“alicent making homophobic remarks the night of laena’s funeral isn’t cool considering laenor was shown to be heavily grieving his sister and didn’t deserve to be attacked during it (not to mention it was an obvious ploy on alicent’s part to divert attention from her committing literal treason).”
“b-bUT WHAT ABOUT DAEMON AND RHAENYRA FUCKING-“
i’m not gonna lie i don’t particularly care that they had sex that night. was it disrespectful? for sure. did it harm anyone for them to do it? it, in fact, did not. two consenting adults having sex away from prying eyes and keeping to themselves < an entitled boy purposely calling a girl at her mother’s funeral (whom he had never interacted with before) a pig and ridiculing her grief. laena’s storyline was cut short because the writers decided she wasn’t important enough to make into a proper character that isn’t at the mercy of other characters (it’s something i’m forever going to be salty about, daemon and rhaenyra loved her with all their hearts and were absolutely devastated when she passed) but out of those two scenarios who do you think she would be more upset with?
the people who bring this up in retaliation cannot handle alicent taking any criticism whatsoever. in all honesty i wouldn’t even care if her fans would just say ‘yeah, it was shitty. don’t really care though.’ it would at least save me the time of reading think piece after think piece on why alicent deserved to get her lick back against rhaenyra for her lot in life (caused by otto and viserys) by focusing on her pain rather than her son’s. these are the same people who try to claim that most of rhaenyra’s children and step children secretly hate her, due to wanting ‘complex and nuanced relationships’ to occur (they actually also can’t handle that rhaenyra was a great mom all around to all of her kids, and that maybe they need to be focusing those feelings on the green kids with their parents instead). let’s be serious for just one moment: it makes more sense that the children who were neglected by one parent and abused by the other having complicated familial feelings than children who were (for the most part) raised in a relatively stable and loving environment.
97 notes
·
View notes
Time for more Lisa Frankenstein posting. Potential vague spoilers below!
It’s about the gender. He’s gender. She’s gender. They’re both gender together. It’s about finding someone who Gets You™️ and making something of that together. It’s the way he looks at her as a person. The way he sees how she is scorned and doesn’t hesitate to try and do something about it. It’s the pure concern when she drops the axe and runs to him. Not concern that she’ll hurt him but concern because SHE’S hurting. It’s the way he loves her with his whole heart from the moment he sees her but doesn’t try to force her to love him back. He just pines and does his best to support and care for her. It’s the way he lights up with such genuine tooth rotting warmth when she realizes he loves her. The way he cradles her against him and cares for her.
THE WAY HE DOES ALL OF THIS WITHOUT EVER SPEAKING?! He vocalizes sure but never speaks until the literal final shot of the movie. Fuck man Cole Sprouse is such an amazing actors.
OH ALSO!!!! It’s the way his dead person makeup makes sense! The skin is shrunken so there’s a noticeable dip from where the bone of his skull ends and the cartilage of his nose bridge continues. It’s the way he’s grey and veined and stiff limbed! Like sure it’s not realistic he wouldn’t be all gross and decayed but also suspend your disbelief yada yada
59 notes
·
View notes
y’all headcanoning poseidon as purposefully sending medusa’s head back to sender knowing gabe would open it is like. entirely missing the point of sally jackson’s character and also SO fucked up if it was poseidon?? who used medusa’s head to kill an asshole man?? like!! what the fuck! not to mention sally jackson?? ms. sally jackson? who kills her abusive husband? who on multiple occasions rejected the help of the man who is both a god and her former lover bc she wants to build her life herself—? and who does it? “if my life is to mean anything, i have to live it myself.” those are sally jackson’s words. the abuse itself was already incredibly watered down in the show and that is upsetting. to have gabe accidentally kill himself because he’s a bumbling idiot waters down her agency against her abuse and is even more so upsetting. to have not just a man but a literal god kill her husband for her is so. do you not see how that’s even worse. and then add in that god being poseidon and the method of murder is medusa’s head? i don’t even have words to articulate it, just—
no matter how you cut it, narratively you only disrespect and degrade sally when gabe’s life is taken by any hand that isn’t hers, and having that hand be poseidon’s is just wild.
61 notes
·
View notes
so often i see people try to downplay violet and minervas relationship like it wasnt Real enough or was some Inferior Romance that her relationship with clementine could Never compare to, and i find it so annoying and boring
she LOVED minerva!! and its okay that she did!! she was her first love!! childhood best friends turned girlfriends!! seeing her being so heartbroken and miserable about what happened to minnie, how deeply and desperately she missed her, hugging that bed frame so pathetically. but clementine makes her CARE again. makes her LOVE again. slowly violet becomes comfortable with the idea of opening her heart up to people again, after trying so hard not to because the pain of losing people she cared about was too much to bear (especially when she blamed herself for them being gone)
then she learns minnie didnt die. shes falling in love with clem while grappling with the fact that minnie might still be out there??
then she meets minnie in the woods. but minnie has changed just like she has. theyre both different people now. and slowly violet is forced to come to terms with the fact that the person she loved so deeply isnt that person anymore??
violet at the beginning mourning minerva and blaming herself, to shooting her to save clems life. she LOVED minerva once, but she doesnt like the person she is now. and shes not gonna let her hurt anyone else she cares about. shes done mourning her by the time they get to the bridge, only crying out for tenn
like idk i just find their relationship evolution to be so interesting and sad as shit. the fact that they once loved each other so much and it has now come to this?? but violet makes her choice and she Chooses clementine, because she admires and loves clementine, probably similar to the way she used to admire and love minerva if the way she talked about her is any indication
i just think "i never thought i would ever feel this way again" is way more interesting than "wow minnie Never made me feel like This"
45 notes
·
View notes
YOU — “No. There is still a chance.”
DOLORES DEI — “You think so?” Her voice is weary.
EMPATHY — Everything about her is weary. She is the Innocence of weariness, of heroically borne suffering.
CONCEPTUALIZATION — That is the picture you have painted for yourself, at any rate.
YOU — “You looked back. That’s the memory, the moment, that I can’t stop returning to. You looked back. I had a chance, for just that moment…”
DOLORES DEI — She meets your eye, gaze still forever cast back over her shoulder. Time stops. The stars are stilled, the ocean silent. There is *nothing* beyond this memory. Nothing at all. All of infinity is contained in this single moment when anything and everything was possible.
“Oh, Harry…” She sighs, soft as eiderdown. “We never had any chance.”
And just like that, the wave of time collapses under its own weight, obliterating everything. This moment was six years ago. She is gone from here. Gone, gone…
PAIN THRESHOLD — You cannot leave. There was nothing outside of this moment, and now there is nothing at all. It’s all gone. There is no point. I’m sorry. I can’t do this any longer.
VOLITION — Please, don’t say that…
“Okay. Well, fuck me, then.”
“How would *you* know?! You gave up! You didn’t even try!”
“We *must* have had a chance, at some point… Doesn’t everyone get a chance, if nothing more?”
“How could you say that…?”
DOLORES DEI — “Because it’s true,” she says, matter-of-fact. “There is no moment in time that you can turn back to, no branching paths, no infinity. There is only what happened. I looked back… and then away.” She closes her eyes, turning her back to you.
“The moment ended. *We* ended. That is all.”
SHIVERS — A wave crashes against an unseen shore, ocean spray tickling the back of your neck. You shiver, but no one shivers with you. You are alone in this intersection. Why are you here?
“Why can’t *I* end?! Why can’t this all just stop? Please, make it stop…”
“Ended? I’ve barely even started! I got a chance to start completely over as somebody new! I don’t need you anymore! You’re just dead weight to me now.”
“No. That wasn’t the real ending. We’re a part of something so much bigger than this intersection, telling a story that encapsulates all of history! There’s *more* to this, it *means* something.”
“Then… What am I supposed to do now…?”
DOLORES DEI — “No, Harry.” She turns back to you again now, and she looks… sad.
“We were not metaphors. We were people. Our narrative was not intelligently designed. It simply followed the patterns of history, because those are the only patterns we *know.* We tried to create something new, but we failed. There is no narrative reward for our failure, no satisfactory ending. There is only the immutable past and the unknowable future.”
RHETORIC — There is no assurance of what is good or deserved or what may bring relief. There is no assurance of punishment, either. There is no assurance of anything. Not even of a future. I don’t know what to say to make this bearable.
VOLITION — Even so… As long as you live, *something* is promised. Can you live with that?
I can’t, I just can’t do this anymore…
I can. It’s enough.
I don’t know. I just don’t know.
I can at least try for a little longer…
VOLITION — That’s all I ask. That’s enough.
144 notes
·
View notes
ngl it really is almost impressive how easy it is to “not” be a villain in the eyes of edelstans.
“Edelgard says that she will sacrifice her own citizens for a “higher cause,” and then goes on to allow her own citizens to be harmed and killed for her own benefit, as well as innocent people in general (note: this is message is the result of failing to save Flayn... which Edelgard gave her strongest man to help do)”
edelstans: “okay but like, she knows that, and, like, acknowledges that - that makes it okay!”
“Edelgard explicitly says that she wants to get rid of the Children of the Goddess as a whole, who she finds to be creatures masquerading as humans, and she will celebrate their apparent elimination as the front liner of her S support.”
edelstans: “okay but like, Rhea is a meanie, so that makes it okay!”
“Edelgard will blatantly say that she wants to eliminate the Kingdom and Alliance along with the Church, and that she wants complete Imperial control over Fodlan.”
edelstans: “okay but like, Dimitri and Claude fight back against her though, and they don’t just stay exclusively on the defensive, so they’re just as bad! there’s no real good guy here, so that makes Edelgard okay!”
so all you have to do is
be aware that you’re committing atrocities against the innocent and undeserving
have a scapegoat to pass along all blame onto
have your victims strike back against your attempts at killing them
and viola! it’s just that easy! with this three step guide you may commit genocide and imperialism to your heart’s content, all while never being anything more than A Misunderstood Bad Boy Lonely Girl <3
99 notes
·
View notes