#LISTEN LINDA LISTEN!!!!!!!!!!

[discountenancer]

Here’s why Jasnah and Hoid is a great ship:

It’s not a ship.

It’s a stopgap.

I think Jasnah and Hoid do, on a personal level, enjoy each other. I do not think Brandon is writing them to last, and that’s intentional.

Jasnah finds Hoid to be an intellectual equal—“after all this time” implying she has never encountered someone who could be on her level before. She finds him “fascinating”. She needs his knowledge to save her planet and people. She doesn’t trust him. The text says this directly.

Additionally, they’ve been ‘together’ for what can’t be more than a few months. I don’t remember how long between Oathbringer and ROW, but it’s not long. People don’t fall in love that fast, and both Jasnah and Wit are too smart and risk-averse to let themselves do such a thing. They are not in love. They are doing a very strange form of dating, on top of which they are facing down Odium. No walks in the menagerie for them, just a constant barrage of stressors on all sides. They are under a great level of stress and not doing anything remotely close to courting or dating, physical affection from Hoid aside. Jasnah doesn’t even call him Hoid, so it’s unclear if he’s divulged that name to her despite telling Dalinar and Kaladin, who forgot or refuse to use it. The text is clear that he has told her some things about himself, like not being Alethi, using some power of physical transformation, and being immortal, but she’s stymied on anything else. I don’t think she’s the sort of woman who would insist on calling him Wit in private if she knew a more personal name, but I could be wrong.

So: Jasnah needs Hoid as an ally, needs his vast knowledge of all things Odium/Rayse, and perhaps fancies him as a future partner (“curious how the relationship would develop”). She doesn’t seem to be betting on Hoid 4 Life, but is enjoying the comfort it provides in the moment.

What does Hoid get from this?

First, he gets his dick wet. Jasnah’s canonically very beautiful. The benefit there is obvious.

Secondly, he gets to influence her decisions. He is shifting the boulder to roll in the direction he wants. Hoid is after something, and we don’t know what it is. I do genuinely believe he wants Odium contained—having a God roaming around the universe who wants Hoid specifically to die would doubtlessly be a big ol’ wrench in whatever his plans are. Hoid can do his work much more effectively at Jasnah’s side than on his own. He gets into the Big Important Meetings and knows all of the Plans being made. He gets to cast his vote. Jasnah takes his opinions into consideration.

They are both deriving an immense benefit from their relationship. Don’t let the sex fool you into thinking it makes what they have deeper than it is—as an ace person, I believe Jasnah sees sex as a necessary compromise in maintaining the relationship (“she could provide the intimacy he desired….this was not a new experience for her”). This is unsurprising. Sex is a small price to pay for, uh, saving the planet from an enemy you only recently learned exists and also happens to be the god of hate incarnate.

Brandon has said of the pairing "Wow, that's a really great and a really terrible match all at the same time, and that's what I'm looking for, in a lot of ways.”

Great match for intellectual brains and snark. Terrible match because something is being set up under the pretense of what we are assuming is a sloppy last-minute ship randomly set up in the second half of ROW.

There’s a WOB about how Jasnah and Hoid perceive power—I cannot find it, so here’s the paraphrase I’m drawing on:

“we should be concerned about how both Hoid and Jasnah view power and that’s what drew them together”.

Jasnah and Hoid are creatures of philosophy. Jasnah values the masses over the individual and Hoid values the individual over the masses (“[he] is legitimately empathetic to the individual”; telling Dalinar he would watch Roshar burn to get what he wants while devoting time and risk to helping various characters through rough spots). This is where their attraction to power and how they subsequently use it will put them at odds. They do not have the same goal, though they don’t know it—or perhaps Hoid does already, but is playing the game. Jasnah wants to save Roshar. Hoid wants to save Roshar, but more importantly, as he’s said, he wants to save his own interests.

Jasnah is brilliant, but I do think Hoid is conniving enough to manipulate her. “Yes, he did seem genuinely fond of her. He said it had taken him by surprise as much as it had her” (ROW 99)—this does not mean romantic relationship. It could. It could also mean a general fondness, like a dear friend. We have not seen Hoid or Jasnah exactly palling around with anybody on their own. We don’t know if they’re awash in good judies. They are two very smart people burdened with difficult tasks. Jasnah didn’t like Wit when we first saw them interact. Now they get along and playfully banter. That’s some unexpected fondness for sure. Trauma bonding, baby! It’s a hell of a drug!

Jasnah and Hoid are not fated to be together. They’re not supposed to be convincingly in love, because they aren’t. They are together purely by circumstance and their time is largely consumed with trying to stop Odium or Jasnah picking Hoid’s brain for her scholarly pursuits. Their relationship is, for now, enabling them to tackle the task in front of them. They are together for now, to save Roshar for now. After the battle of champions in SA5, it’s anyone’s guess—mine is that Jasnah will use what she’s learned against him somehow, and he will oppose her directly in pursuit of his own unnamed goal.

There will come a day where they realize the next obstacle they face is each other. They are locked in an embrace with knives in their hands.

TL;DR: Jasnah and Hoid are not in love and it’s okay if you don’t think they’re a good match, because they aren’t, and Brandon has said as much. Their relationship is setting up a mighty, mighty plot point in the back half of Stormlight.

[beatleswings]

PAUL McCARTNEY, LINDA McCARTNEY and DENNY LAINE, as featured on the BAND ON THE RUN cover. 1973.

[daiwild]

do you draw barnroe 🥺 if yes um. pls draw barnroe

I am not immune to toxic yuri

[40cleverways]

"Date" Part 1

[blurglesmurfklaine]

anyone else think about Hen’s “It’s about damn time” to Karen constantly or is it just me what does it mean Hen what are you trying to tell us

[brain-rot-hour]

It's hecking uuuhhhhhhhh

Hades n Persephone or something like that

[ko-fi||P*treon]

[fictiongods]

Now it may not count completely because the man who has 31 (should be 32) consecutive life sentences in prison and wants to control the world said it, but it is kinda crazy that Lena and Kara are so similar and so tied together that even when Lex met a blank version of Kara he goes “You remind me of her [Lena] sometimes.”

[omonolith]

[tendergesture]

Paranmaum - Linda linda linda, 終わらない歌 (An Endless Song) The blue hearts★

[eddiespornstache]

If we’re going full on regression arc Eddie stick him back in dispatch!! Let him and Maddie properly share screen time! Give Josh his fave verbal sparring partner back! Make Linda relevant again!

[gunnrblze]

Keegan and Logan coded song

[samscorch]

OKAY okay so. AU where Linda Monroe becomes the Prophet for Nibbly instead of Wiggly

The "Snackolyte" (get it because. Snack + Acolyte. Anyways.) or "Nibbly's Prophet" AU is an AU in which the events of Black Friday and Honey Queen are merged. It begins after the events of Black Friday, and the citizens of Hatchetfield- those still alive, anyway- shelter in Hatchetfield Mall after the retaliation of Russia (Hatchetfield was deemed not large/important enough to nuke, but was still bombed). Linda Monroe survives in this AU as Becky shot the portal for Wiggly instead of Linda.

The destruction of the portal seems to snap everyone in the cult out of it, and the portal pieces, along with every Wiggly doll, are burned. Morale is extremely low, and so Mayor Lauter announces they will be hosting an early Honey Queen pagent to boost everyone's spirits and have some semblance of normalcy.

Things from here go pretty much identically to Honey Queen- Linda uses her power and influence, even though Hatchetfield is in shambles, to ward off most competition. She still ends up fighting with Zoey, who's more of a threat in this competition as she couldn't find a way to wear down her voice, though it ends in the same result: Linda kills Zoey for the crown.

After her crowning, Linda is taken to a large abandoned store in the mall where the Church of the Starry Children have gathered the deceased from Black Friday for Nibbly to inhabit. Linda is intended as a sacrifice, but once Nibbly takes form, he devours her father instead and faces her.

Nibbly admires Linda's ruthlessness and passion, and cuts her a deal. He knows either an evacuation or fighting over supplies will inevitably kill most of the people in Hatchetfield, leaving him with very little to consume and perhaps no one to worship him the following year, and he refuses to eat anything that isn't fresh.

His offer to Linda is that if she lends him her body for him to roam and feast in, he will protect her husband and sons. She accepts, and becomes the new Prophet of Nibbly and defacto "leader" of the Church of the Starry Children.

That's the basic gist of it, so technically Linda kinda was a prophet for Wiggly for a little bit but now she's one for Nibbly instead! I do plan on adding more detail to this very soon so anything I add onto this will be tagged "snackolyte au" if you wanna follow along!

[thecoleopterawithana]

Hello!

I'm looking for a section of the lunchroom tape (from the Get Back sessions) where John says something to Paul along the lines of "I mean, you've only recently realised what you were doing to me". Does that ring any bells?

You seem to know your way around amoralto's archives, and I'm not having any luck searching there :)

Thanks!

Hi, @i-am-the-oyster (love the name, by the way)!

I think you might be referring to this section of the Lunchroom Tape:

JOHN: And it’s just that, you know. It’s only this year that you’ve suddenly realised, like who I am, or who he is, or anything like that.

I find this bit of the conversation particularly impenetrable; and all the more fascinating because of it. It's here that we have this famed exchange (whose full meaning still eludes me):

JOHN: Because you – ’cause you’ve suddenly got it all, you see. PAUL: Mm. JOHN: I know that, because of the way I am, like when we were in Mendips, like I said, “Do you like me?” or whatever it is. I’ve always – uh, played that one. PAUL: [laughs nervously] Yes. JOHN: So. PAUL: Uh, I’d been watching, I’d been watching. I’d been watching the picture. YOKO: Go back to George. What are we going to do about George?

I encourage folks to go listen to the full audio and transcript and try their hand at decoding it!

I don't know if it's accessible on the mobile app, but @amoralto has a separate page with links to all the Get Back excerpts, listed in chronological order. It's a pretty neat resource if you want to just binge through interesting little snippets from these sessions (some that made it onto the documentary, and many that didn't).

To those curious about the Lunchroom Tape in particular, here's a (play)list of all the transcribed excerpts, with @amoralto's descriptions for context:

We Have Egos

Over lunch, the remaining Beatles touch on George’s resignation from the band on the 10th, as well as a group meeting held the previous day which ended in less than desirable circumstances (with George leaving the room, frustrated by John’s persistently Yoko-filtered standard of communication). While Yoko contends that it would be easy for John (and Paul) to regain George’s favour, John points out that this is a more deeply-rooted issue than it may seem, compounded over the years by John and Paul’s treatment of George and his defaulted status within the group. Upon this problem of overriding egos, however, Paul suggests (passive-aggressively) that it isn’t just the Lennon-and-McCartney tandem that is causing George upset and consternation. 

Jealousy For You

As the problem of George’s current resignation from the band is discussed, John makes it about him and Paul wonders what it’s all worth.

The Way We All Feel Guilty About Our Relationship To Each Other

John contends with how the force of his partnership with Paul and his relationship with Yoko has negatively affected George and perhaps directly contributed to George’s walkout on the group three days prior.

Cabbage

During a discussion on how the rest of the group should move forward after George’s departure on the 10th, John wonders if they should get George back at all, suggesting his role as a Beatle is replaceable (unlike his own or Paul’s), and likens this unkindly to how Ringo first replaced Pete Best. Paul notes that John has been the top buck in getting himself heard (and getting his way) since the inception of the group (which John protests) and quickly reassures Ringo when he wryly declares himself to be little more than rabbit food for the group. Paul admits that both he and John have done one over on George, albeit unconsciously as an effect of the competition and unaware of how it may have hurt George in the process, but John argues that he’s known since early childhood how manipulative he himself can be, and has tried to curb it to little avail.

What You Are

In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth.

Working At A Relationship

While Yoko and Paul conduct their own conversation with each other, Linda talks to John about the inevitable difficulties any relationship faces - even in the context of a musical partnership - and why it doesn’t prove the relationship itself is an expired one. John (inexplicably or not) laments that the White Album doesn’t sound like the genuine, inspired band collaboration they achieved in the past. 

You've Got To Blame Yourself

As Paul encourages an unconfident Ringo to go ahead with his plans to record a solo LP, John hedgingly brings up his own apprehensions about following his instincts (especially when he’s not even sure what he really wants to do). In their inimitable and emotionally non-committal fashion, John and Paul engage in metaphors about intentions, conveying these intentions in actions, and how these actions may be conveyed by those who see it. (Basically: what John and Paul talk about when they talk about love.)

How Much More Have I Done Towards Helping You Write?

John and Paul have an obfuscating conversation about their songwriting partnership and creative process, which has been incapacitated by a lack of direction, misplaced (misread) intentions, and the unmet (unrealised) expectations they’ve inflicted upon each other. (In other words: issues. And some projecting of issues onto George, for good measure.)

What We're All About

In the midst of a personal discussion about working together within the band, John tries to explain the disconnect in their process, and why he can’t envision their songs the way Paul can. As both John and Paul circle around the issues of honest communication and (living up to) each other’s expectations, they eventually project onto George bring George into the quandary of the Lennon-McCartney partnership. 

[bobbinalong]

possibly going insane over bart and linda in this arc specifically

[gay-caveman]

country music gets soooo much unnecessary hate tbh. like look me in the eyes and tell me you hate dolly parton's music. YOU WOULDN'T

[bolt-from-the-dark]

Me: I should stop making new OCs and focus on the ones I have

Anyway, this is Eurisynae.

She’s…something. I’ll work the fine details out later.