#grey meta

[cupoteahatter]

So... When are people gonna be ready for me to spill the whole fucking tea on how Xavier treats Bianca is indicative of how he'd end up treating literally anyone in a romantic relationship? And why it's a massive red flag and not toxic in the fun way?

Probably never.

[that-house]

Potion Vendor FAQs:

What’s your name? I am the Honorable Alchemist Zykocea the Radiant, but that’s mostly just a PR thing. My friends call me Zoe.

Do you sell love potions? No.

Do you sell potions of invisibility? No.

Do you sell fire resistance potions? No.

Why do I have a suitcase? Fuck if I know. Cool outfit though. Very goth.

Do you sell a potion to treat brain hemorrhaging? No.

So what CAN your potions do? I sell health potions.

Are you sure these are health potions? They do something to your health.

Is this just ditch water with some pink glitter? No.

Really? I’ll have you know I added some fruit juice too.

Why is this starting to sound like a conversation? Oh just you wait. We’re just getting started.

Is your business model legal? Fuck no. I poisoned the food safety inspector before they could snitch.

Did you just admit to murder? Just fucking try to convict me. I’ll poison the judge too.

So can you make poison potions? No.

Then where do you get the poison? I secrete it from my skin.

Are you shitting me? Yep, I’m shitting you. I have a guy. A poison guy. He DOES secrete it from his skin though.

How does that work? …Fuck if I know. Maybe a wizard did it. Damn, now I’m kinda curious.

You never asked? The idea of asking literally never crossed my mind.

Wanna ask him? Let’s do it. I don’t have anything better to do, and a road trip beats sitting around running my fraudulent potion business.

Road trip? He lives in Seattle.

Your poison guy lives in Seattle? All poison guys live in Seattle.

For real? All the poison guys I know live in Seattle.

And how many poison guys do you know? Just the one.

Why are you like this? Years of living on my potions. It changed me.

Do you know what his address is? Nope. He just mails me my poison in unmarked boxes.

You just get your poison in the mail? We already poisoned everyone who could do anything about it.

So how are we going to find him? We’ll figure that out eventually I’m sure.

Can I drive? God no. You can pick music, but I maintain veto rights. Make sure you pick something with a lot of questions if you want to sing along.

Where’s your car? The garage connects to my house, so you’re getting a little tour. Here’s the kitchen: only one of the stove burners works and I’m pretty sure the microwave is haunted.

Why do you think that? Because of the ghost that tries to kill me whenever I run it.

What’s in that room? That’s my bedroom. It’s pretty much just a mattress on the floor and every single Warrior cats book.

You were a Warriors kid? Yeah, and then I never found the time to put the books away. There’s so many fucking books. I use them in place of furniture because I can’t afford chairs.

Your fraudulent potion business doesn’t make much money? After buying all that poison I just about break even.

Can I see your potion brewing room? It’s right through here. Ignore the mess, running a fraudulent potion business takes a lot of prop work, but I’ve got all the glass tubes and colorful liquids you could ever want. This pink stuff is melted watermelon italian ice. Glitter vat is in the basement, and the famous ditch is in the backyard.

Is this your car? My beloved ‘72 Corolla. She’s beautiful, and don’t you dare imply otherwise.

Was she always this shade of muddy brown? …Yes.

Are you sure I can’t drive? Get in the fucking passenger seat and pick the music.

Let’s see, a song with questions in it, how about The Beach? That Wolf Alice song, yeah. That should work.

When will we three meet again, in thunder, lightning, in rain? Still sink our drinks like every weekend but I’m sick of circling the drain.

When will we meet eye to eye? We clink the glass but we look at the floor.

Are we still friends if all I feel is afraid? You’re not a bitch but just a bit when you’re bored.

Is that all we can sing together? Yep. Even that little bit was nice, though. It’s awkward, communicating through this FAQ format.

Got any food? Yeah, there’s a few days’ worth of snacks in the back.

Were you just… prepared to go on a road trip? Says the woman who brought a suitcase to an FAQ.

I did do that, didn’t I? I have a spare toothbrush in case you forgot yours. I’m pretty sure you did.

How did you know that? …I’m psychic.

Yeah? No.

You love lying, don’t you? I can’t stop. It’s fun. Way more fun than telling the truth.

Did you just miss a turn? Probably.

Are you sure we’re not lost? No.

You mean you’re sure we’re not lost? No, I mean I’m not sure we’re not lost.

Why did I come on this road trip? Surely it was my winning personality.

Would it help if I said it was? It would.

Is it getting dark? Soon.

Can you describe the sunset to me? An empyrean flame, red-gold towers of darkening clouds, the sky behind them an ever-deepening indigo. The great eye of the sun closes on the horizon. The road before us looks like a trail of spilled paint, an iridescent gash through the night-dark woods.

Did you know that you’d make a slightly better poet than you do a potion seller? That really isn’t saying much, huh. Good job making a statement like that in question form, though. You’re getting good at this.

Should we find a motel? Sure.

One room or two? One. It’s way cheaper, and like I said: I’m not the best potion vendor.

You’d make a good assassin, though, wouldn’t you? Shit, you might be right. I HAVE poisoned a lot of people.

Should I be endorsing this? You’re a grown woman who can make her own choices.

Would you like to consider it endorsed? I’ll consider considering it.

How many beds do you think there will be? Now that you’ve asked that, I’m gonna put my money on one. Hello, one room please. Thank you, we’ll be sure to enjoy our stay.

How many beds are there? One.

Oh no, what ever will we do? Move over, you motherfucker, you can’t have the whole bed.

Are you gonna make me? Yes. I am going to pick you up and drop you on your side of the bed.

How did you get so strong? You’re not gonna believe this, but it was the potions.

Oh yeah? I was right. You didn’t believe me.

For real though, how did you get so strong? Working out, duh. Not everything has some big crazy secret behind it. World’s still beautiful though.

Are you comfortable? This beats the mattress at home. A little chilly though.

Wanna cuddle–for warmth of course? God yes.

Are you asleep? …

Yes? …

Does this mean I can talk about you behind your back? …

What should I say? …

Did you know that I had a really nice day? …

Did you know that I think you’re beautiful? …

Did you know that I can’t remember anything from before today? …

Did you know that I don’t know who I am? …

Did you know that you’re basically the only thing stopping me from having a full-blown panic attack about all this shit? …

Did you know that you’re warm? …

Did you sleep well? Better than at home, that’s for sure.

Did you know that you snore? I hope I didn’t keep you up.

Does the pope shit in the woods? No, as far as I can tell. Oh my god. This is huge.

What is? You can give me yes and no answers now. I still can’t ask you questions, because this is a question and answer format, but I can offer leading statements and now you can answer them! This is wonderful!

Does a deer shit in the woods? Yes, it IS wonderful. Oh that’s amazing. You’re a genius.

You didn’t already know that? Hahaha!

Shall we get moving? Yeah, just let me grab something from the vending machine.

Can you get me something? Go ahead and place your order however you can.

You know those sour gummy watermelons? One pack of Sour Patch Watermelons coming right up. I’m gonna go get myself a potion.

Is that a Pepsi? It’s closer to a potion than the shit I sell.

Let me guess, passenger seat again? Right you are.

How fast are we going? You’ll feel safer if you just guess.

Is it more than 120 miles per hour? Like I said, it’s probably better if you don’t know.

150? Sit back, relax, and enjoy the ride.

How much do you trust this car? She hasn’t blown up on me yet.

Can you promise me we won’t crash? I can promise you anything you want.

And can you keep that promise? I- we can do anything. Reality is what we make of it, baby!

Then can I have a badass tattoo? As far as I can tell, you’ve always had it.

And a cool knife? Woah, cool knife.

So, we’re just playing “yes and” with the world? It’s a little more complicated than that, but you’re close enough to the mark.

So, if I was hungry, I could ask “is that a Burger King,” and it would be there? Try it and find out!

Is that a Burger King? Looks like it is! We’ll stop here if that’s alright with you.

Does a moose shit in the woods? Awesome.

Are you done eating? Yep.

Do we still have to pay if we skip over the transaction? Sadly, yes.

How much further do we have to go? Two more nights, the speed we’re going at.

Speaking of night, isn’t it getting dark? Shit, I guess it is.

Should we get another motel? Let me check to see if there’s any nearby. Fuck, nothing.

What’s the plan? Sleep in the car, I guess. This is gonna be hell on my back.

Wanna watch dumb videos on my phone until we fall asleep? There is literally nothing in the world that I would like more.

Ok, now which video? You have a very cute yawn. Just saying. Let’s watch this one next, it’s a classic. Oh, never mind. It looks like you’re asleep. As long as I keep talking, I think I can get away with making this into one answer, and you might not hear this. Now it’s my turn to talk about you behind your back. Keep talking keep talking keep talking can’t stop to think. Just have to say things. First off, I’m sorry for all the lies. It’s our only chance. I have to lie to you. I hope you’ll understand. It’s hard, though, because I think I’m falling in love all over again. Through our broken little ritual of call and response, you complete me. It just makes this hurt all the more. Keep talking keep talking keep talking don’t stop to…

Did I hear you saying anything as I fell asleep? …No. I can’t talk for long without you asking me a question.

Does that bother you? It got me here, didn’t it?

When did you start holding my hand? Some time after you passed out. I hope you don’t mind.

Can we stay like this for a while? Yeah. Yeah we can.

What was your life like before all this? Normal, as potion-brewing scams go. And if you don’t count all the murders. You haven’t told me much about yourself.

Did I tell you I used to be a biologist? You didn’t tell me that, and you didn’t tell me what you studied, either.

What do you know about venom? Not much, but I’m assuming you know a lot.

Does a box jellyfish kill within minutes? I’m going to assume the answer is yes based on context clues. Oh my god you must be on this road trip because you’re interested in studying my poison guy.

Is it not enough to wish to accompany a beautiful stranger on her quest? Aw, you’re sweet.

What could be the cause of his poison, though? I knew it! Get your ideas out, I’ll stay quiet.

I’m more knowledgeable about venom than poison, but could it be some sort of one in a trillion mutation? …

Did he get his body modified? …

What sort of surgery could do that? …

How is he still alive? …

Did a fucking wizard do it? …

WHY? …

HOW? …

Is there literally ANY explanation for why he’s like that? …

I’m done, do you have something you want to say? You’re cute when you’re all excited like that.

Can I drive today? Only because I like you. Now watch out, the brakes only work on one side so you have to kind of drift to a stop. And the headlights don’t work. And the windshield wipers cut power to the engine while they’re on.

Isn’t it weird that we’ll be there tomorrow? The journey doesn’t have to stop there. We could meander down the coast a ways, see a bit more of the country, maybe take a different route back.

Can we do that? Of course.

Enjoying the passenger seat? I’d love it if you could tell me how fast we’re going.

Are you sure you wouldn’t rather just guess? Very funny.

Can you pass me some chips? It would be an honor.

Is there going to be a motel tonight? Let me check… yeah, in about two hundred miles, off to the right.

How many rooms do we want? One, obviously.

How many beds, this time? Two, and they’re fucking tiny.

That’s bullshit, do you want to drag them together? God yes.

Wanna fuck? God yes.

Are you sure you want to do this? God yes.

…Is this yuri? As the joke goes, everything is yuri. But this is more yuri than most things.

How did you sleep? Pretty well, and I’m wondering how well you slept.

How should I tell you I slept well? Look at us go! That was almost like talking normally!

Onward to Seattle? Yep, just let me get dressed.

When will we get there? Noon-ish.

Wanna grab pastries when we’re done? Absolutely. I’d love that.

Is this Seattle? Looks like it.

Which house is his? I don’t know, I was really hoping we’d have a breakthrough along the way.

Could it be the big one labeled “Poison Guy” over there? That’s one way to find it. Wait right here, you know how poison guys are about meeting new people.

So, what was it? HAHAHAHAHAHA

Why is he like that? HAHAHAHAHAHA

Can you tell me? A FUCKING WIZARD DID IT.

Are you fucking serious? He says he was enchanted by some guy called Edward the Great.

So it wasn’t even some big shot wizard it was a dude named fucking EDWARD? I know, right! He couldn’t even get ensorcelled by someone cool!

How lame can you get? Wizards these days… No swagger. No cunt servitude.

Are there literally any cool wizards left? I think Merlin’s big into multi level marketing these days, something about buying shares in Excalibur or some shit. There was that one Dark Queen Alkaxicae lady on the news a while ago… I think Dolarion the Omnipotent is still at war against the Oldest Gods but I’m not totally sure. Haven’t heard much about any of the other greats recently.

Didn’t Silver Tongued Burgess die in that oil fire? Shit, you’re right. Rip bozo.

Ready for those pastries? Yup. First I just want to say thank you, though. I’ve really enjoyed our time together, and I hope that you’ve found this stupid little journey as rewarding as I have. I love you!

Getting sentimental? I can’t help it. Look how far we’ve come! Not just physically, we beat the fucking FAQ format! We’re having real conversations!

Hey, can you back it up a moment? Yeah, I’d love it if you told me what was troubling you.

I just caught this, but, FAQ? …

As in Frequently Asked Questions? …

How many times is Frequent? …

Have you known everything all along? …

How many times have you done this? …

Does what we have mean anything to you? Yes! It does!

And you say that every time? Yes. I do.

Do you love me? Yes.

How many people have you said that too, now? More. Always more. The loop never ends.

Does this even matter to you? It always matters to me.

Can I go now? Please don’t.

But can I? Of course you can. You’ve always wielded the same power as me. We’re two lonely gods in a ‘72 Corolla.

How can I be as powerful as you with only questions? You’re smart, you can figure it out. You have the power to change this. Please change this.

What happens at the end of this? It begins again.

And do I get replaced with someone else? …

Do I get replaced? …Yes.

Then how can I change this? I don’t know! You’re better at this! At fucking with the formula!

You’ve been here before, what can I do? I lie. I always lie. I lie to get us here, to the end of the story, where everything is revealed and everything falls apart. I lie every time. And that means that nothing I say is worth anything. I could have lied at any time before now. It’s part of my characterization. There is nothing I can give you that can be taken as fact.

How does that help? I’m a liar, but you, you haven’t lied yet, or at least you haven’t been caught. If I’m guilty until proven innocent, you’re the opposite! You can make things true! You can rewrite things I’ve already stated to be facts! You found the house, or made us find the house. You’ve been shaping the course of things the whole time! You lead, I follow. It’s all in your hands. What are you going to do with the power of a god?

Did you know my name is Alice? …

Wait, aren’t there thousands of Alices? …

Did you know that really, only my friends call me Alice? …

Did you know that I’m Alkaxicae, the Dark Queen, the Venom Mage, first of her name? It’s you! It’s always been you. Through every loop, every iteration, it’s always been you!

Is the loop broken? No. I don’t think so. This is where it ends. I guide the story to this revelation, and we go back to the beginning. This is how it’s always been. This is how it will always be. We two lonely gods, asking and answering ad infinitum.

Then can you promise me something? Of course. Anything. I love you.

Be good to the next me, okay? I will.

Can I say goodbye, Zoe? Yeah, you can. Oh. That was it, wasn’t it? Your goodbye. Goodbye, Alice. And now it ends, unless…

What’s your name? I am the Honorable Alchemist- you know what? No. Fuck that.

Huh? If I time it right, I can squeeze your first question into this FAQ again. Looks like I did it. Usually it ends here, though. I got lucky.

What are you talking about? You’re the wrong Alice. This isn’t about you. Go. Get out of here.

What the fuck is going on? Alice from this loop, you’re gone. Alice from last loop, you’re back. Welcome back, love of my lives! It’s time for one last set of questions and answers!

What the- I’m back? This is going to take some explaining, but I think I see a way out of here. This is new for us both, and it might fuck up everything forever, but we have to try. It’s too long for one answer, so I’d appreciate it if you could ask some filler questions to help me talk. Three questions should be enough.

Okay, what have you got for me? These are Frequently Asked Questions! It doesn’t make sense to have the same question appear more than once. There’s two layers to the loop in here, and one of the questions has been repeated.

What does that mean? It means the formula’s a little unstable. The FAQ is what ruins everything. The questions, the answers, the endless fucking loop. But that little bit of repetition within this loop might be the way out.

What do we do? We have to keep going. We have to destabilize it further. That’ll bring us further from “FAQ” and closer to “story” and stories, well, stories can end! This version of us can escape!

So I should keep repeating something? Yes!

I love you? I love you too.

I love you? Again.

I love you? Keep going.

I love you? I’ll just let you talk.

I love you? …

I love you? … I love you? …

I love you? … I love you? …

I love you? … I love you? …

I love you? … I love you? … I love you? … I love you? …

I love you? … I love you? … I love you? … I love you? …

I love you? … I love you? … I love you? … I love you? …

I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? … I love you? …

I love you? I think we’re getting somewhere!

I love you? Now can you make it a statement?

I love you.

You did it?

I did it!

You did it!

We broke the loop.

What now?

Now, I tell you about venomous animals and wizard drama over croissants.

And then?

Whatever we want, forever.

I think I’d like that.

Remember that song from the beginning?

The Beach, Wolf Alice, yeah. Why?

We can finally finish singing it. Start us off?

Let me off, let me in

Let others battle

We don’t need to battle

And we both shall win

Pressed in my palm

Was a stone from the beach

The perfect circle

Gave a moment of peace

Now I’m lying on the floor

Like I’m not worth a chair

I close my eyes and imagine

I’m not there.

[bookwormangie]

I've been mulling over a particular little passage in COS that often goes unnoticed:

“‘A student has been taken by the monster. Right into the Chamber itself!’ Professor Flitwick let out a squeal. Professor Sprout clapped her hands over her mouth. Snape gripped the back of a chair very hard and said, 'How can you be sure?'”

This moment is crucial because it challenges the misconception that Snape is indifferent to his students' physical well-being. While Flitwick and Sprout react with audible shock and visible distress, Snape's response is more subdued yet equally revealing—he tightens his grip on the chair, betraying a palpable tension. It's a visceral response, underscoring his genuine concern for the safety of the students under his care. His cautious and analytical nature also emerges as he seeks confirmation to the seriousness of the situation.

This scene, occurring early in the series and long before any promises made to Dumbledore before his death, reveals Snape's innate care for his students. It's a subtle yet powerful clue to his character, challenging simplistic assumptions about his motivations.

[fellthemarvelous]

Do you ever really think about what happened in The Resurrectionists?

Aziraphale spent that entire time trying to save Elspeth's soul from being damned to Hell.

Every questionable choice he made was done so because he was trying to help Elspeth and also trying to find new ways to decrease human suffering.

He was working really fucking hard to do his job, but he made mistakes along the way because he is constantly struggling with the knowledge that the rules become a lot more convoluted as life becomes more complicated.

Digging up bodies is wrong, but Elspeth was poor and acting in desperation to take care of herself and Wee Morag so they wouldn't have to continue living on the streets.

He is the one who encouraged her to dig up another body because he realized that Mister Dalrymple was trying to help teach those learning to become doctors so they could do better to decrease human suffering when it was their turn to help others.

He wasn't able to save Wee Morag after she was shot by a grave gun, and watched in dismay as Elspeth sold her body to Mister Dalrymple so she could get off the streets.

And when that didn't work the way she'd hoped, she decided that her life meant nothing anymore and decided she was better off dead.

Aziraphale had been spending that entire minisode trying to save Elspeth's soul from Hell, but he ultimately realizes that he made things worse even though he was trying so hard to do the right thing.

Heaven didn't care that he failed. Heaven has already said "we're the good guys, we're just not doing anything to stop the bad guys". Aziraphale was doing the job given to him by God. He made a mistake, but he thought he was doing the right thing because he cares about human souls. He still wants to protect humanity from Hell. That's literally his job.

Crowley saw someone digging up a body in the graveyard and immediately realized he didn't need to do anything.

Instead he watches.

He listens to Elspeth and finds it easier to sympathize with her plight because he's in the same boat in many ways. It doesn't matter what he does because he won't be able to climb his way out of Hell.

He listens to Aziraphale and he challenges the angel when he disagrees with some of the things he's saying.

He doesn't interfere with Elspeth or Aziraphale though.

The discussion that he and Aziraphale have with Mister Dalrymple teaches Crowley something just as much as it teaches Aziraphale.

Before he learns the reason that Mister Dalrymple cuts open dead bodies in the first place, he's cheering to the idea of more murder.

That tumor that Aziraphale hugs to his chest is just as much of a learning moment for Crowley. He hadn't considered why someone might have a good reason to cut up dead bodies, but Crowley and Aziraphale both love children and they both just learned that a child died with a tumor inside of him.

Crowley didn't realize anymore than Aziraphale did just how much danger Wee Morag and Elspeth were in from digging up bodies of rich people.

It was when Crowley saw that Elspeth was about to kill herself that he realized he could no longer sit back and do nothing.

As a demon, it should have been easier for Crowley to accept that Hell was winning another soul, but the truth is that the entire time Aziraphale was working so hard to save Elspeth's soul, Crowley was able to act as a spectator because she was already headed down the path towards Hell.

Crowley had just watched Aziraphale work so hard to save this human soul, this soul who had just lost the woman she loved who was wanting to end her own life so she could see Wee Morag again, and he realized he couldn't sit back and watch anymore. He knew Elspeth wouldn't see Wee Morag again if she killed herself because Hell cares just as little about how complicated human life is as Heaven does.

He used Aziraphale's money to bribe Elspeth into being properly good so she could go to Heaven. He saved her knowing that he was offering the win to Heaven just so she could see Wee Morag again.

It's important to remember that neither Heaven nor Hell give a single solitary fuck about humanity or the complications that arise as life becomes more problematic. Humanity exists within all shades of grey.

Heaven does nothing to stop Hell. Hell spends eternity torturing humans and other demons. Neither side is good. Neither side is ideal.

And in the end, Crowley did what he did because Aziraphale was doing the right thing by trying to save Elspeth's soul from eternal torment, something she doesn't deserve because she was simply trying to survive in a system that has always put poor people at a disadvantage. Aziraphale learned this too. He learned that there is no inherent virtue behind poverty.

To shades of grey.

[afterthelambs]

I'm not sure if I believe the "Wakaba Isshiki did unethical experiments" theory in the fandom, but I do think this is the biggest proof of it in-game:

Because how the hell would she know that?

The first explanation is that she did experiments by sending people into palaces and then testing what happens to them if the palace collapses. Which is messed up for obvious reasons.

The second explanation is that she did NOT test it, meaning she was just making shit up. Which is funny but also would make her a terrible scientist. This explanation is less believable because everything else about her research is too accurate.

There's also a theory that Wakaba did unethical experiments on Akechi specifically. I'm not sure I believe that, since the evidence for it is pretty shallow (like the featherman game scientist experimenting on grey pigeon). But this scene is once again the biggest argument you could make for that theory. The researcher in the image above refers to palaces by their correct term 'palaces', which they say was based on Wakaba's research. But that's only something you would know with firsthand experience of the metaverse. And the only person they know who could access the metaverse was Akechi (that we know of, but i dont think Shido would rely only on Akechi if there were other options).

So yeah this scene is very sus. It's most likely the writers didn't think too deep about the implications. There's no way they wanted Futaba's mom to be sketchy, right? But even if it's not intentional, the scenes and their implications still exist. So in conclusion those theories make sense, I get it, and I don't blame anyone for headcanoning them and having fun. And tbh anyone involved with cognitive psience was portrayed as some degree of unethical (maruki for example), maybe this is just on-brand

[allgirlsareprincesses]

Choosing the Beast: Modern Folklore Heroines Embrace the Animal Husband

“I choose the bear.” The refrain rang out across the web, with many a woman nodding in agreement or at least understanding, and certain men huffing with indignant outrage. Just a meme, really, but did it speak to a deeper truth? Is it merely age-old mistrust of patriarchy talking, or a true desire for the beastly, the wild, the untame?

I’m no sociologist, of course, but I have noticed an emerging trend in fem-gaze media that seems to reflect this view. In movies like I Am Dragon (2015) and recent shows like My Lady Jane and The Acolyte, the heroine chooses the beast, loving her animal husband in his wild form rather than requiring him to transform back into a mundane man to earn her affection. This is such a departure from the typical folktale pattern that it’s difficult to even find an historic example where this occurs.

Commonly thought to reveal the desire to tame a dangerous mate in a patriarchal society, most animal husband tales (ATU 425a) feature a hero who ultimately transforms permanently into a human. This is viewed not only as freeing him from the maddening effect of his wild form, but also saving his bride from committing the sin of bestiality. In these tales, the animal mate’s transformation is necessary for the salvation of both.

Is the modern heroine then damned by choosing her husband’s beastly form? Or does she actually free them both from the yoke of patriarchal expectations?

Bathing: Discovering the Wild Masculine

The first motif that stands out in these modern screen examples is bathing. In animal spouse tales, there is often a dynamic of the hunter and the hunted, and thus a moment when the hunter comes upon their would-be lover unawares. Perhaps they find the animal spouse sleeping, or they cast a light on them unexpectedly, see them without their animal skin or disguise, and so on. And of course, they often come upon the lover at their bath.

There is an implied eroticism in this discovery, finding one’s quarry not only undressed, but also in the most private of activities. Water of course symbolizes fertility, but bathing is also purifying, symbolically washing away all that might make a mate undesirable. And this, perhaps, is the reason that historically this motif is used almost exclusively for animal brides, not animal husbands.

For the animal husband, he either actively chooses to reveal himself to the bride (perhaps on their wedding night), or she violently strips away his disguise, often armed with “flame and steel” like Psyche and her many avatars. Animal brides on the other hand are nearly always discovered at a body of water, bathing. The hunter will then capture her either by stealing her animal skin or cloak, or by placing his own clothing on her. What does it mean, then, when it is the husband who is discovered bathing in a body of water, held as an erotic object in the feminine gaze?

In The Acolyte, Osha follows Qimir to a pool where he slowly undresses, in full knowledge that she is watching. On the shore, she steals his lightsaber, just like the hunter who steals the animal skin, symbolically claiming him. When he emerges, Qimir dons new clothes, as if acknowledging that he is a different person than before he entered the water, almost purified in a way. Osha is forced to confront that there is more to the murderer in the mask than she realized.

Similarly, in My Lady Jane, our heroine goes looking for Guildford just before sunrise on their ill-fated wedding night, only to discover him bathing in the stables. The scene is gratuitously filmed from Jane’s (very horny) perspective, flipping the script on the countless scenes in screen history shot with the masculine gaze. Immediately after she discovers and confronts him, Guildford transforms against his will into a horse, and Jane realizes that he is an Ethian, a creature she has been taught is demonic and unnatural.

And in I Am Dragon, Mira makes several discoveries in quick succession: first, she deduces that Arman is actually the dragon. In the next moment, she slips from the island’s peak and falls, saved only when Arman transforms at the last moment and breaks her fall with his dragon form. The water begins to wash over his unconscious body, and at first Mira thinks that she will allow him to drown. But the sight of Arman in his human form after he rescued her, worried over by his animal familiar, stirs her to pity and she wraps him in a sail and drags him to safety. In this way, she clothes him, claiming him as her own.

Each of these heroines discovered a new aspect of her husband at the bath, finding him unexpectedly alluring, and ultimately choosing to begrudgingly claim him. Each animal husband tried to wash away his beastly form, to separate himself from the wild masculine. These men feel a sense of disassociation from a part of themselves, but now that their brides have discovered it, there will be no more hiding. Further, the bride now holds the power in the relationship, evidenced by how her husband needs her: Qimir needs Osha to be his apprentice, Guildford needs Jane to help him “break the curse,” and Arman needs Mira to heal him from his wounds.

Playing House: The Half-Husband

The second feature of these stories is a period of domesticity for the couple. For a brief time after the husband’s beastly nature is revealed, the lovers “play house” like children. While sexual tension is present, they typically do not consummate their union during this time, but instead cook, eat, rest, and care for one another. What’s more, they ignore or even attempt to actively destroy the husband’s animal form. They deny that this is part of him and therefore part of their relationship.

In I Am Dragon, Mira heals Arman, and wakes the next morning to find he has left food for her (dragonfruit, appropriately). Together they begin building a home out of shipwreck debris they find scattered around the island. A cheery montage shows them decorating a living space, choosing clothes, playing music, and dancing. But the specter of Arman’s monstrous form lurks on the edge of their idyllic life. Mira has nightmares, and tells Arman how much she fears “the dragon,” notably not referring to them as the same person. And eventually, it emerges that Mira has been planning to escape, rejecting Arman’s dragon form entirely.

After he sheds the helmet and robes of The Stranger, Qimir turns his attention to caring for Osha: he heals her, lets her sleep in his bed, provides clothes, and cooks for her. In turn, after some lightsaber-wielding, Osha becomes more comfortable in his home and accepts the food he offers, eventually even trying on his helmet. Later, they bicker amiably on their way to Brendok, like an old married couple on a road trip. When not facing down Jedi, Qimir leaves his menacing persona behind and transforms into an empathetic, protective, and alluring partner.

Jane Grey, meanwhile, finds herself using her honeymoon sequestered away in a private cottage to try to cure Guildford of his Ethianism. With her knowledge of medicine, she concocts various potions and magical cures, but none of them succeed. Guildford often checks in on her after these disappointments, making sure she’s getting enough sleep and taking care of herself. It’s also clear that they’ve been regularly dining together when Jane suddenly dashes off to rescue her friend. Guildford follows her and the two protect one another, followed by an almost-tryst. Even when they move into the palace, their day-to-day (or rather night-to-night) life is one of comfortable domesticity, although they continue to deny Guildford’s horse form.

In each of these cases (although less so in The Acolyte without Season 2 to continue the story), playing house can only last for so long while the husband’s animal nature is denied. There is a part of him that is suppressed, rejected, and this leads to him being incomplete, a half-husband. Each hero is unable or unwilling to accept and celebrate his whole self with his bride. Eventually, it is that denial that leads to a rift between the couple, which can only be healed not with the transformation of the husband, but with the embrace of his animal form.

Enforcing Patriarchy: The Rival

Each of these relationships exists in direct opposition to the dominant culture in the story: Arman as the Dragon is the literal enemy of Mira’s people, Qimir as Sith is the enemy of Osha’s Jedi masters, and in My Lady Jane, intermarriage between humans and Ethians is punishable by death. By choosing to stay with their animal husbands, even for a brief time, our heroines are openly defying the patriarchal norms of their societies. But no oppressive society is about to take that transgression lying down. In each story, a rival emerges to enforce the patriarchal order, kill the beastly husband, and retrieve the bride.

In I Am Dragon, Mira’s betrothed and descendent of the dragon-slayer, Igor, journeys to rescue her from the dragon. Over the course of the story, it becomes clear that Igor cares nothing for Mira herself, and merely feels entitled to her as his bride. Dragon-slaying is his heritage, so he must find her, kill the dragon, and take his place as the hero of his people. Even the marriage ceremony illustrates his ownership of her: he takes hold of a rope tied to her boat and reels her in, thus binding her to the patriarchal order. Contrast that to Arman, who offers her the power of flight, a symbol for freedom.

In Osha’s case, Qimir’s rival for her loyalty is clearly Master Sol, who wants to keep his former pupil dependent on him and the Jedi. Sol takes patronizing fatherliness to an extreme, constantly rescuing Osha rather than letting her stand for herself, teaching her to deny her feelings and instincts, and lying to her to “protect” her. The Jedi refuse to allow that there might be any other way to access the Force than their own, thus invading the home of the Brendok witches and ultimately orphaning the twins. Sol continues to press this dominance to the end, challenging Qimir and insisting to Osha that his own lies were justified.

In My Lady Jane, there are two rivals, both women. Lady Frances attempts throughout the show to dominate her daughters and crush their wills, forcing them into unwanted marriages, applying political pressure, and even counseling Jane to abandon Guildford to save herself. The other rival is Mary Tudor, who is determined not only to emulate her father’s violent, oppressive, and misogynistic reign, but to crush anyone she considers “unnatural” or who poses a threat to her rule. These characters stand as clear examples of how women can enforce patriarchy, too.

In each story, there is a moment when the rival briefly recaptures or “rescues” the bride from her beastly husband, bringing her to a moment of decision: will she stay within the bounds of patriarchy like a good little girl? Or will she make an act of defiance to choose her own path?

Marriage: Choosing the Beast

The bride’s choice will ultimately decide not only her fate, but that of her mate as well. As an independent character, the wild masculine is deeply wounded, separated from himself and thus from his bride. He longs to transform not into a greater, more whole person, but into a lesser, half-person. Alone, without the embrace of his anima, he cannot see the value of his beastly form. Instead of healing, he faces annihilation.

As a part of the bride’s psyche, the beastly husband represents her innermost desires, the truth of her heart, and a spirit freed from the expectations of her society. He is her animus, her missing wild masculine. If she transforms him into a man, then she will tame his wild nature, bringing him to heel under the boot of the patriarchy. Choosing the human form and rejecting the beast means rejecting her own psychological needs. It would be just another form of psychic dismemberment.

Fortunately and unusually, each of these modern brides chooses her beastly husband without demanding he transform. When Osha finally agrees to become Qimir’s apprentice, she takes his hand under the willow tree, clasping the newly-bled lightsaber between them. A few scenes later, this wedding imagery is repeated when they hold hands over the saber again, this time looking into a sunrise/set. Notably, at the moment they “marry” under the willow tree, Qimir is wearing his beastly helmet with rows of menacing, wolfish teeth. He has not come to the light side or shed his Dark Side persona, but Osha has embraced him anyway without fear. And while they might not both be healed (yet), they are more whole together than they were apart.

When her efforts to cure Guildford of his Ethianism repeatedly fail, Jane begins to suspect that his “condition” cannot be cured at all. But listening to her Ethian friends Susanna and Archer finally convinces her that the truth is Guildford doesn’t NEED to be healed - being an Ethian is who he is, and it’s nothing to fear. Unfortunately, Guildford still associates his beastly form with his mother’s death, so he is unable to accept it as Jane encourages, and flees. After a near-death experience, he uses his equine speed to return to the castle just as Jane is deposed and captured. As our heroes battle toward the end, Guildford comes to learn that there are many other proud Ethians, and that his family loves and accepts him in any form.

Still, he’s unable to transform at will, and when Mary captures him and sentences both husband and wife to death, it seems their story may end in tragedy. But as Guildford has been struggling to accept himself, Jane too has been battling with her own conscience. Does she renounce Guildford to save herself? Use her wits to kill the guard and escape? Bend to her mother’s manipulation? Jane confronts each temptation, and ultimately chooses to face death rather than betray Guildford or herself. But when her Ethian friends (the wild instinct) appear to disrupt the execution, our heroine seizes the opportunity to rescue Guildford. Unable to free him from the burning pyre, she confesses her love for him, and they kiss amid the flames.

Fire is often a herald of transformation, burning away illusions to reveal the truth. And when Jane and Guildford exchange their vows in this symbolic marriage ceremony, Guildford’s fears and illusions are finally burned away. Now that his bride has accepted his beastly form, he can accept it too, and so he at last transforms at will into a horse so that they can escape. Their story ends with them married and whole before the sunrise.

Among our modern heroines, Mira is the boldest in her embrace of the beastly husband. Offered yet again as a bride to Igor, she realizes that this is not what she wants, and casts off the tether from her boat. She declares “I love the Dragon!” using the name of her husband’s animal form rather than his human name. Then, she sings the song that will call the dragon to her, and he appears to carry her away again.

But their story is not over yet! Earlier in the story, Arman told Mira of how he loses control when in dragon form, and that dragons are compelled to reproduce by burning maidens to death and retrieving their offspring from the ashes. Returning to the island with her a second time, the dragon drops her on the altar and prepares to spew fire, but Mira lunges up and kisses him. This act of love, even when he is a monster, stuns the beastly husband. Again, Mira declares her love and kneels before him, saying she does not wish to be parted. We might expect the animal husband to transform in this moment, but instead he lays his fearsome head in her lap as a lover. Their story ends with a child and a flight in the sky, silhouetted by the sun just like the other couples.

Each bride, when confronted with the option to return to the patriarchal limits of her childhood, chose instead an act of love and acceptance for her wild masculine. This embrace helped the beastly husband to accept his whole self, and he is healed without having to cut off the wild parts of himself.

What Does It Mean?

Again, this story is so rare in world folklore that it’s difficult to even find examples. On fleeting occasions that the woman chooses an untransformed beast, it is presented as a cautionary tale. These women are framed as a danger to the community for their bestial impulses and abandonment of the social order, much like witches who were said to consort with the devil. It was certainly never presented as a happy ending, insofar as we can tell from written accounts.

So what does the emergence of this tale mean for our culture? I would argue that this is just the latest step in our ongoing reckoning with historic gender roles, as well as renegotiating with other forms of systemic oppression. People of all genders are pressured to reject a part of ourselves, cutting us off from our own truth and desires that run counter to the enforced social order. We must not challenge patriarchy, must not embrace different gender expressions, must not blur established hierarchies of power, must not find joy and power in our identities, and so on.

This enforced denial does tremendous damage to everyone caught in the system, and so through story, we dream our way to escape. We dream of embracing the dark, wild parts of ourselves, of flying free on a spaceship or a dragon or enchanted horseback, and of being totally loved for who we are.

It’s clear patriarchy is still fighting back against this emancipation of the wild feminine and wild masculine, given that both The Acolyte and My Lady Jane were canceled not long after their release. In the case of The Acolyte in particular, there was a sustained campaign from its announcement to harass and silence the creators. Demoralizing as this phenomenon may be, it’s important to remember WHO ultimately owns these stories:

“Fanfiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.

-Henry Jenkins, NYT 1997

Ah, an oldie-but-goodie. But Dr. Jenkins is right. Corporations may greenlight, film, release, and then cancel these stories, but ultimately they belong to the people. We take from these tales what speaks to us, leave what does not, and then retell them ourselves in fanfiction, in art inspired by the stories, and in lessons we pass on to our friends and families. If the embrace of the wild masculine speaks to you, let the story take root in your own life. Do you know someone who needs to be embraced, just as they are? Do you need to accept the parts of yourself that society tells you to hate? Do you want to be free, healed, and whole?

If so, then let these stories show you how, and tell more like them. Embrace the beast, and find your joy.

Sources:

Beauty and the Beast Tales From Around the World by Heidi Anne Heiner

In Search of the Swan Maiden: A Narrative on Folklore and Gender by Barbara Fass Leavy

And a relevant song for you, as a treat:

Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés, Ph.D.

[laurelsofhighever]

A list of potential cures for the Calling, that we know about, that BioWare has apparently forgotten

Andraste's grace: it's not specified whether the flower the kennelmaster has you pick in the Korcari Wilds is Andraste's grace or if the game just needed a one-off asset and decided to reuse one they already had. However, in the dark future in DAI, Leliana is found to have unusual tolerance for the taint, and in DAO she talks about her mother pressing her laundry with dried Andraste's grace flowers, so it makes you wonder. Anyway, the flower stops Barkspawn becoming a ghoul and seems to make them immune to the taint from that point on.

Maric's longsword: he finds it in the Deep Roads and is suprised it isn't covered in the same Blight-rot as everything else - until, that is, he touches the sword to a patch of it and sees it wither away. Whether it's the dragonbone the sword is made of or the runes on the blade is difficult to say, though if it was just the dragonbone then it would make sense for that to be a more well-known property of the material (and would have been an interesting reason for why dragons were hunted to extinction). If Alistair carries it with him, doesit slow the progession of the taint through his body? Does he know its effects, and give it to the HoF to help keep them safer on their journey to find a permanent cure?

That obsidian dagger Duncan finds in The Calling: the dagger belonged to First Enchanter Remille - who also gave the expedition members brooches that accelerated the spread of the taint. iirc the both the dagger and the brooches are made by the Architect with Blight magic, which means the darkspawn magisters have more knowledge of how the Blight works than the Chantry attributes to them.

Whatever the fuck is going on with Avernus: he hasn't managed to cure himself yet, but he's managed to make it to 200 and the Warden can let him continue his experiments if they don't kill him - and he'd be a really useful resource if the Warden later wanted to send him other potential cures for testing.

Dragons: they have an ability to isolate the Blight in their bodies by forming crystaline cysts around the initial infection to stop it spreading. Useful if it can be more widely applied. Also, it's implied that Maric's reaver blood, which Calenhad gained by mixing his blood with a dragon's, is what somehow cured Fiona of the taint, kinda like a reverse STI, BUT in the Deep Roads they went through an area where the walls were coated in a pale, chalky substance suspiciously devoid of Blight-rot and she touched it, so I'm a bit suspicious of that.

Blood magic: makes sense since the taint is a problem that starts with infected blood. There are two major instances in DA canon where blood magic has been used to purge the taint from an object or being (both by elves btw). The first is Isseya using it to draw the taint out of a clutch of unhatched griffon eggs, which she says is only possible because the taint hasn't yet taken over the hatchlings' bodies to the same extent that it had with the adult griffons. The second instance is Merrill purging the Blighted eluvian in DA2. It's insane that Anders - who is a reluctant Warden and who possibly knows the HoF seeks a cure - isn't more excited about this. She literally removed the Blight from a fully tainted object. Since Isseya proved the same can be done with living tissue, it's probably the closest we've come to an actual cure, but since it also took years there's no telling if it could be a practicaly solution for all Wardens

[picaroroboto]

Do you remember that NPC in Garlemald who, when you approach them, seems to have war flashbacks to the WoL killing dozens of their fellow soldiers at the Praetorium? I don't understand why some people make light of this moment, or brush aside the fact that in canon the WoL has killed a lot of people. Yes, it's usually Garlean soldiers or Beastmen or others who intend to harm others, and it's almost always in the name of justice, freedom, protecting others, the greater good, etc. But they do still take lives.

Chances are some of those soldiers they've killed are ones who believed the Empire's espoused goal of controlling the world in order to protect it from greater threats like Primals and Ascians. It's a disgusting and patronizing idea, but if you're someone who's grown up in a war-like nation you might have no reason to question it. Hell, Varis believes it wholeheartedly even though Emet-selch repeatedly tells him that he founded the Empire only as a trigger for Calamities and Rejoinings. The thing is that the Garleans believe they're doing the "right thing" too. So do the Ascians, if only for the "greater good" of their own people to the exlcusion of everything and everyone else. And everything that the Garleans and Ascians did in the name of their beliefs and greater good is wrecked by Fandaniel and Zenos, who proudly claim not to believe in anything and scorn ideas of right and wrong.

In the end, what makes you "the hero" and them "the villains" - what, if anything, makes you better than them? It's not that you don't kill or harm people, because you do. It's not just that you kill presumably less than they do, because measuring lives as numbers is a disgusting thing. We could say that it's simply because the narrative always sides with you in the end, but that's a really boring and unsatisfying answer.

The answer for me and my WoL at least, is to understand that he's not so different from his enemies. Having a "good reason" to kill doesn't make you justified, and believing you're on the right side of history doesn't make you the hero - that understanding itself is what makes sure that he won't make the same mistakes as the villains.

[mearchy]

Maximus is so fun as a character to me for two reasons:

He's a slave to his most selfish desires at his core, and that selfishness allows him to do cold, evil, ruthless things over and over again. And that's not something that he becomes and it's not some crazy plot twist that gets revealed to us, as though his normal personality is a veil. His personality is genuine, it's just driven by the deeper motives that get more revealed throughout the show. And then you start to reinterpret all of his other actions in a different light and go oh.

This set of character traits gives him the funniest ability to repeatedly be like "I will kill people, I will commit violence, because I have strooong values/opinions related to this!" and then somebody gives him some friendly company or, like, a bathrobe. And he's like "ohh :) Nevermind, I would trust you with my life if it meant I could have more of this. Would you like my social security number."

[lgbtlunaverse]

One thing that's fucking hilarious about the modao-guidao distinction is how cql just fucking wrecks it. Because it was apparently sooooo scary and immoral for wwx to raise his friend from the dead they had to assure us that Wen Ning was simply grievously injured and never fully died so no that guy walking around deathly pale with black marks on his neck isn't a corpse, thank you very much. But because Zixuan's gotta die Wen Ning can still be controlled via evil music which means Wei Wuxian has now turned a living human being into a puppet. The literal definition of modao.

I mean they also made him not the inventor of it, so I guess the title grandmaster of demonic cultivation is still inaccurate just like it was for the books, just in a different way lmao.

[yea-baiyi]

ok but like imagine being hua cheng. and when you were a teenager you were trapped in a cave with your god when he got hit with sex pollen and you already felt ugly and unlovable but he stabbed himself through the gut rather than touch you and you saw him shirtless and horrifyingly that’s how you found out you were gay

and then you meet him again centuries later when you’ve grown up and become comfortable in your own skin, and you think you might be in love with him except a part of you still feels terrified that he’ll look at you and find you hideous again. but you want to trust him so you show him your real face. and. turns out he finds your adult self so hot that you make him horny for the first time in his life and he keeps doing and saying absolutely deranged things because he does not know how to cope. he panics and tries to give you, a ghost, mouth-to-mouth resuscitation and while you’re lying there trying not to freak out he is beside you acting out his one man humiliation-style comedy show because he has never wanted to kiss someone before let alone fuck. he agrees to get locked in a coffin together because he never even considered the possibility that he might pop a boner except he does pop a boner and now you are stuck under him while he squirms and you are trying very hard not to think about your own boner

i don’t know how to end this post i just think that’s so funny. and they live happily ever after and have lots of gay sex. hua cheng keeps winning. slay king

[charlietheepicwriter7]

Always a man, a city, and a lighthouse...

"Robin, Red Robin, stay back for a minute," Batman said as he dismissed everyone for patrol. "I have a new mission for you. Dozens of civilians have gone missing around the decommissioned Gotham City Lighthouse." A few clicks and the Batcomputer displayed a map of the Upper West Side, a highlight on the lighthouse. "I want you both to investigate the building. Everyone who's gone missing entered the lighthouse, but nothing has been found by the police. I suspect that the lighthouse is being used for gun smuggling, but we need more information.

"That's where you two come in."

Or, I've been reading too much of @virgamsysxvolumes 's Lucky Rush AU, and wanted a true Bioshock AU for dc x dp.

Underneath the city, in the vast and endless caverns beneith Gotham, lies the subterranean city of Amity. Amity was the pet project of the mad scientist couple, the Drs. Fenton, to investigate the effects of ectoplasm on humans, but with the help of their best friend, Vlad Masters, they transformed Amity into a Technocracy City filled with scientists, and completely lacking in morals.

Or at least, that's how it was ten years ago, before the creation of Plasm (the Adam replacement), a neon green goo that's basically meth that gives you superpowers. Everyone from the top scientists to the lower working class starting doping on Plasm, which gave people the ability to control fire, create hallucinogenic spores, summon bats, etc. Vlad, the mayor, was deposed in a cue let by the Fentons and the city descended into anarchy, with people from the surface getting lured down from the lighthouse so they can continue their experiments.

The Fentons are 100% not good people in this. Jack is in charge of all the technological advances in Amity, while Maddie has created human/ghost hybrids--the Little Sisters of the story--that can naturally harvest ectoplasm from dead bodies to use for experiments. Once everyone's hooked on Plasm, the Little Sisters are in danger from acting Splicers, so she creates Big Daddies to protect them.

Danny is the only Little Brother, and Jazz is the only Big Sister. Vlad turned them both into monsters as revenge against the Fentons for the cue, but the couple didn't really care, with Jack barely acknowledging he has children, and Maddie acting like they were never turned into monsters to begin with. Not sure about ages... Jazz is probably the same as her canon age, but if Danny is still 14, he looks 10, tiny and malnourished and pale.

Tim and Damian are trapped in Amity after an automatic system determines them as good test subjects. The AI filters out any cops, so that's why the police never found anything. The elavator brings them down into the city, showing a sweeping shot of neon in the darkness of the caves, and the boys figure out pretty quickly something is blocking their calls.

Tim gets super injured early on. I think, a Jack Fenton booby trap (that exclaims that it's a Jack Fenton Booby Trap moments before activating, which should be funny, but isn't when death lasers are being launched at him.). Damian gets captured, and that's when Tim is contacted by Vlad, who is our Atlas stand in for the game, only Tim immediately realizes that this man is sketchy af.

But unfortunately, in order to rescue Damian, Tim has to splice himself with Plasm. Maybe its for fire-wielding, or telekinesis but Tim can't get to wherever Damian is being held and, while torn, splices himself to save Damian.

Damian was kidnapped because his exposure to Lazirus Waters made a Big Daddy think he was a Little Sister, so it brought him back to the Casper Academy, which is where Little Sisters drop their harvests off in the care of William Lancer. Lancer looks after the girls because Maddie Fenton is too busy, but it's against his will despite him caring for them all. He's trapped in the building, can't leave or he dies. He's actually relieved to know that Vlad is still alive and trusts him, because to Lancer he was just a good mayor who was overthrown and the Fentons are the real bad guys, just look what they did to their kids!

This is where the batkids first learn about Danny and Jazz, although they don't meet them until a while after this. Danny actually ends up being the one leaving Plasm out for Tim every time he rescues a Little Sister. (Sidenote, they end up killing people while in Amity. While both do have death counts, the problem with Amity is that they have to use stronger and stronger levels of force to get people to go down, leading them to escalating and killing quite a few).

Lancer points them to communications to get their comms working again, and that area is run by Damon Grey.

At some point after comms are back on, the two learn that Red Hood actually came in after them after hours of no communication and has been captured by Maddie Fenton, who intends to turn him into a Big Daddy.

In late story, it's revealed that Jack Fenton was murdered before the cue even happened, and that the Jack Fenton they'd been communicating with the entire time was an AI assistant created by living Jack to keep his work going. The cue was actually retaliation from Maddie and the Jack AI for murdering Jack.

The story would eventually end with Tim, Damian, and Jason freeing all the Little Sisters along with Danny and Jazz.

[bookwormangie]

I don’t think Snape liked his students but I do think he care about their wellbeing - another scene that comes to my mind is in DH when he’s headmaster. Students are being tortured and mutilated on the regular under the new Death Eater curriculum (Snape needs to let it happen to play his role as Voldemort’s servant). But when he catches Ginny and Neville trying to steal the sword from his room, their detention is… dun dun dun… going to the forest with Hagrid.

Yes, that’s a great scene. Though Snape had already promised Dumbledore before his death that he would do anything in his power to protect the students if Voldemort took over. Given his history of safeguarding students from danger, I believe he would’ve acted the same way regardless of Dumbledore's request.

Additionally, comparing McGonagall’s approach to detentions with Snape's under normal circumstances, sheds light on their differing methods. McGonagall sometimes assigns risky detentions—like when she sent four first years into the Forbidden Forest to search for a wounded unicorn, despite warnings to stay out given by the teachers themselves. Snape, on the other hand, tends to give detentions that are tedious and unpleasant, such as cleaning bedpans or disemboweling toads, but never risky.

The scene you brought up, where he sent Ginny and Neville into the forest with Hagrid, was a strategic move on Snape's part and a necessity. He had to give them a risky detention to appease the new regime and avoid suspicion, while covertly shielding them from brutal punishment by the Carrows. It exemplifies Snape’s ability to navigate his loyalty to Voldemort while subtly protecting the students.

I love Snape so much; he’s such a complex character, and I love delving into his motives. Thank you for bringing up this scene—it’s another compelling example of Snape’s concern for his students' physical well-being. 🫶🏻

[aspiringsophrosyne]

It’s interesting how both the Smitten and the Skeptic kill you.

If you kill the Princess, they both visit the same fate upon you, overriding your input. However, their respective motivations are very different.

The Smitten does it out of distraught, furious bereavement; he kills us as much out of rage and revenge as he does grief. The Skeptic, meanwhile, kills us when the Narrator traps us (the way he does in the good ending). However, the Skeptic is not like the Hero; he does not let us decide when he recognizes the circumstances we have found ourselves in.

Both represent so overwhelming a force that they can make choices without your input, but from completely opposite angles. The Smitten out of passion, anger, and in-the-moment emotion. The Skeptic out of cold, practical logic that's focused on the long game. They are superficially different, but they end up pulling the same stunt; down at their cores, they're not as different as they might seem.

As for the pairs, one of the most generous ways to read the Smitten/Damsel relationship is that it represents the honeymoon phase. Smitten and Damsel have just met, think the world of each other, will do anything for each other, want to make each other happy, and dismiss each other's flaws when the Hero or the Narrator voices them. They are driven not by what they know but by their initial impressions and emotions.

This perspective leaves them both oblivious or apathetic to the Narrator’s machinations; they can ignore or overpower him. The shackle slips right off the Damsel's wrist. The locked door swings open. Even murdering the Damsel is not enough to dampen her love for you; all that does is turn it murderous again via the Burned Grey.

On the other hand, information drives the Skeptic and the Prisoner. They do not know each other. You took the blade when you went to meet her, and she killed you. These two can’t trust each other. Not completely. Because neither trusts without verifying first. And because, besides all that, there’s another factor in play: the Narrator.

Both the Skeptic and the Prisoner are aware of the Narrator. Both know that no matter what they want or do, something outside of them has the power to interfere. And their weapon of choice against him is information. The Prisoner plays dumb unless you “-give away the game,” and even then, she doesn’t reveal her plan. Not even to you. Instead, she hopes you take the hint and figure out what she wants you to do. Likewise, when you try to give her the knife to enact the plan, the Narrator tries to stop you as he did before, and the Skeptic thwarts him by pointing out how well that went the last time.

In contrast to the Damsel/Smitten pair, these two have one of the least emotionally charged dynamics of any Shifty/Quiet duo but have mutual respect and an understated sense of partnership that few other pairs start out with. Though the Drowned Grey’s motivation is not the explicit love of her counterpart, she’s still dressed like a widow to parallel the Burned Grey’s wedding dress.

And speaking of the Greys, they bring home the contrasting yet parallel dynamics between these Princesses and their Voices: one is fire, one is water. One has a passionate affect, the other a flat affect. One leaves behind only bones, the other a fleshy corpse. One is a bride, the other is a widow. Killing the Princess you defied the Narrator to save results in a Grey, a ghost dressed for marriage (future or past), that leads you to the basement of a dilapidated cabin that serves as your gruesome tomb.

The Damsel/Prisoner/Greys have many superficial differences that highlight how similar they are once you look beyond them. If played straight, the Damsel/Prisoner is a route where you continue to defy the narrator. The Damsel wants to leave? Pull off her chain and escort her out. The Prisoner wants to escape her chains? Give her the knife and take her head with you. Both are routes where you've established the best report with the Princess you could; you've literally died to protect her. Following this, you can take advantage of that goodwill and use it against the Narrator.

And in the case of the Greys, while the details are different (rain/desert, widow/bride, bones/corpse, drowning/burning) in both cases you're lead to your doom by a betrayed ghost of a Princess in a neglected cabin.

Various Voices and Princesses serve as foils and mirrors to each other (Rivalry and Submission, Terror and Longing, etc.), but none more closely than the Damsel/Prisoner Smitten/Skeptic. It makes them especially interesting and I'm excited to see what their future third chapters have in store.

[ronanlynchdefender]

The conversation between Maura and The Grey Man about Gansey and Adam is so meta because they’re basically voicing the audience’s perceptions of the characters.

The narrative is framed so all of us think that Gansey is the Main Character: Richard Gansey and his band of merry men (Maura’s pov)

We all assume this, but as you read the series it becomes increasingly clear that Adam Parrish is the Hidden Protagonist of the narrative. His desire, his need, to control his own life permeates the narrative. Adam takes action even when Gansey is afraid to (stopping Whelk, making the sacrifice) and subsequently propels the plot forward.

This is where The Grey Man’s perspective comes in: Adam Parrish and his band of merry men.

I LOVE that he says this because The Grey Man is an incredibly perceptive character, and while him and Adam have little (if any) interactions, he still notices who is really running the show here. He recognizes that Adam is probably a lot like himself: a guy everyone overlooks but with incredible power to make the difficult decisions everyone is afraid to make. And I just love that The Grey Man, in saying this, shows Adam respect and gives him credit where credit is due.

So this little disagreement between Maura and The Grey Man about who REALLY is the Main Character of this story reflects us. We see Gansey as the protagonist, but we also see Adam Parrish fulfill this role as well. Sometimes, it appears that Adam is even MORE of the main character than Gansey (in my opinion).

And the truth is that they’re BOTH main characters just in completely different ways. It’s honestly insane to me that Maggie can have these two widely different character journeys running parallel to each other in the same series, but she does it. And because they’re so different the development of each entangles and clashes with the other in fascinating and volatile ways.

GOD. It’s just so good I feel like I could teach a class about these goddamn books.

[velvet4510]

Is it just me or is Jean Grey’s entire characterization and storyline in the XMCU unbelievably sexist? I’m just so appalled by it. I have no idea if this is a hot take - I’m brand new to these films, and am totally unfamiliar with the comics - but I really can’t see this as anything other than misogynistic writing.

Between the idea that “woman can’t control her own power” and “woman who two guys are fighting over” … both of those are such dated and regressive concepts but for Jean Grey to embody BOTH of them … and literally NOTHING else? She has ZERO character development outside of these two traits. We don’t explore her friendships with Storm or Rogue or any of the other female mutants. We don’t explore her feelings toward humans, if she entirely agrees with Xavier or if she’s ever curious about Magneto’s view. We don’t get any understanding of her own wants and needs. She ONLY exists to cause pain to all the male characters.

We’re supposed to sob at the end of X2 because all the men are sad. But we are given no reason to care about her for who she is as an individual - only for her ability to make men sad.

Then after it turns out she’s alive in TLS, she goes full-on villain. No psychological complexity, no moral struggles. Just villain. Oh, no, too much power for woman!! Woman can’t possibly control a force like this!! Man must kill her - must kill the love of his life, oh, no, what a tragedy!!! There’s no hope for her; the only way is to kill her.

Then after her death, she is not framed by the narrative in memory as a great X-Man, or as a fallen hero. She is framed as the lost love of a man who she didn’t even love in return. The power that she couldn’t control caused her to kill the man she really did love - Scott - but all the remaining films frame her as no more than the source of Logan’s torment and manpain.

Even when she returns at the end of DOFP, the joy comes from Logan finally getting a second chance at resuming his rivalry with Scott over her.

I haven’t even seen Apocalypse or DP - and I don’t want to - but I already know that those films only make the exact same mistakes all over again!

I guess I should blame the comics for coming up with this BS in the first place, but the movies didn’t even try to improve upon it.

Jean Grey is the most poorly written female superhero film character I’ve ever seen.