you see price sitting like this when you walk into a room post mission- and you know exactly what it is he needs.
he's licking at you and holding your thighs open with his rough palms- and you can't take it. his calluses and his beard and the fabric of his sleeves are rubbing at your legs just right- but not enough for you to lose focus on his hot tongue rubbing on you and in you and you've never been wetter in your LIFE.
his only problem? you're still moving too much. he can't reach where he wants to inside of you because you keep wiggling out of his way. his hands want to touch you everywhere- not just hold your thighs still. this is when he begins to squeeze at you everywhere, and tell you to rest your thighs on his shoulders.
"b-but price- hhnngh ohmygod- i c-can't. they're too big. thighs are too big"
you whine at the loss of contact, but then you look down and see him staring at you with massive pupils and a wet face. "lovie- my shoulders are broad for a reason. rest your thighs on em and i swear they'll have enough room"
and you listen, and you're crushing his ears with your thighs, and he's never been happier. the next time you look down? he's rutting into the mattress and you see his hips stutter when he groans into you and your vision goes white
(@chamomiletealeaf and i had SUCH A HORNY discussion about this and she told me to post it so here i am- and also omg photo creds to her. we've gotta reign it in lmfao)
1K notes
·
View notes
yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.
to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!
i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.
also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.
they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.
they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.
i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.
148 notes
·
View notes
good evening, all. it is May the 25th. our lilacs are blooming, just as the ones at the Watch House did. and I am thinking about remembrance of the fallen, and GNU, and the love in commemoration.
y'know, I read Night Watch… oh, maybe a year ago and some months ago. and the lilac symbolism, the remembrance of the Watch, has always struck me with the depth of the emotion of it, the tangibility of it in the flowers. but I wasn't aware that today was the day until I saw commemorative posts, all that gorgeous artwork and more, on my dash.
I was also not aware, until now, that fans commemorated the day not only because of the book reference, but in support of Terry Pratchett and of those with Alzheimer's. which knocked me over a bit because of course, of course the group that would use GNU to honor him would do that. and… I've been thinking about GNU a lot, lately, and this caught me again.
I read Going Postal a bit ago, and reread it recently. both times, the parts about GNU made me tear up. this idea of the names, the memories, the lives of the clacks workers who dedicated themselves to ensuring that people heard each other's voices—all those names spoken again and again and again by that which they poured their souls into, winging along in the air as they could not, an eternal reminder that they were loved—how could that not touch a person's heart?
when I found out that fans online used it to memorialize him, I damn well cried. hell, I still tear up just thinking about it. do you know, there's a code for an HTTP header "X-Clacks-Overhead: GNU Terry Pratchett" written by Reddit users to put in webpages, where it goes unseen by the average user? and in 2015, when Netcraft took a survey, there were eighty-four thousand websites using it? it's eight years later—how many thousands upon thousands of websites have this now, do you think? how many little cables of light has his name flown along, now? how many times?
that alone is absurdly and unimaginably lovely in its own right, but… there's something else to it. there's something about remembering with the lilac sprigs every year, just as Vimes and those who were there remembered their dead. something about how, when we take up our lilac sprigs, we carry a little piece of the characters in our hearts, too. I kept trying to put my finger on why that makes me tear up the way it does. the conclusion I came to is this:
what greater way to honor a writer is there, but to honor them the way they did the characters they poured their heart and soul into? what better way to say we know you and you are not forgotten and your work and words and gifts to the world are held in our hearts forever than to remember them by their own words, their own vision? how else could we say you embodied all the good you believed in and wished to see in the world, but to memorialize them after the little pieces of their soul they wrapped in ink and put upon the page?
it is a knowing of the writer, to remember them in their way. it is not a worn-out faceless platitude, but a reminder that their work has been read and will continue to be, that the characters and world they loved enough to bring to life last just as their name does. such remembrance is warm and loving and delights in their memory even as it grieves.
and now Pratchett's name has been written in his tradition, over and over and over, across the vast plane of the Internet, where it will—with any luck—continue to fly for generations to come.
there is no way to truly express the beauty of that… but perhaps we can catch a glimpse of it in the lilacs, both ours and the Watch's.
145 notes
·
View notes
Finding "the meaning" to a show that could have had up to five or seven seasons but was cancelled after the second is somewhat like trying to understand a novel composed of seventy chapters by having read only twenty — there is a whole wealth of information which we do not possess that could alter our reading of any given element or of the entire thing in itself.
Still, there are always patterns that weave a story into a cohesive unit and they can help us to better grope in darkness towards comprehension. One such pattern in Warrior Nun appears to be how the consequences to mistakes, "sins" or evil deeds committed by characters manifest.
Basic storytelling usually requires characters to act on something so that complications or resolutions may arise from their choices and move the plot forwards. In Warrior Nun, many of these actions are quite tragic in nature: Suzanne's arrogance and pride lead to the death of her Mother Superion; Vincent's allegiance to the higher power he believed Adriel to be inspired him to kill Shannon; Ava's flight from the Cat's Cradle ends up damning Lilith as she is mortally wounded and taken away by a tarask... All of these events have negative outcomes and heavy repercussions on all characters directly or indirectly involved. Something changes permanently because of them, be it in the world around them or within the characters themselves.
And yet, it would seem that all of these dark deeds not only move the story forwards but might also have overall positive results. We would have had no protagonist without Ava — and she would arguably never have received the halo to begin with had she not been murdered. What's more, on a personal scale, the horrifying crime she suffers is, in the end, the very thing that allows her a second chance in life, a new life.
An act of outside evil permits Ava to grow and develop, shows her a path she would not otherwise have found. Without her own season in some sort of hell, Lilith would not have been able to advance towards other ways of being and understanding beyond her very strict limitations. Vincent and Suzanne would not have embarked on their own journeys of enlightenment without having caused the pain they are responsible for.
Beatrice might have been paying for someone else's mistakes, but she, too, is given the chance to grow into herself through it. The afflictions that torment these characters advance the overall plot, but they also advance them, as individuals, as long as they are willing to learn and keep going despite the calamities large and small that they are faced with. Beatrice keeps going after parental rejection, Mary keeps going after losing Shannon, Jillian keeps going after losing her son (in part through her own actions, adding insult to injury)... Trouble and the adaptation that follows it, if one is open enough to learn from the experience, motivates the characters, propels them forward, teaches them.
The problem of evil has occupied the minds of many a thinker throughout the ages, given how the very existence of it, evil, might call into question that of God (a good, omniscient, omnipotent one, anyway). A common way of justifying suffering (and also God), then, is by claiming, as Saint Augustine, that "God judged it better to bring good out of evil than not to permit any evil to exist".
Now, it would be rather ridiculous to say of Warrior Nun that it follows in Leibniz's footsteps, also because this philosopher, expanding on the augustinian concept, attempted to defend the goodness of a real God with his "best of all possible worlds" while all we have is... Well, whatever/whoever Reya is.
But there seems to be an inclination towards some sort of optimism as a worldview nonetheless.
Betrayals reveal truth and grant knowledge (Vincent's culminates with the coming of Adriel, which allows us to know of the threat of a "Holy War" and thus prepare for it; Kristian's gives Jillian much needed insight, William's lights up the fuse for the fight to be taken more seriously...), crimes committed willingly or not open the way for Ava (Suzanne's killing of her Mother Superion causes the loss of the halo, which is transferred to Shannon, whose death opens the gates for Ava to walk through after being herself murdered by sister Frances)... The magnitude of these positive outcomes is perhaps not "balanced" when compared to the evil that brings them about, but there is still something to take out of the catastrophe.
However tragic the tones of a given event, the show itself appears to shun the predetermination that makes tragedy as a genre; if everything is connected, here it at least appears to not necessarily drag everyone into their horrible dooms.
What's more is that this lurking "optimism" matches really well with our own protagonist's personality.
And it makes perfect sense that Ava would do the best she could with whatever she is given.
Life for her, in the conditions she experienced after the accident, would have been unbearable without some sort of positive outlook on life. However deadpan, the joking and the "obscene gestures" and whatever other forms of goofing around beside Diego are a way of turning a portion of the situation in her own favour. Proverbial eggs have, after all, already been broken right and left — might as well make an omelette of whatever remains.
Humour is just another way of looking at the bright side of something, or, at the every least, of mitigating the utter horror it might bring. If the show allows for moments of lightness, if it lets us laugh, if it takes us through a perilous voyage which still bears ripe, succulent fruit instead of the rot of pessimism and its necessary contempt for humanity, it is because Ava herself sees things in this way. It isn't gratuitous or naïve in this case, but a true survival strategy, especially as it is confronted with the morbidity of Catholicism.
Here is a religion that soothes its faithful with the promise of reward in the afterlife — how else does one charge into battle against the unknown, risking one's own death along with that of one's sisters, without the balm of believing that we shall all meet again eventually, "in this life or the next"? How else does one come to terms with the ugliness and the pain of this existence if not by looking forward to a paradise perfect enough to make all trials and tribulations here worth it?
True nihilism would have annihilated Ava. Her present perspective is what avoided the abyss.
And there is nothing Panglossian to her attitude or what the show might imply by giving us her view on things. This isn't about "the best of all possible worlds", but of making the best of whatever situation we're in, of taking what we have and doing something with it, something good, something of ourselves. It isn't God making good out of evil, but our choices.
Killing innocent people and feeling no remorse will never be the best someone can aspire to do. Sister Frances, cardinal William, Adriel all learn this the hard way.
Those who do their best find that, somehow, they can move on from whatever it was that paralysed them. Ava, most of all, knows what it is to be stuck, frozen in place; she can never be the character who refuses to grow, even through pain, lest she condemns her spirit to the same fate her body is all too familiarised with. Those around her wise enough to let themselves be touched by her, by the dynamic power she carries, walk forth with her and live.
It says very little about "God" that Warrior Nun should adopt its heroine's views and seem "optimistic" as it progresses — but it speaks volumes about the values it presents for pondering, of the inspiration its protagonists provide, and of the multiple reasons why this is a story unlike most others.
121 notes
·
View notes
college au nonsense pt. 1
“You think he’s got a girlfriend he hasn’t told us about?” Kelly shifts in her chair, her attention riveted on her brother, who’d been waylaid between the register and the table by a dark-haired woman Kelly didn’t recognize. The ambient symphony of scraping chairs and echoey conversations drowns out whatever words are passing between them, but their body language is speaking volumes all on its own.
Her other brother shrugs. “Wouldn’t be the first time.”
Linda snorts. “We only found out about what’s-his-name a week after they hooked up.”
Kelly smirks across the table. “You know he’s still got that guy’s number in his phone? I saw it the other day.”
“God.”
Over Linda’s shoulder, Kelly can see her brother’s conversation coming to a close. The woman smiles and places a hand on his forearm. The touch lingers for a few seconds before she takes a step back and, with a parting wave, begins to head in the opposite direction.
Moments later, Fred joins them.
“Who was that?” Kelly tips her head toward the mystery woman’s retreating back.
Fred offers a one-shouldered shrug, focusing more on his lunch than anyone at the table. “A friend. We have a class together, she was reminding me what pages we need to read for the lecture tomorrow.”
“Oh, that’s nice…” Fred still hadn’t looked up from his sandwich. Kelly pounces. “...and she had to touch your arm to do that?”
“She’s cute,” John cuts in. “You should ask her out.”
“Subtlety of a brick, thanks,” Kelly gripes, shooting a sideways glare in her brother's direction.
For the first time since he'd sat down, and with his face a few shades pinker than usual, Fred looks up at his siblings. He seems to be on the verge of defending himself, but is quickly interrupted by the approach of another dark-haired woman. This one, Kelly did recognize.
She gives the group a bright smile and slides a piece of paper across the table to John. “Here’s that cheat sheet I promised. Just don’t mention me if they catch you with it during the test.” She winks and hefts her bookbag higher on her shoulder. “I’d stay and chat but I’m on my way to class. Talk later!”
Fred waits until the sound of her footsteps fades into the rest of the noise, then nails his brother with a semi-hostile stare. “And when are you gonna ask her out, huh?”
John mirrors the expression.
Fred cocks an eyebrow. “Hey, turnabout is fair play. Don’t get on the field if you’re not ready for the game.”
“Touché,” John eventually concedes, sitting back with a huff. “...shithead.”
13 notes
·
View notes