Tumgik
#THIS IS ALL SHE HAS TO REMEMBER THEM BY
chthonic-kids · 14 days
Text
Tumblr media
IT'S ON SIGHT CHRONOS
2K notes · View notes
watchingwisteria · 5 months
Text
listen there really was just something about how in the book, snow’s 3-page descent from hesitant lover boy to deluded psychopath happens entirely in his mind. lucy gray gives him no indication whatsoever that she suspects him, that she’s going to leave or betray him. he’s just sitting quietly in the cabin waiting for her to return when that seed of calculated suspicion, which he has needed to survive the capitol, takes a hold of him and chokes the life out of any goodness left inside him. it really drives home your terror as a reader that “oh my god did he kill her? did she escape? what happened to her? why would he even think that?” in a way that when the movie had to adjust for visualization it lost some of that holy shit this guy has lost it emphasis.
#seeing some discourse and im not saying lucy grey didnt know#im saying she never dropped the kind of hints that she knew like she did in the movie#or if she did snow isnt worried about them until he very suddenly is consumed by them#snow is not concerned about whether or not she believed him. of course she did! hes snow!#but then shes gone…. for a while……#and its the sudden immediate drastic unravelling that comes across so clearly in the book#that i knew wouldn’t translate to screen yet still cant help but miss#the hunger games#coriolanus snow#tbosas#lucy gray baird#not a crime or anything just a note that i cannot stop thinking about#the ballad of songbirds and snakes#this is all from memory of reading it quite a while ago. so maybe 3 pages is an exaggeration#but i remember it happening VERY quickly and without much external cause#like we as the reader have no indication as to whether shes nearby or not.#snow has no idea either. he just SUSPECTS. and his suspicion breeds the hatred that has been bubbling inside him all this time#he hates how she undoes him. he hates that he WOULD run away with her if shed let him keep his secrets#and he HATES more than anything that she makes him WANT to tell his secrets#he wants to be vulnerable and reveal the ugly nasty parts about himself and still be loved#but he does not let himself and it is everyone’s downfall#he chooses cruelty bc it is easy and familiar and makes him feel more powerful than the vulnerable give and take that real love requires
12K notes · View notes
ronanlynchbf · 8 months
Text
tshirt that says NO LIVE ORGANISM CAN CONTINUE FOR LONG TO EXIST SANELY UNDER CONDITIONS OF ABSOLUTE REALITY
16K notes · View notes
ritahayworrth · 2 months
Text
Tumblr media Tumblr media Tumblr media
Dexter, this is Ms. Imbrie and Mr. Connor from SPY magazine. SPY? Your tastes have changed a little, haven't they, Sam? HIGH SOCIETY (1956) dir. Charles Walters
482 notes · View notes
ineed-to-sleep · 3 months
Text
Tumblr media Tumblr media
So I've had this wip sitting in my folders for months now and decided to ressurect it to satiate the urge to draw these two again
400 notes · View notes
sonknuxadow · 8 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
youtube
collection
848 notes · View notes
bloomfish · 1 month
Text
It's so weird that in angel s5e2 they do a little flashback to Spike's blaze of glory moment in the last episode of Buffy... but they leave out Buffy saying "I love you". It's such a blatant omission, the ONLY omission from that scene, that it feels totally deliberate and kind of dishonest. Considering a lot of the Spike and Angel moments in S5 revolve around their jealousy and rivalry towards each other, and a LOT of that is to do with Buffy like... Why would you leave it out? It's a pretty big moment for Spike's character in general.
As far as I recall they don't even mention it, they just mention the fact that Spike and Buffy have had a lot of sex compared to bangel's ONE disastrous time (that they remember) but it does kind of cheapen it for Spike. A big motivation for him not leaving LA could have been him not wanting to hold Buffy to her words, since he clearly doesn't believe that she loves him (even though she does, as per Whedon). He presumably thinks she only said that to make him feel better in his final moments, because she wouldn't have to actually follow through on her words. Which is sad. But it makes much more sense as a motivation than the weird 'it cheapens my moment of glory' excuse like since when does spike give a shit about that
165 notes · View notes
Text
annabeth "my grand plan is that i will be remembered/and someday soon someone will notice me" chase
vs
percy "i swear i swear that im a good kid. all i need is one last chance to prove im good enough for someone" jackson
263 notes · View notes
ghouljams · 10 months
Text
Part 2 of Love stabbing Ghost! Soap to the rescue.
You're at a house, it's right in the middle of a place it probably shouldn't be. Arched door and gabled roof sandwiched between two very modern and tall looking buildings. Simon knocks on it twice and waits. There's a very loud noise from inside and then a lot more loud noise before the door is yanked open. There's a man, just about Simon's height, with a Mohawk and a smile leaning against the doorframe. He looks happy to see your boyfriend.
"Ghost," he glances down at the unattended stab wound in Simon's stomach, "I see you're doing well."
"You're hilarious," Simon says, pushing past him and into the home. You don't move. Something is... stopping you. The other man smiles at you, waiting. Simon turns to look for you over his shoulder and stops. "Soap," Simon warns, but it's something else too, questioning.
Soap cocks his head at you, you've never seen a man that looks like him before. Too human. Like everything human about him has been cranked up to 11. He's not blocking you from entering the house, but he hasn't invited you in either. It would be rude to-
"She can't cross the threshold," Soap grins, his smile so wide you think you could count all his teeth. You vibrate just on the edge of something, you can feel it like a second door preventing you from crossing into his home. He nods his head at you finally, "Alright, come in. Can't have you attracting attention."
The door opens and you slide past him. Simon grabs you quickly, tipping your head this way and that to study you. He looks so concerned that you don't put up a fight. Soap ignores both of you, walking past to rummage around in his kitchen. You look around as Simon looks at you. It's a cute place, comfortable, you'd almost call it cozy. 
"How many tethers you got in her?" Soap calls, setting a white medical kit on the coffee table.
"Enough," Simon tells him, finally releasing your face. You wish he'd at least kiss you if he was going to hold onto you for so long. You must pout because he leans down to do just that, soft and sweet as he presses his lips to yours.
"Yer aff yer heid," Soap pats the couch and Simon releases you again. He strips his shirt off and sits where Soap directed with a grunt. Soap pokes at the skin around the wound and you lean over the back of the couch to want. “How’d you do this, lass?”
“Knife.” You tell him plainly. Soap snorts, Simon sighs, shooting you a warning look. “He asked me to, said ‘I want you to stab me’. So I stabbed him.” Soap gives Simon a look of concern.
“Mate your kinks are really gettin’ out of hand.”
“Didn’t think she’d do it.” Simon replies gruffly, you see him wince when Soap presses too hard too close to the edge of the wound, “Was trying to teach her about us.”
“You barely know about us.” Soap hums, grabbing a needle and thread from the med kit. You settle a hand on Simon’s shoulder as Soap starts stitching him up, squeezing to try and take some of his attention from the pain. You’re starting to get phantom pains just watching him, you can’t imagine how Simon’s so stoic about it.
“What’s your name lass?” Soap asks, and you frown.
“How’s that any of your business?” You reply, trying to memorize the way he twists sutures and snips the thread. Next time you stab Simon you should at least know how to stitch him up. Simon gives a small purr, aborted immediately when Soap pulls the last stitch tight.
“Christ you are a fucking mess, you know that?” Soap’s not talking to you, he’s talking to Simon. Looking him over, plucking at invisible threads with a frown. “How’d you-” He pulls on something and you smack his hand without thinking. Soap looks at you like you’ve grown a second head. He stands from the couch and stares the two of you down. “Simon Riley,” He says with purpose.
Simon doesn’t move, just raises a brow. Soap makes a ‘come on’ gesture and groans.
“You are fuckin’ jokin’.” He presses his hands to his face before dropping them and pointing at Simon. You’re starting to like this guy. Or maybe that’s Simon’s pleased hum through the tethers. “You-” He groans again, “I can’t believe you. Best mates for years and you don’t even- Price is going to kill you.”
“What’s happening?” You whisper ask Simon. Soap turns his annoyance on you.
“What’s happening, is you own this bastard and he didn’t even send out a wedding invite.”
“I didn’t think she’d give me her name,” Simon starts. Soap holds up a hand to cut him off.
“You are on probation, I’m not listening to you anymore, don’t talk to me.” You bite down a smile, you definitely like this guy.
474 notes · View notes
inkskinned · 2 years
Text
it's the levels of scrutiny too.
a movie that has a largely-female cast has to be well-written, well-shot, well-acted, well-advertised. people will spend 2 hours on youtube talking about a single plot hole; about a moment of bad pacing, about a singular background character's poor scripting. if there isn't something obvious, they will say - well there's nothing specifically bad, but it wasn't specifically good either.
they will turn out another all-male movie, and it's just a movie.
a book that has queer representation in it has to defy every convention of writing while also being true to traditional plot, structure, format, and pacing. it must have no boring chapters, no missteps, no awkward dialogue. it must be able to "prove" that any queer relationship "makes sense", their sparks must fly off the page and their love must be eternal. the writing must be clear and beautiful, the storyline original and fresh, the values traditional but with an undercurrent that is modern and saucy.
they will turn out another book without queer rep, where a man and woman just-fall-in-love, and it's just a book.
i am latinx. i am queer. i am nb & neurodivergent. my father said to me once: you will need to be exceptional to be just-as-good, and you will need to be beyond exceptional before they see you as just-a-person, and not your labels.
i am not beyond exceptional. i am a human person. i am skilled because i worked my ass off to be skilled.
i am currently reading a book that's so-bad-it's-good about a girl that falls in love with a vampire. i was 64% of the way through the book before she figures out tall-dark-fanged is not natural. i like books like these, i like letting myself relax while i just enjoy the read. but i do spend a lot of time wondering - would this have been published if it was about queer people? would this have gotten past the editors if the characters weren't white and sexy?
i want to write a movie about being a woman in a male space, and i want to start that movie with a 10 minute scene where the woman is lectured with the exact same whining that occurs in the youtube comments of even the trailers for those movies: "haven't we had enough diversity?" "we've had enough girl power movies" "sorry, this is just pandering. it's boring."
here's what's fucked up: it shouldn't matter, you're right. my identity shouldn't fold after my name like a battalion of stars: a cry of what i've gone through. what we all know i had to move past and through. i should just be a writer, plain and simple, without my work being shifted through with tweezers - i know everything i make, always, i am incredibly responsible for. beholden to. i don't like knowing that if i fuck up, i am also fucking up for every person like me. every person in a community i belong to.
once, back in undergrad, i wrote a short story about a girl who had been kicked by a horse. it was my first time writing about my experience with my ocd; i felt proud of it. the story was mostly about grief and slow recovery. the queerness of the main character was not important to the plot, my main character was just-queer. there wasn't even a romantic interest in it.
i remember one of my classmates being disappointed. "i just feel like you always write about girls who like girls, and i'm bored of it," he said. "you're a beautiful writer, but i'm like - oh, at some point, it's gonna be gay again." during the workshop, he folded his hands over my story and said, "and okay, i'm just going to say it. she's ocd, she's gay, she's depressed - it's a little much for me to believe is all happening to one person."
it is a little much to be that person (and more besides). i have therapy weekly, after all.
over and over, belonging to exception.
3K notes · View notes
wavesoutbeingtossed · 2 months
Text
Randomly thinking about “tolerate it” (narrator voice: it was not random) and how under the cloak of fiction it is ostensibly inspired by works like “Rebecca” (which Taylor said she read during the 2020 lockdowns I believe?), with the line of “you’re so much older and wiser” indicating that the speaker is significantly younger and inexperienced compared to the person she’s speaking to and a pretty direct reference to the plot of the book.
But I saw something somewhere once that stuck with me about how it might not be referring to relative age between the characters but chronological age as in the passage of time in a relationship. And that made me think about how in a contemporary context, it might not necessarily be referencing an actual age gap between the two characters, but rather a sarcastic or cynical response to the man’s claims that he has matured (“you’re so much older and wiser [than you were before/than you were when we met/etc.]”), which then made me think about that line in relation to the woman. And that it could be taken like, “you act like you’ve matured so much in our time together and like you know everything, while I’m supposedly still stuck as the girl I was when we first met.”
Which then made me think of the “right where you left me” of it all and did you ever hear about the girl who got frozen time went on for everyone else she won’t know it and the bit in Miss Americana where she talks about how celebrities get frozen at the age at which they got famous, and how she’s had to play catch up in a lot of ways not just in her emotional growth but kind of in general. (Which also made me wonder if she’s ever been called out for immaturity/lack of curiosity/lack of education about things in her life…)
Which then made me think about the rest of the song, and @taylortruther’s posts yesterday about “seven” and “Daylight” and the way Taylor idealizes her youth yet contrasts it with an almost sinister reality in its wake, and the line, “I sit by the door like I’m just a kid,” because the discussion raised that her relationship let her recapture some of the childlike joy and wonder she’d lost. So this line is a double-edged sword: the speaker sits by the door with childlike hope that the person will come home and cherish her, but on the darker side, feels like the child dealing with the monsters she doesn’t have names for yet and the feelings of isolation she felt as she aged.
I’m not saying the song is necessarily autobiographical; like most of the songs on folkmore, it’s clearly a fictionalized story based on media she’d consumed and created, but we know a lot of the fictional songs were infused with her own feelings and experiences and… This idea swirling in my head picked up steam and now I kind of can’t stop thinking about it. Sorry but I’m a little obsessed now.
Like maybe it might start to shed light on why she identified so strongly with the novel in the first place…
109 notes · View notes
mortiscausa · 1 month
Text
i can't stop thinking how funny it would be if gareth's brothers did in fact recognise him and were just like 'well clearly he has his reasons so let's all be good big bros and pretend we don't know him' and then spend the next few weeks before he goes off on his quest pretending extremely badly that they have never ever met this kitchen boy before nope not at all even while other knights are looking at them and looking at gareth and going 'hmmm'
120 notes · View notes
bonefall · 2 months
Note
.. opinions on wind runner? i feel like im one of the only ones that genuinely hates her sometimes
If you feel like the only one who genuinely hates her, I think you need to look around more. Wind Runner is a very widely disliked character, because she's often used within the story as a small antagonist who "threatens" the authority of Tall Shadow. Gray Wing dislikes her. Thunder is openly cat-racist to her. She spends several books trying to break through the moor cats' xenophobia to join a group that came to HER LAND.
Then, when Moth Flight is old enough to be a relevant character in Forest Divided, Wind Runner is turned into Yet Another mean mom the very moment Moth displays ADHD. She's contrasted to her mate Gorse Fur, who is a Soft And Good Dad, and ultimately MASSIVELY punished with the harrowing events of Moth Flight's Vision (even though, for most of that book, she's completely right.)
Ask yourself why they're especially harsh on WIND RUNNER for being mean to her child, in the arc with Tom the Fucking Wifebeater and his redemption death, plus Thunder being forced to stop being mad at his abuser Clear Sky, please.
To me, Wind Runner is an intense, ambitious woman who's demonized for it in a way that men just aren't. She's subject to several misogynistic trends within WC, plus a huge helping of xenophobia that goes absolutely unexamined. If DOTC cared at all about women, it would have treated her with the nuance she deserves.
Wind Runner is treated with nearly endless suspicion by Gray Wing through books 1 - 3, while he's bending over backwards to suck Clear Sky's toes.
Her wanting to join the group that came TO HER HOME and being a bit pushy about it earns a stronger reaction from Gray Wing than Clear Sky murdering people.
She's pressured into changing her name "to fit in," and it's still not enough. She wanted to join the group so bad she changed her name, at the request of the Mountain Cats, for a chance of being better accepted
This came after she'd already saved Jagged Peak's life when a burrow collapsed on him. She's plenty trustworthy.
She keeps doing shit to try and prove herself to this group of assholes. Remember Bumble being dragged back to her domestic abuser? Gray Wing interprets this as a power struggle, when WIND RUNNER WAS NOT EVEN PART OF THE GROUP AT THE TIME.
From Wind Runner's POV, she did something that the Moor cats wanted done. It was fucking evil. It was committing violence against another member of the out-group the cats see her as.
But who actually has the power here? Tall Shadow does.
Gray Wing said it himself that she could have come up with some excuse for Bumble to stay, and she didn't. In fact, any cat could have spoken up. No one did.
and still. STILL. Wind Runner gets nothing. Her reward is Gray Wing surmising that actually, her doing their sick dirtywork was a political move.
It's more consistent as a motivation with how Wind Runner wants to join their group. The thing she's been doing.
She only actually gets to join the group after Thunder starts publicly hurling slurs at her for suggesting they need to be ready for Clear Sky to attack them. "What do you know about peace? Last time I was here you were NOTHING BUT A ROGUE WITH A ROGUE'S NAME"
Gray Wing even starts purring when she gives birth, because her ambition goes away briefly and she "stops bossing everyone around." this is treated like a sweet thing. god forbid women retain their personalities when they have kids
She loses her first premature child to a seizure and Gray Wing starts proselytizing his religion to her. "Maybe it's a good thing your weakest child died because Jesus has them now" I want to beat him with a hammer
When her second child gets sick, Clear Sky has a bright idea that involves killing it. I refer to this as his "reverse leper colony" suggestion. He only develops a sense of humanity towards the sick when his brother's pregnant wife is in danger. Wind Runner and her kitten barely seem to clock as people to him.
It's only after her SECOND baby succumbs to a horrible, painful death that she decides the moor cats are assholes, and she goes to start her own group. It's LONG overdue. I was extremely excited to see it.
Now. Listen.
I've been treated just like Moth Flight before. I've practically heard the scolding in Book 6 Chapter 3 verbatim. I'm not downplaying anything about Wind Runner being harsh to her; being yelled at like that never fixed the problem.
What I'm saying is that this is the SAME arc that summons the hollowed-out ghost of Storm to coo that Clear Sky "never drove anyone away" with his abusive behavior and gives Tom the Wifebeater a heroic redemption death.
So why is the scolding from Wind Runner treated as unambiguously harsh? What's the difference between her and them?
Why is it that outside of this little bubble of the community, you can get buried in a flood of people crying about how "Clear Sky made Summisteaks Butt he thought it was the right thing :((( He feels bad about shoving Thunder's face in a weeping, pus-filled wound and trying to kill him :((((" but Wind Runner is mean about Moth Flight not catching a rabbit and she should be skinned alive
Why is WIND RUNNER held responsible for the death of Clear Sky's child in Moth Flight's Vision, WHEN IT WAS COMPLETELY HIS OWN FAULT??
So, why should I hate her? Because she's mean to the idiot protagonists? Because she's Yet Another Bad Mom whose actions ARE treated as Bad in the story, in the arc famous for openly weeping whenever someone's mad at their abusive dad?? When she has this whole horrific, unexamined story about how incredibly bigoted The Settlers are towards her and the extremes she goes to in order to please them?
I'm glad she's mean, actually. She should have been even meaner. I think she should have a gun
144 notes · View notes
quietwingsinthesky · 3 months
Text
of ten’s companions, if the doctor couldn’t handle losing them and crossed his own timeline to trick them into traveling with future!him instead of past!him so that he’d have a little more time with them:
rose would do it. first because bless her but she has the situational awareness of a rock, and legitimately would not realize this isn’t her doctor until his facade starts to break down and he starts bleeding grief-laced love for her at every turn. but once she does realize it, she’s both deeply sympathetic and a little scared that she could make him into this. it’s a lot to be confronted with having that much power over someone, to break them so thoroughly. rose would try to get back to her doctor, but while she’s with the future version, she tries to do what she can to ease his pain. (she also tries to figure out a way to subvert her fate. she fails.)
i think martha would be harder to trick. she can smell desperation on the doctor like a bloodhound. she is so tapped into the fact that this man wants to off himself so bad and that she’s 90% of his self-restraint, so present her with a doctor who is lacking that and she’s onto him immediately. however, assuming he gets her to come with him, explains why he’s doing this, there’s like. a minute where she’s kind of. not flattered exactly, but surprised, giddy with the realization that he’d come back for a little more time with her, especially if this is early season 3 martha. which would all come crashing down around the time that he reveals that he wasn’t pushed to this by losing her to some tragedy or her death or anything- but that she chose to leave. that is the point at which martha goes ‘oh i need to get the fuck off of this tardis right now’ and ghosts the past!doctor that she was also traveling with because holy shit, man.
donna, like rose, is easily bamboozled into following the wrong doctor home, provided that he shuffles her along into his tardis too fast for her to argue. but she catches on far quicker than rose does. like, three minutes tops of watching the doctor move through the tardis in a way that’s definitely not enthusiastic piloting and looks more like guilty panic. and then she yells at him for lying to her. and she yells at him for kidnapping her. and then she stops yelling because he’s gone sort of still and quiet and his eyes are just broken. and he doesn’t explain himself, he confesses. donna is going to try to stay with him after this btw. because how do you go back to looking your best friend in the eyes when you know he’d take everything you’ve become away from you, even to save your life? and this is still the doctor, he still did that to her, but he regrets it. regrets it so much that he can’t live with it, he’s breaking time and space just to hear her say his name again. and donna doesn’t want to lose him anymore than he wanted to lose her.
#i am so enthralled by this concept you have no idea#also like. i mentioned in rose’s section how this is a genuinely scary situation for her.#but to be clear. it is for all three of them the moment they realize that this Is Not Their Doctor#because theyre suddenly on a ship going through time ans space with. almost a stranger. and one who has proven that he’s break laws#fundamental to his worldview rather than let them go#doctor who#rose tyler#martha jones#martha girl get the fuck out of there oh my god#the doctor comes out looking the worst in her section rip to him for not handling her leaving him in a normal and healthy way very well#i think it would be very funny if the doctor said goodbye to her and then immediately went. ‘oh! right! martha is the only thing keeping me#from jumping off a cliff! brb i need to get martha back at whatever cost!’ sir go to therapy#donna noble#also also to be clear im not trying to insult rose in her section thats just how she is#remember that time her boyfriend turned into plastic in front of her and she. didnt notice. or that time the doctor was being strangled in#the other room and she. didnt notice.#rose tyler girl that you are. you never know what the fuck is going on around you and i love you for that. how are you still alive.#REMEMBER THAT TIME SHE GOT BACK FROM AN ALTERNATE DIMENSION AND DIDNT EVEN NOTICE THE DALEK ABOUT TO SHOOT THE DOCTOR IN THE FACE#ROSE TYLER. GIRL. LOOK LEFT AND RIGHT BEFORE CROSSING A STREET AT LEAST#donna’s here is the most fucked up i think because even if this situation is ‘resolved’ and she goes back to her doctor like. how does she#keep going with that fact in the back of her mind at all times. that he can and will do this to her. that he’ll take himself and everything#else away from her while she begs him not to.#angst <3
113 notes · View notes
puppyeared · 4 months
Text
i feel like. theres designing a character with certain themes and motifs in mind, and then theres making a gijinka for the water bottle on my nightstand
#me when im the only person on the bus wearing a mask: i should make a furry plaguesona#its hard to explain bc. most of the time i try NOT to give my characters a 'strong' theme like making their whole design around#one thing like apples or even broad stuff like baking or cottagecore.. idk if its partly for flexibility or because i cant imagine them#making it their whole personality. not bc i find it cringe or overblown but more like ive learned to associate design with character depth#i had a cutesy uwu persona for most of highschool because i thought it would make me more. likeable? easy to remember? since#memorable character designs are easy to recognize. and one way of doing that is simplifying it with a theme or symbol so you form an#association. but since im a real person its exhausting keeping up that appearance all the time and denying myself things when they dont#fit my 'aesthetic' or 'theme.' i think ive grown past that bc i just collect stuff because i think it looks cool and dont let myself dwell#on how it might 'fit' with my image. but i cant help feeling bad doing it to my own characters bc it feels like im making them too one#dimensional. despite knowing that theyre not real and design alone doesnt reflect depth i cant help feeling like its wrong#despite that i love seeing motifs because it feels like it reflects the characters soul and paradoxically gives them depth. it makes them#interesting to look at too and honestly its pretty fun combining things that fall under a similar category when designing#i struggle find a balance between those two things#actually this reminds me of noelles christmas theme.. i dont remember her saying anything abt liking christmas despite a lot of#her design and character tying back to it. it makes me wonder if she would have feelings about that or doesnt think abt it too hard#or if its like a matching family shirts situation and shes just going along with it??#maybe i should just do whatever i want with my character designs since theyre not real and im thinking abt it too hard#although. this probably has something to do with deep seated identity issues huh#yapping#oc talk#oc
101 notes · View notes
3lostyears · 3 months
Text
i know we talk a lot about how close the doctor was to giving in after the satan pit but i’ve also seen people say it’s good that the doctor never had to see rose age and like. not only does that fundamentally mischaracterise the doctor’s actual reaction to sarah jane in school reunion and the tenth doctor’s own actual desires, it also seems to misunderstand what giving in actually entails.
because for him giving in means accepting that rose is going to die and deciding to let them be together anyway. that is what he is actually mourning post-doomsday, the fact that she is essentially dead and he didn’t get to spend enough time with her or love her as fully as he wanted to.
you cannot tell me that he wasn’t going to let rose travel with him post-journey’s end if there hadn’t been the metacrisis doctor, or that he was just going drop her off when she was fifty because oh no she has wrinkles now. that little giggle he does when she says “so i could come back” is the sound of an alien’s mind being overwhelmed with images of decades of hand-holding and he knows losing all of that is going to shatter him. but he’s also been without rose now and he knows which pain he’d prefer.
and rose could die at 100 and he could be about to regenerate from old age and he would still be back on the powell estate on january 1, 2005, ready to say goodbye even as part of him starts all over again.
79 notes · View notes