#IT WAS A FREUDIAN POST

[charcoalowl]

So much mainstream interpretation I see of Miki talks about his "purity" in such a cut and dry way that kinda bugs me. Like yes innocence is a big part of character but it's different then say, how innocence is a big part of Utena's character or how Juri has such a distinct relationship with the concept of faith and the heavenly.

Miki's duel is titled Raison, something I had trouble understanding until I looked at it in the context of his duel song.

The Spira Mirabilis, or Fibonacci's spiral, plays a big role in music and musical harmony. It is the embodiment of perfection. It is another representation of the myth of the "eternal" that the show is trying so hard to deconstruct.

People seem to forget that Miki when first introduced he isn't characterized by his naivete. He is a prodigy. A genius not only for his musical sense but his knack for complex college level mathematics as well. The show makes a point to directly tie his dissatisfaction with his music to his frustration at having lost the subject of his nostalgic longing. He is logician trying to create the most mathematically perfect composition. He is a child trying to reconstruct his most perfect memory.

[dozydawn]

antique gilt metal choker

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[lucabyte]

What's your favorite way to characterize your ocs? (if u want a challenge try not to answer with any homestuck related category)

mine is how many siblings they have!

Ok so this is a genuinely interesting question bc i had to actually like... Think about how to word this in a way that isn't complete nothing?

So. My favourite way to characterise my ocs is via their interests. (... something i think homestuck does very well via making sure every character has a grab bag of cool & uncool, intense & wayside interests instead of just a bunch of cool stuff they like equally, but i digress)

That said, it's not so simple as just giving them a likes and dislikes list. in fact i fucking hate likes and dislikes lists cant stand them, they always feel really flat to me. I know they have their uses but I usually can't flatten characters down that way. Likes are ephemeral-- Likes can be shit like 'warm days' which. Duh.

Something i'm a little mean about related to this is what i call "Likes: Friends Dislikes: Bullies" which is something you see on character likes and dislikes in one form or another a LOTTTT. This is because like... Yeah? That can be assumed of everyone? It tells me nothing about the character. Telling me your character likes Pleasant Weather or dislikes Gross Food is like. Uh Huh?

It's not specific! It tells me nothing! But that's the secret.

Specificity and Contradiction are where it's at. Now a character who hates pleasant weather and likes gross food? Now that's a weirdo. Or maybe even that they dislike 'gross food'-- But by their definition that's like... Anything that's not literally raw? Now that's characterisation! Now you get to ask why the fuck are they like that.

And this is how I like to approach things. I like to dig into a character's interests on the surface level by assigning them some, sure. But the fun comes from digging in and making them specific and contradictory. (And usually if a character is unfinished, to me, it's because they're still on that surface level of Just Having Some Interests) (Also, it goes without saying, one of the best places to find these interests for characters in the first place is by joking and riffing for as long as humanly possible. A core joke will carry you farrrrr)

so my actual favourite way to characterise characters? Giving them really specific dislikes, in relation to their interests.

So, for example, (because they are always the example...) Ali is a stagehand and decent actor, and loves plays. In fact, they love plays so much they are outright dismissive of other art forms. They don't play games, they don't really watch TV, their main intakes of media are books, screenplays, poetry and filmed productions or bootlegs. (and hey, bringing up bootlegs: that probably means they participate in the weird bootleg-trading-ring people have going on online. Look at that! A weird niche activity I can give them!)

But, they HATE musicals. Think they "lower" the art form-- Despite (or perhaps because) they're the most popular type of play to put on, especially in the local productions they help out on. They value the scary intimacy of a theatre production, being in a near silent room physically with the performers, they think it elevates it. Makes it unique. They don't like that musicals are like... fun and loud.

But let's go even more specific. Do they have any exceptions? Any begrudging respect?

Well, I think they'd respect musicals like Cats. Things that are pure spectacle, where the music and intefacing with the audience in a chaotic manner are the point. They like that Cats "Doesn't even pretend to have a story. It's not actually trying to compete with plays, it's doing its own thing. It's practically Theatre of Cruelty."

And furthermore, they also enjoy animated or movie-original musicals. Because, well, film is a medium they don't care about as much. It's okay if it lowers itself by being silly. Plus!! Animation is like, fake, for children, and has a heightented requirement for suspension of disbelief! It's perfect for musicals! They're nothing but spectacle! In fact, that's what makes them the perfect medium for them!

^ You may notice that the above is like, while logical, is very dismissive of other mediums! It's a little bit anti-art in places!

And thatt's the other thing. I like to make characters who don't hold the exact same opinions I do.

While there's parts of my actual opinions in there-- I do believe animated is a great medium for musicals due to the whole suspension of disbelief & fun thing-- Um. I would hope it's obvious that as an animation graduate I don't think animation is for children or inherently less serious of a medium.

But Ali is a weird little snob who will hopefully get some slightly more nuanced opinons when they're not literally only 19. So it makes sense that they're being elitist about things. They're insecure, and hanging a lot of their self-esteem on being "an artist with good and refined taste". Of couuuurse they've got a stick up their ass about musicals (something I myself am not a superfan of, but usually enjoy when I watch them. I think Ali is missing out!)

But yeah, that's just from digging in and getting specific about one interest: Theatre.

By digging into the contradiction of "Likes Theatre and Dislikes Musicals" I can find a reason for why. And I can avoid making characters just Mouthpieces For My Own Opinions by giving them opinions i disagree with.

I follow this logic a lot, though not always so straightforwardly.

Chrome is a musician who doesn't really like music, and thinks all artists are just vapidly doing it for attention. (Which should immediately clue you in to what's wrong with him.) It's a more selfish version of the same kind of reasoning Ali has, but one Ali would find ghoulish.

Ess, meanwhile, is a Pedologist. A soil scientist-- A very specific thing you usually get to via being like... A geologist, or chemist, or something more general-- But I've said he was basically on that shit immediately-- Which is a funny concept to me. He didn't go on a journey of scientific discovery to find a niche area of study-- He just loved that niche ever since he was a kid.

So, you'd expect that I'd maybe make Ess dislike other sciences then? Nah, I think he's more nuanced than that. Because, following his very polite and politically aware demeanor, I think it would make more sense for him to be very respectful of all sciences, even if he has no real interest in them outside of how they relate to his field. Instead, he is conciously trying very hard not to form a grudge with more 'popular' sciences-- He knows why they're more popular, and he knows it's not the fault of the people who love the field that they get a lot more funding than him. It's not their fault, it's just a result of science having to be so capitalistic.....

See! Polite little man, very nuanced. That's because most of his contradictions come instead from being a terrified and anxious soul who is doing illegal shit right now while being very scared because they know it's for the greater good. (see! politically aware again. He knows trespassing is illegal, but his morality does not line up with legality. He's exposing governmental malpractice, ffs. But! Not a cool punk! In fact a very scared guy!)

Ess there does get to be a bit of a mouthpiece for me, since obviously I also believe you should trespass to go get evidence of the government knowingly dumping biohazards into the fucking water supply for cost cutting reasons. But he gets to balance it out because every time I have to do research into soil science my fucking head hurts.

Pulling back away from Ess and back to Ali and Chrome again I think I have one last really good example of letting characters have opinions that are different to mine, that's about something that isn't an interest, per se, but hits on the reason I like to do this so much.

It is so fucking fun to make characters argue.

In an earlier purrgatorio that im not going to re-look-at because its early enough the writing quality might make me dry heave, i let ali and chrome have a bit of an argument (with tabitha as a weird mediator who has the closest to my real opinions LOL.)

So. Chrome has what i can describe as "Basically my opinions, but worded in the most bad faith way possible." If I saw someone arguing my point like this i'd want to either smack them or disagree with them on principle.

Whereas Ali has "The opposite to my opinion, but worded with all of the arguments for that point of view that I genuinely respect." They're the talking points I've observed that I genuinely find to be decent reasoning, and I would be hard pressed to disagree with in polite conversation.

They're arguing about religion. Ali is religious, following a small gnostic sect that's basically only practiced by their immediate family. Chrome is bluntly atheistic, but coming at it from a conception of religion that only has room for (a pastiche of) american big-box puritan protestantism, and is assuming every religion to be the same way.

I am an atheist myself, but cannot fucking stand the culturally-christian reddit atheist talking points. So I gave that kind of thing to Chrome (part of this irony being, Chrome is far more spiritual than he thinks-- having internalised a LOT of protestant work ethic), and Ali is from a small cultural religion that couldn't be further from it-- And is also a modern-day internet user with a bitchy streak-- So of course they've memorised every rational and reasonable counter-argument to this kind of thing.

(The full on irony being, that they are fictional and thus Ali is acutally in a sense... Right that there is a demiurge. Lol.)

Even if I do ultimately take the side that uh. Idk dude i dont think god is real. Giving that opinion to the guy who's being a shithead about it makes it more interesting to write?

I treat a lot of things like this. Chrome has a bad anti-art anti-intellectual streak that I follow the logic of, but think is dangerous and flawed. Markus loves scientific knowledge and biology, but is too naive to really know how to chase it-- or when to stop. Miao has a lack of academic smarts, and deeply undervalues her other skills because she's internalised that they don't matter in comparison. Lupus believes there's good in everyone, and can't comprehend the logic of cruelty-- Leading her to equivicate legality with morality in a very childish manner.

Everyone gets an ideology. I should be able to follow the logic of everyone's ideology even if I don't agree with it. And interests are both an extension of ideology, and a window into it.

Chrome's anti-art anti-intellectualism leads him to barely partake in media-- But also undersell his own academic smarts because his skills in physiology are "just dumb meathead shit about how to stay jacked". Lupus' disagreements with Mafioso over criminals being 'cool' betray her inflexibility in categorising actions as 'good' or 'bad', because she wants no-one to suffer-- And assuming an unjust police absolutely turns that to dust.

It's all about putting characters together like a big jigsaw to make them have unique worldviews-- To then be able to look at a real world thing and go "who of my characters would like that/act like that/think that?"

(Now. Uh. I can't say I'm like. The Bestest At This-- That would be a touch egotistical given my lack of Putting My Money Where My Mouth Is And Writing A Big Story For Everyone To Look At. But um. We'll get there? I hope lol.)

But yeah, TL;DR:

My favourite ways to characterise characters are:

Give them specific, contradictory and ironic interests

Interrogate their reasonings and how it informs their self-perception

Give them opinions that don't always align with mine

Interrogate whether they are actually coherent when discussing these opinions

[atsadi-shenanigans]

Hmm. Getting close to the Chekov’s finish line, and I’m real curious to see if this is the longest one-chapter smutfic I’ve ever written? We’ll see here in the next hour, I think.

[macbethisms]

the third prince is so interesting to me bc he's made of the themes. he subconsciously attempts to replicate his parents' power dynamic with his first (and only) real relationship except it's not even a real relationship bc his evil mistress is manipulating him the whole time. he looks like the physical ideal of warrior masculinity (you know. the one who died in the last book) except that he sucks and is useless and can't fulfill his singular purpose and literally everyone knows it. he's a hollow shell with nothing inside but also he's intelligent and perceptive and a whole person underneath it all but also it doesn't even matter who he is bc he's being slowly suffocated by other people's expectations and agendas but also he has no choice but to be nothing bc he can't be great. "what if you were willing to do anything to get what you wanted" well what if you didn't even know what you wanted. what if what you wanted was so completely opposed to who you are and what you were made for that you could never actually believe that you could have it. what then. he's happy about two people being tortured to death bc his mom didn't like them. he's the living embodiment of a crumbling heirless dynasty. he's a blushing maiden being seduced by an older man with ill intentions and he's a powerful royal whose lover is wholly reliant upon him for survival. he and baoxiang are both punishing each other for the things they hate about themselves. his death causes the end of the book. and he's been dead since the day he was born.

[twslug]

if you love me, won't you let me know?

[hysterical-and-uselesss]

Bonus:

🤍

Un professore + text posts: parte 3 aka il racconto di una storia (cit.) (1, 2)

[krisdreemurrs]

tbh when this poster that implied possessive/codependent vi and jinx dropped, I genuinely thought that the uncomfortable "too close" feeling that silco and jinx had would've been shifted to vi and jinx. cuz I always figured silco let jinx be close to him like that because he struggled with saying no to her at all, thus jinx simply never grew out of sitting on his lap like she likely did as a kid.

so I thought if and when vi and jinx reunited that jinx would cling to vi as a parallel to that, but with jinx being vaguely threatening about it. like, jinx inching her way towards vi with a gun in her hands but then settling on her lap, toying with her weapon and placing it far to close to vi's head and heart for comfort. testing her boundaries like she did at the tea party.

but, like silco, I think vi would struggle with pushing her away too, even if she's Clearly uncomfortable with the closeness of a weapon. though, I don't think she'd have a problem with the closeness in general. it would remind her of being kids, of when she and powder were closer than anything. and she can't lose her, not again, so she lets jinx be as close as she likes, disregarding her own comfort and safety. I genuinely wanted their relationship to get uncomfortable. I wanted to wince away from my screen at their interactions

[scalematey]

can i say something really funny about nerdy prudes must die. i'm sure i'm late to the party on this one but there's a very funny star wars thing going on with pete seeing himself as han solo ("i know"/"kiss a wookie"), coupled with the way that he's ready to sacrifice himself in the framing of said "i know" scene. if pete is han then steph is leia, because pete's love interest + "brawn and the brains" + princess = mayor's daughter. and to round off the trio this therefore implies by elimination that grace chastity is luke skywalker. which also further implies that becoming a pawn of the lords in black is kind of like the twisted evil hatchetfield version of becoming one with the force. now another significant point in this musical is that in the choreography for nerdy prudes must die the song, max picks up richie and force chokes him, implying that max fulfills the darth vader role in the musical (evil sith lord + everyone thought he was dead but he wasn't i guess). anyway what i'm saying is wouldn't it be really funny if grace chastity had a freudian psychosexual relationship to max jagerman because of the star warsian implications

[themindfulmind]

Freud Memes 👴🏼

[ladystoneboobs]

House of the Dragon s01e06, The Princess and the Queen // A Clash of Kings by George RR Martin, Chapter XXXVII, Theon III // House of the Dragon s01e07, Driftmark // A Clash of Kings by George RR Martin, Chapter XXIV, Theon II // Fire & Blood by George RR Martin, Chapter XII: Heirs of the Dragon - A Question of Succession // House of the Dragon s01e08, The Lord of the Tides // A Clash of Kings by George RR Martin, Chapter XI, Theon I // A Clash of Kings by George RR Martin, Chapter LVI, Theon V // House of the Dragon s01e08, The Lord of the Tides // A Clash of Kings by George RR Martin, Chapter XXIV, Theon II // House of the Dragon s01e09, The Green Council // A Feast for Crows by George RR Martin, Chapter I, The Prophet (Aeron I) // House of the Dragon s01e09, The Green Council // Game of Thrones s02e03, What is Dead May Never Die // House of the Dragon s02e01, A Son For a Son // A Dance with Dragons by George RR Martin, Chapter XXXVII, The Prince of Winterfell (Theon IV) // House of the Dragon s02e02, Rhaenyra the Cruel // A Clash of Kings by George RR Martin, Chapter LVI, Theon V // House of the Dragon s02e03 The Burning Mill // A Clash of Kings by George RR Martin, Chapter XXXVII, Theon III // House of the Dragon s02e04, The Red Dragon and the Gold // A Clash of Kings by George RR Martin, Chapter XI, Theon I // David J. Peterson on Aegon's use of High Valyrian // Game of Thrones s02e02, The Nightlands // House of the Dragon s02e04, The Red Dragon and the Gold // A Clash of Kings by George RR Martin, Chapter LXVI, Theon VI // House of the Dragon s02e04, The Red Dragon and the Gold // Game of Thrones s03e04, And Now His Watch is Ended // Fire & Blood by George RR Martin, Chapter XV: The Dying of the Dragons—The Red Dragon and the Gold // A Clash of Kings by George RR Martin, Chapter LVI, Theon V // House of the Dragon s02e07, The Red Sowing // Game of Thrones s03e07, The Bear and the Maiden Fair // House of the Dragon s02e08, The Queen Who Ever Was // A Dance with Dragons by George RR Martin, Chapter XXXVII, The Prince of Winterfell (Theon IV)

[sejarcus-archive]

"The Ballad of Songbirds and Snakes is a discussion on human nature, but if you look closely the author is also saying 'Freud was right '" I say into the mic.

The crowd boos. I begin to walk off in shame, when a voice speaks and commands silence from the room.

"They're right" they say. I look for the owner of the voice. It's Suzanne Collins herself.

[explainslowly]

Destiel is invert4pervert

[greenbloods]

a song of ice and fire

[sieglinde-freud]

problem is that the inigo lover in me wants to wife him up every time i play the game but unfortunately i do not like robin/inigo or corrin/laslow so its just like. man. putting a ring on his finger but shaking my head the whole time so everyone knows im not having fun