#relationship safety

[peggy-sue-reads-a-book]

MERRY CONSENTMAS. Let’s talk about personal space/belongings. I’m thinking of kids particularly but this could apply to anyone.

Ok so you’re at someone’s house. You wouldn’t invite yourself into the primary bedroom to have a look around, right? It shouldn’t be different for kids’ room. That is also a safe, private, and personal space for somebody.

Just because the same child was super excited to show you their room and all their stuff last year doesn’t mean they feel the same way this year.

Honestly, adolescents are even more likely to be self conscious of their space and stuff than adults.

If there is a kid moping in a corner with a sketchbook, they don’t want to show you or explain why they’re drawing fanart of emo elves.

It’s going to feel extremely violating if you pick up that sketchbook and start turning pages. That’s not fun. If you are genuinely interested in their artwork or the book they’re reading, try asking a specific question. Remember, if someone is drawing or reading or playing a phone game at a big holiday event, they probably feel really weird and shy right now.

Food can also feel very personal. Idk, for adolescents, everything is personal. No one needs to justify being a vegetarian or gluten free or whatever. You’re smart, you get it.

Did you like being spoken of as if you and your siblings were a monolith of age and preferences? Of course not, especially when you were in middle school and thinking a lot about differentiation. There’s a big difference between asking the parent “Do your children ____” and asking the kids, “Do any of you guys _____”. I don’t care if it’s identical quadruplets, it goes a long way to show you see them as whole-ass people.

Teenagers are not going to think it’s cool if you try to act like their peer in any way shape or form. At best it comes off as immature and at worst is kinda creepy.

Say it’s a shared room. The younger child really wants to show you around. It’ll go a long way to ask their roommate before going in.

LAUNDRY. This is a normal thing to want to help with, and might be to totally fine. It might also be embarrassing for older kids.

Little kids too, especially around potty training. If someone needs help getting cleaned up, they might just want their parent.

When in doubt, ask “is this special to anyone?” before using something/sharing it with other kids.

Literally no one wants to hear your opinion on who’s sleeping with a lovie at what age.

I repeat. I do not care if there is a 17 year old with chest hair in this house wearing a blankie on his head like Linus from Peanuts. This Christmas, give the gift of minding your own.

And for the love of sweet baby Jesus, KNOCK.

[valtsv]

this is definitely an intersection of my aromanticism and my pedantic nature, but i do enjoy it so much when it's emphasised that it wasn't (usually romantic) love that "fixed" someone or made them "complete", nor was it love that they were missing, but instead comfort, or safety, or a sense of purpose, or simply an opportunity to stop and rest for a while. when far more basic, animal desires take precedence, and are acknowledged to be no less meaningful or worthwhile to pursue. and perhaps love was there, and perhaps it helped to facilitate their fulfilment, but it was never a necessary condition, and its recipients wouldn't have been any less deserving of having their needs met if they weren't loved.

[poorly-drawn-mdzs]

I'm not going back to Gusu with you.

[First] Prev <–-> Next

[canisalbus]

Can I ask how Vasco reacted to hearing about Machete’s assassination? :o did he put on a brave face? Was he inconsolable? Does he imagine that if he were there, he could’ve done something (even if that isn’t true? I imagine it would be tortuous mentally and emotionally for him, poor lad

He most likely went through a mental breakdown, followed by years of paralyzing grief and depression. Vasco had proven to be outstandingly resilient and optimistic in adversity, putting on a brave face was his second nature. But this was his final 'break the unbreakable' moment. He turned withdrawn and apathetic. He had never lost anyone this abruptly before, and he became visibly paranoid about the safety and health of his family while failing to look after his own wellbeing.

Of course he kept rewinding the events in his head and second-guessing himself about whether he could've prevented this outcome somehow, even when everyone who knew about his situation kept telling him there was no reason for him to blame himself for it. He struggled with the suddenness of it, and the lack of closure, and couldn't get over thinking how the love of his life had died alone, surprised, scared and in pain, and that there was absolutely nothing he could do to remedy that. Ludovica's support was invaluable to him. Since he couldn't mourn openly she was one of the few people who were there for him.

Eventually he came to terms with what had happened and learned to live with it, and even though he slowly regained his good-humoured personality, he never fully recovered back to his previous self.

[mashriqiyyah]

A woman gives her heart completely, entirely, submissively, without any defence to a man who brings peace, safety, calm and gentleness to her soul. No money. Neither looks. Nor his status. Just him being a man whom she doesn't feel the need to be scared of in any way.

~ mashriqiyyah

[atelierlili]

I always wondered why Katniss factored marriage and children into the equation when it came to reciprocating Peeta’s feelings for her. It’s a rather large leap, especially when Peeta himself never expresses wanting children at any point in the story. He uses children as a tool to persuade Katniss and the Capital to save her life, but the only time we see him express any desire/feelings of having one of his own is when he’s crying after the baby bomb. But we never hear his real thoughts.

But you wanna know who does express wanting children? Gale.

It’s one of the first thing he mentions in chapter one. And it pisses her off so much.

(I also want to add that Gale reframes/establishes the dynamic of Katniss and him caring for their siblings from something that is sibling-sibling to parent-sibling. And he is not wrong. Katniss doesn’t refute him. Both Katniss and Gale are surrogate parents to their siblings. Which is also why Katniss love and affection of Prim, is not just sisterly. I’ve seen people say Katniss is only sisterly to Prim- but she’s not. She’s parentified their relationship to the point she subconsciously see Prim as her child, which makes this a tragedy because she’ll loose her first child no matter what she does by the end of the story.)

But Gale’s phrasing here elevates himself as a potential suitor to Katniss by placing them both as the parental roles to these children. (Which irritates her a lot ). Which is why she brings the topic up with her relationship with Peeta. Because she’s subconsciously aware of Gale’s efforts and knows it will be a point of contention between them. It hangs over her head in a way.

With Gale, children are extra mouths to feed. (But Gale will do fine. He can work. He can hunt.) It’s all framed with calculated survival in mind. But it’s also not something she had planned in the future at any point.

But Peeta’s children? Oh they deserve to be born because Peeta deserves to be a father. He would be such a good father. They deserve to exist in a world where they can be safe and happy. (Even if it’s not with her.)

This is also why I think she subconsciously sees Peeta’s baby as her own. And I don’t think of it as a cruel/heartless thing, it’s just you’d be more protective of your own child compared to someone else’s. Katniss sees Gale as a reliable person who’s equipped to look after a kid. She doesn’t express the same kind of maternal instinct/yearning for the Baby Hawthrone’s safety as she does with the idea of Baby Mellark, because she doesn’t think of Gale’s child as her own. She never hopes for a better future for them, but she does with Peeta because he and that baby gives her hope. And she loves him that much.

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[arrows-and-ace-thetics]

Reminder that even if your asexuality or aromantism could have a "different source", if these terms help you feel safe and advercate you needs you can still use them!

Maybe you are a "late bloomer" or "too young to know" but maybe the identity means you can explain yourself better, you can find others who feel the same, you can take things at your own pace. That's OK.

Maybe you're on medication, maybe you have some sort of neurodivergence that is affecting things. If these terms help explain your emotions or how you are "lacking" a certain thing, that's OK.

Maybe you're trans and you're not sure how your dysphoria effects it. Identities and feelings are confusing. That's OK.

Cause for every person who realises the terms no longer fit, there's someone who wishes they used the terms earlier. If you have shared experience, if the terms help you define yourself and protect yourself or hell just give a small sense of belonging that's OK.

You're welcome here

[kraaico]

♡

[astradyke]

I would adore a deep dive into your thoughts on Phil’s quiet but wonderful way of showing his love for Dan being through photos

hi, i’m sorry i’m responding so late to this, but i really appreciate you enabling me here because i do seriously think about this constantly. i don’t know if i have the words to articulate it, though, so… bear with me. i'd quite like to try.

nobody loves in just a singular way, that’s the preface to this. when i say that Dan loves through words and Phil loves through photography, i don’t mean that Dan doesn’t use photography as an act of love— because there is a polaroid, in their house, of Phil that Dan took— and i don’t mean that Phil has never said something profound about Dan, because we all remember how he talked about Dan’s book at the end of the haircut video (19:13). i, at the very least, never really left the parts at the end of what Dan and Phil Text Each Other 2 where Phil constantly amplifies the work Dan is trying to do, unmasking his own frustrations at the struggles Dan has to experience, and meets Dan's self deprecation with affection (here's that dissertation) (19:57). Dan may use words in a very abstract, artistic way, professing his love for Phil as a ‘soulmate’, an unmatched connection, but Phil still has a careful, casual way of endlessly maneuvering himself to stand by Dan’s side. etc. and of course, there are five thousand other ways to adore a person. Dan and Phil do a little bit of everything; we are lucky to see a spare few snippets.

all that said, let’s talk about photography, yeah?

there is a permanence to photography, even if it’s not always a tangible permanence. they are timestamps, living commitments; i refuse to accept the idea that photography is somehow a ‘stand in’ to ‘true human connection’, rather than a critical facet of it. ex. i know that my best friend is real even if i didn’t have a photo of him sitting beside me on a wayward bus, but it’s still important that i inscribed that memory distinctly into the fabric of my life by taking a moment to chronicle it.

Phil Lester uses photography as a way to immortalize a thousand different fragments of his forever with Dan. there’s a distinct thought process, right, to see someone you love and decide— i never want to lose this moment. that decision, in of itself, is enough of a love confession, but there’s another layer when you decide, on top of all of it, i want the entire world to see this. when Dan described his love for Phil as "more than just romantic", he opened up a piece of himself to show the world, this is how i love this person. this is how i see him. when Dan calls Phil bubby, or dear, this is him cracking a hard exterior to say this is how i see you.

the two of them, upon first meeting, took a selfie together at the Apple store— Phil was the one to press the button. when they sat at the top of the sky-bar, Phil was the one to take a photo of Dan amidst the golden hour light. maybe he didn’t know that Dan loved him back, yet, but he had a certainty in his own adoration of Dan— that regardless of whether Dan wanted him back, Phil wanted him. the image feels timid but assured, like swallowing down anxiety to look yourself in the mirror; you can feel that through the pixels of it, so transparently. Phil’s love of Dan was not conditioned on anything: it was a terrifying but beautiful thing, and he wanted to preserve it, so even if it all went wrong he could say this is how i loved you. this is how you are loved, to me. you don’t have to want me back, but know that you were wanted, here, crawling into your own head sitting across from me in a city i’d like to call home with you, someday. so let me. and when you look at this photo of heart eyes Howell, cradling a bear, it’s louder than a blood rush: i love you.

[ID: Dan Howell sitting in the sunlight, looking outside the window while holding his phone. end ID.]

[ID: Dan Howell in a fuzzy hat, holding a stuffed bear against his face and looking at the camera with a small smile. end ID]

(sorry. it was necessary to include).

every year, Phil spills this oath into his camera roll. when Dan’s birthday arrives, Phil has a thousand candids to show for it, a thousand of silly and unflattering photos— a “loving” selection (7:41). exposing my heart a little here, but when you are someone who struggles with insecurity at some level, photos of you that are unflattering circling around feels horrifying. you want to be composed, and pretty, and loved— but then, maybe, it settles in that you are loved someplace beyond conditions. Phil chronicles these casual, vulnerable moments with Dan, and he shares them, because he loves Dan to a level past the flat logic of if he is composed, if he is pretty, then he is loved. Dan may be unattractive at points, but he is never unloved. never again.

these photos also demonstrate how much Phil romanticizes the little moments with Dan. watching him play Skyrim in VR; sitting beside him while he plays Elden Ring (3:40); admiring an oddly-shaped tear in his pants (missing citation); taken aback by a large poodle jumping into his lap. there are hundreds of photos of Dan taken by Phil which have escaped. imagine how many more linger. if we can go off of this (admittedly horrifying) tweet, we can envision a camera roll overflowing with him.

when they go on vacation, Phil takes soft photographs of Dan. here’s this love in a new city, just like we did fifteen years ago in Manchester, before i knew the right way to hold your hand, the right way to counter your cynicism, the right way to systemically reject every pet name because saying your name like a promise is enough— i’m putting this love into the world because i no longer live in a world where i go a second without it. Phil saves photos of Dan looking at him like he hung the stars, and he saves photos of Dan walking in front of him— he would never save them, as an Orpheus, but thankfully he doesn’t have to anymore, not after 2019— and he saves photos of Dan happy, because he wants to save that, too. Phil will save photos from every era of Dan’s life, but he wants those photos the most.

Phil has seen Dan perform in front of thousands. he has seen Dan pass out from standing up too quickly in their living room. he has seen Dan stumble home from a unexpected solo walk, he has seen Dan try to hide his fear-to-death in Phil’s childhood bedroom, he has seen Dan try to use a laundry machine, he has seen Dan in every way a person could: i love you.

Dan knows all of this. Dan sends Phil photos of himself when he’s solo traveling for his tour; the two of them almost never call, not unless Dan’s in a cab, but they regularly facetime. Dan winces at old photos of himself, but Phil coos at them.

Phil Lester is a romantic. he likes to hold his love to his chest— sharing photographs, but careful not to share too much. i think we under-estimate the shift Phil had to make, sometimes, in 2019: coming out was a major deal to him, too, even if he had already been out to some. more than that, coming out while Dan was also out is a very different experience. still, he likes to stay private, which is why we’ve not seen what i imagine to be hundreds of photos of Dan in Phil’s arms, or Dan kissing him on the cheek, or Dan asleep beside him in his bed (because we know how often he takes photos of Dan asleep, but i can't even begin to get into that right now).

even still, from what we can see, God, it’s everything, isn’t it? i can’t imagine what it felt like, for Dan, first trying to reconcile all of this. when you go so long without experiencing a safe kind of love, your reality fundamentally shifts. everything is brittle: you have to be hard enough to survive it, but not too hard to break the little you have entirely. half of you is a secret, the other half of you feels like it should be— who you are shifts, when you are loved, so in the reverse: when you go so long without it you feel displaced internally. when you find that love, you throw yourself entirely into it, expecting nothing but wanting everything. you punch a wall only to feel the plaster cradle your touch; you tell yourself you’d never turn back and you hate that need to; you expect to hit the sea but the wax never seems to melt. impossibly, you are okay. maybe i showed too much of my own heart there, but when i look at 2009 Dan, i see all of that. eighteen years old, and for the first time since he was a tiny child, he actually felt safe.

because Phil says Dan like it’s the sweetest word in the world. because Phil has a hunger for everything Dan creates. because Phil held Dan when he dropped out of university, picked up his first radio job with him, moved in with him, and never left. because Phil never treated Dan like an experience to hide away. Phil loved parts of Dan back into life.

because Phil takes photographs of Dan, everywhere in his life, to say: this is my world, now. you can’t take a photo in the daylight without capturing the sun. you can’t take a photo in the nighttime without capturing the absence of it. Phil says Dan’s name in every video, and he takes another hundred photos, because he’s so fucking sure about this love. there’s not even a question to be asked.

this is only a fraction of what there is to say about it, some messily constructed analysis, but it's hard to capture. i'd call Dan a lucky bastard, but it's hardly luck, is it? Phil makes the decision to love Dan every single day, and it might look quiet, but it's so unfathomably loud.

[ineffabildaddy]

right so i need u lot to know that when i write crowley as a woman-shaped being it’s not because i’m heterosexualifying her relationship with aziraphale, it’s because

1. she’s the trans character of all time

2. it’s really interesting and fun to write a character with a different gender presentation to their usual one. opens up different possibilities for their character oftentimes

3.there’s enough people writing them both as man-shaped beings, mostly with dicks, so why not mix it up a bit?

i have specific plans to write fem!az and man-shaped crowley and fem!az and fem!crowley together when i’ve got the time for it too so watch this space

[sorrelpaws]

no offense but i genuinely fear that their potential dynamic will go severely underutilized

[frigidwife]

do you think louis chose/believed armand over claudia in the scene after armand threatens and chokes her? i was under the impression that louis reflexively disagreed with claudia because he didn't want to believe it, but the fact that he also reflexively lit armand's photo on fire makes me think his response to claudia ("he wouldn't do that"/"sit in your choice") was a denial of the real horror he was feeling, that he did believe her and just wished it wasn't true. i rewatched that scene and when he notices the picture is on fire, he waits a second before putting it out, which makes me think his commitment to armand following this scene wasn't out of genuine love, but a strategic choice made out of fear, the same way he martyred himself for lestat to turn claudia. i still see people talking about how much louis and armand did love each other, and i was briefly convinced when madeline called it out (though that scene also contains claudia thanking armand for not treating her like a child, so the legitimacy of the entire scene is thrown into question imo). but after rewatching the season, i don't think they were that devoted to each other. between the actors deliberately playing their flirtations super awkward, the fact that louis never commits until armand threatens claudia and his commitment itself following louis' pattern of chaining himself to his current lover/shark for claudia's survival (a pattern the show goes out of its way to emphasize with lestat's retelling of her turning), and the fact that armand apparently did choose the coven over louis...idk. maybe i'm biased and just sick of the idea that armand and louis' love is some torrid gothic romance when it seems clear that louis and armand's insistence that it was in dubai is deliberately at odds with what we saw, despite how hard they were trying to make it seem that way. even the way they gassed up their first meeting felt staged, and if we're supposed to understand that louis and armand's growing physical distance in dubai denotes emotional/romantic distance as louis' memories are restored, it seems in line to realize that the distance isn't what's new, nor is the performance of love; it's the realization that it is a performance. SORRY this got long, i feel like i'm going a little crazy because i feel the show is saying the exact opposite to much of the analysis on here. in a way i would love to be convinced towards a different perspective because then i could just relax

no i agree with you completely ur not insane and neither am i.... i havent watched that episode in a while but the way the events are sequenced it's not even ambiguous--the relationship with armand is strategic and it has been since the beginning. like i dont think louis's "he wouldn't do that" is even a denial of the kind of person armand is. Bc in the previous episode armand literally almost killed louis for the same secret he's just threatened claudia about. so why would he actually disbelieve her? (laying it out like this i'm realizing why the victim blaming interpretation of louis as ditzy is so prevalent lol.) his frustration reads to me like: i've already sacrificed my freedom and happiness so you can join the coven that you love so much, and now you're saying you don't like the coven? you can't tough it out and trust i have armand handled? the disbelief in "he wouldn't do that" is not that louis wants to believe armand is a better person; it's that louis wants to believe his control over armand is more complete, bc otherwise claudia is right and his sacrifices are doubly pointless. this is the same pattern we saw with louis and his siblings as a human--telling grace to worry about herself, telling lestat how they were four months from bankruptcy; he takes pains to keep them ignorant but then is frustrated they wont register his sacrifice; they see it as him pushing them away (literal knife to paul's throat). louis starting to burn the photograph is him giving up--claudia is ungrateful; this task is impossible. but then the dream lestat which is ofc just louis calls claudia "our daughter" and that's when louis stops burning the photograph of armand. at the reminder that no matter how he tries to accept her as grown and autonomous, she's his child first. and then you can see him double down and regroup--get rid of ghost lestat indulgence to commit fully to companionship with as much control as he can leverage

[drbtinglecannon]

The thing driving me so insane about Loid and Yor communicating so openly is that this is how a couple in an actual relationship would address the problems they're having

She's asking him to rely on her, saying that he doesn't need to put up appearances all the time, that she knows he's capable but she's here to help and wants to, that he doesn't need to be perfect.

They're in a fake marriage. Loid has repeatedly told her she doesn't have to do anything but be around for specific events, but Yor still genuinely took up the role of Anya's mom and has been actively working to be a good mother to her fake husband's daughter this entire time, and now she's gently pushing back on Loid about not helping him either.

They aren't in love yet, or at least aren't aware of any developing feelings, but Yor is still reaching out to Loid in a way that someone in a real committed relationship would to their partner. She doesn't need to!! She's completely in her right to not help him, to not care!! He has given her the explicit permission of it multiple times!! But she cares about him, Anya, and Bond, this little family they've created. She wants him to lean on her like she does on him

[canisalbus]

Does Machete enjoy the feeling of sleeping on Vasco's chest (like he's doing in that nosebleed in bed one) or does he prefer a pillow

.

[bread-wizards]

Love Laudna wanting Orym to be the one to cut her down if need be because she feels he can make hard choices, and Travis like "uh hello? What about Chetney? You want to put Orym through that anguish? I am right here" like damn, he right tho