#tad carruthers

[souslamer]

big fan of rediscovering fanfics in a fandom i haven’t been in for a few years. all these minor characters i have no recollection of

who is tad carruthers and why is he in all these fics???? did we make him up?? was he there the whole time??? idk. silly little guy tho

[lizpaige]

tag what u think happens if you’ve got thoughts 👀

[kaleidoskuls]

Ronan: im in love with Adam

Tad Carruthers, sniffing: everyone's in love with Adam. you're not special

Ronan: i'm his boyfriend

Ronan, with an asshole grin on his face: so yeah i am

[deadlyanddelicate]

“i’m so obsessed with him but he avoids me like the plague”. literally tad carruthers x adam parrish vibes

[sargentoh]

the raven cycle as things my friends and family have said

blue: "I am the menstrual cycle whisperer"

adam: "let's say i go to a big party with lots of girls," ronan: "this is really inaccurate"

adam: "i think i have a thing for older guys"

kavinsky: "little do you know i have 16 pounds of cocaine in my butt"

ronan: "i had a monster at church and then they kicked me out"

ronan: "if you give the horses crack cocaine and steroids they're basically cars at that point"

gansey: "i'm too protagonist to sit"

gansey (aka pynch wingman): "be like that's so cool and then talk about clothes and bands and how many kids ya'll want"

ronan: "i don't care about highschool. i care about tennis"

blue: "the moons moving into aries so i didn't know if my feelings were just acting up"

adam: "i wanna make a positive change in the world but the only ways i can are illegal"

blue: "with men you're like wow. and with women you're like wow that was written by a man"

adam: "he wears girl jeans" gansey: "THEY'RE COMFORTABLE!!"

henry: "my parents don't hate anyone but me"

henry: "i like the blue ring pops because it makes it look like i gave head to a smurf"

blue: "every time i look at my hands i think they're dirty but i'm just brown and it won't come off"

noah: "wait that dudes also asian. must run in the family"

noah: "banjos are just guitars with southern accents"

gansey: "once a scrapbooker, always a scrapbooker"

blue: "i think he tried to moan at me but it sounded like a seagull"

tad carruthers: "i'm not gay, but 20 bucks is 20 bucks"

gansey: "do you know karl marx?" noah: "yeah, best president ever"

henry: "yeah i was up until like 2am watching videos of bees getting cpr"

blue: "yknow how schools have mascots? yeah so like is rainbow dash gay peoples mascot?" henry: "no it's sarah paulson"

[mycolddisaster]

[one-squash-one-end]

An unhinged recap of Ronan's homosexuality

Hi! This once again belongs to my big Raven Cycle analysis, click here for the masterpost.

Again, there's not much room for speculation here, but i had to write it for completionist purposes. I apologize for certain metaphores used, for the most part when I was writing this I was going through it (brain was fried).

Here u go (also spoilers for Greywaren)

d) Ronan Lynch

Next to Adam, Ronan is the only other canonically queer person in the Gangsey. A flaming homosexual with a car fetish (because there was something unbelievably sexy about cars at night). Ronan is the original Be Gay, Do Crime. (Adam is the Be Crime, Do Gay to that.)

You get the gist; he is seriously involved with one guy but used to have some bits of self discovery (not only on the topic of his sexuality) with another, which ended because that guy kidnapped his brother because despite being gay, Ronan unbelievably was not into him. I’m sorry, I really do not want to dissect the entirety of Pynch in here, that would go way too far and I bet there are so many people who could do and have done this better than I ever could, so I’ll stick to elaborating some more on how we find out that he is gay, considering I think he doesn’t say the word until Call Down The Hawk.

In the first book, Ronan does not get a pov, maybe because Maggie needed some more time to figure out how to make a character subtly and thirst over another character in a secret and homosexual way. Still we get some small hints, based on conversations with other characters, or just his behavior in general.

Gansey: “From now on I need all of us to be straight with one another” Ronan: “I’m always straight” Adam: “oh man that’s the biggest lie you’ve ever told” This, of course, is legendary. Ronan is gay, he jokes about it, Adam knows it. I genuinely cannot tell whether Ronan had come out to his friends, whether he just did it through jokes like this etc. If the latter is the case, I honestly doubt that Gansey would have known, as oblivious as he is.

We also have the case study of Declan and his Ashleys. Ronan seems to despise the heterosexual standards that his brother portrays, but it is not clear whether that’s because of heterosexuality, or because of Declan, because let’s be honest, in book one, Ronan would hate, absolutely hate, anyone Declan dates out of principle, because Declan’s just a bitch, or a manwhore, as Gansey would say.

Then it gradually all becomes very much obvious in The Dream Thieves. We got the parallels with religion, his nightmares (his night horrors/self-hate maybe being because of internalized homophobia?) and of course the secrets. The secrets you keep from yourself, the very obvious metaphor. Plus Kavinsky literally calls him the f-slur. You will very easily pick up on that if you’re not as oblivious as I was when I first read the book (I was in my Declan Lynch era with a tummy-ache ok?), but it is explicitly resolved in the epilogue. There is no more room left for ambiguity, thank you Maggie for ending the queer speculation yourself, within the book.

Then there’s gender, of course there’s gender. Gender is like Tad Carruthers, just always materializing out of nowhere, especially when you just want to stay away from it because it’s fake and a massive bitch.

Ronan definitely identifies as male, but if you look at this a certain way he is somehow trans or defies the entire concept of gender either way, considering he is a supernatural being, spirit, entity, that was just socialized as a boy. Ronan is like Cabeswater, or Lindenmere, which both don’t have a gender, obviously, they are forests. The Greywaren is often referred to as an “it”, which makes sense when people don’t know the Greywaren is human, but something about the entire thing smells very trans rights to me. Also that eldritch horror, not quite human at all,  jumble of dark matter thing in Greywaren was just so gender of him.

Ronan would wear a crop top, there’s no doubt to me.

[fortyflightower]

i miss u parsifal tdt……

[nibblette]

On a lark (pun intended) I started watching some YouTube videos about ravens and other corvids. It made me think there should have been so much more Chainsaw tomfoolery in the Raven Cycle books. I mean if Ronan, Adam, and Noah were planning car jumps, dragging a dolly behind the BMW, throwing things out windows, etc, they should have definitely been using Chainsaw for pranks. Teaching her Ganseyisms to mimic, having her drop glitter bombs on Tad Carruthers, divebombing Declan every time he came over to Monmouth, etc.

what else could have/should have the Gangsey used Chainsaw’s talents for?

[evenstarfalls]

when the fanfiction you want to read does not exist and you have to write it yourself 👎👎👎👎👎

[adambasilica]

conservative trc fancast ‼️

starting off with our main four: adam, gansey, blue, and ronan lynch <3

here we have: gansey (understudy), tad carruthers, and everybody’s favorite…. joseph kavinsky.

[cantsayidont]

Recentish movies of note, or not:

BOTTOMS: Ridiculous "teen" comedy about two gay high school losers, PJ (Rachel Sennott, who also co-wrote with director Emma Seligman) and Josie (Ayo Edebiri), who seize on a rumor about their having been in juvenile detention to start an after-school "self-defense club," in the hope that introducing the school's hottest cheerleaders to the cathartic thrill of girls beating the shit out of each other will finally give these hopeless (and ho-less) virgins a chance to score. So silly that complaining about the stupidity of the plot seems a tad churlish, but the story misses some obvious comedic opportunities, and despite the premise, the film eventually becomes far more interested in cartoonish violence than sex. If you dig the overall vibe, you might not care, but as a gay teen sex comedy, it's ultimately less successful (and less outrageous) than BOOKSMART, even though only one of the latter film's teen loser heroines is gay.

DO REVENGE: Black comedy homage to the teen comedies of the '90s and early '00s, inspired in part by the 1951 movie version of STRANGERS ON A TRAIN, about a disgraced prep school popular girl, Drea (Camila Mendes), who joins forces with gay weirdo Eleanor (Maya Hawke) to avenge herself on her former friends and find out who leaked her sex tape — a plan that involves giving Eleanor a makeover so she can infiltrate the popular kids. Hawke is a delight, Mendes is very good, and the homoerotic tension of their odd relationship makes the movie fun for a while, especially if you appreciate the many self-conscious homages to prior teen movies. However, a major reveal late in the second act makes hash of the already sloppy plot, and the finale is both nonsensical and as antisemitic as STRANGERS ON A TRAIN author Patricia Highsmith, which leaves a sour aftertaste.

IT'S A WONDERFUL KNIFE: Bizarre slasher movie pastiche of IT'S A WONDERFUL LIFE, about a teenage girl named Winnie Carruthers (Jane Widdop of YELLOWJACKETS), who kills the masked serial killer who's been terrorizing the small town of Angel Falls and murdered her best friend (Hana Huggins) at Christmastime. A year later, everyone in town seems to have gotten over it except Winnie, who's miserable. On Christmas Eve, she's magically transported into an alternate timeline where she was never born and the masked slasher has continued murdering people, including Winnie's brother (Aiden Howard). To set things right, Winnie has to stop the villain all over again with the help of Bernie Simon (Jess McLeod), the town outcast and the only one who believes her story. Not scary, gruesome, or suspenseful enough to be much of a horror movie, but there are enough grisly murders to make the comedic holiday fantasy aspects seem a trifle sociopathic, and a late reveal that the killer has supernatural powers beyond just stabbing or slashing people feels like one ingredient too many in an already convoluted plot. The main redeeming feature is that it's ultimately a gay love story, which I wasn't expecting, but appreciated nonetheless.

THE KILL ROOM: Uma Thurman, Samuel L. Jackson, Joe Manganiello, and Maya Hawke go slumming in this dumb black comedy about a handsome hitman named Reggie (Manganiello) who becomes the sensation of the art world after his mob intermediary (Jackson) concocts a scheme to launder Reggie's payments by selling his abstract paintings (under the nom de plume "the Bagman") through a burned-out, Adderall-snorting art dealer (Thurman). Intended satire of the cutthroat vacuity of the art world lacks bite and no part of the plot makes any sense, but sheer star power gets the movie through about half its 80-minute running time before the banality becomes terminal.

POLITE SOCIETY: Silly British action-comedy by Nida Manzoor (creator of WE ARE LADY PARTS) about Ria Khan (Priya Kansara, delightful), a Pakistani teenager who aspires to be a stuntwoman, and her quest to save her flaky art student older sister Lena (Ritu Arya, radiant) from marrying a handsome doctor (Ashay Khanna) who seems a little too good to be true. It looks great, and the characters are very charming, but the story waits much too long to clarify the stakes of the plot: Until the finale, we don't know if Lena is actually in any danger or if Ria is just letting her imagination run away with her, and that uncertainty becomes an unwelcome distraction in the later action sequences. As a result, it feels more like an update of the John Hughes perennial SIXTEEN CANDLES than the over-the-top action movie it obviously aspires to be.

SHIVA BABY: Low-key but vivid comedy of manners, written and directed by Emma Seligman, starring Rachel Sennott as Danielle, a bisexual 20something Jewish girl who secretly pays her bills as a sugar baby. When she goes with her parents (Fred Melamed and Polly Draper) to a shiva, she finds herself trapped with not only her most annoying relatives, but also her disgruntled ex-girlfriend (Molly Gordon), her current sugar daddy (Danny Deferrari), his gorgeous blond wife (Dianna Agron), and their new baby. Seligman milks every awkward nuance of this uncomfortable social situation for maximum dramatic effect, and the tension of the final scene (which is nothing more complicated than the characters trying to squeeze into the back of Danielle's father's minivan) will drive you right up the wall.

VOLEUSES (WINGWOMEN): Is it really possible for a 40-year-old Frenchwoman living in the 21st century to not know that lesbians exist? One wouldn't think so, but watching this jokey buddy-action movie suggests that director/co-writer/star Mélanie Laurent desperately needs some kind of educational intervention in that regard. This is for all intents and purposes a lesbian romance: Master thieves Carole (Laurent) and Alex (Adèle Exarchopoulos) live together, routinely sleep in the same bed, and plan to retire together; they constantly express their love and affection for one another, and when Carole discovers that she's pregnant (the hows of which are never explained), Alex immediately assumes that they'll be moms together. Nonetheless, the story not only attempts to no-homo this cozy domestic scenario, but also presumes that there's no way Carole and Alex's relationship could ever be the de facto marriage it obviously already is — indeed, a crucial story moment involves Carole tearfully wishing she were a man so she could love Alex the way she deserves! If the movie had been made 50+ years ago, this might be poignant, but in 2023, it's just weird, and the resulting cognitive dissonance largely overshadows the thin plot, which concerns Carole and Alex trying to persuade their bitchy, cheerfully murderous employer Marraine (Isabelle Adjani, barely recognizable beneath her big hair and oversized sunglasses) to let them retire, while training a younger woman named Sam (Manon Bresch) to become their driver and the ambiguously defined third in their domestic ménage à trois.

[declansboobs]

i decided adam hates tad carruthers because he’s an obnoxiously fruity gay who like clicks his tongue and says “slay” and it gives adam the ick bc adam in his heart is homophobic

[baladric]

my favorite part of trc is adam not noticing that tad carruthers has a huge crush on him, just tad like making a point of looping adam into a conversation and adam like aw, this asshole 🙄

[lizpaige]

I have a headcanon that despite neither of them being big on PDA, when Ronan picks up Adam from aglionby sometimes, he’ll kiss him in the parking lot when he knows Carruthers is watching

yesssssss i love a good tad carruthers jealousy hc! mwhahaha and i love this! 👏👏👏 i would also love to hear about the moment ronan tells oblivious adam parrish that tad has eyes for him 👀 i feel like adam wouldnt believe him loltysm for sharing!! 💕

send me your floofy early pynch headcanons pls! tyia 🙏

[neurosses]

Sometimes I go back and think of the perfection that is Ronan crashing the bmw—like it’s just so perfect for this narrative and his self destruction after Niall’s death and then Adam sees it hauled in and how it’s a metaphor for Ronan spiraling and Adam can’t help but care even if it kills him just for kicks and giggles during my reread but this prob made no sense but the impact of Ronan crashing his fathers bmw just did something for me

Hello! I think this makes PERFECT SENSE. Remember this passage in canon?

Ronan loved it so much. He nearly couldn’t bear it. He wanted to destroy something.

The rage and self-destruction mask the love, the grief, the pain.

That chapter is also so charged because Ronan immediately becomes the most interesting and real thing for Adam when he enters the scene. Begone, insecure Aglionby boys! (And thank you once again, Tad Carruthers, for your selfless contribution to the narrative.)