thinking about the way shadowheart, lae'zel and minthara deal with breaking away from a god/god-like figure they've dedicated their lives to. shadowheart immediately latches onto rescuing her parents as her new 'mission'. lae'zel immediately dedicates herself to freeing orpheus with the vigor she served vlaakith. minthara fixates on obtaining the power to make sure she's never controlled again.
its like. breaking away from gods/god-like figures leaves a void to fill. they're trying to fill it, and trying to choose what they fill it with. and they know that's what they're doing, in some ways, maybe to avoid the enormity of what it means to have broken away. maybe to avoid working out what they'll do as individuals. shadowheart doesnt know her parents, and they dont know her anymore, but she has to save them. you can ask lae'zel why she won't focus on herself, and she acknowledges there's no time for that. not yet. minthara wants you to use the power of the brain, but has dialogue/approval when you speak to ravenguard and she realizes hes still in there beneath the tadpoles influence, just like she was.
'my deference to him is a habit that will die hard, i fear'. minthara still calls the elder brain the absolute, even after she knows the truth. lae'zel still calls out to vlaakith in battle. shadowheart still wears the symbol of shar in her hair after dyeing it. indoctrination/ingrained beliefs are hard to break.
they've broken away from what was controlling their lives. they're free. they've lost everything. shadowheart can save her parents and but will always have that mark. lae'zel has been declared a traitor and will be hunted until vlaakith is overthrown. minthara can never go home, and would be executed if she tried.
they've broken away. they've lost everything. they're struggling with what that means. they're free. they wouldn't have it any other way.
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I love the music this episode. So foreboding for the Demeter section, and then so light and charming for Mina.
Speaking of Mina, I love how she opens with Lucy "looking sweeter and lovelier than ever" - because obviously, Lucy looking sweet and lovely at all times is a given, she's just more so currently. ^_^ She has some lovely descriptions, reminiscent of Jonathan - she too is painting a word-picture for him to possibly read later. But it soon diverts into history and legend and spookiness, because of course it does, she enjoys that stuff. ...actually, graveyards being treated almost like public parks wasn't that uncommon at the time I think, but it's still fun and her interest in spooky stories is apparent elsewhere in the entry too. I love how Mina is planning to come back here and work often: it's that preparation for the future again. She's so eager to get started, and possibly in a little bit of the 'I'm going to get so much done this summer' phase, though I have way more faith in her ability to stick to the plan than my own. But she really is obviously excited to build up her skills (presumably working on typing and stenography) and I love how you can really feel her effort (and her enjoyment in the effort) to be like lady journalists here. All those descriptions and interviewing Mr. Swales...
Speaking of Mr. Swales, he sounds so sweet. Lovable grandpa acquired; well done Mina!
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I was looking through my notes for Good Omens fanfiction, and realized almost every damn story includes Crowley having a baby.
There's the one where Heaven and Hell decide to use an angel baby carried by a demon as a diplomatic tool, leading into Crowley being protected by Michael, and them falling in love.
There's the one where she leaves her baby with Anathema and disappears, which triggers all the following events - from the search, to Aziraphale's trial, and everything else.
There's the one where she has to supply the new Antichrist, which leads to her and Lucifer falling in love, and her being crowned the Queen of Hell. (Well, this one is really two stories set in different timelines, in the second one the "baby" is like 27)
In the one inspired by a dream, she does have a baby eventually, but that's far from the worst thing that happens to her. Gabriel's treatment of her after is... How the Hell will I write this damn thing if I can't even think about it.
There's no baby in the one where she gets tortured with diluted holy water.
I see I have no storyline with male Crowley just yet... Fine, that's not true. I do have some thoughts for Crowley x Fem!Lucifer... It could include a new Antichrist, too. And, Crowley wouldn't be the pregnant one for once. But, dealing with pregnant Lucifer would probably be even scarier.
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In the Wolf 359 liveshow, Minkowski slips up when talking to Cutter by saying, "Sir, whatever unorthodoxy you may have been observing in our logs, rest assured that it is based on my commitment to getting Eiffel and Hera back home in one piece", which gives away that Hera is back online. Part of the reason Minkowski makes this mistake is because she gets defensive under Cutter's questioning about the mission and her personal feelings, but I love that another part of the reason is that she automatically includes Hera as one of the people she's trying to keep safe. [cont. below the cut]
The thing is, that line would have been a slip up even if the crew hadn't been trying to hide from Cutter that Hera was back online. Because getting the AI "back home in one piece" isn't meant to be an objective of a Goddard Futuristics deep space mission. From Goddard's perspective, an AI's wellbeing is only of concern in relation to how well they can do their job. Hera says in Do No Harm that the crew "were always going to" leave her up there on the Hephaestus. And in Am I Alone Now she talks about how one day the crew will have "all gone away".
Of course, it becomes fully clear later that getting the Communications Officer home in one piece wasn't on Goddard's actual agenda either. But even in the official version of Command's plan for the Hephaestus, which Minkowski would have been presented with at the beginning of the mission, it seems that getting Hera back to Earth safely wasn't seen as a desired outcome. And yet, by the time of the liveshow, getting Hera back to Earth safely is such a key part of Minkowski's motivation that she declares it automatically, without thinking, to Mr Cutter himself.
Minkowski says the line above in response to Cutter implying that she might have lost sight of what's important. At the mention of what's important, she talks about her commitment to protecting her people, even though she knows that that isn't what's important to Goddard. In a moment of stress, she reveals what truly drives her, which isn't an objective from Command at all.
This moment reminds me a bit of how in The Devil's Plaything, Eiffel gives away that he's no longer under Pryce's mind control by calling Hera by her name instead of Unit 214. In both cases, the part of the lie that the characters can't maintain is pretending that they don't care about Hera. In both cases, they don't even notice their mistake until it is pointed out to them, because what they said - calling Hera by her name, or expressing the importance of keeping her safe and getting her back to Earth - just came naturally to them without question.
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🖊️🖊️ for both my love diana & tereza 💜
diana
she can play both the violin and piano, although she favoured the violin growing up. she hasn't played consistently since she was a teenager, so she is rusty, but when she picks it up again, she finds it easy to get back into it (and yes, i have a sappy thought of what's his face watching her play once)
diana's first serious boyfriend actually played aussie rules. who would've guessed? he moved to sydney when the south melbourne football club became the sydney swans and they met at university, but they eventually broke up after almost two years together when she moved to america to follow a research opportunity following the completion of her masters, which he encouraged her to take
tereza
she mainly helped her father tend to the graveyard outside the church, but tereza would venture off to where none of the other villagers would go – across the bridge past potter's field and to where claudia was buried. she would trim the plants there and clean the headstones, and donna's gardener found that peculiar
tereza liked to cross-stitch when she had a bit of free time, and she could often be found doing so while sitting on the steps behind the church that leads to the mausoleums
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