#despite the snow

[alchemocha]

It’s the middle of July and I cannot stop thinking about Stobotnik Christmas fics and ideas

[jakeperalta]

THE HUNGER GAMES APPRECATION WEEK → day 7: free choice

The Tributes maintaining their compassion and humanity (or, being more than just a piece in the Capitol's games)

[gaypeople]

THE BALLAD OF SONGBIRDS & SNAKES 2023 | dir. Francis Lawrence

[kvtnisseverdeen]

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES (2023) dir. Francis Lawrence

[nocontextlestat]

one thing about sam reid:

[yendts]

scorbmas 2023 day one: playing/fighting in the snow 🤍❄️

[farosdaughter]

There's no rule that says Coriolanus Snow can't be a romantic and a gentleman to his girlfriend while at the same time as being an evil dictator villian with the blood of millions of teens and children on his hands. He can be both. It makes him more intriguing that he can be both. That he has empathy for a certain number of people, but can't spare more than that(I headcanon that he was a good grandfather to his grandchildren)

PREACH!

If things had gone slightly different in canon, I’m convinced Snow would’ve had a loving marriage while still becoming the villain we know in THG. After all, his decision to forsake romantic love after the events of TBOSAS is in itself a testament to the depth of his feelings for Lucy Gray.

Love doesn’t equal redemption or goodness, and the fact that he’s a fundamentally selfish person in a position of power doesn’t mean Snow isn’t also capable of human emotions and attachment. Especially when the prequel makes the opposite argument. I agree with you that in canon he seemed like a loving grandfather even as he reached unheard of levels of cruelty as President.

His innate possessiveness would on the contrary make him a very doting and protective husband (to the right woman, sorry Livia). Whether the relationship would have stood the test of time (and of his thirst for power) is another matter entirely. Most AUs where Coryo and Lucy Gray go back to the Capitol and he goes into government have her betraying him in the end, and I also think that would the most likely outcome. Theirs is a monstrous love, etc etc

[kheprriverse]

Basic Reference for my new designs of Gorons!

I was gonna add more sketches and details but I haven't had the time to, so I'll just list them instead. - Rather poor eyesight. - Strong sense of smell, specifically for sniffing out rare minerals and their favorite tasty rocks. - Claws are durable and good for sifting through sand and rocks. Their tail can also be used for dusting. They also have some really big strong chompers, very good for breaking up (and monching) rocks. - Shells often vary in shape but often mimic the goron's surrounding environment. Flexible bands in between segments to allow the goron to roll up into a ball.

Silhouette is Spirit's height (5'3" - 5'4"). There's some bigger (and smaller) gorons ofc but its just an average estimate.

[mswyrr]

Snowbaird is so powerful for me, in part, because the narrative could have easily been a coming-of-age romance instead of a tragedy. That narrative shape is contained within and thwarted by the tragedy that happens. But it had all the components: a corrupt society that love comes into and shakes up, the lovers having a real chance at making something "new [and] vital."

Context on what I mean here:

The writers of Greek New Comedy, a form that emerged three hundred years before Christ, established the pattern of comedy, which the romance novel would modify some twenty-one centuries later. For most of this time comedy’s protagonists have been male. “What normally happens,” Frye tells us, “is that a young man wants a young woman, that his desire is resisted by some opposition, usually paternal, and that near the end of the play some twist in the plot enables the hero to have his will.” The context of comedy, its setting, is society. Comedy’s “movement . . . is usually . . . from one kind of society to another” (Anatomy 163). This, then, is the usual sequence that the reader encounters—an old society (which is often corrupt, decadent, weak, or superannuated), a hero, his intended, paternal opposition to his intended becoming his wife, a removal of that opposition, the hero’s triumphal betrothal, and a wedding symbolizing a new, vital society. ... The typical conflict in comedy between the hero and his father, in which the father as senex iratus (angry old man) blocks his son’s attachment to the heroine, and, in some instances, pursues the heroine himself loses its psychological force. ...Male comedic protagonists, who typically enjoy full freedom outside of their families, must overcome their fathers. --Regis, Pamela. A Natural History of the Romance Novel (pp. 28-30). University of Pennsylvania Press, Inc.. Kindle Edition.

At the end, Coriolanus leaves everything behind in the forest--including his mother's scarf that he gave to Lucy Gray--everything except for his father's compass. Instead of overcoming the corrupt father, Coriolanus kills his own heart to make himself the death mask of his father, to *become* his father rather than overcome him.

I'd say Dr Gaul is another corrupt authority figure who represents a barrier to the better life that could have been and, with both Daddy and Mommy, at the end Coriolanus retreats to a child role instead of actualizing as an adult and creating something new and better with the person he loves:

The movie only line where Tigris says "you look just like your father" after he comes back from District 12 really drives this theme home. That and the blank/dead expression he has as he stares up at the statue (representing the past/authority/history) with a "rainbow" at her skirt instead of looking up at the living Lucy Gray. He has made himself something dead and he looks up at the dead past--that he is going to sustain for another 60 years until Katniss comes to burn it all down-- instead of at a living, better future.

[popsicle-stick]

ÞÆS OFEREODE ÞISSES SWA MÆG

(that was overcome. so too may this.) from Deor, old english poem, c. 9th century.

new riso design! John Barleycorn is a folkloric figure considered the embodiment of the wheat harvest, and the subject of the English and Scottish folk song that describes the cyclical nature of his birth, death, and processing into bread and ale each year. this one was about the comfort in the constancy of things. the world could end. but the wheat field rises anew. the year turns around again.

[mishapen-dear]

I think we overlooked the fucked up polycule dynamic potential of team bolas x the dog that hunts them

they gave him a house. he paid rent. he hunted them, picked them off one by one, but when they sought to hunt him he ran. the tormented and the tormented. the hunters and the hunter. them huddling around a fire, burning themselves as he lurks in the dark to devour any that stray too far from the light. when they gather their rocks and throw them as one he flees, tail between his legs as he hunts for his own safety

is there not familiarity in that? is there not love in the violence? let me kill you, i will return your greatest treasure. let me kill you, you’ve already destroyed me and mine. there is loneliness to the dark and hate in the bloodshed. what is hate if not the other side of love. what if obsession if not love driven too far. all of them bathed in the blood of the others, baptized by sin after sin after sin. mothers carry their litters in their mouths- when do the teeth at your throat start to feel gentle? bad once said about cellbit, “it was like throwing a ball, and saying fetch.” that went wrong for him. cellbit once said about bad, “you’ve gone soft.” that went wrong for him, too.

do you remember the slime kills? slime was bad’s first blood, his first taste of oncoming violence. bad was slime’s last kill, an end to the desperation that was sparked with the first base raid. do you remember that first day? bad on the water, slime on the shore, calling him in like a siren. ‘look at me, look how killable i am’ says the bait, desperately trying to build a trap even as the prey fears the untied-noose wrapping around its throat. do you remember the tension? do you remember how the sun punished them both?

‘look at me, look how killable i am,’ says the poisoned frog to the wolf. the bird to the dog. do you remember the kindness? the killing and the killing and the killing, and the laughter. the killing the killing the killing, and the earnest offer to help? remember how jaiden fed herself to the dog. remember how the dog listened. ‘where is your stuff? i’ll take you to your body.’ thousands of blocks away. then more blood, no screaming, just laughter.

do you see? do you see? they built him a dog house, and he paid them rent. hunters snd hunters. he killed them to bring back their children and he failed and they brought back his instead. how can he ever repay that? their blood coats him. his blood coats them. all of them animals. all of them desperate. remember the familiarity of teeth and the taste of your own death. when its all said and done what will they miss the most- being the hunters? or being the hunted?

and then they all make out and take turns getting beaten to death by jaiden. shes part of the group murder but not the romance of death. instead she gets to go to the club (the Spawn Rave)

[greedandenby]

Sam Reid's onscreen partners/love interests over the years

(yes, even the f*cked-up ones)

These are the ones I could find pictures of and/or know of (so far). If you can find others I will gladly add them!

Top to bottom/left to right:

Jenni Herzberg in Spooks / Camilla Power in Whitechapel / Gugu Mbatha-Raw in Belle / Max Irons in The Riot Club / Azure Parsons in Astronaut Wives Club / Rebecca Ferguson in Despite the Falling Snow / Olivia Cooke in The Limehouse Golem / Stefanie Martini in Prime Suspect 1973 / Teresa Palmer in 2:22 / Phoebe Tonkin in Bloom / Philippa Northeast in Standing Up for Sunny / Jessica Barden in Lambs of God / Jessica De Gouw in The Hunting / Jessica De Gouw (again) in The Drover's Wife / Anna Torv in The Newsreader / Chai Hansen in The Newsreader / Jacob Anderson in Interview with the Vampire / Maura Grace Athari in Interview with the Vampire / Joseph Potter in Interview with the Vampire / Assad Zaman in Interview with the Vampire.

TBC!

And here is the Jacob Anderson one.

[talesfromthecrypts]

Rebecca Ferguson and Sam Reid in Despite the Falling Snow (2016)

[aeriondripflame]

may or may not have spoken about jacaerys galahad-ism before but just know that the tragic nature of brown haired targaryens lies not only in their physical rejection of the valyrian status quo but in their representation of the narrative’s core moral argument. this all tying back to the doctrine of exceptionalism and the condemnation towards the monarchy in that being born royal, targaryen, or silver haired does not guarantee that their action is just; the physical use of brown hair, the outlier amongst targaryens, bolstering or highlighting the values grrm finds most admirable

[nocontextlestat]

here it is. a semi-compilation of fully nsfw scenes of the characters sreid played so far. do not repost it anywhere.

[alicentes]

I initially found it strange that we Lucy Gray doesn’t seem too affected by what happened in the games, she says through music that she’s not going to let the capitol take anything from her and she’s not going to let the games change her or break her. Lucy Gray is a survivor, Because of this you could say that she’s accepted that she did what she had to to survive and she tried to do the least harm as she possibly could. However I find it hard to believe she never got angry or upset about what they put her and the others through, that she never thought about her friend jessup and the other tributes that she got to know, who died horrible deaths.

But then I realised WHY we don’t get to see her feel anything about the games and it’s victims. It’s because we only see the story through Coryo’s POV and he lacks the capacity for empathy. It’s that inability to empathise with people that stops us from witnessing Lucy Gray’s trauma and grief. He doesn’t think about what she went through, he never asks her about how she feels about it or even about how she’s feeling in general. Lucy Gray never confides in him or brings up the games herself because (perhaps unconsciously) she knows he won’t understand or truly empathise and therefore, he wouldn’t be the person she’d choose talk to about how she’s feeling.

We don’t see her trauma because snow never cared about her trauma, he only focuses on how they fell in love during the games, not the horrors of it or what the girl he believes he loves had to go through, despite having a small taste himself of what it would have been like for Lucy during the games despite having a front row seat when he went into the arena and had to kill a person to get out alive, but he lacks the capacity to empathise. Despite his front row seat to Lucy Gray’s trauma as well as the injustices, and poor quality of life that she faces in district 12.