#why did i say my ESSAY

[choasuqeen]

le ah part 2

[beastlyidiocy]

Feuċ, súile Dé go fuireaċ air

[jackshiccup]

the greatest thing you'll ever learn is to love and be loved in return

have been perpetually rotating @bignostalgias white winter hymnal hijack inside my mind palace like rotisserie chicken i adore this life-changing au to the core my bones and teeth ache badly from thinking about them <3

[mwagneto]

i have a lot of things to say but to keep it short moffat's writing so often completely lacks emotional weight, either because he fails to insert it or because he removes it without realising

as an example of the former, both the women in this episode have scenes where the sad music swells and everyone's crying and you're meant to be sad along with them, her mum died, the doctor's leaving, they're sad conceptually but i couldn't help sitting there and thinking... i just don't care about this. you've failed to write characters or scenes i can get emotionally invested in and instead reached for the cheapest tricks available (universally relatable sad concepts such as dying parent or ending friendship) and figured that would be enough to elicit a reaction. this is something he comes back to countless times, which i don't want to dwell on here but once you notice he's doing it, it's everywhere.

as for the latter, take the death of trev. he's a likable guy and watching him slowly dying would be quite sad but my immediate thought wasn't "aw oh no :( " it was that i have seen an unfortunate amount of moffat media and all his doctor who episodes so i am 100% certain that this isn't trev's actual end, that somehow his consciousness is gonna get uploaded to a database and live on, so there's no point being sad for him. and what do you know, like 20 minutes later they confirm i was right, which the doctor and the audience learns at the same time (except the doctor learns he's alive before he even learns he died, so he never even has to mourn). moffat's completely removed any kind of weight regarding the character's lives since he never actually just up and kills anyone so his stakes are impossible to take seriously.

[chiangyorange]

I just had some violent flashbacks of the peepaw polls. Hit me like a truck

hey bestie did u mean to drag my ass down with you

[chloecherrysip]

We're going to save your brother.

[beeduoo]

originnssssss who remembers origins i Loved origins

[chasingshadowsblog]

"When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up." - Embracing your childhood in the 'The Chronicles of Narnia: The Lion, the Witch and The Wardrobe'

CS Lewis dedicated the first book in his beloved Chronicles of Narnia series to his goddaughter Lucy with the foresight that, "some day you will be old enough to read fairy tales again." He understood that, although she was growing too old for "childish things" now, some day she would look back on them again with a new appreciation and an old fondness. Although we all go through this process of leaving our childhoods behind they are always there for us to return to and by doing so we may find a joy and simple pleasure that we haven't felt for a long time. What makes the film version of The Lion, the Witch and the Wardrobe such a successful adaptation is its understanding and wielding of Lewis' these ideas. The Chronicles of Narnia is, famously, Christian allegory but channelled, in the film version at least, through the Pevensie sibling's individual connections to their childhoods and how this affects their belief in Narnia and in themselves. Each of the four Pevensies experiences a journey revolving around these ideas; Peter is still willing to be a child but is forced into early maturity by war, Susan strives to act older in order to protect her siblings, Edmund wants to be seen as an equal to his older brother, while Lucy, the only sibling who doesn't stray away from her childhood, must endure her siblings' lack of belief. A great strength of the film is director Andrew Adamson's commitment to the childish, fairy tale aspects of the story as well as its ideas of faith. He does not diminish his characters or the nature of the story in order to be taken more seriously, but rather draws on their youth to evoke the sense of terror in war or wonder in discovering a magical new world. Only a child could introduce us to Narnia, with the open, wide-eyed wonder necessary to translate the excitement of being on a practical set into the magic of stepping into a fantasy world. It is their youth as well that makes the Pevensies all the more heroic for stepping up and meeting their duties, whether that is taking care of each other in Professor Kirke's house, trekking across Narnia to rescue Edmund from the White Witch or standing at the head of an army - Peter is baby-faced under his armour but never comes across as silly because we've seen the internal journey he had to go through to reach this point and because the adult characters around him are allowed (by the film) to believe in him as a leader. The Lion, the Witch and the Wardrobe manages to respect the source material, the views of its authour, and its four lead actors by unashamedly embracing its childishness and letting the characters know that it's okay to embrace theirs as well.

"Good man." As the eldest sibling, but still only a child himself, Peter is caught between two worlds. He is the eldest male figure in the house, but not their father; he is a young man witnessing his country at war but still a boy too young to enlist; he is tasked with taking care of his younger siblings but has no idea how to, "Promise me you'll look after them" "I will, Mum." Still, as much as Peter is unable for the responsibility placed on him, he never stops trying to keep the promise he made to his mother. When the Professor tries to offer Peter and Susan help with Edmund and Lucy he initially turns away, insisting that they can "handle it", his mother tasked him with protecting his siblings and, as ill-equipped as he is, he won't share the burden with anyone else. Peter is heart-breakingly aware of the roles that others believe he should be filling - protector, fighter, king - but also of his own limitations; he is unable to control Edmund and is constantly criticised by Susan for failing to take care of the two younger Pevensies, "Well, that was well-handled." His frustrations, hesitations and fears - "Why can't you just do what you're told?" - are all part of this understanding of himself that he doesn't have what it takes; he is not their father and Edmund doesn't have to listen to him; he is not their mother, no matter how much Susan expects him to be, and he is not a king or warrior, no matter how much the people of Narnia need him to be, "We can't go to war without you!" At the train station Peter watches soldiers passing by, not with eagerness but trepidation; he quietly refuses Beaver's call-to-arms, "We just want our brother back", and diminishes himself when Aslan tries to give him courage, "I couldn't even protect my own family". As Peter's responsibilities mount so does his sense of guilt. He is none of these things (and he shouldn't have to be, he is a thirteen-year-old boy) and his guilt stems from the fact that part of him doesn't want to be either; he may hold his sword up in defense of his siblings, but he has little desire to use it. What is most admirable about Peter, is that he steps up anyway. In the woods, Susan and Lucy cling to him when they believe they're about to be attacked and whenever they are about to be attacked Peter pulls out his sword in spite of his fear and does his best to defend them; depending on where the danger lies, Peter is seen taking either the front or rear of the group, and after gaining the confidence to take up the mantle of high-king he tries to convince his siblings to go home while he stays behind to help the Narnians fight the White Witch, "I promised Mum I'd keep you three safe. But it doesn't mean I can't stay behind and help." In spite of all his guilt and trepidation, Peter meets the challenges expected of him and grows in the process. He kills Maugrim at the urging of Aslan and the Narnians "Stay your weapons. This is Peter’s battle" and it is after this point that he begins to fit himself into the roles expected of him. Although Peter had no wish to kill Maugrim - the act of taking a life being such a humongous responsibility and step into adulthood - it is through this act of protecting his sisters that he learns that he is capable of more than he initially believed, that he can protect the people who rely on him. While Peter meets his first duels holding his sword out far in front of him, keeping a distance between himself and his opponents, in the final battle he runs head on against the White Witch after she attacks Edmund, throwing his whole body into the task. Peter is forced into maturity by a war in both worlds and he does not get to re-discover his childhood in the way that Susan and Edmund do, nor does he need to. Throughout the film, Peter remains tapped into his childhood through his playfulness and curiosity, and when he is forced to let it go and be the adult, he remains connected to it through his relationship with Lucy.

Lucy is the sibling Peter is most at ease with; he comforts her with gentle words when she's upset, holds her hand and carries her on his back when they need to run; when they're all bored in the Professor's house, he gives in immediately to her pleas to play hide-and-seek and does so with a smile on his face. At her age, Lucy's needs are simple ones of comfort and a familiar presence but they are needs that Peter is capable of fulfilling and he is happy to be that presence for her. He is more patient than Susan when Lucy first comes back from Narnia, "We don't all have your imagination, Lu", he follows her lead when they all cross through the wardrobe, "Then Mr. Tumnus it is!" and is the only one of the three older siblings who throws himself into the world of Narnia as easily as Lucy did, "He says he knows the fawn." Peter embraces Narnia with joy and curiosity and only pulls back when there is a chance his list of responsibilities will grow longer. For a time, at least, Peter wants to experience the world as a child until those responsibilities catch up with him. After killing Maugrim, Peter does not get the chance to be a child again like Suan and Edmund, but his childhood is not something he ever shies away from. In terms of Lewis' dedication, Peter has crossed over to the other side of adulthood and is ready to appreciate childish things for the source of joy that they are. He remains tapped into his childhood throughout the film in his curiosity, playfulness, his belief in Aslan and his relationship with Lucy. It is fitting, then, that when the adult Pevensies return to their own world and back into the children they were, Peter is the first to follow Lucy through the wardrobe.

"We used to have fun together, didn't we?" As the second oldest sibling and eldest daughter, Susan attempts to make up for the areas where Peter is lacking, an act that is self-imposed as she is not given the same responsibilities as her brother. At the train station, her mother asks her to be a "big girl" but not a 'woman' and doesn't ask Susan to look after everyone as she does Peter. Susan isn't asked but she tries, anyway, to be more grown-up and responsible for the sake of her siblings, particularly during those times when Peter isn't. When he's distracted by soldiers at the station, Susan organises their tickets and smiles politely at the collector; during their first night at the Professor's house, she notices that Lucy is upset and must point it out to Peter; she orders Edmund to bed and Lucy to stop talking about her trip to Narnia, "That's enough, Lucy!" and admonishes Peter for not doing a good enough job with their younger siblings. She delivers phrases and mannerisms that she has likely picked up from her mother - "We could all use the fresh air" - and, in true adult fashion, manages to invent a game that is even more boring than their actual boredom. Like Edmund, Susan wants to separate herself from her childhood and be an adult but out of a desire to be helpful, but, she is also like Peter in that, whether consciously or not, she latches onto childish outlets.She, like Peter is caught between two worlds; she wants to be an adult but without taking on the larger responsibilities of adulthood - she has yet to learn that acting like an adult and being mature are two very different things. She tells the Professor why Lucy is upset because she wants to sort out the issue but also looks for an adult's help in doing so. When they arrive in Narnia, she urges them to turn around again then later uses that as an excuse to blame Peter when things go wrong, "None of this would have happened if you had just listened to me in the first place!" For want of a real adult figure, Susan expects Peter to fill this role since that is what their mother asked of him. When Lucy cries their first night at the Professor's house, Susan is the first to notice but nudges Peter to do something about it then later scolds him for failing to help Edmund without having tried to intervene herself, "Well, that was nicely handled." While Susan expects herself to act like an adult nobody else does, so, when things go wrong she is able to blame Peter who is supposed to be their stand-in adult. She maintains this attitude throughout the journey where she can be seen acting grown-up, but in small ways that she can handle. She helps Mrs. Beaver pack food for them when the others are standing around staring, urges them all to go home, comes to terms with the fantasy world by throwing logic at it (and gets teased for it), and tries to convince Peter to listen to Maughrim if it means keeping them alive. It is only when the children meet Aslan and Susan shares the responsibilty of losing Edmund that she really acts maturely. By taking on some of the responsibility, Susan does a grown-up thing and so is finally able to stop acting like one. Once she does so she is able to relax and revert back to her childhood. She plays with Lucy in the water, follows her to the Stone Table (beginning of the movie Susan wouldn't have let her sister leave the camp) and feels the loss of Aslan as much as her sister does. It is only a short amount of time, but, as soon as Susan stops trying to act like a grown-up she is able to embrace the wonder of Narnia as fully and freely as Lucy and Peter do.

"When are you going to grow up?" Like Susan, Edmund is desperate to be seen as a grown-up, or, at least, as an equal to Peter. He frequently pushes back against his mother's insistence that Peter look after him and tries to separate himself from Lucy. However, unlike Susan who channels her desire to be an adult into keeping them safe, Edmund does the quickest and easiest thing he can do which is to be nasty to Lucy. He also tends to act rashly without considering the consequences. We can see this in the beginning when he opens the curtains during the air raid, then runs back into the house to get the photo of their father forcing Peter to run after him, nearly getting them both killed, "You're so selfish! You could have got us killed!" In Narnia, Edmund leaves his siblings behind to find the White Witch with no thought that they might follow him or that he might be putting himself and others in danger. None of which is to critcise Edmund, it is, rather, the point: Edmund, more than Peter or Susan and exactly like Lucy, is a child. It is why it's so easy for the White Witch to reel him in and, to his credit, it is also why he so easily reverts back to childhood after reuniting with his siblings. "What's done is done. There is no need to speak to Edmund about what is past." After being rescued by the Narnians, Edmund speaks privately with Aslan and although we never hear what is said between them, Edmund comes out softer around the edges, someone who has learned a lesson but has returned to what we can assume is a version of his old self. Even when he was antagonistic and reticent, Edmund showed behaviour that gave us a glimpse of the boy he likely was before the war. He and Peter stifle their laughter together when Mrs. MacReady gives out to Susan and bond again later when he teases Susan about her game, "Is it Latin for 'worst game ever invented'?" and after complaining for all of a second, he throws himself fully into the game of hide-and-seek with his siblings. After speaking with Aslan, Edmund returns to his siblings a more mature version of himself, "I've seen what the White Witch can do. And I've helped her do it. And we can't leave these people behind to suffer for it", but also one that is ready to stop fighting his older brother, "Then you'll have to lead us." The tension between Peter and Edmund plays a large part in Edmund's development; Peter is someone who angers Edmund, but also who he wants to be treated equally by. Edmund's acceptance of Peter as his older brother and leader is the clearest indication that he has accepted his role as the second youngest, allowing himself to take the lead from Peter, and when Peter doubts himself, Edmund is the one to reassure him, "Aslan believed you could. And so do I." When Peter orders Edmund to retreat from the battle, hedoesn't listen but launches himself at the White Witch distracting her from Peter. Edmund considers following Peter's order for a moment then decides against it and while his attack on the White Witch is as impulsive as running into the house during the air raid, it includes that moment's thought. Edmund has learned from his experiences and decides to do the impulsive thing anyway, this time as an act of protection endangering no one but himself, "Peter's not king yet!" As well as maturing in his thoughtfulness, Edmund returns to his childhood by embracing his siblings and his place among them. He stops teasing Susan, accedes to Peter's decision-making (when he sees that it's right) and when Lucy is the first one to run up and hug him after they've reunited, he accepts it easily.

Of the four siblings, Lucy undergoes the least amount of develoment because she doesn't need to; of the fours siblings, only Lucy is unafraid to be a child. Even when she is teased and told off by her older siblings, Lucy never tries to change who she is. She cries and laughs and comforts and experiences wonder and joy with an openness that only a child could possess; she stands her ground, argues on behalf of the Narnians and calls her siblings out on their mistakes and behaviour, "Stop it! None of this is going to help Edmund!" She is Queen Lucy the Valiant because she is never afraid to be who she is, a lesson her brothers and sister each must learn during their time in Narnia. It is only fitting then, that she takes the first step into Narnia, that she, more than anyone, is tapped into its moods and intricacies. She understands that the mice chewing Aslan's ropes are doing it out of love and respect; she thinks to use the draiads to send a message to Peter and Edmund during the battle, and notices, when everyone else is celebrating, that Aslan looks sad after his liason with the White Witch. From the moment she steps foot in it, Lucy loves Narnia and Narnia loves her back and her belief - in herself, in her siblings, in Narnia - is continuously rewarded. Lucy doesn't look for proof but she accepts it with open arms when it appears in front of her and so she is most at ease with herself and the world around her.

The Chronicles of Narnia is, ultimately, about faith; faith in yourself, in those around you, in Aslan, and in Narnia itself. Lucy is strong in her faith and this carries her throughout all of her adventures in Narnia; Peter waivers in his faith in himself and must work hard to develop it; Edmund tries to separate himself from his faith but comes back to it with an even stronger conviction; Susan's faith means so much to her that it causes her pain and so she tries to forget it. The Lion, The Witch and The Wardrobe might be Christian in nature, but its themes are universal. Lewis does not want everyone to find inner peace in God and Christianity, but he does want us to find it in something and the series advocates for faith in general as a path toward inner peace and decency. How that faith manifests is unimportant - Peter has an easy time believing in Aslan but not in his own capabilities and Lucy believes in Father Christmas as much as she does Aslan. The Lion, The Witch and The Wardrobe symbolises this finding of peace in a connection to childhood, but it is a peace that can be found anywhere - in religion, in other people, in trees, in fairy tales or Santa Clause. It doesn't matter where or how you find your find your childhood, only that you open yourself up to the opportunity to do so, "Try me!"

[cavennmalore]

tagging @myfairkatiecat because it is only fair after you requested this word vomit lol

The thing about Keefe not being a good person is a little complicated. Full disclaimer, I don’t really believe in the whole good/bad person dichotomy, and definitely not for KIDS. Nevertheless, I don’t disagree with the people who say that Keefe isn’t the awesome person Sophie’s (biased) opinion makes him out to be. Not for the manipulative reasons -- which, Keefe is a teenage boy and I don't know about anyone else but that is like THE demographic for being a little messy in relationships lmao -- but for a lot of his planning. Joining the Neverseen without telling anyone what his plan was? Proposing himself as Mercadir without giving anyone a chance to refute him? Lying at the end of Legacy and showing up to the confrontation even though it was explicitly agreed he'd stay back? Basically, everything he did in Lodestar? Not great.

It's not Certified Good Guy Behavior. But that's his role. Keefe was literally designed to occupy this grey, questionable space, both in the narrative and outside of it. He's Sophie's character foil. Lady Gisela's plan revolves around pushing Keefe to become a worse and worse person; that involves raising him in a way that cultivates bad behavior and forcing him into increasingly extreme situations that are designed to make Keefe "ready" when the time comes. That is a huge part of the plots of Nightfall and Legacy.

Admittedly, I don't think Shannon has made him evil/grey enough, which I know isn't a popular take. There was real potential to make Keefe a wild card in Lodestar and make it so that the question isn't what stupid scheme is he planning? but to what extent have Lady Gisela's machinations worked? It's an interesting plotline to me. It's why I'm so excited for Unraveled; it's a chance to see this push-pull in action without Keefe's "north star" (AKA Sophie) guiding his decisions.

But a lot of people don't feel this way. A ton of the complaints I see around the book have to do with Keefe getting too much page time, the plotline taking up too much space in the story, etc. Which is fair! If you don't like Keefe, I'm sure a lot of this is grueling. However, a point I see connected to this line of thought is a wish for the books to return to a more ensemble vibe. That there should be more Dex, more Biana, more Stina, more Tam, etc. the way that it used to be.

That version of the books, though? It only really exists in the first book. Keefe is a prominent character in Exile and a huge driver of its plot. It's only in Book One where he only exists on the margins and isn't super involved. The ensemble cast has grown exponentially since then, to the point where there are frankly too many characters to keep track of in a scene without straight-up listing them all (which did happen but I'm forgetting which book). The decreased page time of supporting characters isn't solely because Keefe is eating the narrative, but because there are way too many characters for everyone to get a subplot; rather than have pre-existing characters solve issues, Shannon tends to just pull new ones in, and then leave them to hang out for the following books. If the series was for a more adult audience, I would say that it was time to start killing people off (like the popular critique of The Boys) but because this is a kids series, they're going to just hang around and not do much.

A lot of the nostalgia for this old version of KOTLC presents itself in fandom discussions of Dex. Full transparency: I didn't really like Dex that much in the early books when I did my reread. I found him unbearably rude to Fitz and Biana. His crush on Sophie felt invasive at times as if she was catering to a boy that was projecting his feelings and making her accommodate him. It's very similar stuff to the current criticism of Keefe! But I have yet to see any discussions around Dex that don't characterize him as kind, goofy, or sweet. Maybe there is some discussion of him being snarky or sarcastic. The most criticism I've seen of him is about how he treated Stina in his introduction, which was taken largely in isolation.

But that sweet, goofy version of Dex that people talk about missing? He doesn't exist. Sure, Dex mellowed out a ton in the later books, but he didn't become a whole new character. And I don't believe that he disappeared from the books in the way that some people claim. He just... doesn't have a subplot anymore. His crush on Sophie was resolved. It was a sticking point in his and Sophie's friendship which made him part of her character arc, and that arc is done. If that went on for any longer, it would be a drag on the pace of the series. Like I said before, the presence of so many side characters, each with their own needs and motivations, makes it difficult to introduce him into new stuff. It's why he gets so much more page time in Unlocked. With the presence of so many other characters, Shannon tends to handwave a lot of the background group dynamics. Dex ended up becoming close to Keefe and was able to shine there, away from Sophie's perspective and their finished arc.

All of this is to say, it's not wrong to dislike Keefe or like Dex. But I think a lot of the conversations surrounding these guys can get muddled in nostalgia and what people think the books should be rather than what they are. I'm (severely) guilty of it too. It's part of a broader trend in fandoms as "fandom" as a concept becomes more popular. That is a whole other post, though, and frankly, this one is long enough lol

[bleue-flora]

I'm pretty sure c!Dream wanting c!Tommys trust was just to get the disk from him. Dreams tweet about it "help him with his goals"

I'm sure he didn't anticipate for c!tommys mental health to break down that much in exile so there would be a little bit of empathy thinking about his talk with c!punz. But majority of exile was him pretending to be c!tommys friend specifically to get c!tommy to hand him the disk. He didn't want c!tommy as an ally. The way he treated c!tubbo during the arc was very similar, pretending to be his friend until c!tubbo gave him that disk. It wouldn't make sense for c!dream to want to be allies with either of the two because he knew that without the separation of the two and him watching over, they would revert back to harming him again. c!dream wouldn't try to make allies with one of his enemies out of thin air knowing that they have different goals. His exile plan stopped when c!tubbo gave him the disk, and the disks allowed him to continue with the staged finale plan. And for the anon that brought up that early era truce, c!dream has no reason to trust c!tommy, they were constantly scamming each other back in the day theres an hour long vod of the two making fake disks and armors out of thinking the other will scam. I had to correct some of your past anons because some of them do not understand the motivation of exile.

For sure, I really don't think he thought or intended for Tommy's mental health to take such a dive. I think he was manipulating him obviously, but I don't think he was trying to break him. (I mean for starters because breaking people is not a good way to get what you want and Dream seems to know this, and plus Tommy spirals a whole lot without Dream's help so it doesn't seem intended...)

Anyways... I don't think Tommy has a disc, does he? I'm pretty sure Tubbo has one and Skeppy or Badboyhalo has one or something. So I don't that reasoning works. I do think he was probably trying to get the disc from Tubbo, but also I think his actions can be multifaceted. If his long term goal is a peaceful server and a big happy family, which we know is true because he damn well repeats it enough til the very end. Then forming a peaceful relations with Tubbo and L'manberg makes sense. Becoming Tommy's friend so he stops terrorizing the server, specifically his friends, makes sense. Tommy doesn't need Tubbo to get up to shenigans, he causes a lot of problems without Tubbo's involvement. Sure, Tubbo enables his behavior by usually having his back in the aftermath of those, where consequences of his actions come into play. But Tommy hurts Dream a whole even during Exile, no Tubbo needed and I don't think Tubbo ever seeks out to hurt Dream without it being apart of one of Tommy's schemes. In fact, Tubbo is actually the smart one usually trying to tell Tommy not to provoke Dream or do bad things. Tubbo is actually a very reasonable character, one I feel like without Tommy (and Wilbur by extension) and then later Quackity, he and Dream probably would have been allys or at least friends, more so than even Sapnap. Tubbo just wants to build things and be friends, he's not one to start conflict. In fact, despite Tubbo actually being the one to kill Dream in the cave in the beginning of the disc saga, he says in Daedalus that Tubbo might be one of the people who hasn't really done anything. And I think he kinda believes that, that Tubbo's actions have usually been lead by others or were reactions to things. I also think there is a difference especially in Dream's mind of ally and friend, I think later he still thinks Sapnap is his friend even is Sapnap is not longer his ally, so it doesn't seen unreasonable to me for him to try and become Tubbo's and Tommy's friend to get them to stop going after him all the time. Not that he actually expected them to become his allies and help him. There is a lot neutral ground between friend, ally and enemy, where he was perhaps trying to get Tommy and Tubbo similar to how he did with Sam later in Daedalus. So, it's perhaps less of trying to turn his enemy into ally out of thin air and more of how 'bout y'all just stop coming after me, which obviously didn't work since L'manberg started plotting to kill him.

Regardless, I think Dream's Exile plan ended the moment he planned to put himself in the prison, a good bit before Tubbo gave him the discs. At which time, he says this and I think it's pretty telling that perhaps his relations with L'manberg was not all disingenuous.

I don't know, it just sounds real to me. It sounds raw and betrayed and we know he was part of the plan in exploding the community house, so it's not about that like he frames it for the rest of the server. I think it more so has to do with the Green Festival, where they were quite literally about to backstab him. Making me think that the discs were a piece, but they weren't perhaps the whole focus during this time. That they didn't become the main focus until after he felt it necessary to get imprisoned and planned the staged finale.

I mean, is it so unreasonable to think that layered within his manipulation of Tommy and Tubbo, there was genuine yearning for friendship there? Can he not be logical and emotional? Strategic but also hopelessly optimistic? Just because Tommy doesn't think before he does, doesn't mean that characters can't have multiple plans and variables at play. It is so truly so unreasonable that what ended up happening wasn't Plan A, but Plan B, C, D... that he didn't start out with bad intentions, but was forced to constantly adjust based off circumstances.

[lovevalley45]

having a normal one abt “odysseus”

(the quote from the odyssey is lines 405-409 from book 19 of emily wilson’s translation, while the definition is pg 63 of her introduction)

[mishkakagehishka]

But honestly i do judge people who use chatgpt for their college work. Literally if you chose to study something, why would you use ai for your work. If you chose something you want to study, doesn't it feel like a waste to not do your own research and work for essays and the like.

[montanamp3]

[emerging from andrea long chu's females covered in blood] Oh my god I need to write

[ociels]

his brother died and one of his first thoughts were that it should’ve been him instead because now people are going to be disappointed…

[racetrackmybeloved]

i need to chill tf out about this damn musical, i had an idea for a post that could be achieved in like. two screenshots and four sentences. three hours later i have a 1707 word draft, including not one, not two, but TWENTY FIVE SCREENSHOTS (not all of them being of the musical lmao). i dont even know how that happened

is that something youd even wanna see HAHA or should i break it up into chunks so that people actually read it? idk about breaking it up tho bc theyre all kinda related to the central point?? and id have to reorganise everything and idk if i have the energy for that

[the-acid-pear]

Dave and Steven's relationship is so fucking mental literally THE toxicest of yaois 💥