gosh! I'm so sorry! Are you alr-"

And Stan punches him in the face.

That punch is what sends Ford stumbling out into the portal room and falling against the activation lever; and landing inside the danger zone. Ford does get up, but before he gets a chance to say anything else, Stan shoves the journal into his chest, Ford begins to float, and the disaster unfolds from there.

We don't spend enough time thinking that, basically, from Ford's point of view (if he replayed those last moments over and over in his head, as he probably did), the last things that Stan did to him was: punch him in the face, and then shoving him into the portal. The latter was accidental (though disastrous); but the first kind of wasn't. Ford stopped fighting, switching to concern and apology. While Stan lashing out due to the pain is understandable, Stan's punch is what prevents the fight from being over.

Ford coming out of the portal 30 years later and immediately punching Stan in the face kind of creates a book-end with that earlier punch from Stan, doesn't it? Ford getting to hit back the way he didn't (wouldn't?) 30 years ago. (He stands up, but he just stands there angrily staring at and listening to Stan as he approaches. He doesn't try to leap at Stan again or try to wrestle him for the book, etc. Was Ford, effectively, done fighting the moment Stan got seriously hurt?)

As I said, I'm not sure the writers were thinking about that consciously. I don't remember hearing them comment about it (i.e. that Ford's punch was a mirror of the punch that Stan gave him 30 years prior). But I do like to look at what's written and think about it in terms of, these scenes are deliberately written, the way it goes and the details included are chosen, often at the end of a long process of collaboration. I think that what's chosen for the final version is always very interesting.

And I just don't often see people discuss that moment where Ford stops fighting, and immediately becomes worried and apologetic. Not least because, like... up to that point in the series, we haven't seen Stan be apologetic very often. A few times, yes! And it's always notable when he does it. It clashes with the exterior he presents to the world; the man for whom saying "Please" gives him physical pain, etc. Some of which is meant for laughs, too! And some of which is just the product of being hardened by experience and so on.

It tells us something, I think, that Stan truly getting hurt, and screaming in pain, is enough to end Ford's desire to fight. That even after 10+ years of estrangement, he's that ready to be concerned for Stan; and that he's that ready with an apology. Later reads of Ford (post-portal) will portray him as the man who won't say "thank you", and I have other thoughts and feelings about that. But getting back to this, it's the show's choice to have Ford stop their fight and make a slight turn towards a sort of reconciliation. When they could have easily just had him and Stan keep fighting and struggling and the portal turn on because of that. It's such an interesting writing decision; and I just don't hear people dig into what it means for the characters very often.

What's your stance on Ford as a person? Honestly, I believe that for thr majority of canon he is a bad person. But I believe he grew. Still not great though XD

(Love him anyways obvs)

I disagree entirely! I think he's equally as good a person as any of the other main cast.*

*Except Mabel, who, as we all know, is always right about everything.**

(**This is a lighthearted joke. For the love of god, I don't want Mabel discourse in my inbox.)

His biggest sins in the show:

After telling his brother that he was thinking about changing their shared life plans, and then discovering that his brother had gone to the high school that night for no good reason and gone to the science fair for no good reason and messed around near Ford's science project for no good reason and broke it and didn't tell Ford about it... Ford believed Stan did it intentionally and held a grudge for it. You know what, it WOULD be pretty damn hard to believe it was an accident.

Hilariously ill-equipped to cope with Fiddleford's mental health. A guy who responds to "I have anxiety" with "have you tried yoga, it helps me" isn't a bad person, he's clueless. "Character cheerfully enacts a bad idea while a loved one in the background goes NO PLEASE DON'T DO THAT" describes half the episodes of Gravity Falls.

Was successfully manipulated by a professional manipulator into believing his best friend wished him ill. Man, what a terrible person Ford is for being manipulated by a manipulator and saying cruel things to somebody he'd been genuinely convinced was trying to harm him.

??? Didn't say thanks to a guy he was still mad at after the guy fixed a problem he himself had caused. This is a solitary example of stubborn bad etiquette, jesus christ. There's half a dozen different reasons why it makes perfect sense Ford wasn't in the right mindset to feel grateful, this is not something worth indicting his entire character over.

He had high ambitions, which everyone seems to lambast him for, but high ambitions that wouldn't have required doing anybody harm! (Until the professional manipulator started manipulating him into harming the people around him, but we are going to demonstrate some reading comprehension and not blame Ford's underlying morality as a person for things he never would've done if not for Bill's bullying, con artistry, and outright lies.) Like, what is it that he wanted to do with his life? Use his talents to get rich and famous? Shit, that's exactly what Stan wanted to do with his life. It's what Dipper fantasizes about doing with his life. Even Mabel, who thinks about her long-term future the least, dreams big with her art & performances and is already making big money off cheap-ass commissions. What terrible people they all are, for—let me check my notes here—uhhh... unrealistically fantasizing about achieving success in life by doing the things they're good at.

When their dad accuses Stan of lying as a child, Ford puts his entire summer on the line to defend Stan even though he knows Stan is a habitual liar and has no reason to believe Stan is telling the truth this time.

When his new college roommate he barely even knows gets laughed at for proposing an outlandish scientific theory, his first emotion is outrage at this injustice and he drops everything to convince his already-despondent roommate that he was right and help him prove it beyond a shadow of a doubt.

When he moves to a new town, he tries again and again to befriend his new neighbors, and fails not because he's rude or a jerk, but because he's awkward as hell, tells terrible jokes, and sucks at identifying phoenixes.

When Fiddleford gets hurt around him, he cares about it, feels guilty about putting him in that position, doesn't want it to happen again, and tries his best to help even though he's bad at helping.

When he gets kidnapped by a weird holiday folklore creature, he concludes without even thinking about it that he's now in charge of protecting and rescuing the kidnapped kids. Yeah, then he immediately starts hollering at the folklore creature for trying to impose his religious beliefs on Ford and the kids—but like, Ford was right tho, he just had bad timing.

When he discovers that the Northwest family committed atrocities against their poorer neighbors a century ago, his first instinct is to march up to their house, find the first Northwest he can locate, and give them a piece of his mind for it. Like, this won't even FIX anything. He's just THAT OUTRAGED over the injustice.

When he sees what he thinks is a fortune telling fraud conning the people, he attempts to debunk her because he's mad to see someone cheating other people with lies—and when he can't debunk her, he just leaves her alone rather than harass her about it. Typically, if assholes think somebody's doing something wrong but don't have any proof of it and fail to get proof when they look, they decide they're right anyway and keep giving that person shit. Ford doesn't give her shit. That's the opposite of an asshole move.

When he discovers his Portal To Knowledge (And Fame & Fortune) is actually a Portal To Doom (But Still Possibly Fame & Fortune, Maybe Even Godly Power), he isn't tempted for a second to keep working on it anyway. There is no moment where Bill manages to tempt him. No matter what Bill offers, no matter how long Bill offers, never, at ANY point, does Ford have a SECOND of "but what if I did make a deal with the devil?" the way so many heroes in similar situations often do.

You ever notice that? So often moral moments in the show are presented as choices the characters make. Will or won't Dipper give Bill a "puppet" in exchange for knowledge. Will or won't Stan fight a pterodactyl to protect Mabel's pig. Will or won't Mabel hand Bipper the journal. Ford is never given a "will or won't he" moment over Bill's threats, offers of friendship, or offers of infinite power—he steamrolls straight past them without a second of consideration—because, to him, the selfish, cowardly, easy choice ISN'T EVEN AN OPTION. He doesn't even SEE it as making a choice because the possibility of doing the wrong thing is invisible. A character who wavers first before turning Bill down would look more noble for "overcoming" temptation—it's harder to notice just how much stronger Ford's moral compass must be to not even feel temptation in the first place.

Greed and pride never tempt him to join Bill's side. Exhaustion, despair, and fear never tempt him to give up. He bears up under weeks, possibly months of extreme sleep deprivation, physical torture, psychological torture, emotional torture, threats of death, threats of brainwashing, threats to his family. He doesn't hold up so that he can pat himself on the back for being a hero—if that was all it was he would've gone "screw it, this isn't worth it and nobody would know I'm the one who gave up" a week in—he does it because he simply knows it must be done and because he's so isolated (half because of Bill's influence!) that he believes he's the one who must do it, all alone.

Thinking he has to do it by himself isn't egotism or pride; it's helplessness. He thinks no one else stands a chance. He thinks he's alone.

And, when he discovers his Portal To Knowledge is a Portal To Doom, he immediately feels guilty. No trying to deny the situation to protect his ego. No shuffling the blame off to someone else. No "maybe the apocalypse could have a silver lining!" No locking the door and trying to ignore the problem. He blames himself for being fooled—he IMMEDIATELY takes full responsibility for his actions—and he CONTINUES to take responsibility FOR THE NEXT THIRTY YEARS.

He takes more responsibility than is even warranted—he treats himself like he's an idiot for believing in an APPARENT GOD who's been practicing manipulating humans for thousands of years and who had never given Ford reason to believe the portal was anything but what Bill said it was. He beats himself up to no end every single time his past with Bill comes up. He even keeps beating himself up thirty years later when he's shoving warning notes to future readers in Bill's evil unkillable book!

When he falls into the multiverse, he dedicates his entire life NOT to finding a way to rescue himself, but to finding a way to permanently stop the CHAOS GOD who's still at the threshold of destroying Ford's world and countless others. He makes himself a hated criminal in the process, just to stop Bill. He's ready to spend the rest of his life trying to protect a world he doesn't think he'll ever see again. He does it because, as he sees it, somebody has to stand in between the children and the obnoxious folklore cryptid menacing them, and he's the only adult in this damn cave with the skills and knowledge for the job.

When he gets home, he doesn't tell his family about Bill and his quest because he's afraid that doing so will get them involved and endanger them too—and because he's too deeply ashamed of himself and his mistakes to stand the thought of his family knowing about the horrible things he's done (AGAIN, WHILE BEING MANIPULATED BY THE GOD OF MANIPULATION).

He loves his great-niece and great-nephew the second he lays eyes on them; he nevertheless tries to steer away from them to keep them safe from Bill; and yet he caves to the very first temptation to emotionally bond with his great-nephew he gets, because in spite of his noble "keep them safe" intentions, he wants so so badly to be close to his family.

As pissed as he still is at Stan and even though neither of them can look at each other without hissing like cats, he still makes an attempt to start bridging their divide by inviting him to play DD&MD.

When the apocalypse happens, he immediately puts his life on the line to try to kill Bill.

And when he's captured, isn't fazed for a second by Bill's offers or threats... until his family is threatened. The exact thing he'd been trying to avoid & prevent from the very start.

And when he's reunited with Fiddleford, his immediate reaction is to point out that Fiddleford's well within his rights to hate him—which isn't a new revelation, it's not like Ford had to do any soul-searching to reach this conclusion, he'd concluded that 30 years ago the instant he realized Bill had played him and that he'd been lied to about Fiddleford.

And then he tries to kill Bill again.

And then he's ready to sacrifice his own life to kill Bill—and the only reason he doesn't is because he has a metal plate preventing him from making the sacrifice... but, Stan doesn't have a plate. If Ford hadn't had the metal plate, he would have gladly done the exact same thing Stan did—and he would have thought it was right for him and only him to make that sacrifice, because it's VERY clear he feels (and has felt from the start) that this is all his fault and he's obligated to fix it.

Over and over and over, these are Ford's two defining character traits: getting so pissed off at injustice that his common sense shuts off and he goes into terminator mode until he's righted this wrong as best he can, even when he can't actually do anything about it; and feeling like he's Atlas, weighed down with the full responsibility of fixing everything he's done wrong and made to believe that, for everyone else's sake, he has to do it all alone. Even when doing so puts himself in harm's way, even when he has to put his entire life on hold for it, even if it might cost him his life. Scrape off his awkward social skills, his loneliness, his nerdiness, his endless curiosity, his zealous love of the strange, his starry ambitions, his yearning for recognition and success—scrape his personality down to the bone and that's what you're left with. A man who believes in defending the exploited so strongly that it makes him a little stupid.

I'm gonna go out on a limb and assume that you probably don't think Stan's fundamentally a bad person, and that you probably think that isn't even worth questioning. Stan's made a whole career out of swindling people, conning them out of as much money as he possibly can, stealing, lying, committing a long list of goofily-named crimes, and attempting douchy pick-up artistry on women; and to cap it all off, he held the safety of the entire universe hostage to demand a goddamn "thank you." Don't send me any "But he had reasons—" "But it was only to—" I don't need it, I don't want the essay, I'm not arguing that Stan's a bad guy, it's fine.

But. You can look at Stan's moments of cruelty and unkindness, his uncharitable thoughts, his character flaws, and think, "that doesn't define him. He's more than his cruelest moments and worst mistakes. He's imperfect, but he cares so much and his heart's in the right place, and beneath all the flaws his core is good."

And if you can't do the same for Ford, it's not because he's a worse person. It's because we got two seasons with Stan and five and a half episodes with Ford—and while we saw Stan yearning to fish with the kids or encouraging Mabel to whoop Pacifica's butt at minigolf or crying over a black and white period drama or punching zombies to save his family, we only saw Ford at the worst moments in his life and under the stress of a prolonged apocalyptic crisis—and, it so happens, all the moments he was pissed at the guy we spent two seasons learning to love.

Ford's got moments of cruelty and unkindness, uncharitable thoughts, and character flaws. But, at his core, he's a good person, and he always has been, and he still is.

[certifiedlesbianvampire]

this week's episode was one that i've been looking forward to for a while, and while not perfect in execution, i still found it interesting, especially how it expanded on matakara and how his and arajin's fight played out.

arajin is a character that is guilty, that flees unless absolutely necessary not to, and would rather save face. he is a character that is meant to be unlikeable. contrast this with matakara, who is kind and considerate, helps his friends, and is willing to reach out, even if someone has hurt him. even their reasons for fighting could be pit against each other: arajin wants to fight to lose his virginity, and matakara wants to fight for his brother, arajin, and his friends.

the difference between arajin’s idealization of mahoro and matakara’s idealization of arajin is that, at the very least, you’re meant to make fun of/laugh at arajin- because you're not supposed to like him. matakara’s idealization of arajin is not put in a comedic light, because you're made to sympathize with him; you're meant to root for him. another example of a character who idealizing another person: mahoro. mahoro is self-aware she’s delusional. she’s self aware her brother doesn’t want her, and because she is so weird about him, her brother doesn’t open up to her as a result. but even mahoro (as much as i hate the brocon thing) can recognize it'll never happen. she still has her core values that don't stem from her brother.

arajin and matakara idealize people for two similar reasons. arajin is in love with the idea of mahoro, because she represents what is expected of arajin, a guy who wants to be un notable because he believes he can’t do more.

matakara idealizes arajin, because arajin represents the simpler, ideal life, the best life one can live as honki person, one that he strives toward. he idolizes arajin because he himself needs something to cling onto after his brother is gone.

matakara and arajin are two characters both stuck in the past. they both keep ideals from their childhood; because arajin couldn’t protect matakara, he believes he is weak and cannot do more than that on his own. matakara believes that since arajin wanted to become honkibito together, he would still want the same deep down and it’s him who’s weak.

matakara puts his faith in people, even if it hurts him. arajin doesn't put his faith in people, but he gets hurt because he doesn't trust anyone. both put their faith in different things because they don't trust themselves, so they let others dictate it for them. both are stubborn about their beliefs, yet fragile, and it hurts them when they are questioned so they double down on it.

arajin is an asshole, hell, he's a bad friend, but he never lied about his motives. matakara seeing their relationship through rose-tinted glasses and arajin being detached harms the both of them; it prevents their relationship from progressing any further.

arajin is *partially right, he is not is not what matakara thinks he is: the ideal matakara holds for himself and him. one of the key things that is first emphasized about honki people is that, "they don't run away." this is what arajin has been doing all this time. even then, arajin has not been tricking matakara in any capacity, because matakara has an idea of what arajin is, and clings to it for support.

*arajin didn’t lie back then about wanting to be honki people together, but since he believes he can’t do more for matakara (he’s used to running away) he avoids confrontation about it. matakara’s used these ideals as support so basically it’s like his beliefs were a lie

arajin is no longer the ideal that matakara saw in his childhood. now that matakara's ideals are shattered, he is vunerable to akutaro's & ichiya's manipulation.

i do think arajin and matakara are capable of being friends. however, they both need time and space to process their emotions. it’s shown that they can look out for each other, but one is overly committed (to an ideal version of the other) and the other is not. they need to find a middle ground to understand each other. i love their relationship because they're made out to be so different, yet they're so similar. i love how messy they both are, and i'm so excited to see how their relationship could possibly contrast ichiya/senya's. more importantly, i can't wait to see how their relationship develops/spirals from here.

[ragazza-paradiso]

okay, my personal thoughts on the jury vote/televote drama (as unbiased as possible):

i understand people’s disappointment when their favourite doesn’t win. i also understand how that disappointment can turn into frustration when it turns out that was the most popular entry with the general public, yet it didn’t result in victory.

for me, the presence of juries in the contest is non-negotiable. i think they help to recognise aspects of the songs that very often get overlooked by the viewing public - composition and vocal ability being the two most important. i think of estonia from this year, a song and performance that most definitely deserved the love they got from the juries to push them up the scoreboard. i think of albania 2018, switzerland 2021, portugal 2022 - all entries that deserved to be recognised, and were not given that by the televote.

all of that is not to say the jury is faultless. i agree with most, that the criteria the jury is told to judge upon should be modified/expanded. i think they should drop the focus on commercially successful songs to help level the playing field for songs in languages other than english (or popular languages like italian or spanish). they should also include people from more diverse musical backgrounds to appreciate alternative forms of music like rock, jazz, folk and music with ethnic elements etc. they could also make the juries larger (i think just doubling the size to 10 people would already make such a huge difference).

i think the biggest change the EBU needs to make regarding the juries is to be much more transparent. the general public has no idea why the juries exist, or what they are even judging on. each show the presenters should explain the criteria the juries judge on. because i’ve seen so many comments on social media over the past 12 hours which seem to fundamentally miss the fact that the juries judge based on criteria which is given to them by the EBU. they do not simply sit down and make a ranking of their favourite to least favourite.

the big point for me is that the jury vote is NOT supposed to be representative of the public vote. there would literally be no point to it if it were. therefore the jury having different scores, and ultimately a different winner than the televote, does not in itself mean that there is a problem with the juries. if you ask me, it means that the juries are doing exactly what they are supposed to do. they recognised the song which best fit the criteria they were asked to judge upon… tattoo.

and i would also add that tattoo was immensely popular with the public as well, it came second in the televote. and the juries placed televote winner cha cha cha in fourth position. so the argument that the juries are out of touch with the european public (at least when it comes to the top spots) just doesn’t add up.

since the juries were reintroduced in 2009 we’ve had 4 types of victories

• where the televote and jury vote agree on a winner (2009, 2010, 2012, 2013, 2014, 2017)

• where the televote winner has won overall despite not winning the jury vote (2011, 2018, 2021, 2022)

• where the jury vote winner has won overall despite not winning the televote (2015, 2023)

• where the winning song has won neither the jury vote nor the televote (2016, 2019)

so, in the 14 contests with the 50/50 jury televote system, only twice has the jury overridden the televote to decide the winner. the televote has overridden the jury vote double as much. in fact, the majority of times (8 times, if you include the 4th category since on both those occasions the winner came 2nd with both televote and jury vote) both have agreed on the winner. overall, the televote has gotten their winner to win the overall contest 10 times out of the 14 contests since the reintroduction of the jury.

therefore i find the conclusion that the jury is tainting the results of the contests’ winners not based in reality.

now, all of that is simply the opinion of one girl who likes eurovision. you can take it or leave it. i don’t think this will change anyone’s mind if they are dead set on the juries needing to perish in hell fire to atone for their sins against euro pop music. but more so i wanted to explain my reasoning behind still valuing the juries as an important part of the contest.

and, two last very important notes:

• käärijä not winning the contest doesn’t mean that he’s lost. it doesn’t mean that you can’t go back and watch his performance a thousand times and revel in the joy it gives you. it will always be there. music is subjective, just because a certain song wins a certain contest doesn’t mean it’s necessarily the best. he has thousands more fans now and you can always support his future career.

• being disappointed with the results of the contest however does not give you the right to send abusive messages and hate towards other contestants. käärijä himself said after the final yesterday that he cannot complain about the rules and he was happy for loreen. this is the same guy who was so distraught when he received one hate comment that he deleted all his accounts on social media. he wouldn’t want anyone to be doing the same towards his fellow artists. the contest was about being united through music, and sending hate won’t change the results, and it won’t make you feel better either.

[alex51324]

Pie Tips post for 2024!

This year I'm thinking of adding a new thing, which is Phyllo Tarts. These are nice because they look fancy as fuck, but are actually pretty straightforward. (Assuming you're using frozen phyllo dough; I have never tried to make it by hand and have no plans to do so.)

Also it's a bunch of individual ones and not one big pie, so I can eat one for breakfast before I take everything down to Big Thanksgiving.

The first thing you need is a package of frozen phyllo dough and some butter. You'll use about a stick of butter for each six or eight phyllo sheets, which makes about a sheet-pan's worth of tarts. Thaw the dough according to the directions on the package.

Next you need sugar, spices, and nuts. The recipe I started with says, for six phyllo sheets, use 2 Tablespoons brown sugar, 2 Tablespoons white sugar, 1/2 a teaspoon each of cinnamon and allspice, and 1/4 cup of chopped pecans. Obviously, you can adjust that with whatever nuts and baking spices make sense to you, and if you're short of one kind of sugar, just use what you have and make it add up to 1/4 cup. Mix all that stuff together and have it in a bowl with a spoon. (If you're doing 8 sheets of phyllo, you may want to add an extra tablespoon of sugar and chopped nuts.)

Then you need your fruit. The recipe I started with was for peaches, but I've done it with other things. For Thanksgiving I'm doing apples, and I'm thinking of trying an experimental apples-and-cheese concept that may or may not work. Wash and dry the fruit and slice it thinly, removing cores/pits/whatever other inedible parts it has.

Get out some baking sheets--one for each batch of 6 or 8 tarts--and line them with parchment. (Foil might work too; I haven't tried it. Foil and parchment are interchangeable in some applications but not in others.)

Anyway, you start by melting a stick of butter and getting out your six (or eight) sheets of phyllo. (The box the phyllo came in will discuss the proper phyllo-handling precautions. I thought for decades that it was a lot scarier than it actually is.)

First you're going to lay out a sheet of dough and brush it with melted butter. Then stack another sheet on top, and brush it with butter and sprinkle it with about two tablespoons' worth of the sugar-and-nuts mixture from your bowl with the spoon in it.

Stack on a third sheet, butter it, and then a fourth, which you will butter and sprinkle with sugar. Follow the same pattern for sheets 5 and 6, and 7 and 8 if you're using them.

Once you're done buttering and sprinkling, you should have enough butter and sugar mixture left for one more round.

Decide whether you want to make six tarts or eight. Cut the dough into that many pieces, and then top each piece with a reasonable amount of fruit--the recipe I started with said to use three peaches for six tarts, but my peaches were really big, so I used 1/4 peach per tart.

Arrange the fruit pieces so they look nice; for instance you can put peach or apple slices in a fan shape.

Brush on the last of the butter and sprinkle on the last of the sugar mixture.

Using a spatula, carefully transfer each tart to your parchment-covered baking sheet. (You could do the stacking-and-sprinkling steps on the baking sheet, but in my experience it's messier that way.)

Put them in the oven for 15 minutes (or so) at 375 F.

And that's it! It kind of sounds like a lot all written out, but it's more complicated to explain than it is to do. The only thing is that the dough is pretty delicate--it's sort of a tissue-paper consistency--and it may take some practice to be able to pick up a sheet and add it to the stack without it falling apart. But a package of phyllo contains enough to make about 6 batches of these tarts, so if you're making fewer than that, you have loads of room for error.

Useful Tips:  Pie Edition

I am my family’s Official Pie Provider for the Thanksgiving feast, and since I’ve seen several posts of Thanksgiving advice, I thought I’d share mine.  

If you’re going to Thanksgiving at someone else’s house, pie is a great contribution that won’t require oven/stove space or otherwise throw off the host’s prep schedule–and there are plenty of easy-mode options.

This advice is mainly for those baking for omnivores; however, my extended family includes one vegan and one gluten-free person in the usual Thanksgiving crowd, so I have tips for accommodating those dietary restrictions.  

1. There’s no shame in using purchased pie crust.  For a single-crust pie, like pumpkin or pecan, the frozen ones that come in a foil pan work well.  For a double-crust pie, like apple, the refrigerated kind that you put in your own pan work better.  They’re usually near the biscuits and rolls that come in a tube. 

2. If you decide on a from-scratch pie crust, I use Betty Crocker’s recipe.  Use vegetable shortening (like Crisco), all-purpose white flour (the basic stuff that comes in a 5-pound sack) and ice-cold water.  Pastry chemistry is  delicate, so unless you’re an expert, don’t experiment with substituting different fats or flours.  (The linked recipe is already vegan; for gluten-free I do a crustless option.  I can’t speak to any other dietary restrictions, other than to urge you to seek out a piecrust recipe designed and tested for that need, rather than attempting substitutions on a standard recipe.)  

3. The secret to tender, flaky pastry is to handle it as little as possible.  Once you put the water in, you’re mixing just enough to get it to hold together.  Do your best to get it rolled out and into the pie plate in one try.  If it tears when you pick it up, try to stick it back together in the pie plate rather than rolling it out again.  

4.  Pumpkin pie is one of the easiest pies you can make!  The recipe from the Libby’s can is what everyone likes & expects at Thanksgiving.   (Feel free to use store-brand canned pumpkin–they’re all the same–but get the recipe from the Libby’s website.)  There are two common beginner mistakes with it, but I’m about to tell you how to avoid both of them: 

 First, make sure you buy evaporated milk, not condensed.  (They are right next to each other; if you’re there in the store and you aren’t 100% sure you remember which you need, grab a can of Libby’s pumpkin from the shelf and look.) 

Second, read the baking instructions the whole way through.  (You have to start it at one temperature and then turn it down.)

5. Pecan pie is just about as easy as pumpkin.  Use the recipe from the Karo syrup bottle.  (Store-brand corn syrup is fine, just get the recipe from the Karo website.)  

6.  The classic apple pie is a little more time-consuming, since you have to peel and slice the apples, but it isn’t difficult.  I use the Betty Crocker recipe.   This one is the easiest of the Thanksgiving classics to make vegan–just leave out the butter, and make sure your pie crust doesn’t contain milk.  (They usually don’t, but check just in case.)

7.  Speaking of dietary restrictions, if anyone at your Thanksgiving table eats gluten-free, you can bake some of the pumpkin pie filling separately for them.  (If you’re using a purchased crust, the recipe from the Libby’s can will probably make a little more filling than will fit anyway.)  Just put it in an oven-safe dish and stick it in the oven with the pie.  (My cousin who eats gluten-free doesn’t require cross-contamination precautions, but if you aren’t sure about the person at your Thanksgiving table, ask them!)

8. Finally, here’s another easy fruit pie recipe.  This one uses a simple from-scratch shortcrust, that you mix up and then press into the pan, so it’s a good option if you aren’t confident with pastry but don’t want to buy a pre-made crust.  The recipe is for peach pie, but you can do it with apples or pears for more of a fall flavor if you want.  Just make sure you slice them thinly & check for tenderness at the end of the baking time–being a firmer fruit, they might need a few minutes longer than the recipe says.  

[messiahzzz]

while it’s perfectly fine to have your own headcanons that are non-canon compliant — by all means, go wild. recognizing pieces of yourselves in fictional characters can be a very healing and validating experience. this is nonetheless a casual, well-intentioned reminder that gale, in fact, does not have bpd.

bpd is a pervasive pattern of instability affecting interpersonal relationships, self-image, and mood. the disorder is marked by impulsivity beginning in early adulthood and is present in a variety of contexts. a diagnosis requires at least 5 of the following 9 criteria to be met:

Fear of abandonment

Unstable or changing relationships

Unstable self-image; struggles with identity or sense of self

Impulsive or self-damaging behaviors (e.g., excessive spending, unsafe sex, substance abuse, reckless driving, binge eating).

Suicidal behavior or self-injury

Varied or random mood swings

Constant feelings of worthlessness or sadness

Problems with anger, including frequent loss of temper or physical fights

Stress-related paranoia or loss of contact with reality

source: [x]

i highlighted the criteria that do apply to gale in one way or another in a pretty purple.

i personally believe that it’s rather harmful to equate his relationship with mystra with her being “his fp”. she is a deity, his goddess, and the source of his powers, who is in in full control of the magic he wields.

gale: mystra commands all magic. salvation, if such a thing exists, is hers to bestow or withhold.

gale has been effectively groomed and conditioned to serve and revere her at every turn since early childhood. imo this comparison really undermines a lot of crucial points in gale’s story that deal with his overall trauma and abuse. after all, you wouldn’t call shar sh*dowhe*rt’s fp either.

gale doesn’t revile mystra, nor does he commit benevolent deeds solely motivated by the secret hope that she will somehow notice and take him back. when you meet gale in the game he has already fully come to terms with the fact that he has been abandoned by mystra with no hope of reconciliation whatsoever. he also had some very fitting lines in ea regarding this topic that i'm sad haven't been repurposed in the full release in some way.

gale: [the tadpoles] don't know that some things are impossible. they don't know that... they don't know. player: what is impossible about what you're being shown? gale: forgiveness. gale: it is mystra i see. and yet it cannot be her. there was a time when i would have believed - but no longer. gale: suffice it to say she would not bestow upon me the favors promised in these dreams. that is how i know they are delusions.

he has already reached the stage of acceptance. moreover, gale only starts to realize that mystra might have been in the wrong for requesting his death once the tadpole squad & tav speak some sense into him. and even then he doesn’t ever show that his emotions regarding mystra are anywhere along those lines. he is instead rightfully angered that she only saw value in his death, after he had been worshipping her loyally for years.

gale: i worshipped mystra loyally for years, and in that time she granted me the barest sliver of the power i was ready to wield. gale: even with the fate of the world at stake, she had little more to offer me than the means of blowing myself up at a more convenient time. she's done nothing to help us.

gale: you abandoned me in my hour of greatest need. i had no obligation to help you in yours. gale: because you had no right to ask that of me. you cast me out, remember?

gale doesn’t display rapid changes in mood either. he is a character who is generally very composed and has been known to remain nonchalant even in the face of utter horror. tim downie himself even commented on this once. source: [x]

the only instance i can think of is his sudden switch from resigned-to-death to utter-eye-sparkling-enthusiasm once he spots the crown of karsus. apart from crucial story reasons that i won’t touch upon in this post, i’d also like to add that it’s a rather common phenomenon for people who have just barely survived a suicide attempt to suddenly be filled with zeal and unbridled energy. he doesn't display impulsivity without thorough consideration when it comes to its acquisition either. he considers this a golden opportunity and is positively enthusiastic and elated that this might prove an alternative to him ending up in a cloud of netherese smoke. nonetheless, he knows what he is doing. evident in him actually succeeding in ascending in one of his endings.

gale: this is no passing whim, trust me. if i can obtain that crown, it will affect us all. it is not a decision i'll take lightly. gale: it's our future that i'm thinking of - we can't rely on anyone else to do it for us. gale: for now - we've learned all we can.

neither are his relationships that we do know of (namely elminster, tara, and morena) frequently changing. they are marked by years of mutual respect, care, and consistency. there is nothing unstable about them. while it's important to note that his relationship with tav is still in its honeymoon stages during the main game, there is no inclination of any push-and-pull dynamic between them whatsoever.

gale isn’t preoccupied with keeping up some sort of benevolent act in order to win (back) affection — he genuinely IS a good person and he proves this at every turn. moreover, to have a tressym become your familiar you must be of Good alignment.

(taken from tumblr user galedekarios's post.)

there is never a moment where his ideals or alignment suddenly change. in fact, i’d argue that he and wyll are most consistent in this regard when compared to the rest of the companions. gale makes his moral standpoint very clear from the beginning on and also explicitly states that he believes that in order to survive this entire ordeal it would be selfish of him if he wouldn’t be willing to compromise on his morals. this isn’t a sudden bout of ✨muahahaha wizard hubris✨ that he barely contained to hold in before, this is yet another act of selflessness — it is what he’s willing to do for the group and subsequently, the welfare of faerun.

player: i love unsavoury things. don't feel guilty on my account. gale: that's good to know. although i should say i do what i do out of a sense of utility and pragmatism, not a love of the unsavoury. gale: we're up against the greatest threat faerun has ever faced. i don't mind getting my hands dirty if it gives us a better chance of surviving. gale: whatever advantage i can gain for us. i will. and i refuse to feel guilty for it, no matter how much mystra's chidings might echo in my skull.

this is him, once again trying to be useful in whatever way he can. to give them an advantage, a slither of hope against seemingly impossible odds, so they might make it out of this in one piece. gale wouldn’t approve of those actions under normal circumstances, but their predicament is as far from any definition of “normal” as it can get.

gale is no fool, he realizes this is essentially about survival. he knows that he has no option left other than to tolerate, which is why he can be convinced to not immediately depart tav’s company even if they choose to commit atrocities. this is no character flaw of his or him displaying a previously dormant openness for cruelty, this is about recognizing the necessity.

player: you don't stand a chance alone. you're free to go. i dare you. gale: gods damn you - you're right. few things are more powerful than the will to live.

gale: i thought the orb to be the greatest of my sins, but i see now that there are darker depths to which i might yet sink. you may be content to sink into that abyss, but i assure you - i am not.

gale doesn’t lead a split existence. he has a very strong sense of identity. he knows what he wants, what he doesn’t want and he isn’t shy in expressing his boundaries either. which he has especially shown when it comes to his relationship with tav. i originally had intended to touch upon this in another post entirely but: i firmly believe his entire Gale of Waterdeep™ persona is more of a performance than him struggling to find a sense of identity and trying them on for size. it is an intentional decision to separate gale dekarios from the great wizard of waterdeep, to create distance and make sure his family name remains untarnished in case things should ever go sideways.

gale: i agree. and on the plus side, if i get myself into any truly cataclysmic straits during the remainder of our journey, my family name will go untarnished.

there is also a deep-rooted feeling of unworthiness and his firm belief that love and praise are conditional resources that he will only be granted through his talents alone, naturally. presenting himself as gale dekarios, the man, would mean highlighting his shortcomings and very human flaws, while distracting from the aspects of himself that are deemed praiseworthy, the ones that actually matter: his magical prowess.

i personally believe that part of the beauty of gale’s story is him realizing just how “little” it takes for him to be truly content. he gets his happy ending, with someone at his side who truly sees him, understands him and unabashedly commits to him. they worship and adore him in return — and it is well deserved. he isn’t reduced to be constantly and restlessly searching for some unattainable ideal to fill the gaping void within himself. he doesn’t secretly thirst for more power still or believes that in being with tav he is settling for something. instead, he is finally happy to just be. be and be accepted. teaching a class of unruly wizards and coming home to his spouse each day already fulfills him.

gale: that's how i feel with you - content. it's a rather unfamiliar feeling, i must say. not something gale of waterdeep ever craved.

even if he doesn’t pursue a romance with tav, he reaches a realization of “oh, it appears i am not irredeemably flawed and only able to reach true redemption through my own death. what i needed was actually with me all along.” throughout their journey and through his friend's support. i think that’s a very powerful and comforting message. he is very well capable of finding peace within himself.

devnotes: his default state is that he returned to waterdeep and became a professor of illusory magic at his former school, blackstaff academy. general vibe here is that this is a gale who's found peace with himself - he's a great teacher, one his students are mostly in awe of.

to repeat myself: sharing your headcanons is all in good fun, nor should you ever be discouraged from doing so. this is your personal tumblr experience, after all. but i personally think we should be mindful of unintentionally perpetuating negative stereotypes, such as narcissism being a general indicator or being deemed a classic depiction of bpd. i think we can all agree that the continuous longing for acceptance, connection, praise, and approval is something we all have in common deep down, regardless of whatever disorder we may have. [insert victoria justice meme here]

gale may be many things to many people, but he is no entitled narcissist.

[winchestersickness]

Season 2 + csa interpretation

2x05 // 2x10 // 2x21

[wickmitz]

How do you think about Frepper? I'm neutral about this ship, but the fans Frepper attitude towards confuses me, Ivy and Freckle have only been dating for a week and know each other superficially, but everyone already thinks that by the end of the comic they will get married, I think differently, I think that in the end they will break up with each other because they are too different personalities, I literally can't imagine that both of them will be happy with each other in marriage, Ivy is assertive and active, on the other hand Freckle is passive and just agrees with Ivy, this is not a guarantee of a healthy relationship where a partner completely dominates the other, plus to all that, I will not forget how their relationship started, Ivy just decided that they were dating, and without asking Freckle's permission, she just KISSED him, again without his permission, Frepper fans think that it's cute, but when I saw it, I thought "what the hell did I just see?", in general, it's strange for me that Frepper fans are okay with such things, of course later Freckle shows attraction to Ivy, showing that he likes her in some way too, but I still won't forget how their relationship started and how Freckle used to try to escape from Ivy when she squeezed his hand tightly and forced him to her …

I'm not against Frepper, but I don't understand his fans who don't see these issues and who treat other points of view on their relationship (like mine) as … um, as nonconformity? Fans from reddit are just obsessed with Frepper, I don't know about other networks but that's how it is on reddit, I think there are people who have my opinion but are afraid to say it because of fans, of course, I met Frepper fans there who normally accept such an opinion, but still there is a feeling that such a opinion cannot be told

Simply put, Ivy and Freckle are a couple that will eventually break up with each other unless there's an event between them in the comic that changes my opinion of this couple, but that's how I feel about Freckle for now. I didn't plan to express my opinion, but it happened that way, I hope you don't mind it

first and foremost, i don’t mind seeing someone express their opinion in my inbox! you and anyone else are free to do so, even if i may disagree. this blog’s entire existence was made for me to share my opinions ( and love! ) for lackadaisy, as well as engaging with other fans, because what else is the point of a fandom blog? and as far as i’m aware, this is unpopular opinion central! most of my thoughts aren’t exactly the ones with the most voice behind them i’ve found, so i welcome all manner of different views. every fan is entitled to their own perspectives and opinions, and should be allowed to share them as they please! but with that disclaimer out of the way, i’m more than willing to discuss frepper in its entirety.

for me, there’s little confusion i carry where it concerns this ship’s popularity amongst the fandom. freckle and ivy, if we are to strip them down to their bare essentials, are a rather stereotypically ‘cute’ relationship : people enjoy opposites ( see zibwick or vikdecai for example ) and there’s an endearing quality found in puppy love dynamics. seeing ivy wear the pants and drag a shy freckle around by his ankle makes for quality content in a way! think the ‘excuse me, but he asked for no pickles!’ meme … ivy and freckle very much fit that sort of mold, and it helps that most fans are too scared to ship them with other characters in the cast too, due to what they perceive to be a lack of options. thus, frepper is an extremely ‘safe’ ship! you cannot get in trouble for enjoying something that is not only canon, but is relatively adorable ; and so i don’t believe a lot of the fans are actually thinking too deeply about the likely endgame of it all. most don’t! it’s fun to ship, and that’s all they really need i think. it’s also very easy to dismiss ivy’s forwardness as a quirk of being a young girl who’s of her temperament, recklessly boycrazy although still carrying sweet intent. this behavior is easier to hand wave when neither ivy or freckle are experienced at the dating scene as well … freckle due to his extremely religious upbringing and hermit nature, and ivy because of viktor’s constant meddling, which would hold her back more than you’d think. with that said, i don’t think any of this is excessively complicated. some shippers are rather simple minded and do not care for details and characterization all too deeply. enjoying dynamics is, at its core, supposed to be fun -- which makes simple ships like frepper prime targets for a very vocal and tight knit fanbase. there are other things i could speculate about why these two may hit so pleasantly for others, like how there’s an underlying queer theme to it ( what with ivy being the pursuer and freckle the shy, blushing flower ) or that it’s tropey enough to hit the right spots for others … though it all boils back to mere speculation. perhaps they still have time to escape this gangster lifestyle and live happily ever after? and that appeals to the lackadaisy fans who still want some sort of happy ending? it’s all a combination of frepper being easy, i think, and containing two young cats who still haven’t done anything particularly ‘unforgivable’ yet action wise. this is a ship you can root for without an ounce of worry in your heart, and so on and so forth.

but although i understand why others are so vocal about them, i don’t exactly agree with fanon’s views either! while i heavily enjoy frepper, i enjoy them as they are, and that includes their looming flaws and inevitable tragedy. they are bound to break each other’s hearts a lot on their current path ; even if they were entirely perfect for one another, this lifestyle isn’t kind to anyone, meaning if they don’t separate, they could always be forced apart via bullets and such anyway. they are young and woefully inexperienced in a manner of things, the last thing they need is the stress of a rumrunner life driving their every action, you know? i know people see them getting out together, and that is likely on the table! i do see that in many ways, but i’m also of the opinion that ivy and freckle will diverge onto different paths at some point and temporarily call it quits. from where the comic currently stands and given my view on ivy’s arc, i see her growing disillusioned with where she is and the honor and fun she saw within it as a royal spectator will fade ; she will become wary, fearful, and her resilience will die … meanwhile freckle will embrace it, similar to his cousin, fully understanding what it is and what he’s getting into ( like rocky, again ) but being unable to leave his refuge. i know lots of people think freckle will leave the lackadaisy first, but given his old concepts and former title as one of mitzi’s ‘trouble boys’, i think he will become lost in the sauce for a myriad of reasons. frankly i enjoy that twist on their relationship! since i believe ivy’s character development will revolve around maturing, changing as time stretches forward, because her character is ever growing, what with her entire schtick being the fact she’s everything a 1920s girl was during those times. she embodies that unladylike youth and manipulative sweetness, so i’d imagine a lot of her path is falling from such naive thrill seeking and stumbling upon a harsh reality. she will mature, and the very thing that should make their relationship stronger will be what divides them indefinitely. everything they have is founded on this bloody, varnished soaked ground after all … they are young adults who are experiencing what closeness feels like outside of family or platonic friends for the first time, so naturally they will overindulge in their own amateur games ; find respite in the boogie and kiss like couples do on the silver screen, laugh about it, talk about everything and nothing at all … relish in each other’s warmth and stupidly loyal protection. i’m sure frepper will grow closer before any falling out, because as it stands, it’s one of the few things they have in such a scary situation that feels comforting and kind. they will impact each other in the fundamental ways first relationships do and, to move towards your biggest gripe, do things they’ll regret or allow things to happen to them that they’re not entirely okay with.

ivy is very forceful with freckle initially, albeit in her typical saturated way ; and i can see why that would be hard to parse! especially when freckle spends a majority of their first scenes together squirming away and hiding, trying to duck her affections and bolt for it. there is a lot of boundary crossing between them! but not in a necessarily malicious way … like most things with frepper, this circles back to their mutual inexperience and how, in a lot of ways, this is their first ‘serious’ romantic relationship ever. and it’s rather common for such firsts to involve gray areas, since neither party is entirely sure of what their own boundaries are just yet! while freckle did appear frightened by ivy at first, it’s important to note that tracy’s mentioned him having a flight response whenever girls flirt with him … he is prone to run away instinctively, which if you consider his extremely religious upbringing, isn’t exactly a surprise. nina would no doubt look down upon freckle engaging with girls his age due to what most girls his age are currently doing in the roaring 20s they’re living in. sneaking out and engaging in illegal activities, dancing in a way that would disgust most of the more traditional and older generation, casually engaging in any manner of sexual activity before marriage, etc etc. and this isn’t even listing freckle’s cagey nature due to an incident we know was bad enough to send rocky packing for years, and fundamentally changed freckle himself at such a young and impressionable age. he is … very troubled! and rather scared of himself and the world around him … at this stage in life, freckle is perpetually unable to make any progress towards anything he may want, and so i have little problem myself with ivy mostly taking the lead. when left to his own devices and allowed to choose outside of influence, freckle did in fact sneak out of his mother’s house to go to the lackadaisy, surely well aware that ivy’s intention had been romantically inclined. so, to me, he has always liked her ; perhaps found her cute, in a shallow way, saw her eccentric behavior as endearing and frightening in equal measure, and while he’s still wading into this whirlwind pool unsteady and shaken, he -- wouldn’t mind it if ivy pushed a little more, or moved him around to her ( and what she perceives to be, their ) liking. perhaps this dynamic is familiar enough to him that it becomes comforting, since rocky was very much the same way in their adolescence. tugging freckle around and pulling his tail for whatever rocky wanted them to do, with little care for whatever his baby cousin desired at the time, ignoring his protests and chasing him ; nobody’s at fault here either, kids are extremely self absorbed and this is a flaw they’ll usually mature past, and while ivy and freckle are adults during the comic, i don’t think ivy’s outgrown this linear view on things just yet. she is extremely entitled! she is used to being the apple of everyone’s eye at the speakeasy due to her jazz baby status as atlas may’s goddaughter, and this gangster connection excites and awes the ladies she attends classes with at her university too. ivy pepper is used to getting her way and this has only fueled her determined attitude, her ‘pull it up by the bootstraps’ mindset, and in many ways, this is something of a flaw for her. it’s not bad to be confident and headstrong, although when you add that into a dangerous mix of rumrunning and gunslinging, it may become a problem rather quickly. but i digress! point is, ivy and freckle are hardly at fault for the awkward way they handled the start of their relationship, when it’s so new and fresh to them both.

neither of them have boundaries at this moment, as they either have no clue what those are or simply haven’t realized they should set them. so, in turn, there are things that the other may do that could cause their partner discomfort … and it’s mostly done out of obliviousness and good intentions and your classic dose of intense affection. doesn’t mean it isn’t messed up to a degree, but i think it’s rather realistic, and is a hard truth that comes with many first relationships of that sort. sometimes you don’t know how to say ‘no,’ or you agree and regret agreeing later, or perhaps you simply don’t understand there’s certain things you aren’t ready for or genuinely just don’t like. again, it’s a very muddied area, and the two of them are vaguely navigating what is mostly foreign to them. they’re bound to mess up! so i ivy some slack here, and applaud tracy on the realistic writing more than anything usually. young love also happens to be a great device to use for inexperienced characters finding themselves, through the good and bad of their relationship, and frepper is all about that. maybe freckle will inevitably bring up how he feels like he would’ve preferred it had ivy asked him out properly, or gave him time to court her in a traditional fashion … and she will be surprised ( and a little wounded ) by this, since she had never considered it before … too used to her way of things to realize there’s another path they could take. i think this aspect of the relationship is important, and i can understand wishing that more frepper shippers would view it as such, or comment on it's morally gray nature without just calling it ‘cute’ and leaving it at that.

tldr : they will most certainly break up at some point, maybe even multiple times! tracy has said before that they both have some serious maturing to do if their relationship is to be long lasting, and i doubt that maturing will happen to them both at once … since they have different things to work on emotionally. but they will probably strongarm some major personal development within each other, as well as love one another with a fierceless abandon that most kids do. i could see them getting married, i could see them not, but i agree that if they were to be wed happily, they’d have significant hurdles to overcome. but personally, frepper is something i adore mostly due to the impact they’re bound to cause each other, and even if they are to separate and find someone new and more fitting, they’ll always remember one another -- perhaps fondly, and sadly, and with some anger. a time they’d like to forget, but a person they’d like to remember … which is my cup of tea overall! they much more interest me as they presently are anyway, where i can fiddle around with their budding romance and friendship bonding. and as lackadaisy grows in popularity, i do hope there’s more frepper fans who see their complexity and flaws and explore them with all of it in mind.

anyway! i hope this was coherent, and that it was obvious that i agreed with you for the most part. i haven’t really talked about frepper before with anyone so many of these thoughts sort of burst out of me! and i feel like i have more to elaborate upon, but for the sake of simplicity i kept this short. oh well! surely this is enjoyable and informative regardless.

[alleyskywalker]

Inserting my two cents, but feel free to ignore me, lol.

I think it's also possible the show is fallible, tbh. The writing is pretty tight, but there are definitely things that are sometimes kinda ??? particularly in the finale. But one really glaring moment is the part in 2x5 where we hear Lestat tell Louis "i love you" but Armand doesn't say it. So…who's POV is that? How do we know that's happening? Why are we suddenly in third person omniscient POV there when it's supposed to be Louis and Daniel reconstructing this memory? I think, banally, the show just slips on some details. And timelines are the things that canons tend to mess up especially often, because they can be hard to keep track of, and the writers are not as obsessive as the fandom hivemind lol.

But more substantively, I wanted to add that I think Sam may have started to write the script in April, but that there wasn't much…there there? Maybe the majority of it was fictional at first, but then Santiago found the diaries and that really got them the meat of what they wanted. Basically, I think the script went through a bunch of changes until the more or less final version was thrown at Armand during the coup. Also, I think most of the projections were already put together and Armand's comment about needing an EXTRA projection was there because it was something they needed to add. It would also make sense that they only got the information about the "extreme hording" late, once Lestat got there and could fill in blanks.

Re Armand "touching" Louis' mind… I always saw that as like…metaphorical? In the sense that like they had stimulating discussions and conversations. Maybe Louis doesn't fully know himself, he was out looking for himself as he tells Armand, and I think he meant that talking to Armand was part of it. They were having deep, stimulating conversations that had Louis thinking about himself, about vampiric life in this philosophical sense, and suddenly he wasn't just stewing in these thoughts alone, he had someone to bounce them off of. Claudia only "endured" the philosophical discussions for Louis' sake, Lestat is just…not that kind of guy. But Armand? Armand was REALLY into that philosophical debate they were having when Louis started to hallucinate Lestat. And he's saying this in the context of explaining/talking about how he was falling in love with Armand. I see no reason to assign this some deep sinister meaning when Louis sounds delighted recounting the memory and it seems a reasonable turn of phrase to say "we were having these thoughtful discussions that made me think deeply about myself and about life."

IWTV S2 Tentative Timeline (Pt2c) - Unreliable Narrators, Armand & the Trial

Thanks for the response to Pt2b, @usuallydeepalpaca-blog! I really want people to talk to me about the IWTV timelines, cuz this show is SO confusing! 😩😭

"I think if you create the timeline with info the show doesn't provide, i.e. Armand was involved from the start, then you're bound to get it wrong."

Absolutely. I fully expect that I got some stuff wrong, which is why I said it's a TENTATIVE Timeline.

I've in no way said it's THEE CORRECT™ timeline, cuz chile IDKWTF is going on. 😅 I openly say what confuses me, questions I have, and how I come to the conclusions that I draw. I'm being as transparent as possible to let y'all know that I DON'T know. 🤷 The show doesn't provide EVERYthing, so I'm just piecing things together in a way that makes an iota of sense to me, following the logic of what the show HAS provided. The only solid details we have are diehard IRL dates, that gave us a time range when certain events can/can't happen. AFAIK I'm working with the same set of details everyone else has, until AMC gives us more info in S3+. And unfortunately, the 2 biggest unknown variables are Lestat & Armand, and to what extent they were/weren't involved in the Trial that got Claudia killed & Louis buried alive.

"saying Armand messed with Louis' memories re: the trial is also something not supported by the show."

The show obvs. wants us to assume that Armand made Louis hallucinate Sam guarding him in the theatre box (thus painting Armand as a "captive" along with Louis & Claudeleine).

Even if Armand didn't use the Mind Gift on Louis, he lied at least twice:

lies by omission: letting Louis think a hallucination of Sam was real

lies to Louis' (& Daniel's) face: going along with the premise that he was Sam's "captive" & Armand sat there the whole time thinking of a way to rescue Louis

And we KNOW this is a lie, cuz Daniel calls it out explicitly, asking how Sam can be "in two places at once," allegedly "guarding" Armand, but ALSO helping to torture Louis in the Wet Room.

Armand never denied or contradicted Louis saying Sam was in either place. Maybe Louis really did misremember Sam being in the wet room--the ONLY one who can corroborate all this is SAM--whom Armand ALSO lies on, throwing Sam, Daniel & the Talamasca all under the bus by saying the script with his handwriting all over it was forged! No honor amongst thieves I guess! 🤣

(Eff Lestat's POV in S3--when is SAM gonna give HIS POV of the Trial?!)

So I'm operating on patterns of behavior, and the logic that if he's deliberately lying about one thing (a VERY BIG THING, actually), then what else is he lying about? How are you "atoning" for anything, when you're just heaping lies on top of gaslighting on top of manipulation?

Armand has used Louis' obvious confusion to his advantage, just going along with whatever will make him look better & more sympathetic. Which ofc, is the exact same thing he does with the "Banishment" lie. "They gave me a choice...I could not prevent it" is the truth and a lie all rolled into one incredibly manipulative cocktail, cuz if it was just a simple matter of Armand selling Claudia out to save Louis, that would be one thing--but Armand KNEW the script planned LOUIS' death the whole time. The "seismic lie" about "Banishment" effs up Armand's whole defense.

Cuz Sam already wrote the script in April 1949 (and I said this is confusing, cuz if it's the WHOLE script, then this implies Lestat's half was written by then, too, and NOT in September after the Eiffel Tower crime--which means he was ALREADY in Paris & working with the coven; inc. Armand (which would also explain WHY Armand took Louis to the library so much--perhaps anticipating that Loustat would feel e/o's presence if Louis was around the theatre too much? But that doesn't explain Claudia)--omfg I'm confused). Wtvr--we KNOW that at some point b/t April & September 1949, Armand made his edits & directed the entire production--from Santiago to Lestat to Tuan's projections--ALL of it. And we know Tuan's projections started being made in June/July 1949.

Armand KNEW Daniel had been given the OLD script from the archives, WITHOUT Armand's edits & directions, and LET Daniel AND Louis think that was the truth--

--same way he went behind Louis' back and removed extra pages from Claudia's diaries that would reveal MORE of his shenanigans--

--and the same way he lied about Nicki (& Gabrielle) in 2x3.

The show ALSO provides us with quotes like this:

And this:

And this:

Which in retrospect make Armand look even more insidious, esp. when we wonder to what extend Louis' been "driven to form new conclusions about myself" when he doesn't even KNOW himself; let alone WHAT memories he has that are real or false.

It's so effed up, and it makes me side-eye all the insistence that LOUIS is the one mostly at fault, when he's got literal double-hypnosis Brain Scramblies from WWDITS. 😭🤦

Ofc there are unknown-unknowns when dealing with unreliable narration. But there are also known-unknowns, too, that also make Armand sus.

Sure, Loumand was away at the library in July (IF that memory's even real, Mr. "I Had A Hunch")--but how on earth would Armand have NOT known that the coven was working on the Trial right under his nose for MONTHS prior & after July--Luchenbaum sewing new barrister costumes & wigs; Tuan painting projections & testing new lens/film tech; and Sam writing a new script (when we already KNOW Sam can't multitask when his "head's in a hat")?

July is only ONE month in over HALF A YEAR of Trial prep. Louis was never around the coven to know what was going on--but ARMAND was; it's where HE lives.

Whose POV was it that showed the whole coven passing around Claudia's diaries? Whose POV was it that revealed Santiago being called Maitre in every scene that ARMAND was also in?

Armand was in the park with Tuan when Tuan called Santiago Maitre; and Armand was in the theatre with Sam when Sam called Santiago Maitre--so this is clearly either Armand's POV telling on himself; or it's AMC screwing with us.

It's TRUE that Turning Madeleine was the straw that broke the camel's back, as Armand was like I can't keep THAT a secret from the coven, too (and ofc he couldn't--they're VAMPIRES; they'd FEEL a new vamp in their territory). But Loumand's problems PREDATE Madeleine; the same way Loustat's problems predate Claudia. I blame Les for not dealing with Lou's BS, just like I blame Armand, cuz THEY are the Coven Masters, NOT Lou--esp. cuz Armand had 14 other vamps in his coven he SHOULD be prioritizing over Lou. The same way Loustat's guilty of being bad fathers (which they BOTH admitted to), Armand's guilty of being a bad coven leader (which HE admitted to).

IMO, all this makes any & all discussion about Armand's trustworthiness difficult, when his "seismic lie" throws EVERYTHING else he's done into question. Esp. since the show ALSO provides us with the FACT that Armand knew from DAY ONE that Claudia lied about "Bruce"/Lestat; and that Louis was a terrible liar & terrible with the Mind Gift; and that he'd ALREADY planned on killing Louis in 2x3! Armand knew from the get-go that he couldn't do EFF ALL to keep Louis & Claudia out of danger, and TOLD Louis so.

"It also ignores that Louis softens his participation in certain things because he can't live with the guilt of his full participation, e.g. Claudia's turning, which he continued to lie to Claudia about even during the trial and only accepted the extent of his involvement in Dubai"

The Trial Timeline's purpose is to pinpoint when the preparations took place, NOT to hash out how bad of a father Louis was to Claudia. 🤨

And it certainly isn't meant to provide a timeline for the events in S1 wrt Claudia's Turning--we already know the dates for all of that, that she was made in 1917. I focus on the 1940s in S2, and the European dates, NOT the NOLA dates. LOUIS did not participate in the Trial's preparations, ARMAND & LESTAT did. My timeline has ZERO bearings on Louis' guilt for not warning her, etc.

But on the subject of Louis & Claudia, I've cussed Louis out for not telling Claudia about Armand b4 (x x), I don't ignore it at all. I fully understand & even agree with Armand being fed up with dealing with Louis' BS. But HE CHOSE not to kill Louis when he had the chance, and it's obvs that whatever arrangement they made when they had sex in 2x3/2x4 allowed Louis to TRUST that Armand would keep "the secret" & keep Louis & Claudia SAFE from the coven. (Which is a BOGUS claim for him to make, when Santiago'd ALREADY peeped that they were lying about Lestat & being from NOLA, but wtvr). I've called Louis a naive idiot 1000x for overestimating Armand, putting his life in Armand's incapable hands--just like he would AGAIN by trusting him about "Banishment;" and AGAIN by asking Armand to wipe his memories in SanFran (and LIE by omission about Les saying "I love you, Louis").

"Louis remembers the trial, he remembers what was said and what Lestat showed him."

HOW can Lestat have showed Louis ANY memories during the Trial (inc. the Ep4 revisit), when Makers/Fledglings CANNOT read each other's minds???????

I love this show so much, but I effing hate this show--they don't even give us an answer, Daniel just moves right past it, like wtf are we supposed to do with that, AMC? There's plot threads, vs plot HOLES. Louis' TOO unreliable, Armand's a shysty liar, white savior Lestat to the rescue~~~! "BANishMEnT~!" As if Lestat's any less impartial?

Esp. when at least SOME parts of the Ep4 Revisit were OBVIOUSLY Scripted lines written by the coven to implicate Louis in breaking the Great Laws that Lestat allegedly taught him AND Claudia to follow?

Like, Louis HATES himself, and is quick to blame himself for things beyond his control (a la Paul, a la the Ordinances; "Can we be forgiven if we do not forgive others ourselves?"); so if one is determined to see him bad faith then of course one can easily pounce on him Florence DPDL style / Santiago style, and blame him.

(Esp. since in 1x4 we literally SEE Louis admit to begging & emotionally baby-trapping Lestat into turning Claudia--the revisit in 2x7 is more (melo)dramatic & extended, sure, but it does NOT contradict Louis' account in S1. So I get REAL confused when people say he lied about 1x4 or wtvr.)

Louis invalidates his perspective cuz he KNOWS he's an unreliable narrator--he spends 2x1 sobbing about wanting to remember & "get every detail right"--and ARMAND is there constantly tryna STOP the interview; having directly contributed to his already deteriorated (& inherited?) mental illness, by bending Lou's trauma into "a Lestat shaped-effigy" with all that "I will not harm you" bullcrap.

TL;DR: We won't know for sure what the Trial timeline actually looks like, unless S3+ revisits it with more context.

But as things stand at the end of S2, NO, I don't trust Armand as far as I can throw him, cuz there are waaaay too many instances where he's deliberately lied & obfuscated & omitted in ways to deliberately confuse the narrative surrounding the Trial--that go beyond Louis' already confirmed trauma, PTSD, mental illness, repressed/faulty memory, and guilty conscious.

If y'all want a timeline of S1 events, those have already been made by other people in the fandom (this one is goated).

I wanted to know what was going on in S2; so I used every single date and IRL reference possible, and put them in chronological order in a way that makes sense based on how I TENTATIVELY understand things currently; NOT how AMC has confirmed yet--if they ever will.

If anyone has more relevant in-show references & IRL sources we can cite, to help make better sense of S2 than I did, let us all know!

[pain-is-too-tired]

Thinking about Raven curse Michael au again

Things happen similarly when it comes to post-BoM, Percy gets taken, Jake gets hurt trying to reign back Festus, etc.

TLH trio arrive, Leo gets shown to his cabin by Will still, but raven Michael is in cabin 9 keeping an eye on Jake(who still struggling from grief and stress post bom)

Jake still does the whole "I'm your head counselor... for now" line but immediately gets pecked by Michael who's not having his boyfriend talk like that hdgd

He thought he was gonna lose him already, he's not in the mood for that.

Leo's just like ????, why Will's completely unfazed.

"Who's the bird???"

"My brother."

"What?"

"Long story- let's just keep going."

With specifically Raven Prince au, I like to imagine even in human form Michael has places with feathers still he has to hide. Like on his arms and such. Or markings on his back and arms.

Jake's a new blacksmith at the castle who is curious why he never sees the prince during the day, but manages to run into him at night and they end up having a small chat. Jake still doesn't know about the curse, but finds himself liking the prince. Who isn't too stiff about honoraries and such.

One day Michael gets hurt by a hunter or some jerk knight why in raven form and gets found by Jake.

Why Jake isn't an export healer, he tends to Michael as much as he can. Still not knowing it's the prince.

Michael's have multiple late night conversations with Jake by this point, so he trusts him, yet he's also unsure how to feel being held by Jake in his raven form. He's very flustered. Which is new.

When Jake does find out, he's even more flustered. Apologizing immediately to Michael who's just like "my dude?? How you supposed to know??"

Michael ends up hanging around Jake during the day,since he trusts him.

Also. Alternate idea. Three head Apollo kids being fae princes who get turned to animals to protect them from hunters. They each wear an pendant that is taken off by someone else without force let's them turn back.

Michael a raven, Will a mouse, and Lee a swan or wolf

Similar situation to above, but Michael doesn't turn back at night, so he ends up staying with Jake why healing. Worrying about his siblings but being unable to fly. Jake just doing his best to take care of him. He knows nothing of the tales/rumors about the brothers, so he's curious about the pendant but doesn't push.

After awhile when Michael is fully healed, he nudges Jake to show him where to take off the pendant and ends turns to his regular form.

Jake's just completely confused and flustered cause there's a fae now in front of him. A very cute fae-

Michael might just be a bit amused by Jake's reaction gdhdg

[thanatoseyes]

My paired down list of spirit work and death magic. (Obviously this is what works for me and I'm kind of a picky person when I aquire written work)

Physical Media:

Cunning Words: A Grimoire of Tales and Magic by Marshall WSL (This one I pre-ordered and haven't gotten through the whole text but it's a good read. It incorporates the art of story telling with distinct spells and magic. I think it's very unique but I wouldn't recommend it unless you want something with flavor)

Riding the Bones by the three little sisters (this one is an anthology of particular practices from different walks of life pertaining to death and transition. I've only read a few of the stories but for what it's worth I think its good insight)

Botanical Curses and Poisons by Fez Inkwright (I only list this because it's always good to know what's good and bad for you. Know what can kill you and you can probably avoid it)

The Bones Fall in A Spiral by Mortellus (again I've mentioned this before but I think this is a good work for someone getting into the field and needs someone that's direct and experienced in what they do. One of my favorites.

Consorting with Spirits by Jason Miller (I feel like this is a staple of the craft and while I personally don't connect with the material it works and it has some good points)

Metamorphosis by Ovid (I think it's always necessary to deal with primary texts. Go with the classics. Ovid has a beautiful way of writing and you get to really understand the stories and myths that spirits of the dead living etc are connected to and if you do any deity work I highly recommend it.)

Of Blood and Bone by Kate Freuler (I have mixed views on this one. some of the stuff is informative and it provides some good spells, but it lacks transparency and depth. I find Mortellus book far more student minded.)

The complete language of flowers by S. Theresa Dietz (if you work with the dead, deities, spirits or hey plant spirits. Chances are you've come across Victorian flower language. I use this book as a reference guide for symbolism/folklore/ and as a way to connecting with spirits)

Encyclopedia of Spirits by Judika Illes (hey no library is complete without an encyclopedia. I personally like this one because it's very indepth without being too overwhelming. Not sure where to go? Just pick up this book and you can do more indepth research later. It's what it's there for. Reference guides are one of my favorites.)

Okay that's it for my physical media.

I also have a list of digital copies I keep.

Morbid Magic by Tomàs Prower (I think if you buy any book from this collection buy this one. It gives you an over all guide of most death practices around the world)

Historical:

Death, Dissection and the Destitute by Ruth Richardson

The Work of the Dead by Thomas W. Laqueur.

(I list these because they are a good source guide to how we treated the dead and spirits in the past. It's always important we learn from those that came before us.)

Greek Customs: (if you're going to do any type of work with Greek chthonic deities I suggest these three articles/books. I'm not saying its mandatory but these are very helpful guides to understanding ancient thought and how to bring them into today.)

Burial Customs, The Afterlife and the Pollution of Death in ancient Greece by Francois Pieter Retief and Louise Cilliers (free on research gate)

Underworld Gods in Ancient Greek Religion Death and Reciprocity by Ellie Mackin Roberts

Inner Purity and Pollution in Greek Religion Volume 1 by Andrej Petrovic and Ivana Petrovic (this one's my personal favorite)

[dye-it-rouge-et-noir]

"For particularly important things, it's always more reassuring to write them down like this." - Zhang Beihai

[ID in alt text]

[pixiecaps]

so here r my thoughts on qjaiden and her cucurucho missions

i don’t think its going to lead to egg safety. to me the “YOU ARE ONE STEP CLOSER” really was the nail in the coffin. theres something about going through such a treacherous process having to fight in a dungeon presumably you were meant to do alone and probably would’ve died in if u had only to be told good job! thats just one step! and then provide no more context over any of it. it’s suspicious and shitty. i mean even qjaiden was surprised that wasn’t the end of it. to me, at least in this current moment, cucurucho is using jaiden and her trust & faith in it (there is more layers to her willingness to follow along. it’s not as simple as qjaiden being naive) to send her along to do its dirty work. i think it’ll keep sending her to do menial or intense work (like that dungeon we witnessed yesterday) to achieve an end goal. an end goal that favors the federation. i think everything comes with a price and as we know qjaiden cannot go back. theres no way out and shes aware of this. all she can do is continue to do whatever cucurucho tells her to do. what i do find interesting is the ending questions. what purpose do they serve? did it ask qjaiden these first before anybody else because it feels she trusts it the most? are the questions a way to have further control over her? in either case it’s fascinating to watch cucurucho and qjaiden dynamic. i think her journey is going to one of the most illuminating ones i mean look at how much qcellbit learned just by tagging along (for his own mission) i do think by the end of everything qjaiden will either be discarded and never granted her wish for egg safety or maybe they do but it comes at a cost, a cost of joining the federation and never seeing her friends and family again.

out of role i think shes a very complex character and i cannot wait to see where this takes her. its cool to see a woman at the forefront of such important lore! its also lore i’m invested the most in because we learn more about the federation and get to see cucurucho which is awesome! i also love how at the end of each stream we get a neat recap and jaidens thoughts on everything. i always think back to when bobby passed and jaiden said she was going to cook up an interesting character for us and by god did she do that. overall i can’t wait to see what happens and i’d be lying if i said i didn’t want to see qjaiden in a white federation uniform some day.