#like dear god this fandom really hates women sometimes

[twelvemonkeyswere]

I re-read Good Omens via audiobook and I just collected my favorite details

"Crowley rather liked people" is a quote I still love so much. Even though he is a demon with the job of making people upset each other, he likes humans. The contrast between what they make him do and how he experiences Earth.

That scene with the ducks where Crowley almost drowns a duck and Aziraphale is like "I say, my dear" and Crowley is like "Oh yes I forgot myself" and allows the duck to return to the surface. Crowley is usually very polite about the most unhinged things which I just find endearing

All the times Aziraphale calls Crowley "dear boy"

The fact Aziraphale has "exquisitely manicured" hands lmao. I like to think he does go to the manicurist, same as he has a proper barber in the show

Aziraphale blushes sometimes and often gives mean looks to customers to push them out of shop

I like the on-going theme in the Good Omens universe of wanting to build a better world for loved ones, but how that drive, when taken to an extreme, is self destructive. Adam says he'll make the earth good for the Them, and will make sure the Them will be protected and happy in it. But the Them don't want it, they understand Adam is acting out and is not thinking things through. There is no point in trying to possess something and bend it to will forcefully. It wouldn't be good. It wouldn't be of free will. It would make them just another of his whims and no one, either the Them or Adam, actually want that

Aziraphale thinks Crowley is a creature of God when you "get right down to it", which is a thought both meaner and kinder than he realizes

Crowley is described to have "a voice so laid-back you could lay a carpet on it"and it's my most favorite thing ever lmaooo

"You're seducing women here!" /"I think perhaps you got the wrong shop" is always a brilliant line

Even though everything in the Bently turns into Queen's Greatest Hits, I love that Crowley actually loves music, and keeps his collection of records highly organized

Also love the fact that Crowley keeps his apartment orderly, though that's probably in big part because he doesn't really live there

I do appreciate that Crowley sleeps because he wants to, not because he needs to. Truly a relatable guy.

There's a big HOLY SHIT moment in the audiobook - the speech the American evangelist gives about the apocalypse. It's fucking incredible. The actor is amazing, delivering fire and brimstone and absolute hatred and certainty until Aziraphale pops inside of him.

Death really is Azrael, literally the angel of death

Aziraphale comes up with the solution at the end but ONLY because of Crowley, who challenged Aziraphale about the difference between the great plan and ineffable plan at the very beginning of the book

There are many moments where both Crowley and Aziraphale are thought to be a gay couple, but it really made me laugh that they are at the end of the world, telling each other it's been a pleasure to know each other all this time, and then Shadwell interrupts to call them "Nancy Boys"

Everyone in the Good Omens fandom is right, I do love that in the book, the wings of demons and angels are the same color

Crowley thinks the biggest battle will be heaven and hell vs humanity. This has got me thinking a lot. I figure this is because at some point humanity will rebel against any divine intervention, once we figure out that heaven and hell have been playing dice with us. But we'll see.

It does warm my heart that the story begins and ends with a garden and with the eating of the apple - Adam doesn't know why the old man hates people touching his apples so much, but the world would be a lot less interesting if he didn't. It's a fitting end for a fitting beginning.

#good omens #wendy reads #aziraphale #anthony j crowley #good omens 2

[sgiandubh]

Hello how are you? I follow several shippers' blogs and I noticed that every now and then some bloggers publish hateful messages they received. My question is about mental health: how do you deal with it? I understand that your presence here is relatively recent, but have you ever regretted something?

Dear Mental Health Anon,

This is the kind of submissions I welcome with all my heart, because they are benevolent and witty. Forgive me already for what I suspect will be a long answer. It is not the pleasure of hearing me talk that prompts them, but the sincere intention to answer deserving asks as clearly, fully and honestly as I can.

The short answer is : I am fine, Fall is slowly coming and nights are starting to be really chilly. There's some light rain tapping on the roof of my flat and I will spend my week-end wandering around some of my favorite places on Earth. And now, onwards to the consistent and interesting ask of yours...

The worst trolling message I have ever seen in this fandom is the one I am immediately going to post below, because I think it should serve us all as warning and reminder. It was posted on a blog I have been reading from the beginning of my long lurking days on Tumblr: @cb4tb is one of the most balanced and articulate people in this corner of the Internet. I remember being shocked by its cold and very coherent violence. The feat of a casebook sociopath, who thinks her asks in Spanish (I am 200% certain about it) and who has an appalling command of English grammar. Written on Christmas' Eve and on purpose:

Compared to the alarming slander @cb4tb got (whatever for is a mystery, she is non conflictual and posts very witty business insights) on a day that should be completely taboo for every civilized human being (you don't need to believe in God to respect one of Christianity's most important celebrations), whatever hate I could get in here is definitely subpar. Most of it did not make it on my page and went straight to the bin. But it's not always easy: I am as human as you, Anon, and sometimes I feel personally insulted and revolted by the smugness and pettiness of it all. However, I must immediately add their hate never made me give up an inch of my convictions. They are the result of a long interval of watching and pondering, coupled with my own observations I gladly share with like-minded women all around the world. That often hits a nerve or bruises overinflated egos on the Other Side. So be it: I am not here to be meek and obedient, if I never was meek and obedient in real life. I am here to bring clarity and build trust, which incidentally resonates very closely to what I do for a living. That probably rates me as a moderate on the shipper spectrum, in the sense that by complete design I put aside some divisive topics I firmly chose not to discuss. I am not interested to bring attention on me, in here, and the least thing I'd like is to be a vector of discord. So that would also rate me as a peacemaker of sorts - and yes, that sounds perhaps pretentious, but I believe it is needed, especially now.

I only felt a clear intention to threaten me twice, both in DM. The first time it curiously came from one extreme fringe of the shipper community and I brushed it off, because it was an empty, almost ridiculous threat. I politely denied and that was it - two persons blocked me and there were no other consequences to it. The second time, an anti came to confront me on an irrelevant point, with a very aggressive undertone. I blocked and almost forgot about it. If you have it clear enough in your mind that such things cannot be avoided and, at the same time, you know that your own moral compass is not compromised, these details will not affect you. At all. I confidently promise you that. Last but not least: if you are not great with compartmentalizing, don't step in the arena. It can seriously ruffle your self-esteem and it's not worth it.

So this is how I deal with it: I focus on what I have to say (does it bring something new? interesting? positive? thought-provoking?), on the way of saying it (above all, be kind and gracious to every other shipper) and on the right moment to say it (only when I am honestly sure I can do it with no unwanted consequences). But I will stand in solidarity with any shipper (any single one of them) who is humiliated, belittled or disparaged, with not a single shred of fear in the world. And I would also fend for myself if necessary, if I am getting over-the-top slander: all the other yapping, I ignore. Sometimes (often, even) it's more interesting to watch.

And if anything else fails, I go for a long drive and have a coffee at the seaside or simply open a book or listen to some Bach or call Someone. Or take this little big guy out for a lazy walk in the park:

You ask me if I regret anything. Absolutely not. I have received more than I could ever give, in here. I have met spectacular women and men, I have grown very fond of and feel very close to. I have had the immense satisfaction of sharing their secrets, their worries, their plans and this means trust, in my book, for which I will never tire saying how grateful I am. I also strived to respond in kind and I mean to honor this unwritten contract. Last but not least, I have watched this community slowly dusting off months of sadness and perhaps starting to open up again.

And all of this makes me damn proud of who we are, Anon. Thank you for dropping by! You are always welcome on my page.

#Anon

[tarabyte3]

I Want You to Show Me Weak

Fandom: Andor

Pairing: Kino Loy/F!Reader

Chapter 1/27 (2.8k words)

Chapter 2 ->

Summary: You're pretty sure Kino Loy hates you. He screams at you, grabs you, and shoves you against the wall, and it's becoming a problem because, well...it shouldn't fluster you as much as it does.

Warnings: Explicit rating, Smut, Prison, Prison sex, minor non-graphic injuries, Dom/Sub, sexual tension, dirty talk, praise, hair-pulling, light choking, unprotected sex, oral, angst

A/N: If you wanted Dom Kino on top of dirty talk Kino, boy do I have some good news for you 😌 Work title is from "Poison" by Vaults. Chapter title is from "Drink You Sober" by Bitter:Sweet

AO3 Link

Chapter 1 - Oh dear, look what you've done, you've made a mess of me

Having women in the prison on Narkina 5 is rare, but not unheard of. They don't really like taking a woman transfer because the prison was built and designed to hold men in close quarters. A woman's presence muddies the waters. Occasionally it's disruptive. And the guards really don't like disruptive, either. God forbid. Unfortunately they have no say in the Empire's decision of who goes where. So there you are, eating, sleeping, and working right alongside the men of Unit Five-Two-D.

There are a lot of things about Narkina 5 that suck, which is a colossal understatement, but your table usually isn't one of them. As far as tables go, especially compared to the rest of the shift's population, table 7 is pretty okay. You lucked out there, which may have been where ALL of your luck had gone instead because the rest of Narkina 5 fucking sucks.

Threl was the first man in your pod to acknowledge you after Kino had given you his whole ego spiel, pointed you in the right direction, and then curtly dismissed you. Threl is a tall, handsome man in his forties with dark brown skin, wide shoulders, a shaved head, a goatee that probably would have been neatly kept in different circumstances, and a rich bass voice. There is an easy confidence to him that had put you at ease when he first shook your hand. He introduced himself, the rest of the group, showed you where you would be standing, and made sure to explain things out loud while he worked. The others seemed happy to let him do all the talking—something that hasn't changed in your time there, and you can see why. He's easy to like. Anytime the table needs something, you all send Threl to talk to Kino. Kino seems to respect him and never looks as irritated talking to him as he does most people in there. Threl and Kino even talk outside of the shift. Not that you've tried to eavesdrop or anything.

On your left is Alis, who you assume is around the same age as you, but shorter than you by several inches. He may even be the shortest person on the whole shift. He has warm copper skin, dark cropped hair, and a wicked scar down the length of his cheek from his temple to his jaw. He never seems to be self conscious about it, thankfully. You think it looks pretty bad ass. Alis is also hilarious. Sometimes he cracks a joke to lighten the mood while you work. You thought it might get obnoxious eventually, but he always knows when to stop and be serious. There have been a few times your whole table has to stifle a laugh as you carry your finished part to the rack. He's the kind of guy you would be friends with on the outside. Alis is also fast. He can move around the table and through a crowd like it's nothing, and you have to scramble to keep up with him.

Next to him is Sorrek. He's the opposite of Alis: taller, older, tawny skinned, with blonde hair that is thinning with a bald spot in the back, and he has a thick build, as though he used to be very athletic when he was younger. He's also a quiet, reserved man. To the point he usually looks sad, but he never lets it slow him down. You like Sorrek, despite this. There's a gentleness to him. It takes a lot to make him angry. And though it's also difficult to make him laugh, it's not impossible. He gives off dad energy. He hasn't said so, but you're pretty sure he has kids. Once you jokingly said, "okay, dad" when he was fretting, and he looked like he was about to cry.

Your table's swing is Jevid. He's the oldest of the group and can't handle the heavier loads like everyone else can because he has a bad back. He's got freckled and sun-spotted ruddy cheeks that stand out against his beige skin, a large round belly, no hair on his head, but a thick, uneven, dark grey beard, and he's missing a top tooth on his left side. He's also ornery, but never mean. Just a grumpy old man. Threl is on the other side of him, and you think the two of them have been in there together for a while. They get along like old friends and Threl is always checking in on him to make sure he's not in too much pain.

Next is Taybus. Fucking Taybus, who fills you with equal parts irritation and affection, like a dumb little brother. He's more than a decade younger than you—you'd be surprised if he's even twenty yet. Before you, he was the newest person at the table, though he's been there for almost a year and a half now. He's tall and lanky with chin length brown hair that's always in his face, has the saddest attempt at growing a mustache you've ever seen, and his fair skin is dotted with tiny moles. Taybus is also a little shit on purpose. His main hobby is picking on people. It's not malicious or aggressive, he just likes bickering. Because he's an asshole. And a kid.

Finally, there's Edii, who you haven't quite figured out yet, even though he's next to you at the table. You've tried to talk to him a few times, but he's...well, he's quiet to the point of ignoring everyone else most of the time, except when he gets irritated. His basic is heavily accented already, but when he's mad, he slips into his native tongue so no one can understand what he's saying. You think he prefers it that way. He's almost sickly pale with short black hair, a thin nose and lips, and dark eyes. You can count on one hand the amount of times you've seen him smile, usually thanks to Alis and once because of you. He's the second youngest of the group, so before you came along, he got the brunt of Taybus's focused antagonism and he didn't handle it as well as you do. Threl had almost seemed relieved the first time Taybus teased you and you dug into him right back.

You all work well together. Your numbers aren't good enough to be in first place, but you do okay for yourselves. They don't treat you any differently because you're a woman, either. Well, Sorrek might worry and check up on you more than he does the others, and Jevid often apologizes if he makes a comment he thinks is inappropriate to say "in front of a lady," even though you tell him you've heard and said far worse. And you're not a lady, you're a woman. Other than that, though.

Then there's Kino Loy.

You're pretty sure Kino Loy hates you.

Not "Kino Loy finds you annoying" or "hates that you're his problem." Hates you. Specifically. You've only been there a month and he's already gotten pissed at you four times. That's a once a week average…except that all of them were in the past week and a half.

Now, you won't deny you probably deserved most of it. You just wish he wasn't such an asshole about it all the time.

-----

The first incident was for talking back. He was ragging on your table about picking up the pace and shouting out the tallies, like that would magically make you all less exhausted. You were tired and in pain, which made you irritable. So you may have told him that if he didn't like it, he could squeeze in between Alis and Sorrek on the other side of the table and help. Your entire pod, and some of the men that overheard in the pods next to yours, stared at you in horror. Even Edii.

Kino's eyes met yours, however, and he looked terrifyingly calm. And you knew immediately that you fucked up. He had you backed up against the table in seconds, the edge digging into your hip, and he got as close to you as he could without touching you.

"Never talk back to me again, do you understand?" His voice was low and there was a dangerous edge to it. You could feel his breath on your face and see every line on his. You noticed he had a tiny freckle on his left cheek, just above the line of his graying beard, and there were flecks of silver in the blue of his irises, like looking at frost through tinted glass.

"Sorry, Kino. I'm just tired, it won't happen again," you muttered, sounding properly chastised. And you were. Tired and sorry. Because you hadn't meant to say it, but sometimes your mouth got you in trouble.

"You're damn right it won't."

After he had stalked off, Threl gave you a disappointed look and Sorrek gave you a sad one. You just shook your head and said, "yeah yeah, I know."

-----

The second time was for smacking Taybus, who deserved it for being a little shit. He likes riling Edii up by moving his tools or telling him he's doing something wrong until the quiet man snaps and goes off on a tirade back at Taybus. Which meant that day, Edii was more focused on ranting than working. It slowed everyone down, and it was also annoying. Threl had told Taybus to knock it off, which usually put an end to it, but he wasn't shutting up. So you smacked him. But it wasn't just that you smacked him. It was that you left your spot, walked around Edii, and smacked him. Hard.

"What in the hell do you think you're doing?" Kino's voice boomed from halfway across the room. The floor went quiet immediately, some men even stopped working, and they all turned to look at you. Then Kino was scowling and stalking towards you.

Like a deer in headlights, you responded, "I was telling Taybus to shut the hell up because he's distracting the table." There was a sputter of protest behind you, and you thought Taybus should be grateful Kino was almost there or you would have smacked him again. Kino looked even more pissed after that, his face contorted in controlled rage, and you braced yourself. You felt like a child getting scolded in a classroom, and you hated it. It made you feel small.

"I told you on your first day here that if you have a problem with someone, you come to me. What part of that did you have trouble understanding?" He was once again leaning in so close you could feel him in front of you, like a swell of heat and pressure.

"None of it." Your face and neck flushed with anger and embarrassment.

"Sure as hell didn't look that way."

You shifted awkwardly on your feet and looked down at the floor. You wanted to defend yourself, say that you were just trying to get the work done, but you knew it would only make things worse.

"Next time, you have problems at your table? Don't do my job for me. Got it?" Kino also gave Taybus, who finally had the decency to look apologetic, a pointed look.

You nodded.

"Sorry, Kino," Threl spoke up.

Kino turned to him, but with less anger, and said, "Just keep your table in line."

Threl and Sorrek both gave off more disappointed dad energy, Alis tried to crack a joke to lighten the tension, but quickly gave up, Taybus sulked, Edii went back to being Edii, and Jevid spent the next ten minutes telling you that you shouldn't rile Kino up.

"Never seen that man yell at someone so much." Jevid shook his head.

"Gee, thanks, Jev. Makes me feel really great to know I'm the only woman AND the biggest fuck up."

"You aren't a fuck up," Sorrek softly interjected. You appreciated him. Truly, you did. Even if he was, perhaps, a bad judge of character.

"I'm just sayin', you should keep your head down for a bit and let him cool off."

You let out a huff of exasperation. "That's what I'm trying to do!" And you were. Trying, that is.

-----

The third time was for talking back again.

You muttered under your breath thinking he wouldn't hear you, and boy were you wrong. He actually grabbed you by the front of your uniform that time, and you gasped when he pulled you closer. He didn't say anything, just glared at you with this intense look on his face for a solid twenty seconds while your heart pounded and he remained perfectly in control. It got his point across. Or at least you assume it did because you kept thinking about it the rest of the day. And the day after.

-----

The fourth time wasn't your fault. You were standing in line after your shift and Taybus was whining to Alis about wanting to finally get first place because he was tired of eating warm mush.

"It's pretty good, man. You ever have fried trunkfish and gravy?"

"No," Taybus whined some more.

"Reminds me of that. Real gourmet shit."

"Man! We were getting close when Ondon was still here. Now we're stuck with someone getting us in trouble all the time and messing up our numbers." He said the last part loud enough that you could hear, as if you weren't already listening.

"Oh, come off it. Don't pretend it's me, like Threl doesn't pick up your slack." You rolled your eyes.

"Alis agrees with me. Don't you?" He turned to the shorter man.

Alis held up his hands in mock surrender. "Hey, don't drag me into your shit. I just work here."

"Taybus, you have something on your face." You suddenly pretended to look concerned and stared at his nose.

"What? Where?" He rubbed at his mouth and chin a few times. "Did I get it?" You leaned in closer, like you were checking.

"It's right here." You pointed to the spot above your lip. "Oh wait, it's just that smudge you call a mustache. My bad." You could hear Alis choke on a sudden laugh and you gave Taybus a wicked grin.

"Oh, fuck you." Taybus gave you a friendly shove. It wasn't intended to hurt, but it was still hard enough that you stumbled backwards a step. And because you have the worst luck of anyone in there, you bumped straight into Kino. But you didn't know it was Kino, so you turned to apologize and were met with his angry frown.

You gaped at him. Before you could say anything, he grabbed you by the front of your uniform, walked you backwards, and pushed you against the window. The panes are angled inward so you were awkwardly hunched forward, and he was inches away, looking up into your face.

"Well?" He forced the word through gritted teeth.

"Sorry! I…tripped." The lie sounded terrible even to you, but you didn't want to throw your friends under the transport, even if one of them really deserved it at that point.

"Tripped." His jaw clenched and his nostrils flared. Then he leaned in closer. His legs met yours, pressing you further against the glass, and he angled his head slightly so your mouths were close to touching. "No more. Got it?" He demanded in a husky whisper, and you could feel his breath against your lips. You tried so hard not to let your gaze fall to his mouth.

You wanted to nod your understanding because you didn't trust your voice, but you were close enough that if you did, you were going to headbutt him or accidentally kiss him. And you were pretty sure that if you did either, he would find a way to throw you out the window. Instead you whispered out, "yes, Kino."

He kept you there for another few seconds, both of you panting into the inch of space between you and you trying not to squirm against him, before he stepped back and released you suddenly. You flailed to catch your footing and not to fall on your face. Then he turned his back to you and walked off without another word. Like that didn't just happen. Like you weren't a flushed wreck behind him. As you shuffled back to the line, trying not to meet anyone's eyes out of sheer mortification, you heard him at the front yelling for everyone to keep it down.

"I thought he was gonna make out with you for a second," Taybus whispered over his shoulder.

"Taybus!" You hissed. "Shut. Up." Though you had to admit, you kind of thought he was going to as well. And you weren't sure if you were relieved or disappointed that he didn't.

NEXT CHAPTER->

#andor fanfic #kino loy #kino loy x reader #kino loy x f!reader #andor #fanfiction #i want you to show me weak fic

[sammysdewysensitiveeyes]

8, 24, 27, 33, 42 (tried to ask ones I didn't already know the answer for ^^)

8. What hero doesn’t deserve their hype?

My immediate knee-jerk reaction here is Wolverine. Dear God, am I sick of Wolverine. I never found him all that interesting to begin with, and he has been in every thing X-Men related for most of the time that I've been reading comics. Back when he was first introduced, the writers knew he was supposed to have flaws, but nowadays, he's the biggest badass of the team who is also friends with or respected by everyone and has dozens of women throwing themselves at him and mentors more teen sidekicks then Batman, even though he's supposed to be an anti-social jerk. And I don't mind Wolverine softening and changing and becoming friends with, say, Storm and Nightcrawler, but when he's written badly, he's an anti-social and murderous jerk who can say and do whatever he wants, is still loved by everyone, and is sometimes inexplicably the moral center of the team. To be honest, I dislike a lot of the manly-man soldier types that seem like male power fantasies, like Cable. Interesting character, too many damn guns. (Bishop's cool, though, he can stay.) I would probably tolerate Wolverine much more if he wasn't everywhere. Phoenix Wolverine? Give me a damn break.

But with all that being said, I know Wolverine has some depth to him, and he can be interesting when written well. The character is popular for a reason. So instead, I'm gonna say Fantomex, who has all the power fantasy bullshit of Wolverine and none of the depth, and who has become a writer pet character for some reason. Every time he shows up I lose interest immediately. Also, he killed Darkstar.

24. Ship(s) that makes you cringe.

Hmmm.....there are a lot of ships that I don't love, but I just kind of tolerate. I've never been particularly fond of the Rogue/Magneto thing. It just doesn't work for me, and I don't see any reason for them to be a thing. It's all good, though, Rogue/Magneto shippers, you guys keep doing your thing. At least it's not as bad as Rogue/a certain other villain. One who likes.....apple pie. Also, I've actually never really liked Scott/Emma. Give me Emma/Banshee or Emma/Namor, or what the hell, Emma/Jean.

27. What comic book trope do you hate the most?

Probably hero vs. hero fights, at this point, especially in the form of a massive crossover event. AvX, IvX, Civil War, fuck off already. What could be an interesting and nuanced story in which no one is really completely right or wrong usually turns into a cluster-fuck in which characters from both sides get dragged through the mud. And then fans latch into the bad characterization that villianizes or sanctifies certain characters, and won't let go for years.

Also, the constant limited runs and rebooting of series, especially compared to how long series like X-Men or X-Factor previously ran. Just when a series is finding it's way and giving the characters great development, the whole thing shuts down, and the characters may or may not land on new teams, where their development may or may not be acknowledged. Series need room to grow and breathe.

33. Which character that deserves a solo didn’t get one?

Pyro, obviously!

Nah, just kidding. I'd read the hell out of that, but I accept that my boy's a D-lister. Although a Mystique solo that focuses on the Brotherhood boys and Destiny as her supporting cast would be *chef's kiss*

I think a lot of the classic "core" X-Men have gotten mini-solo's of their own over the years, and I'm not sure which of the new characters I'd potentially elevate to solo status. I'm gonna say Callisto. A Callisto solo could show her leading the Morlocks and further develop some of them, with Storm and other X-Men guest-starring as regulars.

42. What’s a fandom trope you hate?

In terms of fan-fic, probably omega-verse stuff. I generally won't read it, even with characters I like. Just not my thing.

In terms of fandom discourse - this trend to treat favorite characters and shipping as some kind of moral declaration as opposed to just liking the stuff you like. I mean, if people want to discuss aspects of certain ships that bother them, that's all perfectly fine. I've delved into over-analyzing this stuff myself, many times, and there are often real-world issue to be discussed. But when it turns into "You can't ship that because it's toxic and abusive," that's when I stop paying attention. We're all doing this for funsies, after all.

#thanks for asking

[docholligay]

Please rant/rave (well, we already know which one it will be here) about Harry Potter!

GEE I HOPE THIS WAS WORTH WAITING FOR

OH MY GOD. The level of hatred I have for Harry Fucking Goddamn Potter, the culture around Harry Fucking Potter, extending its poisonous tentacles even to the concept of young adult fiction, fantasy, and the United Kingdom as a country and people. 

When you being on this, you may think, “Oh, Doc will explain that Harry Potter sucks because JKR hates trans women” and I will say, oh no, dear reader, that is a fantastic reason to hate the author, and I really suggest we all continue to hate her, and perhaps not purchase the QUEEN’S TONNES of officially licensed merchandise and movies and theme parks that give her stupid little fucking hands all that cash, but no, that is not why I hate the work. There are a number of great works done by terrible people, and the further out the lens of history gets the truer this is. 

I hate Harry Potter because it fucking sucks, and mentally stifled an entire fucking generation. 

“Well, Doc, Harry Potter was really there for me when--” Oh my god I could not fucking care LESS about your personal emotion connection to “orphan wizard boy turns out to be a rich aristocrat yet somehow less woke than Cinderella though” I have personally emotional connections to hot fucking garbage pails of media properties, and if someone came barreling through talking about the myriad ways in which they were horrible, I would be like, “Oh, you aren’t fucking wrong, pal” 

Harry Potter gained wild ass popularity in part due to its magnificent sorting system of Smart, Brave, Evil, and Other, because there’s nothing liberals like more than being able to put everyone’s personality into an easily labeled box, which is why astrology is so popular, or for the intellectuals, Myers-Briggs, which is just as fake but with the veneer of science. This allowed people to give into the tribalism they so desperately liked to pretend they did not possess, and also allow them to write thinkpieces about “The misunderstood Hufflepuff” or “Slytherins aren’t all bad!” or really anything that allows them to write a very real piece about their very imagined oppression for being a part of a totally fake house in a children’s book. Excellent use of your sociology degree, Kai, I thought the addition of phrases like, ‘Content of socialization” and “axes of oppression” really spoke to the struggles you face when wearing a green and silver scarf. 

The other reason it became popular is that it’s essentially wallpaper paste formed into characters. I have read all of the books, and I could not tell you even remotely what Harry’s defining personality traits are other than “protagonist”. In American, at least, a large part of it was the fascination with all things British, with the idea of boarding school and prefects and uniforms that aren’t inexplicably chinos and polo shirts for nine year olds. It allowed children to project onto something so bland that it could be anything. And for children, THAT’S FINE. There is a great deal of bland media made for children, but what I’m speaking to is the fandom, which is largely well over the age of 18. 

Because if we look at the books, are they...actually good? Was it good, or did I experience it as a child? I mean, honestly, on a literary level, are they, or was it just like we all watched Friends, we did it because everyone else was doing it, because I have a distinct memory of a series that involves such greats as “magical geegaws with poorly defined rules that are quickly forgotten despite being able to solve later problems quickly” or “Everyone loves Harry or is a bad guy, or secretly loved Harry all along” 

Oh, speaking of, man, if this was an actual well-written book, wouldn’t it have been wild to have Snape’s whole thing be to teach us that sometimes people do good things for the wrong reasons? Instead of naming your fucking child after the guy who ‘protected you’ because he still wanted to bone your mom? “After all this time” “Always.” 

While all this could have been explained, we have Quidditch added into the mix instead because 20 pages of the goddamn Puppy Bowl is exactly what I was looking for while I was waiting for JK to move the goddamn ball on literally any of these actual magical concepts. 

Harry Potter is a fucking trust fund baby, star quarterback, who grows up to be a cop and marries his high school sweetheart. (Speaking of, why were we shocked that JKR turned out to be a piece of shit when this was and always has been the conclusion of Harry Potter? Why are liberals so fucking into this series that upholds structures like it ain’t no one’s business? It’s a series that opines that those beneath us “Muggles” should be kept in the dark from us) Literally, he finds out he is a wizard and has a dragon-guarded fucking VAULT OF CASH. At 11. It’s such a series for little tyrants, you are special from birth and need do nothing to prove it, here is a letter certifying as such. Oh, not only are you rich and the greatest seeker and have excellent quips, but also your parents were not only rebels, but the best of rebels, and so deeply involved that your parents were killed by the big bad personally, again, because you are so special. His mother’s love literally saves his ass over and over again, because he was SO SPECIAL. He fought Voldemort FROM THE BEGINNING, and WON.  It’s literally the most privilege baby fantasy in the world. 

“But Doooooooooooc, it’s for chiiiiiiiiiiiiiiildren” 

A) Yeah, and you’re 32, you’re making my fucking point about Harry Potter setting an entire generation up for intellectual failure to launch. 

B) Okay, and? I can think of a bunch of kids’ books off the top of my head that in no way require specialness to be given by birth so as to roll out the red carpet for master protagonist. The Hunger Games. Watership Down. A Series of Unfortunate Events. The Chronicles of FUCKING NARNIA, about which I have only a small handful of particularly kind things to say. I’ve never read Percy Jackson, but it’s my understanding that despite his being a literal demigod, the attitudes of the supporting cast are allowed to fall between the extremes of “Appreciates Percy” and “naughty or will learn” Harry does nothing to improve himself even after knowing that he is HUNTED BY THE BIG BAD! “I won’t do this because I don’t like Snape”. So There” which, again, if this series were written with the slightest bit of care or know-how, could be a humbling fucking plot point! BUT NO THAT WOULD BE NAUGHTY. 

But the real reason I hate Harry Potter so much has everything to do with the fandom surrounding it, and how it intellectually stunted a generation of adults. The promise of Harry Potter was that it was supposed to make a new generation of readers, and so the popularity of them was pushed, and so there was discussion of teaching them in schools, but I tell you fucking what, I know a whole lot more folks who grew up reading Harry Potter that never advanced beyond reading YA, or even just rereading the entire series every year and that’s pretty much them done and dusted. 

In the attempt to recapture whatever it was about Harry Potter that attracted children (A lot of it was your peers doing it. I read them all as they came out, and it was literally the equivalent of watching the game so you could talk at the water cooler. That was never going to be recaptured) people, who by this time were likely in their teens, kept getting recommended stuff at the same and same level. No one ever felt pushed to read things that are challenging, to read things that have some of the concepts or themes of Harry Potter but maybe complicate. I know FAR more adults who read adult books that aren’t into Harry Potter, even if they were as children, than the reverse. 

But Doc, why is reading only books meant for 14 year olds a problem??? I mean I suppose I can’t convince you that comfort is not the job of literature or of life, it is the job of an easy chair, because Americans especially are decadent as fuck about being comfy cozy all the time and if anything causes them distress or pain it should be immediately avoided. But Maybe I can convince you that you’re fucking up these books for actual ass children who deserve to have their own writing section without adults bringing their fucking asses into it. They deserve their own spaces. There’s a number of YA editors who have talked about the difficult space YA now occupies because since Potter’s blowup, it’s no longer a niche category, but basically “adult easy reads” and so they have been buying books that are more about the tastes of adult buyers than of literal 14 year olds. 

Is that not...sad? To anyone else? Honestly, and this is not part of the essay because it’s a broader reaching problem, but CHILDREN’S MEDIA IS NOT FOR US. CHILDREN’S MEDIA IS NOT FOR US. CHILDREN’S MEDIA IS FOR FUCKING CHILDREN. The fucking 40-23 set really needs to get their shit together and grow up a little bit and engage in some fucking adult media, and maybe, if we support what we’re actually looking for FOR ADULTS, it will come to us. No one is saying you can’t read Harry Potter or watch some Cartoon Network show, but like, search your heart and come the fuck on. Engage in something more complex. If not for yourselves, for the kids getting shoved into simplified adult stories. It should not be about us. 

ANYWAY, my larger point is that it was Harry Potter, a badly written series about a magical boy who was chosen and magic and also rich and also a favorite of the headmaster and also more clever than most adults and also spoke the same magical snake language as the big bad and was also star quarterback, but at least there was a system in which you could buy a scarf in block colors and feel like you belonged to a team. 

(But not a sports team! lol handegg! I’m cool I don’t get into sports! Except Quidditch.) 

#TO say nothing of the fact that I haven't been able to wear gold and burgundy together without some dumbass comment for years #despite being a favored color combination #Anonymous #Eight Days 2020 #Holligay Rants and Raves #I didn't even GET to every point I had but it's been over an hour #GOD I HATE THIS FUCKING SERIES SO MUCH #Doc do you hate me for liking it? #oh sweet thing allow me to reassure you: Yes. Absolutely. #also the prose is god-awful #I've taught teenagers with better rpose

[snickiebear]

Hi bby! 1, 2, 3, 6, 16, 27, 29, 33, 35! 🖤

mittens!!! loml!!

1. From one to five stars, how would you rate your writing? (No downplaying yourself!)

oh goodness... um, i’d say a 4?? yeah, that sounds about right, only because i often make so many tense mistakes and even when i edit there’s always something to fix. and just,,, im still learning a lot (aren’t we all). plus, sometimes the stuff i put out needs so much more work (see: my recent shisaku fic... i want to tear it up and put it back together.. ugh.. also wt&r, just everything)

2. Why do you write fanfiction?

OH GOODIE! i just... well, i wrote a lot when i was twelve-fourteenish, then kind of on and off through the years. never really had anything to ground me and get me to take writing seriously. and then i found naruto and sakura who has so much unused potential and it just made me so angry to see her treated that way. 

point being, the naruto fandom (more specifically the sakura fandom) rooted me down and allowed me be able to grow as a writer even though i’ve only been posting since january my writing style has changed so much, and i can physically feel myself becoming a better writer. 

plus, i just love it. the thrill of being able to use these characters and pairings and do what i want with them?? i drink it up, i love it!!! its so freeing and such a great way to really dig deep within writing itself. 

3. What do you think makes your writing stand out from other works?

i think its just the way i word things, you and a lot of others call it poetry but meh i just call it fancy words or word vomit from my brain AHAHHAHA

also, my thing is God Killers, God Eaters, and Angry Wrathful Women at this point, so maybe thats another thing?

but honestly,,, i have no clue... you’d have to ask my lovely readers, im so thankful for them 😭

6. What element of writing do you find comes easily?

plot probably. this changes often though. usually when i have an idea, the rest comes to mind and i jot it down and come back and change things and stuff, so thats usually pretty easy tbh... at least for now LMAO

and inner dialogue, inner struggles, showing the entire internal thing. its fun writing that angsty part of a story, the small insights into a character’s mind, how miserable and alone they feel. or, perhaps how happy they are, overjoyed and at peace. 

OH AND WORLD BUILDING. i pride myself so much on my world building. i honestly think thats one of the better things im good at! just weaving small details into the text, and subtly building a world within your mind, oh i love it so much!!!!

16. Any guilty pleasure trope(s)?

mmmm nothing really comes to mind? men simping for women who could kick their ass? tho idk if thats really a guilty pleasure....am very fond of same age aus, sometimes mafia aus too... ummm,, yeah

(probably big dick tenzo tbh... and the fact that kakashi’s face is a legal weapon AHAHAHA,,, and broken, vunreble men. also, shattered, all consuming women.)

27. What’s the nicest comment you’ve ever received?

oh god... i cannot chose! you, ele, al, and hika leave the kindest comments, and literally any comment on the things i write just make me so so so so so HAPPY. i just them more than kudos tbh. 

but! one comment on the intimacy of being understood i always come back to. it was left by GuardianMars and they wrote that the fic was like a “love letter to the pairing.” and that well. i think about that comment all the time. 

there have been so many others comments that have utterly touched my heart and that i will go to read on terrible, horrible days and i value ALL comments. especially those who say “i’m rereading this again” or “i’ll read anything you put out” that just. there is something so intimate about that, that utter faith and loyalty that i do not know what to do with. 

its so touching and makes me truly believe in the good of the world. 

29. Have you ever gone outside of your comfort zone for a fic? How did it turn out?

yes! i am attempting to get better at writing smut because ol&w is going to have some fucking in it so i experimented in that shisaku fic and just..... yeah idk man. idk... its something i do want to get better at cause, meh why not? and i want to write some good porn for my readers damnit! HAHAHA 

33. Is there anything you wish your audience knew about your writing or writing process?

hmmm,,, probably that i stress so much and yet so little at the same time? allow me to elaborate! i stress so much about whether my writing is actually good or if people are just being nice LMAO and also posting, i get cold sweats and a thumping heart and yiKES

but also, i enjoy writing so its like “fuck you (jk ily guys) imma write what i wanna!”...do you see my issue? HAHAHA

also, im a planner. most of the time, and a lot of the details in my more serious fics (ol&w) are blink and miss details but they’re important and i LOVE foreshadowing!!!! like yes, i will vaguely mention something and itll simply come back with a vengeance! 

35. Ramble about any fic-related thing you want!

aaaaaa okokok thank you for this ask LMAO i just love talking about writing and rambling (as i often do,, im a long winded person, im very sorry)! 

but anyways! my summer semester just started up and i’m taking three purely online classes and the college im attending (im a dual enrollment student; meaning a high school and college kid,, taking advantage of the system!) fucked up my schedule so! im taking two TWELVE WEEK CLASSES that will end in AUGUST???? and then my fall sem starts five days later so... no summer break for nadia! yay...

writing will be very slow and updates will be too, which i am so sad and frustrated about because i’ve finally hit a paved road and now we’re driving into the forest! all bumps and bruises damnit! BUT worry not! i (as i said above, am i severe planner. every day has a plan, i am also an avid lover of lists also. i have lists for EVERYTHING) am working out a schedule so that i can get all my school shit done as soon as i can (while not failing) and write while hopefully not burning myself out.  

ol&w is such an intricate fic and im truly trying to give it the justice it deserves,,, im just hoping that my dear readers can bear with me HAHAHAHA there is honestly so much going on in that fic; shikamaru’s development, the underlying plot, the hate to love build up, the world building, and then laying down the foundations for the next fic (because yes, this is supposed to be a trilogy.. question is; will i be able to write it?) (answer: maybe. hopefully. i desperately want to but it might take some time.)

BUT ASLO i have so many oneshots i want to write! kisame week! kakashi week! kibasaku long fic! and not to mention my og work that i plan on rewriting and putting up on ao3 because a few people showed some interest. there is just so much to do and write and i am itching to do it all! but. well, but school, and the exhaustion of insomnia, and the weight of stress, sigh. 

shit sucks, it is what it is. but writing is like my safe haven and i just love pouring all myself into my fics and then baring my soul to you all and you take a peek and decide to keep looking. that is my favorite part of this little pocket of tumblr. 

this was not really... fic related? more like a dump of issues! so sorry about that AHAHAHAH 

anyways! thank you so much mittens! :)))))))))

pick my brain!

#silly things from silly friends

[slashingdisneypasta]

Hewitts / Pleasant Valley x Fem!Reader || Oneshot

Title: The Multiverse Theory and the Horror Fandom 

Notes: 

I don't really know what it is, but I enjoyed creating it, so I’m posting it! If I get an idea as to what might happen next, I’ll probably add a part two. 

Its crack

Plot: 

Okay, you are from this universe and you are your Slasher fucker self. But you’re transported from your home, to the universe that the Slashers live in, specifically 2003 Texas Chainsaw Massacre. They capture you of course and decide to keep you.

Now the Hewitt’s have decided to go on a roadtrip and are of course taking you, their hostage, with them.

They end up staying in Pleasant Valley, despite your warnings not to. 

Warnings: Mention of real life people, breaking of the 3rd wall, if you look then there is some hints towards sexual assault cursing. Its comedy though mostly, so its pretty okay

~~~

“We’re lost.”

“No, mama, we not lost. We’re just taking the scenic route… “Hoyt transparently bullshits, looking around completely lost at the surroundings that we pass at a 100 km/h. Nothing but wheat fields and cows as far as the eye can see. Georgia is even more boring then Texas had been.

Luda Mae rolls her eyes, not taking any his shit after 6 hours in the car with him just today. God, I’m on her side. Can we stop somewhere just for a little bit? I mean, I don’t have to pee anymore since I held it for so long that the urge went away, but I’d still like to try because now I feel like I’m going to explode at any time. “So, we’re lost.” She announces, leaving no room for argument.

“Definitely lost… “Monty, in the seat beside me in the back seat of Hoyt’s tiny sheriff car, agrees with his sister, also watching the fields go by moodily. Why didn’t we take the goddamn truck, anyway? I would rather be tied to top of that, then squished back here between Thomas and Monty. I mean, there’s not even any doorhandles in the back here! Why did I have to be in the middle? Its not like I’m going to throw myself out the window! Sometimes I think Hoyt’s paranoid. And I hate him. And his ego’s too big.

Of course, Hoyt snaps back at Monty even though what he said was so mellow. It certainly didn’t have the amount of pent up frustration that Luda Mae’s had behind it. “We ain’t lost, goddamn it- Look! There’s a town. We’ll stop there and ask for directions if you really want. Just to make sure we’re going the right way, which I’m sure we are.” I look up from my hands, bruises all over the wrists from Hoyt and the ropes, and cuts all over the fingers from cooking with Luda Mae… and jagged fingernails from before I gave up. When I was still scratching at the walls and floor and Thomas, wanting to escape this mad family.

My fighting spirit isn’t completely crushed, now… but it has been a while since I screamed for help. I’m waiting for the moment, the right moment to try and escape. Of course, I don’t know if that moment will every come… but I still hope. And that’s something.

Now, looking up out the front window to see the town Hoyt’s talking about, I wonder if this will be the place that I’ll escape in.

Then we rush past the sign and I do a double take.

What did that say?!

I glance at Thomas, my designated warden to see what he’s doing now since he had been sleeping for most of today’s trip- yesterday he had stayed awake and alert, but today it seems that he decided I wasn’t about to crawl over anyone and creep through the window so it was cool to nap,- to see he’s alert, and when I look at him he turns to look at me back. I flash him a fake smile and turn to Monty, because he speaks. And he’s on the right side of the car, so he would have seen the sign.

“Hey, what did that sign say?”

“Why are they talking again?” Hoyt pipes up in the front as we get nearer to the town and I start to feel sick in my stomach. I raise my eyebrows at Monty instead of answering Hoyt’s goad.

Monty shrugs, leaning his back on his hand and looking out the window again. “Uh, Pleasant Valley.”

Oh my god.

It cannot be possible that more then one Horror movie exists in this world… right? I’ve been through enough trauma; I do not need to endure Robert Englund’s trademark craziness- oH, or Bill Mosely’s either. Oh god, - and his band of confederate lunatics. Do not do this to me, universe.

My heart’s beating faster then a bullet train as I wait, still as a statue and straight backed, for any more hints that I am where I think I am.

Thomas watches me with a hard stare, alert and suspicious about my odd change in posture and body language. I try to ignore him, which is of course hard, but I make do.

Then we start to pass people in this town, and they’re men in overalls and women in the most era-incorrect costumes I have ever seen. And they’re smiling and waving at us.

And I feel sick, and sink back into my seat so nobody outside can see me through Monty or Thomas, hopefully.

“Hoyt,” I call, quietly for the ‘sheriff’s’ attention. My voice doesn’t lift even to a normal volume, I’m so scared so he either ignores me or really doesn’t hear me. I try to be louder. “Hoyt!”

“Yes, hostage?”  

“I think we’re going the right way as well; I saw sign on the road a few miles back that said so. We should just keep going.”

“What?!” Luda Mae turns in her seat to look at me furrow her eyebrows- she doesn’t believe me one bit. “What are you doing, slouching in the back like that? Sit up!”

“Are we stopping?”

“Uhh… “She turns to look at Hoyt, and he nods. “Looks like it. About time, too. I need to stretch my legs, and we obviously need those damn directions.”

“We do not need the- “Hoyt sighs, exasperated, then furrows his eyebrows as he focuses on something in front of the car. “What the fuck are these wackos all doing out there in the middle of the road? Get outta my way… “

Mow them over, Hoyt! MOW THEM OVER.

Of course, he slows to a crawl and then a stop, and I thank god that the back windows don’t open, lest I feel any more in danger. If they were open, I definitely would have feared scary ghost cannibals would stick in their hands. As it is, cross my arms and let Hoyt do the talking. Of course, I mean. What else could I do?

I can see full frontal the mess that we’re getting into, which once upon a time in a different world -my world. Oh, how I wish I was there right now, - would have been a good sign. Seeing Kane Hodder, Robert Englund and Lin Shaye and the ‘Guts and Glory Jubilee’ banner would be a sign I’m about to have a good night full of horror movie enjoyment and probably fanfiction as well. But now I see it and I wish to never watch that movie again, much like the Texas Chainsaw Massacre franchise.

Hoyt puts his hand on the car door handle next to him. “No, no, no, don’t get outta the car!” I exclaim, quietly and reaching to grab him back but he looks over at me, gives me a ‘I do what I want’ kind of look and then gets out of the car.

“Good afternoon, sheriff! Welcome to our Guts and Glory Jubilee! You’re our honoured guests!”

Oh, dear god.

Hoyt slams his car door shut and Luda and I wince at the sudden noise. “What the hell are you people doing out here in the middle of the road??! Me and my family are tryna get through here.”

“Aw, my bad sheriff! We’re just so tickled to have you with us this fine day!” Buckman doesn’t seem stirred that Hoyt’s clearly southern, and therefore ‘confederate’, like him, as far as he’s concerned which is what I was hoping for, so I decide to blow this whole situation out of water- I have no choice.

And what, in hell’s name, could I possibly lose at this point?

I lean forward in the car, keeping an eye on the scene, to talk to Luda Mae. “Hey, so this may be a bad time to mention this but, uh.” How do I break this news? “Well, I’m from a different universe. That multiverse noise? That’s real. Anyway, more importantly, I’m from a world in which you and your sons, and Monty, are just movie characters. Your movie is called ‘The Texas Chainsaw Massacre’, Thomas is the Texan Chainsaw guy and he is called Leatherface.” Luda’s slowly turning her head to look at me like have 7 eyeballs. I keep talking through, quickly ad feverishly, desperate. “I know it sounds crazy, and you can ask me any question about ya’ll’s passed if you want as proof but just get your son back in this car please. This place also has its own movie, and its even less pretty then what goes on in your house.” I look pleadingly at her, hoping to God, by some miracle she believes me.

“Sit back down!! I’ve been in a car with 3 sweatin’, stinky men for 6 hours now today and I am in no mood for your stories.” She turns back in her seat. “God.”  

“Oh Jesus, you said it… “ I whine, plopping back down in my seat, looking at Hoyt and Buckman who have now met in front of the car and aren’t yelling at each other across the road and immediately assume the fucking confederate mayor is successfully feeding the fucking fraudulent sheriff’s ego, and drop my face into my hands. A few minutes pass, and I stay like this, occasionally making frustrated crying sounds without really crying, and getting annoyed groans and ‘shut up’s from Monty beside me, until a hit to the car jolts me up. “What! What? What’s happening- are they attacking!?”

Everyone who heard, ignores me and I see it’s just Hoyt coming around the car opening Thomas’ side. Oh god, breeze has neve felt so terrifying. “Come on out, family. We’re stayin’ the night! I can’t tolerate settin’ in this car with you people anymore.” On no. No, no, no. STAYING?

Thomas gets out and Luda Mae follows, opening Monty’s door for him and letting him out onto his wheelchair that Thomas gets out of the trunk for him and unfolds. I cross my arms and stay inside. When Hoyt realises this, he leans down to peer inside the car at me and thrusts a thumb to point behind him. Slowly, menacingly he drawls. “Get out of this car.”

Oh, what is he going to do? What could he possibly do that he hasn’t already done to me.

I stubbornly look away. “You said family, I’m not family. I’m not leaving this car, no way. You can’t make me.”

“You wanna bet, sugar?”

He reaches in, wraps a calloused hand around one of my arms and starts pulling me until I topple out of the car, into the dirt. He lets go of me and immediately slams the car door closed again so I don’t slither back in.

“Fuck.” I mutter, glaring up at him from the floor. He locks the car in front of my eyes.

“Now, when you’re feeling more like an adult and not a child, you can come on to our room- that building over there. “ I feel like running after him when he walks off to the building, but before I can get myself out of the dusty, beige dirt, a hand enters my vision and I follow it up and scream on the inside. Mayor George Fucking Buckman.

He smiles so charmingly… you could nearly believe he isn’t depraved. Then I see the eyepatch and I’m reminded. “Would you let me help you up outta the dirt, little miss?”

Mmmm, I guess.

Best to stay on his good side, I think as I take his hand and he hauls me up. I don’t want to be on the receiving end of one of those glares that the whole town like to take part in with him. Noooo thank you. Not for me.

“Thank you.” I say quickly, looking to get out of there and find the Hewitt’s. They’ve all disappeared into the building Hoyt went towards a moment ago now. I brush the dirt off my pants and then clap my hands off of each other to get rid of the dirt that’s on them now, and any remnants of feeling Buckman’s hand, then flash a tight smile in Buckman’s general direction and escape towards the building.

They have to listen to me!

I burst into the place and see Thomas trailing behind the rest of that devil family down a hallway and run down there. “Thomas!” I pant, because that was a long hallway. Where are we now?! The Overlook hotel!?! “Thomas, what kind of warden are you? Please, don’t you ever leave me alone with that man ever again!” Thomas narrows his eyes suspiciously at me above his normal, leather mask -Luda and Hoyt had decided before we left their murder mansion that the human flesh mask would probably not fly in normal society, so he swapped it in for the old one,- then nods in front of him for me to walk there where can watch, and I gladly go there.

___TIME SKIP: A couple hours later___

All day, I have been trying to persuade the Hewitt’s that I’m not from here. I described Texas Chainsaw Massacre: The Beginning in explicit detail, including of course the Sheriff Hoyt thing, the Eric/Dean confusion, Bailey, Monty’s legs being chainsawed off… I even recruited some comic book information about Hoyt’s time in the Prisoner of War Camp and Sargent Chow, but they just think I’m a stalker now.

I mean, why the fuck not? Why wouldn’t I stalk these freaks? Truly, being around them has been a joy filled time.

I don’t throw back at my face that I watched their movies religiously, readers. That’s was when I thought they were fictional! (Yeah, I know you’re there reading this. This sure feels like a fanfiction to me, and as a fangirl, I’m an expert.)

So, I’ve decided I have one more option. One more chance to survive.

Hopefully this doesn’t go worse then plan A did.

Through pretending like the rope around my wrists was too tight when Hoyt tied me up by the hands to his bed frame, when really in truth it was a bit loose, I manage to make him think I’m stuck for the night. So, when he falls asleep – I know he’s asleep because he snores like a feral racoon… that also has rabies… (He drools) – I carefully, quietly, I struggle out of the ropes and carefully put them on the floor. Then turn to the window.

We’re on the second level of this building, but the possibility of a broken bone or two will not deter me from getting out of this mess. Especially since Thomas is waiting in the hallway outside this room for any sign of me trying to escape and getting hurt from falling out of a window is much preferred to meeting the business end of his chainsaw.

Not that I’ll be out of danger when I get out… as I’ll still be in Pleasant Valley… but I will have completed Level 1 at least.

Opening the window, I wince and look back at Hoyt to make sure the gentle rubbing sound the window makes against the frame doesn’t wake him, then turn back and immediately get to crawling out. Once I have succeeded in getting onto the ledge I hold on to the gutter - hoping beyond hope that it’s sturdy, - and reclose the blinds and push the window closed as well again. Covering my tracks.

Then I start the perilous journey down the building, which somehow, I succeed in! When I finally drop down on the dirt again and turn around though, I nearly out loud this time. “Miss Shaye! -“I stop myself, making an ‘Oop’ sound. You would think I would stop making these mistakes- I have been tortured and keep prisoner by the Hewitt family. Certainly not the late R. Lee. Ermey or Andrew Bryniarski either. The Hewitt’s. - But alas, I am still making this mistake apparently. “Sorry, you remind me of someone else!” I smile at Granny Boone, who must have been standing there watching the whole time I conquered the hotel building, stands with her hands on her hips and one eyebrow purposely halfway up her forward. She’s waiting for an explanation. “I didn’t want to wake up my family, and its time for the midnight stroll. Couldn’t sleep!”

My heartbeat races in my chest, because I have every confidence that this woman could kill me with her bare hands if she doesn’t like my answer. For a few moments, she makes me wait as she does looks at me suspiciously like Thomas. Oh god, are you going to eat me or not, ghost lady!?

“Oh, well that’s very considerate of you! Could I join you on your walk? I’m in the same boat.”

Oh, for fudges sake.

I smile politely though, and we start walking side by side down the middle of town. Silence hangs between us, but as we walk, I start to think this could work. I was planning on finding Buckman and telling him my story to see if he would believe me and do something because this whole town is supernatural and hard to believe, but I actually think this may have worked out in my favour! Maybe. He’s a sexist, chauvinistic bigot. But at the very least Boone’s a woman like me, with less of a boner for authority so hopefully she’ll at least listen. So… maybe…?

“So… “I start, sounding loud since it’s so quiet out here. “Can we talk? Woman to woman? I don’t know, you just seem trustworthy!” Oh, puke. What am I saying? “Sorry if I’m out of line, but… something crazy’s going on in my life.”

“Oh, trust me. I know crazy.” I side eye her as she smirks ‘mysteriously’. Oh, I know you know crazy, lady. I know. I know it all. You know crazy intimately. “Uh but go on. Sure thing. What kind of good Christian lady would I be if I didn’t bend an ear to our esteemed special guests?”

… Uhuh.

Well, okay! Works for me. “Thank you.” I clap my hands together. “Well. It started a month ago now, I guess… Haven’t really been able to keep up with time. First, I should probably explain the multiverse theory…”

#Oneshot #Horror x Reader #Texas Chainsaw Massacre 2003 #texas Chainsaw massacre: The beginning #2001 Maniacs #Sheriff Hoyt #Charlie Hewitt #Luda Mae Hewitt #Monty Hewitt #Thomas Hewitt #Granny Boone #Mayor Buckman #x Reader #Horror Oneshot #Slashers

[steponmepinkjun]

I NEVER FINISHED MY STORY OMG. ok so i left off at being too proud to tell my friend she was right and kpop fucked hard. the difference between u and me is that i’m too good of a liar. too good. i kept up the “i hate kpop it’s cringe” facade for ALMOST TWO WHOLE YEARS, I SHIT YOU NOT. why? bc my dumb ass, extra ass, dramatic ass self thought “ok if i’m gonna have to deal with the embarrassment of admitting i’m wrong, i better do it in such an extra ass way it’ll knock ur socks off so hard that YOULL be the one embarrassed not me.” the original plan was to learn the entire choreography to bts dope, bc it’s the song that she told me to listen to and inevitably the song that got me into them, but later switched to bts fire bc i saw too many of those “choreo matches w any song” videos, and then her birthday party came up. and here’s the real kicker. her birthday is April Motherfuckin Fools. so it would be So Perfect for me to reveal my kpopism as a birthday present And a april fools prank in one. so i was Set on the Reveal being on april 1st, but the day rolls around and god that choreo is so fucking hard and i am Not a dancer. never have been. so i abandon that and go ykno what… i’ll do it Next Year. BC MY BITCHASS WAS LIKE NO THE MOMENT IS TOO PERFECT TO DO IT ON A NORMAL ASS DAY ITS GONNA BE ON APRIL FOOLS ON HER GODDAMN BIRTHDAY OR NOT AT ALL. a year rolls by, i’ve told most of our friends except her and they’re all in on it, i’d made so many subtle kpop references to her without her realising they were fully intentional and had too many scares where she almost figured me out but i lied my way out of it, and i’d given up on showing off with choreography bc i couldn’t make that shit look good. i’m not a dancer. i am, however, a rapper, and a damn good one, so i inhaled the agust d mixtape and decided i’d just rap the eminem of kpop’s anthem at her face. in korean. and change the lyrics at the end (if u haven’t listened to agust d, the bridge repeats “i’m sorry” a lot) to “i’m sorry i kept this from u for so long” and “i’m sorry i actually ult got7 not bts” (this was like the april after skz debuted ok i was holding onto got7 for dear life knowing full well skz we’re going to convert me smh) and the best part? she never saw it coming. her official present was a cd with a bunch of kpop on it but she thought it was just a personalised mixtape for her so i told her to play the first song out loud and she knew the song Instantly. it has a long intro so she was like “i guess u did listen when i recommended u this song!! i knew you’d like it since u like rap so much!!” and then i started rapping and i shit u not. she started SCREAMING. like the initial reaction was her jaw dropping and then instinctively covering her mouth but when i kept going and she realised i wasn’t fucking around she just fucking screamed like a banshee. at the end during the sorry bit i threw off my jacket to reveal a got7 shirt on the inside and she fell off her chair and started rolling around on the floor. needless to say it was every bit as satisfying as i thought it’d be LMAOOOO afterwards her ass was like “I CANT BELIEVE U HID THIS FROM ME FOR OVER A YEAR” and when i tried to explain my ego couldn’t take the “i told u so” she was like “you know i wouldn’t have made fun of you for it right? i would just be glad you’re not hating on my boys anymore” so basically i’m a big dramatic fool and she was always too good for me.

don’t mind the weird spaces here my ipad is being all fucky wucky w me rn. damn sad to hear ur sideblog experience didn’t go so well, i’d have shown u the cool side of the fandom if i knew 😤😤 leading u thru the cursed halls of kpop stan tumblr like a sketchy tour guide that’s actually 3 small raccoons stacked on top of each other like a trench coat, like “over here we have the fanfic writers that honestly need to publish a book, over here we have the gif makers that are responsible for my entire camera roll, if we take a quick swerve past the death threat anons and the twt fanwar screenshots - mind ur feet bub the 14 year olds were tryna make a grab for ur ankles - ah here’s the holy grail of shitposts, you might be here for hours, to the right we have the weird aussie side of the fandom that projects our childhoods onto chanlix but also all the members as we decide what their life in australia would’ve been like, and down there is a secret trapdoor to the blogs w endless random headcanons that will make you laugh, cry or blush depending on if the author woke up and decided to choose violence today. enjoy your Stay!” but then again i’m not so active on tumblr anymore (ngl you’ve become the highlight of my tumblr experience these days, interaction wise,) so maybe all my Local Hotspots are inactive now. i know a bunch of them are, it’s sad. “i don’t fw stan twitter for the same reason i don’t hang out in meth dens” oop. guess i’m a meth addict. no but i get u i rly do, it’s a hellhole out there, but the fact that things get shared and spread a lot easier than on tumblr and how short most things have to be (therefor keeping up w my adhd attention span without having to resort to the mental torture that is tiktok, with the added bonus of not always needing headphones.) that i just. couldn’t leave if i tried. maybe i should try being active on tumblr again but it’s a dying site in comparison.

“their music doesn’t consistently hit for me as much as skz” i’m sorry we can’t be friends anymore. what. what. you don’t dramama ramama ramama hey? you don’t feel a little jealousyyyyyy, naega anin? you don’t shoot out, shoot out, shoot out, or aremdaeun love killa love killa? you can’t be your hero du du du du du du du du du dududu? u disappoint me. literally like everyone i know who likes skz music likes mx music like it’s a rite of Passage. they’re kindred spirits, monsta x music is like skz’s music’s cool but mildly heterosexual older brother. neither of them know what a bad song is it runs in the family. and both their music runs in my VEINS. whenever i describe my music taste they’re always the first two that come to mind, skz being my number 1 bc they are my best boys but mx bc of the Flavour. pls listen to the entire the code album then get back to me 😤🙌 ok but fr ur so right they are 7 of the finest men i ever seen (yes i say 7 bc i’m including wonho cause he deserved better and i’ll die on my ot7 bullshit.) like don’t get me started on them either LOL i LITERALLY downloaded that one insta video of changkyun working out his back n arm muscles w his tattoo showing bc i needed that shit saved for Science. they could do Anything w me like frfr. yes vixx is the bdsm contract group i’m telling ya they wildin. or at least they were. it’s been years since their last comeback idk what they’re doing anymore tbh. and yeah that makes sense, savouring the hyperfixation i feel it, but also i’m so attached to skz that i never let it die. like i hyperfixate on other things and other groups but i will Always go back to skz cause they’re my homeboys. hell, they’re my home. being a predebut stay i’ve spent more time w skz than most of my actual family members at this point. but that’s just me you do u boo xx just know that if ur anything like me ur never letting go once skz it’s been my longest lasting fixation cause they hit like Nothing Else Do. ik i’ve already said that but i cannot stress it enough. they’re really special. i’m gonna stop here before i get all sappy and emotional bc i really love those boys so fucking much and i don’t drop the L bomb often. SIDE NOTE I WOULD LIKE TO SEE UR LIST OF GROUPS RANKED BY THORSt. i need to judge ur Taste. and omg cat&dog is such a guilty pleasure song bc the lyrics make me cringe so much bc while pet play can be fun they be doing it in more of an “i’m an innocent soft dogboy uwu” kinda way that just Does Not Sit Right with me. it comes back to the objectifying of asians that asians themselves don’t help in industries like these and maybe i’m looking too far into it when rly it is just wholesome n cute or maybe they are into some pet play shit idk idc i will bop to the song regardless but i will not acknowledge the lyrics nope.

YOURE RIGHT THO SKZ’S OPENNESS IS IN FACT, A BIG DEAL, i’ll grab them for u if u want but i found these twt threads of skz supporting the lgbt community and i just felt a special kind of happiness man like sure the delusional part of me likes going “haha they’re gay” bc my brain likes to imagine them as my polycule of mlm boyfriends bc sometimes thats what gives me the serotonin to get me thru the day ok don’t judge but also bc it’s nice knowing that yes i’ll never know them personally, but at least i can support them knowing they’d respect my gender identity and my pronouns, they’d respect who i choose to love, and that’s already more than the general public can say so shit, it is special! it’s special that they don’t treat being cishet like the norm - they constantly remove gender from their songs and speech entirely, they don’t assume all stays are female anymore, we don’t talk abt the babygirls incident cause we got babystays in the end outta that ok, and it’s just. so refreshing and important to me bc i can’t get that anywhere else!! like my semi ults are the boyz and while i love them very much and there’s no way all 11 of them are straight i refuse, i do get just a little bit sad whenever they she/her their fandom by default and call them their girlfriends n shit even tho i do still identify as a girl, i’m also genderfluid/nonbinary/transmasc, and i have a very love/hate relationship w my womanhood and rarely use she/her pronouns, cause it’s like, do you not see me? see us? the ones who aren’t cishet women? i mean i know kevin does bc he congratulated a fan who came out as nb but it’s just not the same as the openness we get w skz. like how do i trust cishets i could be supporting them as a queer person when in reality they’d call me a slur. what would i know, behind the screen? so it’s so good that skz go the extra mile to make it a safe space for everyone. this is already long enough i will reply to the second half of that ask in another message… tomorrow cause it’s 1am and i’m tired gn -felix bi anon

I'mma have to start putting these under a readmore so that i don't absolutely make everything who is still following me for some reason go totally fucking insane 😂

NDJDHWJJAHFNAKBSJSBFBHHDBDNAJD YOU HAVE NO IDEA THE FACES I WAS MAKING READING THIS, I WAS FUCKING CACKLING AND GASPING EVERY OTHER SENTENCE SO HARD THAT I SCARED THE CATS NDJWHSHSB the fact that you went "oh you want me to get into kpop? Give me a hot minute, and I'll give you a whole ass private concert for free" biduehsjdbd biiiiiiiiiiitch you're a fucking ICON, I stg I could NEVER 😂 (and not just because I couldn't find a tune if you gave me a printed set of Google maps directions and that I embody the steriotype that white people can't dance, like my sister kept sensing me tiktoks of the whole "dance like a white girl" trend going lmfao look it's you and eventually I was like "sis please this trend has me feeling like being white is a disability and these mothafuckers are being ableist 😭 also I could NEVER be that on beat so yall ain't even doin it right 😭😭😭😭"). Tbh if I told one of my friends (lol what friends, i got jokes) to get into Skz and they showed up at my bday and performed the entirety of I Got It I would simply shower them in money and go "aight everyone else go home, you are no longer needed, you are being laid off, your position has been eliminated, we're downsizing, the company is moving up and you're moving out, you are not qualified for this role any longer, best of luck with future endeavors" 😊

I think part of the reason I can't deal w Twitter is the exact reason I refuse to leave tumblr, in that I've been on tumblr since 2006 and twt since 2008, and tumblr literally has not changed at all, not even a little, whereas going from the early days of twt where there were no corporate sponsorships or ads and you had to manually copy and paste someone's tweet and @ them to retweet it, to how it is now, like 90% ads and showing me shit from the timelines of people I don't even fuckin follow n whatnot, it's just not enjoyable. Idk how anyone finds anything on twt, it confuses and frustrates me because I am old and have not adapted well to technology changing 😂 But arguably, the skz fanbase doesn't want me on skztwt anyways so like it works for both of us lmfaooo. I am old and cringey, and also still think of twt as stream of consciousness whereas tumblr is your teenage bedroom where you can decorate the walls with anything that interests you. I do really love the nonsensical kpoptwt shitposts tho fhshsbdjjss like it is a very specific flavor of mental instability that I enjoy immensely 😂 OH and also I initially misread part of that and thought you were saying you actually irl do meth and I was like 😳 WHAT DO I SAY TO THAT. HOW DO I HANDLE THIS. Like how do I express like "I wasn't being judgy of people who use substances cause I've been there but I was just being insensitive 😳" And then went back and reread it and was like WHEW, IM JUST AN ILLITERATE FOOL 😂😂😂😂 ejeywhdhrhjwbfbdjshdhdhd I spent like an hour bwign like "IS THE REASON WE GET ALONG BECAUSE THEY'RE ON METH???? WHAT DO I DO WITH THIS INFORMATION??????" hrhehshe I am literally a fuckin idiot it's fine

It's not that I don't fw them, it's more like... Okay so like there is no situation in which I am going to skip a skz song if it comes on shuffle. You will not ever catch me NOT in the mood to listen to Sunshine, if God's Menu comes on we are THROWIN the meager amount of booty meat I got hither and thither, I could be in the happiest mood of my life but if Ex comes on I will stop to SOB. And I'm not like that with most music, so mx just falls into the category of "there is a time and place." Idk why but it just doesn't forcibly grab hold of my heart and ass the way skz always does. I really don't WANT my skz fixation to ever end, but I know that eventually it'll stop giving me dopamine bevause my brain is my worst fucking enemy 🙃 like my arcana fixation is to date the longest running hyperfixation I've ever had, going on almost three years, and I used to not be able to spend every single second of every day thinking about Asra, but now... I just feel nothing when I look at arcana stuff. As you can probz tell by the fact that I hardly post arcana anymore 😂 So I know that eventually all my happiness will end, it always does, I can never stay just as obsessed with something as I was for long. I CANT SHARE THE LIST BECAUSE I DONT *HAVE* TASTE YET 😭 I'm basically just compiling a list of any group someone tells me I should look into, ranked by how strong the kitty purred upon googling pics of them 😂 My mom read my ass to FILTH over txt lmfao she was like "they're not that adorable. Maybe your standard for adorableness has gone down with You Know Who still on hiatus 🤔" bfjwhdhd like MOMMAAAAA THE LIBRARY IS CLOSED 😂 she attacks me any time I even hint at stanning other groups, she is a skz purist and stans skz only, unofficial Momma Stay of All Stays keeping me in check lmfao.

I feel like skz really do follow thru on their promise that they're a safe space for stays, it's nice to see that they hold space for anyone and everyone in their fanbase and do it in a really simple and elegant way, I feel. Like they never make it seem like "okay here are the fans and here are the token weirdos that were only recognizing to make a buck off of them" the way a lot of artists make it feel like 😑 like they don't go out of their way to act like it's some revolutionary act to do the bare minimum of not shitting on certain parts of the fandom, if that makes sense. They feel very "yeah, of course we love all our stays, this is a welcoming space for literally anyone, that's how it should be, that should be normal," instead of like "Hi fans we love you 😊 and special shoutout to you ell gee bee tee folk, make sure to buy my rainbow merch after the show!!!" you know? Like, they're the friends who would never make you feel weird or different for some shit, the friends that take the attention off you if something they know ur sensitive about comes up, instead of weirdly snapping at whoever brought the unfomfy thing up which ruins the mood and makes you feel tiwce as bad, yk? They just give off this vibe that they, and the space they create with their music, is just a genuine and chill place to be and hang out and relax and bond. I feel like they'd be the friend group that is so goofy and sweet and silly and accepting and lovely and always makes you feel loved and excited to be alive 🥺 They are all good noodles 🥺🥺🥺

#felix-bi-anon #asksteppie

[melyaliz]

Better in Heels

Fandom: DC / Batfam

Summary: Anything you can do Dick can do better in heels. And Jen is here to support him in that. 

Pairing: Dick Grayson x OC (Jennifer O’Neal) 

Notes: Based on this story and @thespacebuns saying I should write Dick in heels. Also this post because it’s beautiful and this artist is pure magic 

All Masterlists @melyalizarchive​

Connect with me! AO3 / Instagram / Pinterest

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“Anything a man can do a woman can do better in heels” 

Jennifer looked up at her past boyfriend and present best friend: Dick Grayson. He had dragged her out to lunch after her morning meetings and they were just enjoying each other’s company - and some amazing mac and cheese- when Dick had spoke out of seemingly nowhere. 

“I mean, not to be sexist” Jen said poking at her macaroni, “but I feel like men could do it in heels if they tried.” 

“That’s my point!” Dick said pulling out his phone excited, even after all this time they were still operating on the same wavelength. “Look at Harley Quinn,” he played the video where the pretty blonde woman did a flip over some policemen. The move looked very familiar to something Dick Grayson use to do all the time. And probably still did honestly, Jen didn’t like watching the videos of them all fighting. It scared her a little. Just knowing how real that danger was. 

But that wasn’t the point. The point, which Dick hasn’t made yet but she had a feeling he was about to. Was that if Harley could do it in heels he could too.

“I mean what size shoe are you?” Jen asked rewinding the video a little to watch the move again. Oh yeah, Dick could do that in his sleep. Her, no. Dick? Yes. Faith too probably but she also hated heels. 

“A 10 in men’s.” 

“So like a 12 in women’s…. That may be hard.”

“Well, what do you have?” 

“Dick I’m a 7.5 you won’t fit.” 

She was already scrolling on her phone looking “Oh look at these!” she said holding up some cute platform booties. “And they have them in blue to match your costume” 

“Ok, I like those.” 

“Oh or these, they have little wings on the side!” she cooed showing him another pair, “they are having a sale I’m getting both.” 

“Wow ok.” Dick chuckled as he watched Jen quickly start filling out her information. 

“What?” she asked glancing up from her phone, eyebrow raised.

“I just” he shrugged, “you’re so supportive.’ 

“Was I ever not?” 

“No but, I normally see Faith as the one who orders the crazy shit.” 

“Well, we are sisters.” Jennifer said clicking order, “I did appreciate the large witch hats and brooms you guys pulled out for that midnight show for Harry Potter. Making people feel safe and also fans.” 

“Yeah well I didn’t realize she was such a fan.” 

“She wasn’t until she met Tim. she wasn’t much of a reader until Tim really.” 

Dick chuckled thinking back to how much Tim had relaxed since Faith had officially joined the team. It was subtle but there. He just seemed to smile a bit more and would even talk out his process. Dick had even caught the new robin cracking a joke last night. 

“They remind me of us when we were that age,” he said thinking back to the two of them running around the city laughing and showing off. Well he would show off she would just laugh 

“Dear God, I hope Faith doesn’t cry as much as I did.” 

“You weren’t that bad.” Dick waved away her comment. Honestly, she was way too hard on herself. 

“Didn’t Barbara start carrying a pack of tissues with her in her belt?” she chuckled at the memory of the red-haired girl just at the ready. 

“Oh yeah... Yeah, you were pretty bad.” Dick laughed thinking back at how Jennifer use to tear up at every single villain back story. She had full-on sobbed - snot and all - when they had found Victor Freeze’s wife. “But also so supportive.”

“Still am!” Jennifer smiled waving her phone, “You’re new shoes will be arriving next week. I didn’t pay for overnight shipping though because I’m supportive but also cheap as fuck.” 

“I can’t wait.”

----------------

“No” 

Bruce didn’t even need to turn around as Dick walked into the Batcave a week later. Somehow the caped crusader just knew.

“What WHY!?!” Dick cried.

“They do make your legs look great,” Faith said as she unwrapped her hands just finishing up sparing with Cass, “do all the robins get upgraded footwear.”

“There is no way in hell,” Tim said eyeing the 4-inch platforms 

“If Dick wears them you all have too,” Bruce said turning around arms folded. Already knowing where this was going. Cass shrugged jumping off the mat to find a pair of heels while Faith violently shook her head.

“Never mind” Faith said, “Take them off boy wonder 1.0”

“Nope! You’re all in heels!’ Dick sang out, “I have to show up a certain blonde” 

“Is he talking about  Cluemaster?” Faith whispered to Tim who studied unsure if she was joke or not. Sometimes he couldn’t tell. 

“No Harley Quinn.” 

-GET TAGGED!- 

Forever tag:  @the-shadow-of-atlantis​​ @coffee-randomness​​ @0hmydeku @xx3fsxx @daisyboobear​​  @jason-redhood​ @hello-i-lovespiderman-blr  @pinkwitch21 @tomhncharliep  @cdwmtjb8 @thespacebuns

#Dick Grayson x oc #Dick Grayson x reader #Dick Grayson cute #Dick Grayson fluff #dick Grayson fanfic #Dick Grayson imagine #batman fanfic #Batman oc #DC comics oc #oc appreciation #ocapp #Jennifer #feather #young justice oc #young justice reader

[zombiequincy]

THE POSITIVE & NEGATIVE; Mun & Muse - Meme.

fill out & repost ♥ This meme definitely favors canons more, but I hope OC’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multi-Muses pick the muse you are the most invested in atm.

My muse is:   canon / oc / au / canon-divergent / fandomless /

Is your character popular in the fandom?  YES / NO.

Is your character considered hot™ in the fandom?  YES / NO / IDK.

Is your character considered strong in the fandom?  YES / NO / IDK.

Are they underrated?  YES / NO.

Were they relevant for the main story?  YES / NO.

Were they relevant for the main character?  YES / NO / THEY’RE THE PROTAG.

Are they widely known in their world?  YES / NO.

How’s their reputation?  GOOD / BAD / NEUTRAL.

How strictly do you follow canon?  — I’d like to think I follow canon fairly decently in regards to Giselle’s powers but then again there really isn’t much to follow. So we’ll go with a shaky ‘ehhhh’.

SELL YOUR MUSE! Aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.  —  She’s one of the most objectively fucked up Sternritter. Her powers completely spit in the face of everything the Soul Reapers try to abide by and their cycle of life and reincarnation by basically crushing it under her heel and refusing to allow the process of death to run its course. She’s also just such a cheery and utterly irredeemable villain which is so refreshing sometimes. None of that brooding ‘woe is me my powers and situation makes me so sad’ no no no, she is here to FUCK shit up for everyone and laugh while doing it. Also the whole idea of forcing someone to fight against their will is just so supremely fucked up but always interesting to see in action. She could have singlehandedly turned the tides of the Quincy invasion if she got her hands blood on the right people and that’s a terrifying though. Also a lot of her motif and powers link closely to the sort of biblical fucked up imagery of angels that you can see in novels like Paradise Lost or Dantes Inferno or the Old Testament, that just themeatic attitude of like show no mercy even to the weak and how morals are meaningless in the face of war and if you’re doing everything in the service of god then even the most fucked up actions can be justified, so if like me, you’re a huge nerd for that shit, she is PERFECT.

Now the OPPOSITE, list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?).  —  She’s one of the most objectively fucked up Sternritter. She’s annoyingly over powered in the sense that she just doesn’t die, which can really be a sticking point for some people because it just seems like there’s no threat present when she’s around. I also don’t blame anyone for being disinterested with her portrayal and character as it is in the manga since her whole identity seems to just be a shitty allusion to predatory lesbian trope and god awful transphobic jokes, so seeing those it can be easy to think that’s all there is to her character and not even want to entertain everything else she has to offer. Also the way that she treats Bambi, turns even my stomach, so I absolutely do not blame anyone who might want no interest in any of that and the implication of those scenes.

What inspired you to rp your muse?  —  (Kaiman lol) She was one of the femritters I naturally gravitated towards because of her fight with Mayuri and I fucking hate Mayuri soooo, queen rights! Also I just love characters who can like puppeteer and control others against their will, there’s something so really interesting about that power in fiction and it always gives way to tons of angst and sadness which is absolutely my shit. I also had a ton of issues with the way that Kubo presented her in canon, especially in regards to her trans identity and I kept obsessing over that and wanted to kinda push away from all those shitty moments and try to focus more on her powers and attitude as a young Quincy who was eager to join a war and murder her way up the ranks. 

What keeps your inspiration going?  —  My love for evil women. But you know, mainly music and goth aesthetic posts. Also other pieces of gothic literature and undead monster lore and mythos. If there’s a will and way, I will always find a way to bring it back to Giselle.

Some more personal questions for the mun.

Give your mutuals some insight about the way you are in some matters, which could lead them to get more comfortable with you or perhaps not.

Do you think you give your character justice?  YES / NO.

Do you frequently write headcanons?  YES / NO.

Do you sometimes write drabbles?  YES / NO.

Do you think a lot about your Muse during the day?  YES / NO.

Are you confident in your portrayal?   YES / NO.

Are you confident in your writing?  YES / NO

Are you a sensitive person?  YES / NO.

Do you accept criticism well about your portrayal?  —  Haven’t gotten any yet but I am always open to it. I know there’s a ton of choices I’ve made in my portrayal that are open to heavy scrutiny, like making her very young contrasted against the other Sternritters, making her a serial killer, making her a self declared man eater etc etc. Even though my main goal with rp is to just have fun, I’d never want to do so at the expense and well being of others, so if anyone has some serious critiques to make about Giselle or to say that she’s making them feel uncomfortable, then it’s the absolute bare minimum for me to listen and be considerate about that criticism! 

Do you like questions which help you explore your character?  —  If I say no that makes me look like a mad woman and an asshole but like GKJLASDKDJSA look its really hard to try to explore a lot of the inner depths of a character like Giselle who just joyfully takes pleasure in others suffering. Like she’s just here to kill and eat people, trying to explore the why and how and who led her into that way of thinking and informed her deeper beliefs, high key gives me a headache. Sometimes she’s just evil and a dickhead for the sake of being an evil dickhead. I have to be in a very specific headspace and mood to want to discuss in detail her attitudes and beliefs and how certain personality traits of her came to be and even when I do that, it’s not usually public. As I write with more and more people, her views and ideals begin to reveal itself in the threads and situations so I prefer to do the exploration that way via my writing and threads. I’m always open to questions which help me explore her ideals and beliefs and reckoning with her past but because I haven’t made any plans for her to really confront or express those beliefs directly yet, it’s hard for me to explain them accurately or correctly.

If someone disagrees to a headcanon of yours, do you want to know why?  —  Yes! I’d never declare myself as an expert on Bleach since I learn a lot of the nitty gritty details through osmosis of people who do know more than me, so if I get something wrong or a headcanon is a little bit far fetched, I’m always open to hearing the details as to why and how I can improve it. Also a lot of my headcanons are just stupid jokes so if you have one that’s funnier, then I will always love to hear it.

If someone disagrees with your portrayal, how would you take it?  —  In my stride. I always say this Giselle is mainly just a goof so I don’t take it too personally if someone thinks I’m doing her wrong, half the time it’s just be making bad jokes about murder and maiming and cannibalism. There are about a hundred different ways to approach someone like Giselle and mine is FAR from being the most accurate or correct one.

If someone really hates your character, how do you take it?  —  I can certainly understand why considering her actions in canon and how brutal and cruel she was. She kinda is a figure made to be hated and disgusted by and in certain threads I do really lean into her more ‘evil’ side. So I’d never take it personally. 

Are you okay with people pointing out your grammatical errors?  —  Dear god please do it. I’m dyslexic and English technically isn’t even my first language I struggle with this VERY bad. Let me know please please PLEASE.

Do you think you are easy going as a mun?   —  I think sooo? I’ve never rushed anyone for replies, I take my own sweet time to get stuck into threads and I approach any headcanons or ideas people have for Giselle with a sense of optimism and good faith! I’m always down for some silliness but I’m always cautious about how far to go with her considering that the way she acts can be triggering in some regards so I like to think I’m both pretty careful and laid back!

That’s about it, congrats for filling out!

Tagged by:  @windstormwielding cheers my dear !! Tagging: @fleshpurifies @bazzardburner @hyouketsu @oscuras and YOU!

#dash games

[moonlitgleek]

On Account of Her Womanhood

I started this post over two months ago with the hope that it would help me work through my iffy feelings on Fire and Blood, namely how much I dislike the way many of the female characters are written in this book and how it repeats and expands on some unsavory elements of GRRM’s narrative that have been broadly noted in fandom across multiple books. But a closer look only increased my frustration with this book for how it underlined several of Martin’s problematic patterns when it comes to writing women but in a more condensed form this time, perhaps due to the nature of the medium. The history book form of F&B focuses these recurring problems and offers little to offset or challenge them that the authorial issue of casual and uncritical misogynistic writing feels more pervasive. It may be that Martin tried to address at least one aspect that’s been criticized before, but I remain disquieted with how he largely traded one issue for another.

Whatever the case, I think that a writer of Martin’s caliber and with his affinity for interrogating and examining traditional genre tropes can and should do better than this uncritical use of misogynistic writing that he not only leaves to stand unchallenged, but actively leans into. In this depressingly long post, I’ll address some of the problems that jumped out at me while reading. Feel free to add any I may have overlooked.

Objectification and the categorical sexualization of female bodies:

One of the most noticeable trends I found in F&B is how distinctly different it treats male and female bodies. While there may be plenty of overlapping, there is a decidedly heavier focus on sex in women’s stories. Too many stories witnesses a woman’s ultimate fate incorporate a sexual component, often violent and/or fatal, that is if the story isn’t completely built on sexual appetites or escapades. Fire and Blood dives into the personal lives of its characters far more than its cousin The World of Ice and Fire, and that has translated to a lot of sex. That is not inherently a bad thing, but F&B is also notably heavier on female characters so it’s really conspicuous that the number of women goes up in direct proportion to the increase in cases of sexualization and sex stories.

To put it mildly, women’s stories are drenched in sex, to the point where I’ve compiled a list in my initial notes under the title “Gyladyn is a Pervert” due to the sheer amount of unsolicited, unnecessary and disturbingly detailed accounts of women’s sexual experiences. You’d be hard pressed to go one chapter without focus being given to minute details of women’s sex lives which sometimes spans whole pages of the text. It’s primarily the women who get framed through a sexual lens in this book, especially in instances where the female characters don’t even get a story that is not based on their sexual history. Sexuality is not just one aspect of a woman’s personality like it is for the men, it is the core of her entire characterization. Far too many Targaryen ladies get that treatment, along with a myriad of other women. I chose some examples to discuss, but they are but a drop in the total number of characters receiving that treatment.

Coryanne Wylde

Lady Coryanne’s story is the most infamous examples of a gratuitous sex tale that doesn’t serve any real purpose in the narrative, but not only does it occupy way too much space in Gyldayn’s writing, he goes on to describe in excruciating detail the violation and abuse of a young girl while consistently blaming her for it. For all that Gyldayn keeps saying that we need not concern ourselves with the sordid details of A Caution For Young Girls, we get to hear quite a lot about Coryanne’s sexual history.

Coryanne’s entire narrative derives from sex. She gets no other story and no other characterization. Her voice and actions are filtered through the opinions and assumptions of various maesters. Her body is presented as an object for more powerful and/or older men to use and abuse, and the one spin of her story that affords her some figment of agency (i.e, the take that Coryanne taught Jaehaerys how to have sex because she became fond of him and Alysanne) deliberately minimizes how dysfunctional her entire situation is and neglects to reflect her real age and experiences by casting her as someone with more carnal knowledge and the ability to teach Jaehaerys about sex. Keep in mind that Coryanne’s so-called sexual "knowledge” has been exclusively through rape.

I read to what amounts to one quarter of a chapter about Coryanne Wylde but I still have no idea who this girl was. What I do know is way too much information about her sexual history and the men who took advantage of her.

Rhaena Targaryen

Rhaena is luckier than Coryanne in the sense that her characterization doesn’t derive solely from her sexuality and her story is more nuanced and layered. However, not only does Rhaena’s sexuality remain the underlying factor in her narrative, it’s kinda absurd how the narrative ties itself into knots trying to justify the inclusion of rumors about how Rhaena lost her virginity to a lowborn lover whose identity is debated, even though the information presented thus far by the in-universe author contradicts the very premise of those rumors or even the reasoning presented as the cause for discussing those rumors. The whispers of Rhaena’s so-called affair is preceded by rather strong hints of Rhaena’s preference of women; though that does not necessarily preclude the possibility of her liking men too as her reported affection for her brother Aegon suggests, it’s that affection and the note about how Rhaena and Aegon grew up expecting and welcoming their eventual nuptials that makes Rhaena’s supposed loss of virginity to a random guy all the more weird. Too, it’s been noted previously that Rhaena neither encouraged nor entertained any of her many suitors and instead preferred the company of her siblings, dragon and her latest favorite Alayne Royce. So for rumors to exist about her having a raunchy affair with some lowborn guy she met while dragonriding is not only random but baseless. Where did these rumors come from if there is nothing in Rhaena’s history to either trigger or support them?

The reasoning the narrative gives us for those rumors is to explain Rhaena and Aegon’s marriage, since Aenys was supposedly driven to marry Rhaena off as soon as possible in light of these rumors. However, reports of Rhaena and Aegon’s closeness and their expectation to wed, as well as the Targaryen incestuous tradition more than explains the match and Aenys’ decision, especially since Rhaena and Aegon were well-within the normal age for marriage in Westeros. There is nothing weird about this match that warrants an obscure affair to explain. Which only serves to illustrate the oddity of this unsolicited commentary on Rhaena’s virginity. Those rumors stand as a random tangent about a subject that no one should care about in the context of the story. Who cares whether Rhaena was a virgin or not when she married Aegon? What possible effect did her virginity or possible lack thereof have on the narrative for it to be included? The way this story is handled, Rhaena’s sexual agency is there to serve as a matter of intrigue, speculation and scandal when there is no fathomable reason for that to happen, not to mention that it makes Rhaena’s dynastic role as the expected future queen dependent on the expression of her sexuality.

Alyssa Targaryen

Full disclosure: I hate how Jaehaerys and Alysanne’s daughters are written and how sex is the make of their stories. That’s the case for five of the seven daughters they had, and it is infuriating. Is this the best you could come up with for the daughters of the best Targaryen queen Westeros has seen, GRRM? Sex, dead (Daenerys), septa (Maegelle who is clever and reconciled her parents, that’s mostly it) and barely mentioned (if you count Jocelyn Baratheon) are the only options?

The characterization of Princess Alyssa starts off promising enough with information about her personality, her unladylike interests and her closeness to her brother Baelon, but quickly devolves to be solely about sex. We literally do not hear one word from Alyssa’s mouth that is not about sex. Her story is a tale about how she loved sex, had sex, joked about sex and shrieked during sex. For all the narrative says that Alyssa was brave and irrepressible, it reduces her to someone whose sole purpose and sole story focus is sex. Alyssa Targaryen exists to have sex with Baelon and give birth to Viserys and Daemon before conveniently dying of complications after birthing her third son.

Alyssa’s story is not only symptomatic of the incessant sexualization in this book but of the recurring misogynistic problem of reducing women to their sexuality and fertility. Alyssa’s function in the story becomes intrinsically tied to both since the narrative never bothers to give her anything outside of her sex life. What non-sexual tidbits we get are either dismissed or glossed over. This is a princess who reportedly delighted in dragonriding, followed her brothers to the training yard and eschewed ladylike activities but for some reason, she responds to Baelon’s statement about how his bravery in battles does not measure to her own in giving birth by telling him that he was made for battles and she was made for childbirth. What even is that?

Alyssa Targaryen is a woman of whom Septon Barth said: “Alyssa may be all her mother is and more”, but we never get any elaboration on that. Instead we get to know about how Alyssa’s sounds of pleasure echoed through the Red Keep on a regular basis and how she constantly wanted to have sex.

Saera Targaryen

Dear god, is this an optimal example of how this book centers women’s characterization on their sexuality. Saera’s story is that she had sex with her companions and Jaehaerys punished her for having sex with her companions, which filters all aspects of her personality through a sexual lens by the narrative. It’s rather pointed that everything we know of Saera’s childhood is almost exclusively negative with a clear vibe of presenting her behavior as an escalating problem that reaches its peak when she has sex. It felt like Saera’s entire characterization up to when her sexual relations are discovered is one long build-up to that point of discovery. Saera’s “appetites” are remarked upon since she is literally a baby in a rather clear attempt to underscore her later actions when those appetites turned sexual. This is not simply a matter of hindsight coloring perception of Saera too, given how Maetser Elysar’s comments about how Saera “wants what she wants and she wants it now” are dated to 69 AC, when Saera was all of two. That gives the feel that Saera’s sexuality was the fulcrum that the rest of her characterization was build on, which certainly explains why her sexual affairs are framed as an extension of her previous bad behavior.

Daella Targaryen

Oh but this is a lesson in frustration. Daella's story doesn’t drip of sex like her sister Saera, but even when she is not unbearably sexualized, sex is still a primary filter that Gyldayn uses to shape our perception of her as this childlike frightened figure who apparently had no interests and no purpose in life other than needing comfort, and who wouldn’t talk to boys because she was frightened.

The text infantilizes Daella to such an extent that her disinterest in men who had no interest in her (Corlys Velaryon), who tried to force her into drinking (Simon Staunton) and who sexually assaulted her (Ellard Crane) is treated as a fault in Daella. Her entire story is about her parents’ ardent efforts to find a husband for her, a pursuit so irksome to Jaehaerys that he mandates that Daella must marry within the year when she approaches 16, in a conversation that introduces a rather needless sexual component in how Jaehaerys talks about Daella when he suggests lining a hundred naked men before his not-yet-16 year old daughter so she could pick one to marry. The story also seems to treat Daella’s later refusal of a bedding ceremony as a childish quirk that Rodrik Arryn indulged “his precious princess” in.

It might be a different facet of how a woman’s sexuality is used to define her than the previous cases, but it remains that Daella is treated as a sexual object by both the characters and the narrative in their dismay of how she doesn’t fit the traditional mold of womanly behavior and sexual mores in Westeros. It’s as if Daella is looked down upon for not having a sexual history.

Baela Targaryen

Wild, willful and wanton are the three words used to describe Baela Targaryen. It honestly boggles the mind that a character that has so much going for her gets introduced through a sexual situation. One of our first glimpses of Baela’s agency comes through the mention of her playing kissing games with squires followed by that one time she was found with a kitchen scullion who had his hand inside her jerkin. It’s especially notable to see how Baela’s willfulness (and unladylike behavior) is tied time and again to her sexuality and her interest in boys, which is very clear when Gyldayn talks about her unsuitable pets that she brought back to the Red Keep, a mention that is immediately followed by how her septa - who was in charge of Baela’s “moral instructions” - despaired of her and how Septon Eustace spoke of the need for her to wed immediately.

(Side note: I found the language of that paragraph so weird. It carries a heavy suggestion that Baela may have been involved sexually with her so-called pets, makes fun of her intelligence and suggests that she may or may have not been involved with the twin female prostitutes that the text then links to her own sister because they were twins “like us, Rhae” in Baela’s own words. There is a lot going on in that paragraph that I don’t know what to do with. Is Gyldayn trying to imply that Baela had sex with all of these people, including an entire trope of mummers and two girls that she explicitly connected to herself and her sister? Because he is certainly insinuating so, and I have been burned by this book enough already to assume good intentions).

Nettles

Instead of basing her characterization on it, how about we use a woman’s sexuality to undermine her accomplishments just to shake things up? Here’s a girl who relied on her intelligence instead of a pedigree to tame a dragon and succeeded in becoming a dragonrider, but her taming of Sheepstealer gets prefaced by a statement about how “worse was yet to come with dire consequences for the Seven Kingdoms” to preemptively blame Nettles for Rhaenyra’s own brutality and Daemon’s subsequent abandonment of her cause (a statement not made any better by talking about how “the power young maidens exert over older men is well-known” when discussing Daemon’s affair with Nettles as if to cast her as a seductress), and that’s when her dragontaming is not getting framed as something she traded sex for as suggested by Gyldayn’s speculation about how she traded sex for the sheep she fed Sheepstealer. He makes sure to treat us to his thoughts on the state of Nettles’ virginity when she began her affair with Daemon while he is at it as well.

Helaena Targaryen & Alicent Hightower

Straining logic to add a sexual rumor is a personal favorite of mine. Look, Gyldayn may be less zealous and less outrageous than Septon Eustace in his bias towards Aegon II, but he is still clearly biased towards him. He writes about him with a degree of sympathy not present in his writing of Rhaenyra and he goes out of his way to undermine events that may paint Rhaenyra in a better light while arguing against rumors that paint the greens as (more) monstrous. How convenient it is, then, for that bias to fail when it comes to discussing the rumor about how the teenage Alicent may have slept with both Viserys I before Aemma’s death and the elderly Jaehaerys I when she was his caretaker, a rumor that Gyldayn seems disinclined to believe (or so he claims) but more than willing to wink at its possible accuracy through a comment about how Alicent strangely spoke often of the Old King in her final hours but not of her late husband.

To add insult to injury, we’re also treated to a rumor about how Rhaenyra, on the behest of Mysaria, may have forcibly prostituted Alicent and Helaena in what comes to be referred to as the Brothel Queens. Spending time on a rumor that casts Rhaenyra in a bad light at least falls in line with Gyldayn’s biases, but it strains logic to have Mushroom be the source of that rumor. Why would a guy who loved Rhaenyra well as Gyldayn says perpetuate a rumor that casts Rhaenyra in such a monstrous light? It seems like the logic of this amounts to “Mushroom delights in sex tales and perverse rumors so he was the obvious choice” which doesn’t account for Mushroom’s feelings or biases (and which is problematic in its own way - do you think I missed that the two vulgar books that are widely quoted in this work were written by a woman and a dwarf, GRRM? Do you think I missed that the implication here is that Mushroom’s sexual perversions are prioritized over his depiction as a person who liked Rhaenyra?)

The Brothel Queens rumor adds nothing to the narrative but another case of unnecessary sexualization. Gyldayn ultimately rejects that rumor as false but I question the need to include it in the first place. Is it there to perhaps inform us that the public view of Rhaenyra was so bad at this point that people were inclined to not only believe in but also manufacture rumors about her monstrosity? Having one of Rhaenyra’s supporters as the accredited source of that rumor flies in the face of that, and narratively speaking, this doesn’t accomplish anything that the latter rumor about how Rhaenyra sent Maelor’s head to Helaena in a chamber pot - which is clearly framed as evidence of how much the public opinion on Rhaenyra has soured - doesn’t. So why is this pesky rumor there and what purpose does it have beyond showing us that Gyldayn is all too willing to spend his time discussing every sexual rumor under the sun?

As I’ve said, these examples are but a few of the number of women needlessly and excessively sexualized in this book. I have more on my list but talking about every story separately is going to make this post longer than it already is, not to mention be unbearably repetitive because many of them bear the same elements of having our knowledge of these women centered almost exclusively on their sex lives and their presence in the text reduced to their sexuality. Gael Targaryen was seduced, gave birth and died. Sara Snow's is a contrived and downright illogical story that only exists so she could have sex with Jace either as his wife or a fling. All Viserra Targaryen gets to do is pit boys against each other for her favor and try unsuccessfully to seduce her brother Baelon. Aliandra Martell is there to entertain men and possibly sleep with Alyn Velaryon to the displeasure of her siblings (psst, GRRM, your depiction of the Dornish, especially Dornish women, continues to be atrocious and this book does nothing to deconstruct the stereotype of them as violent hypersexual people). The questions Gyldayn ponders while discussing Tess killing Dalton Greyjoy include ones about her virginity and her physical beauty. Rue - one of two female writers in the book, the other supposedly being Coryanne Wylde - is there to write a vulgar account about Alyn Velaryon who she may or may not have slept with.  The list goes on and on.

Sexualizing the mundane:

The hypersexualized treatment of women bodies is so overwhelming in this book that it extends to ordinary stuff like nursing and pregnancy, both of which get weirdly graphic and gross descriptions in Alys Rivers’ story when she puts her pregnancy with Aemond’s child as “I can feel his fire licking at my womb” while her wetnursing is described as “the milk that flowed abundantly from the breasts of Alys Rivers”. Not even death or description of women’s death throes is spared that sexual aspect. While Princess Aerea is getting cooked from within in a horrifying portrait of suffering and agony, the fact that smoke is emanating from her vagina gets described as obscene, even though smoke is coming from every other body orifice. Meria Martell gets the rumor that she was coupling with a stallion at the time of her death. Rhaenyra’s breast is prickled to rouse Sunfyre.

Even in death, women’s bodies are treated as sexual objects. Mysaria’s horrific death via scourging has a sexualized dimension in how her body is put on display in her agony as she gets whipped while being paraded naked despite her crimes not being sexual in nature. To be fair, both Septon Bernard and Lysaro Rogare also get sexual punishments for non-sexual crimes, but the notable difference between them and Mysaria is that Lady Misery gets narrative focus on her “pale white body” while dying. (Mysaria’s fate is also too contrived in a way that Bernard’s and Lysaro’s aren’t but that’s only relevant here for how it appears like the narrative conspired to have her caught by that specific mob so she could get such a punishment). Even immolation gets a gendered and sexualized tint because when it’s women burning, they obviously get to “dance in gowns of fire, naked and lewd underneath the flames”. The thrashing of someone burning is apparently “lewd” if it’s a woman. Women’s suffering get inexplicably beautified (dance in gowns of fire) and sexualized, and somehow they are blamed for it because they are being lewd by thrashing in agony.

Child brides

Let’s start with their number, shall we?

Alyssa Velaryon, 15

Larissa Velaryon, between 12 and 14

Alysanne Targaryen, 13

Alyssa Targaryen, 15

Aemma Arryn, 11

Helaena Targaryen, 13

Elinor Costayne, exact age unclear but younger than 16

Floris Baratheon, 14\15

Unwin Peake’s unnamed daughter, 11\12

The Northern blacksmith’s daughter whose story Alysanne cited to ban the first night, 14.

Daenaera Velaryon, 6

Jaehaera Targaryen, 8

This list doesn’t account for those who were meant to be child brides but ultimately weren’t because of external circumstances. Cassandra Baratheon hadn’t yet flowered in 129 but she was going to marry Aegon II immediately in 131 when she was between 13 and 15. Viserra Targaryen was being shipped off to wed at 15. Myrielle Peake (14) was touted as a suitable queen for Aegon III because she could get pregnant immediately. Prudence and Prunella Celtigar were offered by their father for Maegor to immediately wed at 12 and 13 (at a time when Maegor had just murdered two wives, btw), Jaehaerys Targaryen made ardent effort to marry off Daella as young as 13 and mandated she marry by 16. And those are only the marital relationships that involve young girls, but the inherent issues of child brides exist in cases of non-marital sexual relationships like Marlida of Hull’s with Corlys Velaryon when Marlida was 15 if not younger, or Rhaenyra Targaryen’s “training” by her uncle Daemon at 14.

So what’s the problem?

This has been a subject of debate for a long, long time, whether in terms of its actual historical inaccuracy despite GRRM’s claim to the contrary, or of its defiance of Martin’s own Word of God. Margaret Beaufort is an example that has been brought up repeatedly to justify the broad inclusion of child brides in ASOIAF but while Margaret did give birth aged 13, the severe physical toll that took on her not only rendered her sterile but was a main reason she argued vehemently against her granddaughter being wed young too. But Martin only reflects the first part of the story while steadfastly ignoring the second part. Oh, it’s true that F&B acknowledges that the in-universe characters know that bedding young girls has severe and often fatal health risks, but that knowledge is either dismissed or categorically ignored.

The most outrageous example of that comes from the story of Daella Targaryen. In what could have worked as a way for the narrative to call out the problems entrenched in the concept of child brides, Gyldayn notes that Queen Alysanne blamed herself and King Jaehaerys for marrying Princess Daella too young when her physical constitution made pregnancy dangerous and indeed ultimately fatal for her. But rather than working as a resounding rebuff, the way this plot is handled makes it stick out instead as an oblique attempt for the author to say “see, I said it was bad!” rather than a serious condemnation of that constant trend. It’s a throwaway line without the commitment to showing that this information changed anything in-universe or was even allowed to stand as a clear, if a late and woefully limited, condemnation of the narrative’s over-reliance on child brides. Rather, Alysanne’s justifiable condemnation is promptly undermined by how it is immediately tied to her grief over Daella’s death with the clear aim to paint Alysanne’s deduction as an emotional - and thusly not rational - response which in turn dismisses her completely justified assessment.

Still, I might have only ascribed this to Gyldayn’s own misogyny if only that statement hadn’t been soundly forgotten by everyone in-universe, apparently including Alysanne herself. This incident appears to have come and gone with no visible effect on the main participants’ actions - it sure doesn’t look like either Rodrik Arryn nor Jaehaerys Targaryen learned one damn thing considering they go on to sign off on Aemma Arryn’s marriage at age 11, at a time when Queen Alysanne goes mysteriously silent on the subject. That is further compounded by how Alysanne herself comes to arrange for the 15-year-old Viserra to wed only four years after Daella’s death.

Be sure to give it up for the maesters’ (painfully casual) assessment that Aemma’s childbearing issues were because she was bedded too young though, it sure had as much impact on the narrative as Alysanne’s own statement years earlier, considering the numerous girls who would go on to be child brides, including Viserys I’s own daughter Helaena. Despite strong evidence of the risk of forcing girls into sex and pregnancy at an early age and despite the narrative’s own admission to it, it remains a regular occurrence to see teen girls married off (often with no pressing reason) and giving birth way too young without any kind of explanation as to why their guardians would think it a splendid idea.

Also a story where the text came close to properly addressing the core issue of child brides is that of Alysanne Targaryen. The narrative initially touches upon the issue of the inherent sexualization of child brides with Alysanne’s story, but somehow still ends up reaffirming how young girls tend to be regarded through a sexual gaze in Westeros. Gyldayn goes to great lengths in trying to differentiate between Jaehaerys and Alysanne’s nuptials and consummation, and that of your average Westerosi child bride where girls get no agency in the matches made for them, often to much older men who have no qualms about having sex with actual children. By contrast, Alysanne is shown as an architect of her marriage to Jaehaerys, actively going to him to curtail her betrothal to Orryn Baratheon and pushing for their marriage to be consummated so that no one could set it aside. Alysanne’s ability to consent in a match that she pursued to a similarly-aged boy is starkly different from what we typically see in matches with child brides, which is then affirmed by Jaehaerys’ recognition that Alysanne is too young for the marriage to be consummated after their first wedding, and her own advocacy for consummation later despite Jaehaerys’ lingering hesitance. So far, so good. It is another instance of a child bride but it’s used to add commentary about the inherent problematic elements of it rather than being presented in an abstract manner and left to stand unchallenged.

But not only is the commentary we can glean from this story undermined by Jaehaerys’ own actions with his daughters and granddaughter later, it is further diminished by the constant insistence to sexualize Alysanne. Gyldayn deems it necessary to tell us of how Jaehaerys and Alysanne slept naked, gives us servant gossip about the long lingering kisses they shared and inserts an offhand rumor about how Jaehaerys might have invited Alysanne to the bed he supposedly shared with Coryanne Wylde to “frolic with them in episodes most often associated with the infamous pleasure houses of Lys”, persisting in referring to Alysanne as “the little queen” throughout. That insistent sexualization of Alysanne contextualizes the mention of Jaehaerys’ refusal to consummate the marriage to be an attempt from the author-character to make Jaehaerys look good, rather than an attempt to offer any kind of critique to the custom of deflowering too-young maidens. It does, however, fall right in line with Gyldayn’s tendency to dedicate an ordinate amount of space to comment on the sex lives of teen girls. Which brings me to:

The hypersexualization of young girls

One can not go through this book without taking notice of how absolutely obsessed Gyldayn is with the sex lives and sex appeal of teen girls. Too much of this book is spent discussing, speculating on and pondering rumors about the sex lives of young girls, minor and major characters alike. It’s really telling that he, and the narrative by association, is so cavalier about inserting commentary about a girl’s body, sexuality or sexual desirability, even for characters who were only mentioned once or twice in the text. It’s all so disturbingly casual that it might not register on first read but there is an unholy pattern of slipping in a sexualizing comment about barely seen teenagers and pubescent girls. They may have no personality, no voice, no agency and sometimes no names but for some reason their sexual history (read: abuse), desirability or physicality is brought up. Among them:

Prudence and Prunella Celtigar. For the longest time, our knowledge of both is restricted to their age, and Rogar Baratheon’s charming comment about them being chinless, breastless and witless which Gyldayn keeps bringing up as their defining factor.

The Archon of Tyrosh’s daughter (15) is noted for her wit, hair and flirtatious manner (she is later rumored to have cuckolded her eventual husband, Orryn Baratheon, and birthed a daughter that wasn’t his, since she is a woman of the Free Citites and all that)

There may have been a nameless faceless 12-year-old girl that was being raped by Aegon II at the time of Viserys’ death. But fear not, we know exactly what kind of sexual act she was performing on him.

Jocelyn Baratheon (16) barely exists in the text, but we needed her physical description to include that she was full-breasted just so we can understand that she was desirable.

According to Mushroom, Aemond kissed all four of Borros Baratheon’s prepubescent daughters to “taste the nectar of their lips” before picking one as a bride. The second-eldest, Maris, makes a sexually-charged comment to challenge Aemond’s manhood at like, 11.

Floris Baratheon’s characterization is limited to pretty, sweet, somewhat frivolous and dead.

The only mention of the 15-year-old Johanna Swann’s is that she was sold into sexual slavery and became a famous courtesan in “a fascinating” tale according to Gyldayn.

No less than 8 girls involved in the so-called Maiden’s Day Cattle Show are defined by sexual comments and sexual deeds. (There is a comment from Mushroom about how everything couldn’t have been more beautiful, unless if the girls had all arrived naked. This is a ball that had girls as young as six and seven.)

Coryanne Wylde’s first sexual “encounter” rape happens at 13 and she is assaulted repeatedly by the time she is 15.

“Aegon III had never shown any carnal interest in either of his queens (understandably in the case of Queen Daenaera, who was yet a child)” - Uh, Gyldayn? Jaehaera was ten when she died. So why is the extent of Aegon’s maturity judged as lacking because he didn’t desire a literal child and measured negatively against that of his brother Viserys because Viserys, who was a child himself, consummated his own marriage?

As for the regular-flavor hypersexualizion of major characters by the narrative, you can find Rhaenyra Targaryen whose sexual training assault at Daemon’s hand at 14 is described in painful detail, Rhaena Targaryen who is strongly implied to have had somewhat of a sexual awakening at the age of 12, Nettles whose virginity is speculated upon with the conclusion that she must have had sex before she flowered taken as a basic fact and Baela Targaryen who gets a majority story focus on her sexual adventures.

The worst part is that there is no point to most of the above. I can maybe find a logical narrative motive for one of those stories and the only point I can find to several others is to frame the character of the men involved, including Gyldayn. But mostly, these characters exist to serve as as a set dressing, to be exploited and paraded to sensationalize a story.

Sexual violence as a punishment, a plot device, and a sacrifice for male characters’ story

GRRM has frequently claimed that the various acts of sexual violence in his books, against both men and women, is historically accurate. He takes it as a dishonest approach for him not to show that rape and sexual assault were historically a part of war. The existence of sexual violence in wars can not be denied, but it’s rather remarkable that Martin took only the negative parts of women’s lives from real life history, then made it worse for the women in his narrative. Despite his claim that Westeros is no darker nor more depraved than our RL history, Westerosi patriarchy is actually worse than the real Middle Ages and it is lacking a lot of the roles women occupied throughout history, which gives the effect of furthering the women’s suffering without giving them the benefit of having proper well-rounded narratives.

Furthermore, if, as Martin claims, sexual violence is a part of war narrative, what are we to do with the numerous examples of assault and sexual violence that occur in peacetime, both in the main narrative and in F&B? Westeros wasn’t at war when seven Lyseni slaves were used and abused by the Baratheon brothers prior to the Golden Wedding, nor did Coryanne Wylde’s repeated assaults occur during war. Alyssa Velaryon and Alysanne Targaryen were not impregnated, to the former’s grave and against the latter’s expressed wishes, by wartime enemies but by their own husbands. Saera Targaryen had her own father condone her humiliation and abuse in the name of punishing her. And what about the countless child brides who had no choice in their marriages, many of whom went on to either die in childbed or suffer health problems due to premature consummation of their marriages?

Sexual violence is a frequently used window dressing across the series. That Westeros is a terrible place for women is often the singular take of such stories that consistently build on the victimization of women, either as a decoration for the setting to inform us over and over and over that Westeros is a misogynistic society, or as a tool to characterize male characters and further their stories. This is an overarching problem in Martin’s narrative that sees the use of women’s very bodies on the sacrificial altar of the narrative’s requirements, to the extent that even in their suffering, the story belongs less to these women and more to the men whose stories they are sacrificed for. Too often does that happen in this book.

Argella Durrandon is one such case, a women whose violation at the hand of her own men is mostly there to tell us about the gentleness of Orys Baratheon. Several women are used in various ways to inform us about Rogar Baratheon in what is frankly a perplexing waste of narrative space because we didn’t really need these women’s suffering to tell us that Rogar is a grade A asshole when we had plenty of damning evidence of his villainy and misogyny. But we still get such casual mentions of Rogar and his brothers “deflowering” slaves who were probably too young, mainly to juxtapose the actions of Rogar and young Jaehaerys during the proceedings of the Golden Wedding and paint the former in a bad light while holding up the latter. Coryanne Wylde has her narrative of abuse that tells us nothing about her and more about the men taking advantage of her, and Alyssa Velaryon is severely sidelined by the narrative during the regency and has her body used to her death to further Rogar’s characterization. And while this upcoming example is a part of a war narrative, it remains that the function of the rape and sexual slavery of Lady Alys Oakheart and her ladies is largely about informing our perception of Wyl of Wyl and being used to threaten Princess Deria with a similar fate.

Sexual violence also gets used as a tool of punishment against women for various “offenses”. Argella Durrandon is stripped of her clothes and her voice alike for her defiance. Coryanne Wylde’s assault is treated as some sort of karmic punishment for her so-called promiscuity and bearing a child out of wedlock. Princess Saera gets silenced, shaved and beaten essentially for liking sex. Her punishment is designed to shame her for having had sex before she is pressed to the Faith in an attempt to force her into chastity and moral righteousness. The Silent Sisters continue to be routinely used as a threat and a punishment for sexual promiscuity.

Rape culture and normalising sexual violence

I’m having a bit of a case of stating the obvious when I say that Westeros has a flourishing rape culture. But it’s still a fact. Westerosi patriarchy perpetuates and enables sexual violence on an institutional level to the extent that rape has become so normalised that no one so much as blinks at it. The custom of the first night is a clear example of that. And although we have Alysanne and Septon Barth’s impassioned arguments against it that ultimately succeed in having it banned, Gyldayn does his level-best to downplay and beatify the sentiment towards the first night on Dragonstone and exclude the Targaryens from pushback against it. According to Gyldayn, not only was the resentment of the first night muted on Dragonstone, but “brides thus blessed upon their wedding nights were envied, and the children born of such unions were esteemed above all others". Normalise and glamorize rape, why don’t you, Gyldayn?

Also a fixed feature of Westerosi mores is the bedding ceremony, something that involves the stripping of both the bride and the groom by the wedding guests and that often include liberities taken with the bride. In F&B, Daella’s rejection of a bedding is treated disparagingly by the narrative as a facet of her childishness and immaturity, while Rhaenyra, at the age of 9, is included in the party that disrobed her father for his bedding ceremony. For the boys, the bedding ceremony is treated as a sign of virility, strength and character maturity as seen by the reactions of those who attended the bedding ceremony of the 13-year-old Maegor, and the description of how mature the 12-year-old Viserys was because he bedded his wife.

Those are facets of a problem that, for me, largely starts and ends with the authorial attitude towards some forms of sexual violence in the text. In a discussion about F&B on westeros.org, Martin’s collaborator Elio Garcia, echoing previous comments made by Martin, insisted that bedding young girls is understood to be gross and inappropriate in Westeros and that an example such as Unwin Peake’s young daughter is simply an indication of Peake’s (and his onetime goodson’s) awfulness and cruelty. However, the argument that it’s socially, if not legally, frowned upon to bed young girls in Westeros does not hold in the face of the sheer amount of young girls being wed and bedded at young age, to the extent that the matter became so normalised that neither father nor husband of any such unfortunate girl attracts any kind of censure, not even socially. I certainly saw no such sentiment when Viserys I was marrying the 11-year-old Aemma Arryn and bedding her at 13 to the tune of zero opposition. Nor when no one blinked at the fact that the-nearly-60 year old Thaddeus Rowan was searching for a suitable young maid to wed after the death of his first two wives, or when he later wed the 14/15-year-old Floris Baratheon. What about when Jaehaerys and Alysanne Targaryen arranged for their daughter Viserra to wed their contemporary Theomore Manderly at age 15? Or when the 60-year-old Corlys Velaryon started sleeping with Marlida of Hull at 15, if not younger, which earned zero condemnation and zero focus? The perversion and predatory behavior of these old men is treated as a non-issue within the text, even though Martin and Garcia keep telling us that it should. They just fail to have the narrative actually show that. But you can’t keep insisting that it’s considered perverse in-universe to bed young girls when everyone is doing it.

As for the argument that young Lady Peake’s example was meant as a deliberate point about her father’s character, that’s a fig leaf that doesn’t even hold up in the face of the text. It’s easy to say that this was an added commentary on Unwin Peake’s character when Peake is an awful human being that we’re meant to hate, but what about Thaddeus Rowan who is clearly presented to us by the narrative as a decent and moral man that we’re supposed to sympathize with? Was there a point to be made about what an awful man he was in his marriage to Floris Baratheon too? Did I miss any part of the narrative that treated Rowan as a figure worthy of denunciation for his culpability in Floris’ death, or even acknowledged that culpability? Because from where I’m standing, that young girl’s death was treated as something that we’re supposed to sympathize with Rowan over. What about Rodrik Arryn, a two-time offender who impregnated the delicate Daella and witnessed her death only to repeat the tragedy by marrying off his daughter as a child? Rodrik is also presented as a decent person who loved Daella and who is barely criticized for his part in her death, which is ironically an improvement on the lack of acknowledgment of what he did to Aemma.

You want to present child brides as some sort of commentary about the terrible character of their guardians and husbands? Don’t have your best king - who previously refused to consummate his marriage to his own sister-wife on account of her age - and his good queen arrange a marriage for their minor daughter. Don’t have the fact that Rodrik Arryn had loved Daella for years before marrying her at 16 count as something in his favor when that means he was in love with a literal child. Don’t have numerous kindly-written characters do the exact same thing that you claim indicates awfulness and cruelty. Also, also, don’t have your characters treat the rape of a 13-year-old girl as her fault. F&B is utterly unsympathetic to Coryanne Wylde despite acknowledging that the man who slept with her was in his thirties, but Coryanne is blamed by everyone for “her shame” and her subsequent assaults are treated as something she brought on herself. Don’t tell me that a boy kissed Daella against her will in those exact words, then not only act like she was unreasonable for disliking him, but make no mention of any kind of rebuke made to a kid who forced himself on a royal princess. Don’t normalise child brides and build a society that enables, encourages and accepts the rape of pubescent and prepubescent kids as par for the course.

Depiction of female sexuality and queerness:

Let me preface this section by saying that I’m not a medievalist or a historian so my knowledge of the medieval era comes from what research I did on the subject, all of which makes me scratch my head over the fascination with female sexuality present in Gyldayn’s writing. This goes beyond cases where a woman’s sexuality was a part of events that would typically be noted by a historian to include random tangents about a lady’s sexuality for pretty much no reason. That strikes me as really weird because that information is relayed to us in the form of a history book, and female sexuality wasn’t typically that widely scrutinized, recorded and commented on. Moreover, the way their sexuality is used in the narrative leaves a bad taste in my mouth, especially when it comes to talk of their queerness - the narrative gives us very little in means of a relationship between two queer women, but uses their sexual orientation to either undermine or negatively frame these women.

Queen Rhaena Targaryen is a prime example of how a woman’s queerness gets used to depict her negatively in the text. It doesn’t get any clearer than her sexuality being referred to as a beast through Frankly Farman’s Four-Headed Beast epithet that just so happens to describe four queer women. It might be argued that Franklyn is not necessarily the voice of the text and so his view is only reflective of him and not of a textual problem, but the problem is that the text never really bothers to challenge Franklyn’s misogynistic and queerphobic view. In fact, it appears as if the text is at best excusing and at worst exonerating Franklyn, first by repeatedly talking about how condescending and dismissive Rhaena’s companions were towards Androw as if to suggest that Franklyn was correct to dislike them and label them as beasts, then by having Rhaena’s confrontation with Franklyn after Elissa’s escape condemned unanimously by Jaehaerys and his court as Rhaena’s fault. Jaehaerys might have taken issue with how Myles Smallwood talked about Rhaena but he certainly did not contradict his assessment of her or Franklyn’s own misogynistic response to her. It’s Rhaena who gets the explicit censure while also being painted as wrong and borderline hysterical.

Too, I dislike the way that Rhaena’s performance of her formal dynastic role seems to have been tied to her sexuality by the text, an implication which exists in the pointed reporting of Rhaena’s rudeness and emotional absence during a royal progress until her current favorite was summoned to her side, and in how Jaehaerys seems to blame Rhaena for bringing Elissa to Dragonstone in a segment that carries a suggestion that Rhaena’s sexuality and her love for Elissa undermined her governance of Dragontone. More damning is the sense of vagueness with which Gyldayn talks about Rhaena’s companions that were killed by Androw. While the term “favorite” is consistently used when the text wants to indicate a lover rather than a friend, Gyldayn has used the term “companion” to indicate a relationship too - more clearly in the case of Jeyne Arryn and her dear companion Jessamyn Redfort - so for him to call those killed by Androw Rhaena’s companions and including two of her acknowledged favorites among them, Gyldayn (and Androw himself in his final conversation with Rhaena) seem to be implying that Rhaena was involved with all of them. Even the 14-year-old Cassella Staunton and Lianne Velaryon? It’s unclear but that vagueness introduces a problematic dimension to Rhaena’s sexuality that certainly did not need to be there and that does nothing for the story.

The story of the Maiden of the Vale carries similar elements to Rhaena, only clearer. While the story provides us with an entirely legitimate concern of how men try to leech power from powerful women as a possible motive for Lady Jeyne’s refusal of marriage, she is still the subject of rumors about being a lesbian, or alternatively, someone trading sexual favors from the 15-year-old Jace for her political and military support which links her political action to her sexuality, of which we only get a last-minute confirmation on her deathbed. The rumors about Lady Jeyne can certainly stand as an example of in-universe misogyny, but it’s undeniable that the story both builds on and asserts a prevalent misogynistic assumption that a women who doesn’t want a husband must be a lesbian (which strikes me as a modern stereotype), while linking refusal of marriage to a man to exploitative behavior.

Also a modern stereotype is the assumption that two gender non-conforming women who share quarters and appear to be close must be lovers which is present in the thinly-veiled suggestion that Sabitha Frey and Alysanne Blackwood were involved. It’s immensely strange to base such a deduction on the fact that the two ladies shared a tent and were always in each other’s company when they were the only two women in an army of men, especially in a society where a highborn lady sharing her quarters with friends, companions and ladies-in-waiting is a common occurrence. I can see where people would think Lady Sabitha or Black Aly unnatural or even grotesque in the way Brienne is treated in the main novels for being gender non-conforming and/or ugly/not traditionally beautiful, but making the jump to “well, they must be queer” for keeping company with each other and sharing a tent when surrounded by men is not a typical sentiment of the medieval era as far as I know.

This, however, is a symptom of how Sabitha Frey in particular is portrayed in the narrative. She is a fairly prominent figure throughout the Dance and yet we don’t really get much in the way of a characterization for her. She gets called merciless and grasping in passing with no elaboration as to why she is thought to be so and when she gets a moment of close examination, Gyldayn uses it to tell us of how she “would sooner ride than dance, wore mail instead of silk, and was fond of killing men and kissing women”. I don’t know if Martin was trying to lean into or affirm our negative perception of House Frey, but Sabitha’s sexuality and gender performance seem to be the focal point of her characterization so assigning uncorroborated negative attributes to her does not come across in the best light.

Another aspect of how badly this books deal with queerness comes from a certain parallel I noticed between the stories of Saera Targaryen, Baela Targaryen and three girls from the Maiden’s Day Ball, the three Jeynes as Gyldayn calls them - Jeyne Smallwood, Jeyne Mooton and Jeyne Merryweather. In all three stories, there is an offhand mention (or an obscure insinuation in Baela’s case) of how each of them had sex or at least experimented sexually with other women that is simply there to frame the scandalous wanton behavior of each of them. Saera’s relationship with Perianne Moore and Alys Turnberry, Baela’s possible involvement with the twin brothel workers, and the three Jeynes’ supposed visits to the Street of Silk are mentioned casually and aren’t treated like any kind of a meaningful connection but as a sensationalized scandal that adds color to the story through its eroticism. That treats wlw relationships as an embellishment that solely exist to decorate the narrative. It’s fetishizing and dehumanizing in the way it treats these women and their relationships as merely objects of scandal.

Portrayal of women’s relationships:

This is one part where I think Martin made an attempt to in try to fix the solitary woman issue that’s been pointed out repeatedly in the main novels – how we keep hearing about male friendships and male relationships that frame and sometimes drive the narrative whereas women are either mysteriously solitary figures or have their friendships go unexplored/framed negatively. Queen Alysanne and her companions are where Martin succeeds in fixing this problem to some extent; everywhere else..... Eh.

I’ve argued before that the problem in Martin’s writing of female friendships isn’t just that he gives precious few of them, especially compared to the male friendships that drive the narrative; it’s in the overwhelmingly negative representation of female friendships. The majority of female friendships (and that includes familial relationships) are mired in conflict and negative associations across the series, and this book is no difference. Women’s relationships are often defined by jealousy, competitiveness over a man or rooted dislike. Maris Baratheon is so jealous that Aemond Targaryen chose one of her sisters over her that she challenges his manhood and, in Gyldayn’s eyes, provokes Aemond into attacking Lucaerys Velaryon in a plot that is both unnecessary and contrived so as to blame a woman girl for a man’s actions. Cassandra Baratheon spreads a false rumor that her sister Ellyn asked Aegon III if he liked her breasts during the Maiden’s Day Ball, and that’s when we’re not spending time on rumors about how she may have been involved in young Jaehaera’s death because she blamed the little queen for her woes, which are that she didn’t get to marry Aegon II and become queen, and that she lost her place as the heir to Storm’s End due to her little brother’s birth. Oh yeah, I can certainly see how that is a natural line of thought. Cassandra then goes on to be involved in the plotting against Daenaera Velaryon and the Rogares.

Saera Targaryen is disliked by every single one of her sisters (but it should be noted that both Aemon and Baelon were amused by her). The question of the possible motive of Jaehaera Targayen’s suicide includes her being jealous of Baela’s pregnancy (Jaehaera was ten). Rhaenys and Visenya’s relationship is largely defined by a rivalry over Aegon. Rhaena and Alysanne’s relationship is afflicted by tension, resentment and blame. Lucinda Penrose’s jealousy of Daenaera Velaryon having the queenship she coveted not only led her to participate in the plot against her, but made her quite randomly blame Daenaera for no man wanting her, implying she was attacked because of Daenaera which is not true. Priscella Hogg wanted Larra Rogare dead so that Prince Viserys could marry her.

Why do female relationships need to be defined by the presence of a guy, GRRM? What’s up with the downright illogical motivations of some of them? Why is it that the only positive relationship a queen has with her ladies on-page is that of Queen Alysanne?

GRRM also has a frustrating tendency to link female friendships to their sexuality or introduce a sexual component to those friendships. In the main novels, we have Cersei’s rape of Taena Merryweather and Arianne’s youthful sexual experimentation with Tyene Sand as notable examples; in F&B, Rhaena Targaryen is the first woman who gets meaningful relationships with named women and it’s suggested that many of them were her lovers (Rhaenys, Visenya and Alyssa Velaryon are said to have had lady companions as well but we barely get anything in the way of an actual relationship with any of them, or, you know, names for them). Sabitha Frey and Aly Blackwood gravitate to each other and share a tent during the Dance and we immediately get a reference to a potential sexual involvement. Coryanne Wylde, in one of the many versions of A Caution For Young Girls, is said to have thought of Alysanne as her own sister, with the reported rumors being either that she “taught” Alysanne’s husband how to pleasure Alysanne or that she taught Alysanne herself alongside Jaehaerys how to have sex. Saera had sexual intercourse with her two female companions. It is as if two women can not be friends without sex being a part of it.

So basically, men get to have friends and meaningful positive relationships in asoiaf while women get sexually-tinged friendships or have their relationships revolve around squabbling over a man. With the exception of Queen Alysanne and her companions, the vast majority of female relationships are either negative or framed negatively by the text.

Broken mothers, broken women:

Grief is a woman’s kryptonite in this book, especially if she is a mother. Gender is used as a default explanation for why several women break and freeze after a child’s death, often as a prelude to their stories tapering off till their death. While certainly understandable in the context of the tragedies they face, I question why it’s always the women who break down, rend their garments and retreat from public life, whereas men react to similar tragedies with anger, pursuit of vengeance and singular political focus. I also question why Martin uses a mother’s grief so often as a convenient plot device to force passivity, silence and absence on his female characters to fit the requirements of the plot, even when their previous (and sometimes even later) characterization and actions fly against that abstract frozen moment of time they experience due to their grief. Why do you keep having women freeze in their grief, Martin?

The tale of the Dance of the Dragons is not new to F&B but in the stories of Rhaenyra and Helaena appears a clear gendered approach to the depiction of women’s grief over their children that is echoed in several other places. This is somewhat more apparent during the Dance for how Rhaenyra and Helaena’s reactions can be contrasted against that of Daemon and Aegon II, both of whom reacted to the death of Lucerys and young Jaehaerys respectively by swearing vengeance, exacting a bloody toll in revenge and pushing their political and military campaigns. But while their husbands reacted, Rhaenyra and Helaena suffered from crippling depression that forced them out of the war narrative entirely, even to the detriment of their respective factions as underlined by the repetitive remarks about how additional draconic power might have affected the course of the war. That Dreamfyre was rendered useless to the greens because of Helaena’s inability to ride due to her depression is pointed out repeatedly, whereas Rhaenyra’s seclusion and grief over Luke’s death and her absence from her own war council is blamed for Princess Rhaenys flying to Rook’s Nest alone and getting killed. The narrative even accentuates how detrimental Rhaenyra’s absence might have been to her own war efforts in having Corlys Velaryon blame her for Rhaenys’ death, and again in having Jace recruit dragonseeds to increase the black’s draconic power at a time when one of their dragonriders is indisposed.

In the case of both sisters, a mother’s grief is largely used as a way to get a dragonrider out of the picture, at least for a period of time in Rhaenyra’s case - a gendered approach that adds to how Rhaenyra’s pregnancy and childbirth, both clearly gendered, were also used as a convenient plot device to sideline her in the early days of the Dance. In the words of Gyldayn, “[t]he death of her son Lucerys had been a crushing blow to a woman already broken by pregnancy, labor, and stillbirth”

Mother’s grief is also used to explain how sisters Rhaena and Alysanne retreated from public life after the loss of their daughters. Rhaena leaves Dragonstone for Tarth then Harrenhal, turning into a ghost herself as she settles in the haunted castle after refusing to return to her seat on Dragonstone or have anything to do with court for years till her death (Rhaena had previously stopped governing Dragonstone and retreated to her chambers to mourn her companions as well), while Alysanne takes herself from court to Dragonstone after Gael’s death, a more acute echo of her self-imposed isolation following Princess Daenerys’ death, and the offhand mention of how her four youngest children’s marital plans brought her so much pain and grief that she considered joining the silent sisters. It just so happens that two of the four (i.e, Daella and Viserra) had died at the time and Jaehaerys persisted in pushing Alysanne to consider Saera dead as well. Alysanne even tells Jaehaerys point-blank that she is going to Dragonstone to grieve for her dead daughters.

But two exceptions exist to this trend: Alyssa Velaryon and Alicent Hightower. Alyssa is a character that defies the broken mother trope by being a main architect of Jaerhaerys I’ accession and the survival of the Targaryen dynasty after her two eldest sons died horrifically. She survived the loss of three children and estrangement from her surviving three. She could have been a sound critique to the broken woman trope, if only the narrative allowed her to stay that active dynamic figure she was instead of trying to minimize her. Despite her defiance of the trend of how a mother’s grief leads to depressed seclusion, the narrative still managed to sideline Alyssa by having her inexplicably choose a self-imposed confinement for the remainder of Jaehaerys’ regency after her confrontation with Rogar Baratheon in the small council. Not only is this undeniably minimizing to Alyssa’s character, it flies in the face of all her prior characterization. This is the woman who survived the loss of two sons by horrifying means but soldiered on and showed tremendous political ability, who dealt with estrangement from her surviving children but continued to rule the realm throughout it, who stood up bravely in the face of her husband’s dehumanizing attack. But I’m supposed to buy that Rogar Baratheon broke her? Come on now. To make things worse, this act of isolation is the last thing we get of Alyssa’s own agency.

Alicent Hightower is another case of someone who defied the broken mother trope by being a steady political presence throughout the Dance, even after only Aegon II remained to her. Even after Aegon’s death, Alicent still tried to influence the court by trying to get her granddaughter Jaehaera to kill Aegon III. But when the time came for Alicent to depart the narrative, GRRM chose to fall on his tried trope of the broken depressed woman. For the last year of her life, Alicent's time in confinement was spent weeping, ripping her clothes to pieces and talking to herself. Alicent’s deteriorating mental state might not seem unreasonable in the context of her circumstances, but it certainly boggles the mind that she is presented to us as slowly losing her wits while imprisoned in her own apartments at the same time that the horrifically tortured and maimed Tyland Lannister is said to have kept his sharp wit through his harsh imprisonment in the black cells, so Alicent’s gentle imprisonment in a familiar place with servants and septas attending her somehow took a worse toll than Tyland’s residence in inhumane conditions where he was tortured regularly. Too, Alicent's final image in the text is wretched and undignified which is striking compared to how Grand Maester Orwyle is presented as a hero during the course of the Winter Fever and a vital source of information on the Dance through the confessions he wrote while imprisoned.

So even in the cases that the broken mother trope is challenged, GRRM still uses the same element of seclusion and depression to define a woman’s fate. It has not escaped me that our final look at both Alyssa and Alicent depicts them in ghastly conditions.

Treatment of women’s voices:

Fire and Blood’s handling of women’s voices is hit-and-miss, with the misses outpacing the hits by miles. It goes without saying that not everyone in the narrative can or should have a voice so it’s not that I expect every single woman that ever appears to have one, but some of the omissions are really glaring. Take Jocelyn Baratheon for example. She was a sister/surrogate daughter to Jaehaerys and Alysanne, wife to Aemon and mother to the fiery Princess Rhaenys.... and we know almost nothing about her, leaving her function to the story to be about her motherhood and her fertility. Pages upon page of this book is dedicated to discussing women’s sexual lives but I guess the life and experiences of a court-raised onetime crown princess was unimportant to warrant a mention. Jocelyn existed to birth Rhaenys then promptly disappeared from the narrative after her angered reaction to Baelon being named heir over Rhaenys and her unborn child.

More acutely, the narrative has a bad tendency to have notable women suddenly fall silent or completely disappear at times when they should be present and outspoken, if it’s not actively punishing them for having a voice altogether, while their male counterparts get pages detailing their opinions and their reactions. The broken mother/woman trope discussed above contributes heavily to this problem in presenting a distinct sense of narrative-enforced quietness that befalls these characters once the narrative decides that their voices are no longer necessary for plot development. Princess Rhaena Targaryne is pretty much turned into a ghost on the outskirts of the story from Aerea’s death till her own. Her mother Alyssa gets turned into a nonentity not long after her fight with Rogar Baratheon in the small council. Alyssa’s retreat from public court is the last time she is given a voice of her own. The report that both the former Hand and the Queen Regent were “wounded and silent” in the aftermath of that showdown really struck me, because for all that Rogar and Alyssa fell silent, it’s Rogar that the narrative chose to restore voice to, despite the fact that, unlike Alyssa, Rogar’s silence was a result of his own hubris and thirst for power. For him and Alyssa to be treated as if on equal foot by the narrative in the first place and for their silence and “wounds” to be framed as similar is preposterous, but what’s even more preposterous is the fact that Rogar gets afforded pages to detail his reconciliation with Jaehaerys and even a transcript of their meeting, whereas Alyssa gets one paragraph in which the focus is on Jaehaerys’ own thoughts and we hear nothing from her; instead her thoughts and feelings are posited by Grand Maester Benifer.

From there on out, we don’t hear from Alyssa Velaryon, only of her. The narrative deliberately silences Alyssa and substitutes her voice with the suppositions and opinions of the men around her. It’s Jaehaerys and Rogar who get voices in Alyssa’s own marital reconciliation but we don’t hear about what she thought about it. We don’t know what Alyssa thought about either of her pregnancies or the health risk they posed. We do hear about Rogar and Benifer’s happiness and Barth’s concerns though. Even when she lay dying and arguments were made about her and her child’s chances of survival, Alyssa is denied a voice. The one statement we get from her is immediately dismissed by Gyldayn as likely not happening and we’re left with the reactions of those around her, Jaehaerys and Rogar, Alysanne and Rhaena. But we never find out what Alyssa thought or wanted. Instead, her narrative purpose lies in her fertility.

At least Rhaena voices a condemnation for the way women’s bodies are callously used by men in Westeros in a statement that is contextually very powerful but that is, once again, undermined by the narrative not too long after. It is both outrageous and unnecessary to have Jaehaerys himself ignore such a powerful statement years later in a plot that also dismisses Alysanne’s clearly expressed wishes and borderline silences her since Jaehaerys’ objection to her reasoning is voiced to Grand Maester Elysar rather than Alysanne herself, and she isn’t even given the chance to give the counter-argument that, you know, the mother that Jaehaerys is citing died because her husband only cared about having a child. Queen Alysanne may be the most prominent, most well-rounded female voice in F&B, but that does not stop the narrative from robbing her of her voice when it wants to. I certainly have not forgotten how she falls silent on the matter of her granddaughter Aemma’s marriage, or how there is so much discussion about the tragic fates of Alysanne’s children all around that conspicuous quietness. Neither have I forgotten how there is a random comment about how Alysanne contempled joining the silent sisters due to the pain and grief she suffered in the matter of her youngest four’s marital prospects.

Then there is Maris Baratheon and the convoluted needless story that does nothing but attempt to shift blame off Aemond for Lucerys Velaryon’s murder and lay it on Maris, then have her literally silenced as a punishment, whether that’s through being consigned to the silent sisters or the rumor that she had her tongue removed beforehand. Maris exists to be scapegoated and silenced, her forced silence a penalty for a man’s violent tendencies.

Going back a little in history to Aegon’s conquest gets us a few more queens who got silenced by the narrative. I’ve talked before about how Argella Durrandon’s fate stands as a unique abnormality in the history of the rebellion and how her forceful loss of voice was the last we hear of her in the narrative as the focus thereafter shifts to Orys and his own actions and behavior. Similarly, the circumstances of Marla Sunderland’s deposing bears uncomfortable parallels to Argella’s own: while not sexually humiliating like Argella’s, Marla had her voice violently stripped away when her tongue was pulled out before she was sequestered to an order that takes women’s voices away in the name of piety. That Argella and Marla were the only ones to suffer that literal loss of voice in the history of the rebellion (while Rhaenys and Visenya get their voices take away by the narrative itself since both inexplicably vanish from the story despite being physically in the area right before Argella and Marla were deposed) makes it very much about their gender.

Of course there is always the argument that it’s not only women who had their tongues ripped out or got silenced throughout the narrative, and while that is true, they were the only ones during the rebellion to receive that pointed stripping of voice by men, including Marla’s own brother. Moreover, it’s really glaring that this violation was specifically a punishment for defiance and daring to claim power. The violence visited on Argella and Marla was unnecessary for plot development, weirdly personal in a clearly gendered way, and done exclusively by men for the benefit of men as a punishment to these women for having the audacity to have agency and power in their own right.

Death by childbed

In times of peace especially, it was not uncommon for a man to outlive the wife of his youth, for young men most oft perish upon the battlefield, young women in the birthing bed.

Well, perhaps women wouldn’t die that often in the birthing bed if they weren’t getting pregnant as young as 12. Just saying.

This is another recurring problem in Martin’s writing that’s been broadly criticized for being too present in the narrative. It intersects with the problem of child brides, and the Dead Ladies Club, though it’s not only limited to them.

Death in childbirth is an inherently gendered death that is used as a rather convenient way to kill off female characters across the series. Often these women’s relevance in the text amounts to their fertility and the children they bore, and they are used as either a vessel to deliver the true important characters, or a part of the setting around a male character. By my count, F&B has 12 women dead by childbirth.

The unnamed wife of Edmyn Tully. Exists to explain why her husband resigned his seat on the Small Council

Queen Jeyne Westerling. Exists as a part of framing Maegor’s political decline and her function in the story is explicitly solely about her fertility.

Queen Alyssa Velaryon.

Princess Alyssa Targaryen.

Princess Daella Targaryen.

Queen Aemma Arryn. No characterization. Narrative function lies in having Rhaenyra.

Lady Laena Velaryon. Afforded scant characterization. Dies for the convenience of the plot. Main function is having Baela and Rhaena Targrayen.

The unnamed fourth wife of Jasper Wylde. The first three may or may not have died of “exhaustion” as well, since the man sired twenty nine children on four wives.

Lady Arra Norrey. Childhood companion and wife to Cregan Stark. Dead giving birth to his son Rickon. That’s it. That’s all we know of her.

The unnamed daughter of Unwin Peake. She died in childbed aged 12. That’s the extent of her relevance.

Lady Floris Baratheon. Pretty, sweet, frivolous, dead.

Ormund Hightower’s unnamed wife. Only mentioned in the introduction of her successor, Samantha Hightower.

The main point of criticism here is that these women didn’t need to die in childbirth or complications from childbirth of all things. They didn’t need to be reduced to walking wombs or plot devices or set decorations. They didn’t need to be a side note tacked on to explain a quirky nickname. And they didn’t need to die for the male character’s angst or characterization.

“But the above is only reflective of Gyldayn’s misogyny, not an authorial problem”

I chose to address this argument at the conclusion of this post because I know that inevitably, the argument that the problem lies in the in-universe narrator’s bias rather than an authorial failure will come up. I’ve already seen it argued, by fans as well as Elio Garcia, that Gyldayn’s own misogyny and personal views account for the problems that many fans have criticized in the text. But that’s a paper shield. Ascribing every problematic element in the narrative to the in-universe characters is not good enough at this point. This argument is neither productive nor satisfactory, and it strikes me as a rather transparent and convenient way to shut down any critique leveled at Martin’s writing, or at the very least deviate it from its intended objective to tangle us in a debate about sexist narratives vs sexist societies.

But I will have that conversation because this distinction causes a lot of confusion over what’s an authorial problem and what’s not. Westeros is a misogynistic patriarchal society that systematically minimizes, marginalizes and dehumanizes women, but just because your society is sexist doesn’t mean that your narrative has to be. We see that in the main novels when characters like Catelyn, Asha, Brienne, Arya and many others have to contend with the limitations their society places on them and the prejudices leveled at them because of their gender, but the narrative does not validate that misogyny. It doesn’t discredit these women or treat them as an afterthought. Westeros may be biased against these women but the narrative isn’t. That is not the case with F&B because Martin chose to make our sole source of information on these women a deeply misogynistic man, which made his narrative deeply misogynistic as well by virtue of the narrative adopting Gyldayn’s biases and making them a defining aspect of the characters’ stories. That is a choice on Martin’s part, just like exaggerating Gyldayn’s misogyny to the point of minimizing the few instances of challenge the narrative attempts to offer is also a choice.

It wouldn’t have cost Martin anything to leave Alysanne’s condemnation of Jaehaerys and Rodrik Arryn’s role in Daella’s death to stand without undermining it. It wouldn’t have cost Martin anything to let Alyssa Velaryon and Alicent Hightower remain as a deconstruction of the broken mother trope, instead of falling back on tired ideas that build on breaking women’s spirits down to their graves. It wouldn’t have cost Martin anything to have Rhaena’s powerful statement about how men use women’s bodies to their graves to stand without undercutting it via Jaehaerys (who once refused to consummate his marriage out of concern for Alysanne but apparently have grown to not care that much about her health in later years). Those rare cases of pushback are right there; they allow for both the characterization of the author-character and the worldbuilding of the society to stand but offer a critique of the misogyny shown instead of just leaving it present and unchallenged as a set decoration. Even allowing for Gyldayn’s misogyny, Martin could have found a way to elevate some of the problematic aspects of this book. He didn’t. He chose to undermine his challenges instead.

I find that the idea that Gyldayn is the one who should be blamed for what this book is rather than GRRM such a weird argument to make. Gyldayn is Martin’s creation; he does not exist independently from Martin. If Gyldayn is a sex-obsessed pervert, it’s because Martin chose to write him that way. If Gyldayn is a misogynistic victim-blaming abuse apologist, it’s because Martin chose to write him that way. It goes without saying that it’s not inherently problematic to write a character with these characteristics, but the problem emerges when that character is an author whose lens our knowledge of every single woman is filtered through. We’re not likely to have any information about these historical characters from any other source. The best we can hope for is a throwaway line in the main novels that wouldn’t give us much in the way of personhood for these characters. In writing Gyldayn as he did, Martin crippled our knowledge of a large number of women in Westeros history and denied them any chance of ever becoming realized characters in our eyes. So why did Martin choose to write Gyldayn as the avatar of every patriarchal bias in existence? What is the narrative gain in having your narrator be so interested in the sex lives of teenage girls? What did GRRM do to push back against Gyldayn’s misogyny? Why is Gyldayn’s characterization prioritized over the personhood of so many women? Because Gyldayn’s characterization is only relevant insofar as his function as a vehicle for authorial exposition. The narrative and the readers gain nothing by him being so painfully misogynistic. In fact, this is what is used to cut any attempts by the narrative to challenge the rampant misogyny in the text at the knees.

Furthermore, the argument that that Gyldayn’s prejudices shouldn’t be taken for the narrative’s own and thus as an authorial problem falls apart when you consider how many of the issues I discussed above exists in the main novels too, when there is no Gyldayn to blame for the narrative’s misogyny. Also, it should be noted that Gyldayn in-universe misogyny doesn’t even account for all the problems of the text. Gyldayn isn’t the one who made Jaehaerys ignore Alysanne’s wishes not to have more children. Gyldayn isn’t the one who made Septon Barth denigrate Alyssa Velaryon as someone whose main objective was to be liked. Gyldayn certainly isn’t the one who decided to kill off 12 women in childbirth, or cover F&B with child brides. Gyldayn isn’t the one who decided that multiple women needed to isolate themselves to grieve. And Gyldayn might have been the one who reported on Coryanne Wylde, but he sure as hell wasn’t the one who created her story. Those are authorial choices made by GRRM.

I’ve seen it argued that F&B is supposed to be some kind of critique of how misogyny colors history but I disagree vehemently with that notion. You can’t lean into old sexist tropes and call it a critique. You can’t put an inordinate focus on women’s sexual lives to the exclusion of their own personhood and call it a critique. I know that that depiction is not endorsement, but it is not a critique either. Depiction is not inherently a condemnation. There is no inherent challenge in events just being there - the narrative needs to make some effort to push back against them to make it clear that something is being called out. F&B rarely challenges the misogyny permeating it, and when it does, the challenge is promptly undermined, dismissed or ignored.

#asoiaf #asoiaf meta #fire and blood volume 1 #asoiaf criticism #misogyny in asoiaf #gender in asoiaf #the dead ladies club #warning for a lot of awfulness #gyldayn #is a warning on his own #also I'm a ranter so be aware #long post

[spidercakes]

Starker for 002 in the ask thing if you wouldn't mind dear author 💜 -StarkerBrain3000

002 | send me a ship and I will tell you:

when of if I started shipping it.

Hard to pinpoint. I saw it probably just after Civil War for the first time, thought ‘hmm’ and then watched the massive backlash to it appear. Never paid much attention to it, though, mostly because starker didn’t sit in any of my inner circle of blogs I follow at the time, so most of it was peripheral and given the weird amount of hate Tony’s character got I already only followed hella select blogs in the MCU fandom.

I got way more into the ship about 3 months ago though. Went on a reading binge and then made this blog. I’m not sure why it happened to be when it was, but I’m already established as a fic writer elsewhere and felt a bit burnt out. This pairing has been like a nice vacation because I like producing content for it and this is a surprisingly interactive fandom? The most interactive I’ve ever dealt with anyway.

my thoughts:

Good lord people on this site take shipping and fiction in general way too seriously. Don’t get me wrong, I live and breath social justice- I have a gender studies degree- its a big part of my life. But antis seem to fundamentally misunderstand how fiction affects reality and how reality affects fiction. They remind me a lot of anti porn feminists in the 70′s claiming that porn made men violent towards women when that’s A- not definitively proven even now and B- you don’t watch an hour long porn flick and become a misogynist, you were already misogynistic and then the porn reaffirmed your shitty values, and the shitty treatment of women in the porn was because misogyny already existed in mainstream culture and was thus included in the porn. Which is generally how fiction affecting reality works- something preexisting in the culture is reinforced by mainstream media and then reabsorbed by the audience, which is why people can watch slashers without you know, turning into one.

And the fact that antis remind me of that particular group of feminists doesn’t leave me with a high opinion of them really. They lack a lot of critical thinking skills, don’t even seem to understand how fan fiction works also, and they also keep redefining the definition of pedophilia for... fuck knows what reason because it sure shit isn’t to help victims of actual CSA. They’re irritating at best and absolute hypocrites at worst- like who the hell says ‘save the children, kill yourself’ and thinks that’s actually acceptable?

As for the ship itself I’ve always preferred AUs, and this pairing is no exception though I’d never actually write it in canon. Canon sideways maybe, but it’d have to be pretty sideways for me to consider it. Plus I find it more fun to make my own sandbox to play in rather than the writers of the MCU’s box. I’ve already seen them in that setting, I want to play with them in new settings lol. That said I’ve not written much of this pairing before so its all new stuff and this particular fandom offers new tropes to play around with! That’s what had me most excited walking into the fandom, the way people toyed with the characters.

What makes me happy about them:

The unique dynamic they have- I’ve always been drawn to characters who have an interesting dynamic. Plus Tony Stark is one of my fav characters in anything anyway and I ship him with almost everyone (minus Pepper, no hate to Pepper!). I figure that’s why this ship came about too- Tony is interesting and well drawn out as a character, and I loved Tom Holland’s Spidey. He’s the best who’s had the character in my opinion so pairing them together was probably something inevitable. Other than that I like the way the fandom toys with their characters- not always in character, but still a lot of fun to read and imagine!

What makes me sad about them:

Well, half of them are dead, so...

things done in fanfic that annoys me:

Good god, daddy kink. Its not even that I find it annoying, its just that its a hell of a squick for me so its difficult to find something that doesn’t include that and surprise daddy kink is not where I’m at as a person. Granted most people warn for it, which I’m grateful for, but it does permeate the fandom in a way that makes it a pain in the ass to find something I want. And honestly that’s really only it, and its more of a personal preference (seriously, no hate to anyone who likes that- you’re clearly all in good company lol, its just not for me) than an actual annoyance.

things I look for in fanfic:

I’m really picky about how I like Tony written. I’ve been writing the character for years now and fell into my own habits with him, though I do get pretty consistent compliments on how I write him so I’ll assume I do an okay job. But the result is that I have a hard time when people write him in ways I don’t like or wouldn’t write myself. Sometimes its just random squicks that pop up in a story, or sometimes I outright dislike the way he’s written. That said I do find that the starker fandom does the things I hate with Tony’s characterization in fic much less. 

This, I think, is primarily due to the fact that he’s made the more dominant one in the relationship always (and people treating top/bottom like its a fucking dominance thing is something that annoys me in general mostly because its built on the misogynistic idea that being penetrated is being dominated but also because sex positions aren’t a fucking personality trait but I digress). As per my previous rant I don’t care for the idea of the ‘top’ being the dominating one based on that alone, but I do like that people writing Tony in that way reduces the amount of Wuss Tony fics in the fandom. Actually, I don’t think I’ve read a single one like that. Its my Number One I Hate That in other MCU pairings, making Tony some weak little waif in need of protecting. Though I gotta admit I don’t care for Peter in that position either- clearly he’s capable and able, please don’t turn him into the wuss. Bonus points if everyone thinks he’s soft but then oh no he’s actually dangerous shit lmao.

Still though, my pickiness over how the character is written can sometimes hinder my ability to enjoy a fic.

My kinks:

Bro finding an entire fandom who likes feminizing dudes if fucking mint. I have my issues with the term, but I do feel men get the ass end of the stick when it comes to aesthetics and the easiest solution is to stick them in aesthetically pleasing shit and if that’s women’s clothing and lingerie so be it lmao. I also like the kind of gender bending that goes on in that too, I find it subversive in a way that doesn’t need to be spoken aloud if I want to swing it that way, or flat out more pleasing to imagine. Seriously, men’s clothing is boring as fuck so skirts? I’m here for it. Though I wish there was more fem!Tony stuff in the starker fandom- its actually something I write a lot of when I write him in other pairings (particularly winteriron).

Other than that I’m a big fan of anything sensation play related. So ice play, things fucking about with heat, sometimes electric play stuff, taking away someone’s senses (blind folds, bondage, blocking out hearing in some way- that type of thing). Things like feathers are nice too. I’m also fond of gags, preference for ball gags or impromptu cleave gags. Theoretically soft dom stuff though I will never understand why bondage is considered not terribly kinky. I know a lot of people are into it but the idea of trusting someone enough to tie me up and actually listen if I decide I want out of it? I have too many trust issues to relate lmao. But it does make for a good bit of fiction as I’m sure some of you have noticed in my writing (given that I do love to write some kinky stuff). If you want something sex related specifically for whatever reason public sex gets my goat, not sure why because if I were a random passerby I’d be pretty fucking annoyed at the people in the bathroom but hey, whatever floats your boat on the page, right lmao.

I’ve thought about some more extreme things too, knife play and toying with things like fear being two of those things. But I’d have to have the right opportunity and context to work them in.

Who I’d be comfortable them ending up with, if not each other:

Well, Tony is dead so. I would have preferred him with literally anyone but Pepper though. He literally had more romantic chemistry with Rhodey (who I do incidentally ship him with). But the MCU is  bunch of cowards so clearly they would never end up together. But they’d make a better pairing than him and Pepper, in my opinion.

Peter I’m fine with him being with MJ, I like them together on screen and I really like her character. If not her than Ned would also be a good pairing for him!

My happily ever after for them:

Well we gunna have to unkill some people but that’s what fanfic is for, right? Beyond that because I prefer AUs so much their happily ever after will depend entirely upon what universe I’ve imagined up for them :)

#spider answers

[devilbat]

Always yours

Warning: nothing really besides bit of angst, bit of fluff. Mention of family passing away.

A/n: this may have multiple parts. For sure a part 2 will be in the works. From a request.

Thomas Sharpe x reader.

Your parents were good friends with the Sharpe’s. They always had your parents over for dinner or parties at their lavish mansion Allerdale Hall. Beautiful place full of hidden treasure and wonderful hiding spot. You grow up with Thomas and Lucille. You were a bit younger then Thomas. As a child you clung on to Thomas like a lost puppy. Always following him and he loved it. It was someone different then from his sister. You always felt funny around Lucille, she scared you. Never knowing what really happened to them after you left with your parents for the evening. Always remember that sometimes Thomas would wince in pain after you gave him a hug.

The day his Parents passed away, was a sad one. You and your family attended the funeral you stood by Thomas’s side that day. His sister was no where to be found. He had told you she sent to finish school. But it wasn’t the funeral that made your heart break or that started tears to fall. It was what Thomas told you. He was to go away for sometime to a boarding school. That day was one of the worst of your young life, losing your best friend. He was 11 at the time. As you walked with him to the carriage. He promised you that he would write to you. You made the same promise to write him as well. He also promised he would come back for you. That he would marry you some day. Which made you giggle in away you were to young to think about that. But for Thomas he had already grown up some from the horrors that had happened in that house.

Thomas made good on his promise of writing you. You got letters ever week. Making you heart whole. The letter in the beginning were of innocent children. When you were old enough. You had decided to visit Thomas. Even telling him you would. The school aloud visitors at times. Though your father had to accompany you. You were a bit nervous as you looked for the perfect dress to wear. You hadn’t seen him in a few years. Both of you had grown and with every letter Thomas wrote you, your love for him grow. Remembering a time when yours and Thomas father, had mentioned about arranging you to marry Thomas. That day Lucille went on a rant about it should never happen. Her mother screamed at her to stop her. It had scared you as you hide behind Thomas.

Once in the carriage you started to get too nervous. What if he didn’t like what he saw. You weren’t that little girl he always promised to protect you were a young lady. Yes he was a man now but it was all new even the letter had changed from a boy to a young man. The thought of what he could look like also ran through you head, and was he like the other boys his age. Mean and treated women like they were beneath them. You father and mother taught you to be strong yet lady like. They wanted the best for you. You were a bit different the the other girls.

Thomas watched out the window when the carriage pulled up. He knew it was you by the you’re family crest on the door. Thomas ran down the stairs almost running over a few of his fellow classmates. Bursting through the doors. Your father stepped out first offering his hand for you, helping you out of the carriage. When you stepped out Thomas came to a holt. His jaw dropped at the sight of you. See you all grown up in to the most beautiful woman he had ever seen. He couldn’t move suddenly everything had stopped even his heart. He tried desperately to swallow the lump that invade his dry throat. His own body seemed to ache for you. To hold you, to touch you, to kiss you, to call you his.

“Ah, Thomas young lad. You turned in to a might fine young man.” You Father spoke first. Bring Thomas out of his thoughts. As you father reached his hand out to Thomas. Finally seeing Thomas as your father brought you to attention. He took your breath away. When your eyes landed on him. This was not the same boy you once knew. You suddenly felt shy. Almost hiding behind your father.

“Yes, it is good to see you Mr. y/l/n.” Thomas voice was higher then normal he could control his excitement. As he took your fathers hand and shook it. Before tuning his attention back on to you. “Miss. Y/n. Your look stunning.” Tomas smile. Oh dear god his smile was about to bring you to your knees. Thomas took your hand into his and with a bow, placed a soft kiss on your knuckle.

“Thomas.” You squeaked out, as you curtsied, though you couldn’t control your giggle or the heat that ran to your face. For it being cold day it felt hotter then the hottest day in summer.

Managing to get you alone, Thomas walked you around the area. With your arm tucked under his. Your father had wanted to check out the school. But as you were a girl you were not allowed to go in so Thomas had reassured your father he would keep an eye on you. Once you two were alone, making sure no one was around. Thomas turned around to embrace you in a long awaited hug. That lingered long then what would be deemed as appropriate. You gladly clung on to him. Like he was going to disappear.

“Oh Thomas,” You buried your face into his strong chest. “I’ve missed you so much.” You felt like crying. Being held so tightly by him. Like when you were kids. His sent had changed from when he was a boy. It was enticing, welcome, and wanted.

“I’ve missed you as well y/n, my love.” He cooed. As one hand moved away from you, the other still pressed around your waist firmly. His free hand moved under your chin holding it between his fingers, as they guided it up. To have you look at him. His head lowering down to yours to press his lip upon yours. Even if you wanted to move way the grasp on your chin would not allow it. You whimpered under his kiss. You found yourself breathless.

“Thomas!” You both heard from afar. Making you both jump apart from each other. If it weren’t for the fact that is was a feminine voice you would have expected it to be your father. Both of you looked over to see Lucille run towards Thomas. You sighed as you glanced over to Thomas. The moment over, as his eyes lit up to see his sister who he hadn’t seen in a very long time. She practically knocked him down when she engulfed him in a hug. After that day everything changed and you never saw Thomas after that day.

*10 years later.*

Thomas’s most resent wife had passed away by the hands of Lucille. He never wanted to to do this. But Lucille weaseled her idea on him using him like a fertile. Giving him love he thought he needed love that he missed. The love he never could feel. Like he did when he was with you. Deep down he knew this was wrong he tried to find you. After Lucille pulled him from boarding school. But your family had moved. He hated himself after that day at school when his sister showed up. He should have told you. He loved you and proposed to you that day.

Thomas was in town for a few days, really he wanted to get away from his sister. He just wondered around, it was a nice spring day. His feet carried him to your old neighborhood. Passing you house. He stopped for a moment to remember the times he had with you. The moments he regretted. He didn’t really pay attention to the woman that was coming out of the house. He was just lost in his own memories.

Permanent tags: @kitkatkl @lokilvrr @instantnoodlese @drakesfiance @meyoko10 @jackheart180 @miraclesoflove @wolfcore227 @mr-hiddlestons-pet @madleiine @teageowen @scorpionchild81

Tom/Loki Tag’s: @theoneanna @graveyard-groupie @silverquartx @moonfaery @kcd15 @moonlightprime @youveseen--thebutcher @shockwavee @sabine-leo @screw-real-life-i-pick-fandoms @vethrvolnir @darkprincessloki92

#tom hiddleston #thomas sharpe fluff #thomas sharpe au #thomas sharpe x you #thomas sharpe x reader #thomas sharpe

[holylulusworld]

Dear Jealousy,

Request: I was wondering if I could have a Jared x reader fic where there is angst, smut and fluff too. Maybe they address some cheating rumours and the reader gets insecure, they have a full blown fight and then sex sex sex

Pairing: Jared x Reader

Warnings: language, arguments, violence (not against human), angst, angry reader, fingering, vaginal sex (unprotected), dirty talk

For my fanfic Jared is married to the reader. I do not accept any hate toward the wives of the SPN cast. If you are a hater play somewhere else!

Cursing you look at the pictures of the Supernatural set. Jared is hugging and kissing Genevieve Cortese. You didn't even know she's back at the show. Now you see pictures of her and your husband obviously pretty cozy!

He told you years ago that he never had contact with her again. Knowing you doubted his interest in you. You're far from being a hot actress. You always knew you can't compare with women like Danneel or Genevieve.

Till now you believed his words but seeing those pictures let you doubt he means what he said. Gen must work for weeks on set. You checked some fan sites and it seems the whole fandom went rampage, seeing them back together.

Some fans even commented that they saw them together, having dinner.

Jared was silent the last weeks and came home late at night. Now you know why…he has her back…

Feeling the anger and disappointment welling up in your stomach you pace around your living room. As soon as the front door opens you storm toward your husband.

“Is there something you have to tell me, Jared?”

“Huh? What’s wrong, Baby?”

“Don’t Baby me! You know exactly what I mean! GENEVIEVE!”

“Oh, I forgot, she’s filming some scenes with us for the 300th episode," Jared says nonchalantly and you lose it.

Slapping his cheek you start yelling and cursing.

“Do you believe I’m stupid? I saw the pictures! You were hugging and kissing her. You had dinner with her! You’re cheating on me! I knew I can’t trust you!”

“I’m not cheating on you! I hugged her and kissed her cheek. She’s still a friend. I had dinner with her but not alone! Misha and Jay were with us, just like Kim and Samantha!”

"Sure! You're always good at excuses! You’re late every night, you are always tired and we didn’t have sex for weeks. I know why! You are fucking her!”

Jared tries to calm you; tries to touch you but you toss a book after him. Hearing him chuckle makes you even more furious. Grabbing the plates from the kitchen counter you throw them after your husband.

“Stop throwing stuff at me! Are you insane? I don’t have an affair with Gen, she’s engaged. I only want you.”

Getting even madder you grab his favorite book, a first edition, to toss it at Jared.

“I swear if you throw that book I’m going to spank your ass and more!” Jared warns.

Licking your lips you weigh your possibilities. You will not give in. This is on him. Grinning you throw the book but Jared catches it just in time.

He and his goddamn large hands. Picking up one of his shoes you want to throw it too but Jared is faster taking the shoe out of your hands he tosses it aside.

Angry looking down at you Jared towers over your much smaller frame. His size is intimidating and you stare up at the smirking giant.

“Now you are really in trouble! That book is something special and you just threw it at me!”

“And you cheated and me!”

“No, I didn’t cheat on you, Y/N!”

“Uh-huh and that’s the reason you barely look at me! Months ago you couldn’t keep your hands to yourself and now you’re ignoring me the whole time! Fuck you, Jared. I’m going to sleep in the guest room tonight.”

“No way! You won’t sleep in the guest room!” Jared yells now.

“Fine, then I’ll call Danneel and ask her if I can sleep in Jensen’s and her guest room!”

“You won’t sleep there either!”

“Shall I sleep on the street or what?”

“You will sleep in our bedroom! You are my wife!”

“Until you decide to go back to Genevieve!”

“God, you’re so frustrating sometimes. If you don’t believe my words I guess I need to show you whom I belong to.”

Picking you up Jared throws you over his broad shoulder. Ignoring your cursing and the fact that you slap his ass the whole time he carries you toward the master bedroom.

Tossing you on the bed he hovers over you. Staring angrily down at you he crushes his lips onto yours. Pushing against his chest you try to free yourself but you fail.

Ignoring your resistance Jared starts kissing down your neck and you can’t hold back the moan escaping your lips.

“Hmmm…you smell so good, Baby,” Jared rasps against your skin.

"Get off me, Padalecki!" You grunt.

"Nope. I'm going to show you that I only want you." With that, he rips your dress open.

Cursing you glare up at your husband, only to meet his lust-blown eyes. Still ignoring your yelling he drags the dress down your body.

The smirk on his face grows wider when he sees you're not wearing a bra or panties. Well, you wanted to seduce him before you saw the pictures.

“God, Baby, so fucking hot,” Jared groans.

“Get off me! I’m mad at you.”

“Not for long, I’m going to show you what happens when you act like that.”

Without warning, Jared moves his large hand between your legs. While rubbing your little nub he pushes two fingers into your warm entrance.

The huge amount of wetness makes him grinning even more. He fucking knows how much he turns you on, even after all those years he melts you into a puddle in no time.

Giving in you fall back onto the bed while Jared starts flicking his tongue around your nipples. His soft hair is tickling your skin and you start tugging at it to keep him in place.

The steady thrusting of his long fingers combined with the pressure he adds to your clit makes you squirm under his touch.

Grazing his teeth over your nipples he feels your walls tighten. Right before you can come he removes his fingers. Whining you stare up at him.

"No coming for you until I say so. Now hands and knees Baby, your husband will show you whom you belong to and that you're the only woman he wants."

“Are you talking about yourself in third person now or what?”

“I gave you an order woman…now or I’ll slap your ass.”

Not reacting you stick your tongue out. Before you know what happens Jared flips you over. Moving on hands and knees you curse while Jared strips his clothes off.

Butt-naked he moves behind you to plant soft kisses down your spin. Arching your back slightly you enjoy the gentle touch of your husband.

His lips are all over your body, just like his rough and large hands. The anticipation gets unbearable and you start whining.

“Say it!” Jared orders but you ignore him.

“I’m still mad at you…”

Sliding his hard cock through your wet folds he chuckles when you push back against him.

“Fine, I’m yours…only yours,” you mutter.

“And I’m yours, Baby, only yours.”

“Show me you’re mine, Jare.”

Entering you with one swift motion Jared groans at the feeling. He missed you; he missed doing this with you.

Starting to thrust into you he grips your hips roughly. Finding the perfect rhythm you meet his hard thrusts to give you both more friction.

His large hands holding your hips roughly while he’s busy fucking faster into you. The room slowly fills with the smell of sex and Jared's manly musk.

“Just like that Baby, god, yes…don’t stop.”

Pounding into you Jared groans behind you, your walls already tighten around him and he needs all strength to hold back.

Pulling out he flips you over again only to move between your legs right away. Placing your legs around his waist he kisses you softly.

Your arms find their way around his back on their own. Slowly starting to thrust into you your husband doesn’t take his eyes off your face.

Smiling you hold tight onto his back when he picks up the pace. Pistoning his huge dick into you he brushes over your sweet spot over and over again.

Not able to hold back any longer Jared fills you with ropes of his cum. Your nails bite into his back while you scream his name in ecstasy.

Jared presses your body softly against his, just holding you tight for a moment he nuzzles his nose into your neck. Kissing your pulse point he smiles against your skin.

“I only love you Baby, only you. I would never cheat on you. I love you, Y/N.”

"I love you too. I'm sorry,  but sometimes I have doubts about myself. I'm not pretty like all the actresses surrounding you. I'm just me…"

“That’s exactly what I love about you. Y/N, you are just you. You don’t fake anything.”

“Sometimes I get jealous Jared, I can’t change that.”

“Don’t ever change, Baby. Never change…”

Forever Tags

@donnaintx, @screechingartisancashbailiff, @fallen-wolf22 , @curly-haired-disaster, @sister-winchesters99, @mogaruke, @the-is13, @helloitsmeamie203, @strayrosesbloom , @thewinchesterco , @hobby27, @kittycatlover18, @gh0stgurl , @marvelfansworld , @sandlee44, @hawaiianohana15, @unlikelysamwinchesteronahunt​, @katpatrova17​, @notyourtypicalrose , @heyitscam99, @onethingthatkeepsmealive, @natura1phenomenon​, @flamencodiva

#SPN #jared padalecki #jared x reader #arguments #jared padalecki one shots #angst #spn fanfic #supernatural #smut #request fill

[chaoskirin]

Fanfic -- A Temporal Folly -- CHAPTER 2

Fandom: Queen Genre: Sci-fi/Horror Rating: PG-13 Chapter Title: Aged (Chapter Two) Word Count: 1145 Chapter Summary: John seems to have been involved in some interesting shenanigans. He’d really rather nap, though.

There is something ethereal In the spaces between. Two lives choked by a grievous misjudgment A billion-trillion souls cradled gently out of existence And yet their folly Shines as bright as the sun...

 "It's okay, John, we'll reschedule the concert," said Brian, pacing in front of the cracked-leather couch. "They understand. They understand." "I'm more concerned about the elephant in the room," Roger replied, eyes narrowing at John, who lay sprawled across all three cushions. Once in a while, he'd open his eyes to check his surroundings or to reply to a question, but other than that, he was pretty still. The weird part wasn't his mere presence, though... Roger gestured. "You want to tell us why you're--" He couldn't quite put it into words. Well, he could. But it sounded absolutely ridiculous, and he couldn't possibly be seeing what he was seeing. The man on the couch was clearly John Deacon, yet he seemed to have aged backward. "Am I going crazy? You're seeing this, right?"

John laughed, the sound catching in his throat and turning into a cough. "I'm tired, Rog." To demonstrate, he closed his eyes again, pulling the cold compress down from his forehead and over his eyes.

"Can you tell us anything?" Brian asked.

"Made a mistake," was all John said.

Brian looped his arm through Roger's elbow and pulled him away, whispering, "at least that explains what we were feeling."

"It doesn't explain it at all!" Roger glanced back at John, whose arm slowly slipped off the couch and toward the floor. "It doesn't explain anything. I mean, he's not a spring chicken, as the Americans would say. But look at him. Look."

"I know," Brian replied. "What would you place him at? Thirty? Forty?"

"Always hard to tell with him." Roger rubbed the back of his neck. "He's got some grey, so..."

"I can hear you old goats talking about me," John grumbled. "It's loud enough in here with your stage guys everywhere--"

"We're exactly the age we should be," Roger argued. But he felt old. He felt it. In his heart.

"Old goats," John repeated.

"Well, clearly he's done something," Brian said, voice just a little quieter. He shook his head in disbelief, pale curls bouncing around his face.

"Not sure what you think he may have gone and did," Roger said. "It's not like you can go to the local chemist and buy a pill that'll shave thirty years off your life." He scoffed. "If that was the case, I'da done it already."

"So we're going with forty," Brian mused.

It took Roger a second to figure out that Brian was still talking about John's age. "It was an estimate. Why are you counting, anyway?"

"Because numbers are real, and this isn't."

Fair enough.

Roger dragged Brian past the partition their road crew had set up to give John a little privacy. Immediately outside it were people trying to peer through the gaps to get a glimpse of the reclusive John Deacon. They glanced up guiltily as Roger appeared, and Roger shooed them off with a grumbled quasi-threat to their manhoods.

Out here, outside of the little bubble in which they'd contained their friend, was chaos.

Their bodyguards were keeping a couple well-dressed women at bay. One of them was holding a microphone and repeatedly calling, "Brian May! Roger Taylor!" as if their first names wouldn't have sufficed. One of them held out a microphone like a backstage pass, as if that would gain her the access she desired. Roger grunted.

Brian gently reached out, his hand just brushing the arm of one of their sound crew as he rushed past. "Can you do what you can to get them to leave?" he asked, nodding toward the reporters. "I know it's not your job..."

"It's all right, Brian," he said. "We're trying, trust me."

"I do, Jacob."

The kid changed course, heading toward the bodyguards.

"You still know all their names," Roger observed with a chuckle. "Sometimes I forget my own lyrics. You still know each and every person that comes through our entourage, don't you?"

"I try. Nowadays I have to make flashcards." Brian arched his silver eyebrows, giving Roger a pointed look.

Relieved by the slight levity, Roger allowed himself to laugh.

Brian's cellphone rang. Or rather, it buzzed a bit from his pocket. He tried to keep it on him, even on stage, which Roger never understood. "You and Instagram," he muttered.

Brian shrugged, checking the screen. His expression quickly soured to a scowl. "John's wife," he said.

With sudden alacrity that betrayed his prior exhaustion, John crashed around the partition, knocking it over. It slammed onto the cement floor with an ear-splitting bang. "Don't answer it!" he cried.

Brian peered between the screen and John, then ignored John's protest and answered the call. After a brief greeting, he asked, "Everything okay, dear?" John returned to the couch, slumping down onto it and resting his face in his hands.

"Are you sure?" Brian asked, looking over his shoulder. "Right, yes, it's just--" Another long pause. Roger could see the gears turning behind those concerned, alert eyes, then he added, "I'm so terribly sorry. Of course. No, Roger's here. I'll--I'll tell him. And call me if you need anything. We'll be home straight away."

Roger tilted his head as Brian hung up. "Well?" he asked.

Brian stood, stunned, his expression blank. His jaw hung just slightly open as if he wanted to say something, but couldn't. After some anxious shifting, he returned to the couch and sat down next to John, and though he spoke to John, Brian met Roger's eyes. "She called to tell us you'd passed away," he said.

"What?" Roger demanded.

But John just nodded, as if he'd been expecting it. "I wanted to explain before--fuck. God dammit. Look, I don't know how to say..."

"You're not dead, though. Clearly." Brian put a hand on his shoulder.

"No. I mean yes. I am. I'm not. But there's--" John bit his lip. "There'll be a... There's a body."

He looked so defeated that Roger couldn't even say something brash and annoying, like You'd better start explaining this right now! He wanted to. Because out of every emotion one could experience, Roger hated confusion the most, especially because nothing at all about any of this made sense.

As if sensing Roger's irritation, Brian held out a hand and mouthed "just wait."

Needing something to occupy himself, Roger managed to right the partition, setting it a bit farther away from the couch than before. He stood at the perimeter, making sure no one came close enough to hear. Even after that, it took John many long minutes before he finally spoke.

He looked up, eyes wet with stress and unshed tears, and said, "There were two of us."

#not bestiary #queen #queen band #ck writes #fanfic

[elcorhamletlive]

MCU Rewatch: Age of Ultron

Those first few moments at the beggining of the battle are kind of dull, but I do love the shot of all the original six together.

I like the “language” line. I know it’s an unpopular opinion, but to me it works because of how obviously shocked Tony is by it and how Steve himself recognizes he’s kind of playing into his own stereotype when he goes “...I know”. I think it’s fun banter.

I also love that he throws his motorcycle at a car just before he says “it just slipped” lol.

There’s a very weird “people outside the U.S. resent the Avengers” subtext going on in this movie that is just too shallow for the theme it’s serving. It’s something that I see in fandom sometimes too, and it always rings kind of hollow because it’s like people trying to be “woke” without actually understanding what imperialism is and how it works (that’s also where a lot of Bad Takes about CW come from, but I digress). I feel like the movie just kind of puts it in the middle of the larger “are we monsters?” theme, but it really doesn’t work if it’s not properly explored.

I love that Steve lands on his feet after Pietro throws him up in the air LOL. Acrobat Steve is very present in Avengers movies in general, which I appreciate.

I looove the move of Thor slamming the shield with his hammer. It’s so clever and so cool.

“Please be a secret door, please be a secret door... yay!” So cuuute.

The emphasis Tony’s vision places on Steve is downright amazing. Tony straight to him, checks his pulse and no one else’s. Hears his voice talking. I live.

Wanda definitely sees the vision she gave Tony, but I don’t think she necessarily crafted it. This is an important detail for no one but myself and my endless wip-creating mind that still wants to write a fic of these two.

It’s a blink-and-you’ll-miss-it moment, but Steve is helping Clint on the quinjet when they’re going home. 

Thor’s report on the Hulk is amazing.

“How is he doing?”/”Unfortunately, he’s still Barton” LOL.

Everyone’s outfit in the party scene is so on point, and then there’s Natasha with that weird skirt.

Also, that kind of goes without saying, but I love everything about the party scene. So many small and fun interactions, and the seeds to Steve’s home arc are laid out. It’s nice.

I love everything about Steve’s characterization in this movie, in fact. Him talking to Bruce is so sweet, and he’s also helping Nat as well by doing it. I love.

Everyone attempting to lift Mjolnir is the best part of this movie. Rhodey and Tony trying together. Steve managing to move it. Thor by the end with his “you’re not worthy” line. It’s perfect.

I love that Hill just has a gun on her at all times.

Oh my god Bruce falling with his face in Natasha’s cleavage is so cringe-worthy.

Aside from that I love the fight with the Iron Legion scene. Steve using the table as a shield, Tony using the fondue fork to attack a robot. Very good.

I’m sorry I’m not trying to get into Discourse but in the scene right after the fight? Tony is completely in the wrong and I literally can’t fathom someone watching that scene and thinking he’s a poor misunderstood baby in need of protection.

I do GET the complaint about how Whedon wrote Tony here, though, because the whole laughing and pretending it was funny was just a very, very dick moment that did feel a little forced. I feel like maybe if we had gotten one extra scene exploring how the vision played with his ptsd and anxiety (or even him just dwelling a little on the vision itself) it would’ve worked better, because then we’d see Tony’s emotions at play a little clearer.

Hnnnnng and there’s it is. “Together”. The moment I turned into absolute certified garbage. Tony’s FACE.

I do like that the Maximoffs interactions with Ultron kind of set up how they’re in over their heads with this whole thing. It’s also shown when they try and epically fail to intimidate Klaue.

Ultron’s whole “I’m not like Tony” thing while also saying things Tony would say is another weird element that never really pays off. It’s just... there.

I will forever love the “pretending you can live without a war” line, and how it ties with Steve’s vision. How the camera flashes sound like shots and wine stains look like blood. How Peggy asks him to “imagine” going home and then the room goes empty because he CAN’T. I really love it.

I feel like Clint’s family is kind of a weird plot point and it plays into some tropes that I don’t really like (like, we don’t know anything about these characters, but we’re supposed to care because they’re the stereotypical Nuclear Family and this makes them important), but Tony’s “these are.. smaller agents” line almost makes it worth it. lol

Clint staring out at Steve and Tony thoughtfully while saying “maybe they’re my mess” is the most relatable moment of the entire MCU.

I feel like BruceNat could have worked a little better if Ruffalo had made Bruce seem actually attracted to her, as opposed to incredibly uncomfortable every time she comes on to him. And she comes on so strongly, it eventually gets awkward because of how one-sided it feels.

And hoo boy there’s the “I’m sterile” talk. I really don’t think Whedon meant to equate infertile women with monsters here, but the way the dialogue is written, it’s kind of the impression that gives off. It’s uncomfortable.

LOG-RIPPING SCENE, YES!! I have a lot of Feelings about how Tony deliberately pokes at Steve because he thinks Steve seems to be doing okay (because Steve is hard to read for him), and how he doesn’t seem to notice that the whole “go home” thing hits Steve really hard. And he is being honest and trying to communicate, he just... can’t see it, and Steve doesn’t know about the vision, so it can’t really get anywhere. 

I will say that this movie is definitely missing a scene where Tony TELLS the others (or even just Steve) about his vision. Like, it feels that the resolution can’t be complete without it, because Tony’s fear can’t be fully addressed if it’s never out in the open. I enjoy Tony’s scene with Fury (and I love him calling the tractor “dear”) but I feel like this moment was necessary.

Tony gives a cute smile at Steve’s silly “craziest thing science ever made was me” line :D

Okay, the Thor subplot is completely unnecessary. I know it sets up the Infinity Stones, but it could have been waaay shorter. And the second fight before they create Vision is so dumb. There’s no reason for Tony to just jump into creating Vision AGAIN without even TALKING to everyone else. I’m on board with pretty much everything Stony-related in this movie, but this is unnecessary, dumb conflict that didn’t need to be there.

All the pseudo-philosophy that comes out of Ulton’s mouth is just so weird and artificial. It doesn’t fit with the quippiness he’s supposed to have inherited from Tony, and the result is that when he needs to seem scary he just sounds kind of stupid.

I do love Clint’s speech to Wanda, though. And Natasha talking about the view. These are nice moments.

Awww the “captain’s orders” guy from TWS is at the helicarrier! I had never noticed that.

The fact that Tony echoes the “together” warms my heart, and I do feel it provides some resolution for his argument with Steve - as in, he gets his point, they should work as a team. But I still wish there had been an actual turning point where we could see Tony understanding that, instead of just jumping from point A to point B.

Pietro’s death is so hollow because we just don’t spend enough time with him to truly care, but I like Wanda’s scream destroying all the bots around her. And also her ripping off Ultron’s heart.

I do like the last talk between Ultron and Vision, too. Paul Bettany just sells it to me.

Steve and Tony and their dumb bantering because of Mjolnir is too cute.

ALSO: When Tony says “I’m gonna miss him. And you’re gonna miss me”, like... It feels like he kind of throws it out as a joke, and then immediately adds the “manful tears” comment. And then Steve says “I will miss you, Tony”, and you can see for a second the little look he gives, like, “yeah?” like he can’t really believe it at first. And then when he asks if Steve is okay... I feel like this is a rare moment where they actually manage to understand each other a litte more, through these small glimpses, but it’s all still very tentative, very hesitant but still very sincere. I love this scene to bits, especially the last line.

“It’s a very nice wall” is the WEAKEST snark ever omg Steve. Nat absolutely drags him by calling him and Tony out in response lol

I actually do like this movie. It has many flaws, it’s not as tight as the first Avengers by any means, but ultimately I enjoy it and I think the hate it gets is a little unfair, even if I get where it comes from.

#mcu rewatch #minor ship negativity