#their story is just so tragic and beautiful

[prodbymaui]

Fraying Hearstrings

we were so beautiful, we were so tragic

The saying goes that time heals all wounds, yet with every tick of the clock, it feels like the cuts in your heart become shallower while the pain only burrows deeper.

“That was so embarrassing. Why would you do that?” Jaehyun's voice slices through the tension in the room, sharp and unforgiving, as he tosses his things onto the sofa, hastily following after you. His hair is disheveled, the stress showing in the wrinkles of his crumpled dress shirt.

“Embarrassing? Really, Jaehyun?" you snap, turning to face him. Your finger jabs into his chest before his hand grips your wrist with a force that’s all too unfamiliar. You flinch, momentarily stunned by the person in front of you—your husband, or at least, the man who used to be.

“Yes! You were embarrassing,” he seethes, shoving your arm away. “Throwing a tantrum like some kid who didn’t get their way? In front of my colleagues, my boss—God! Do you ever think before pulling stunts like that?”

He scoffs, letting his gaze rake over your tear-streaked face with a disdain that cuts deeper than any words.

“Or were you too busy trying to prove you were ‘right’ with your baseless accusations?”

A bitter laugh escapes you, disbelief spreading across your features. You cross your arms, trying to shield yourself from the hurt threatening to spill out. "Baseless? Are you kidding me, Jaehyun? I saw you, with another woman, sitting on your lap!"

"Keep your voice down. The kids are asleep!"

You scoff, voice trembling with both rage and heartbreak. "Now you care about the kids? After everything, you suddenly care about them? Is it because you're scared they'll realize their parents' marriage is a farce, that it’s not as perfect as we pretend it is? Or is it because you’re scared they’ll figure out their father’s a lying, cheating bastard?”

You stand there, the air thick with tension, your heart pounding as Jaehyun’s expression shifts from anger to something almost unreadable. For a moment, it seems like he might say something—apologize, perhaps, or at least try to explain himself. But instead, he just runs a hand through his hair, frustration etched into his features.

“Look, can we just—” he starts, but the words die on his lips when you shake your head, the gravity of the situation pulling you further from him.

“No,” you reply, your voice steadier than you feel. “You don’t get to just brush this off. I can’t believe you’d think I’d let it slide after what I saw.”

He opens his mouth to argue, but you hold up your hand, cutting him off. “I deserve better than this, Jaehyun. Better than to be treated like a fool. You’ve made your choice.”

His eyes flash with something that looks like guilt, and for a brief moment, it feels like you’re peering into the depths of his soul. But then he masks it with defiance. “You’re overreacting. You don’t know the whole story!”

“Then tell me!” you challenge, desperation creeping into your voice. “What could possibly justify you sitting with another woman like that?”

He falters, his bravado slipping as he grapples with his own defense. “It wasn’t what you think. She was just—”

“Just what?” You interject, your voice rising with frustration. “Just a friend? Just work-related? I’m done with the excuses!”

Jaehyun’s shoulders tense, his anger flaring again. “You think you can just accuse me and then walk away? This is ridiculous!”

“Ridiculous? You’re the one who was caught! You’re the one who made a fool out of me!” 

The room crackles with tension, each word throwing more fuel on the fire. “Maybe you should have thought about that before you made such a scene!” He shoots back, his voice rising.

“Maybe I wouldn’t have to if you weren’t so careless!” You yell, frustration boiling over. “You’ve turned this marriage into a joke, and I’m sick of it!”

He scoffs, shaking his head. “You think I wanted this? You think I wanted to be here fighting with you? Maybe we’re just better off apart!”

The words hang in the air, sharp and stinging. You freeze, your heart racing at the sudden clarity in his statement. 

“Are you serious right now?” You demand, disbelief etched on your face.

“Yeah, I am!” He snaps back, anger and hurt twisting his features. “Maybe we’re just tired of trying to fix something that’s already broken!”

A bitter silence follows, the realization settling in like a heavy weight. You look at him, eyes blazing, and for the first time, you see how worn down he truly is. 

“Fine,” you say, voice trembling with emotion. “If that’s how you feel, then maybe we should just stop fighting it.”

“Maybe we should,” He replies, his voice cold and distant.

With that, the air between you shifts, the warmth of your connection replaced by a chilling reality. You turn away, tears threatening to spill as you grapple with the decision that has emerged from the chaos. This fight may have revealed the truth you both have been too afraid to confront: it’s time to let go.

[timesomewhere]

in honour of the West End's next to normal closing today I've finally proof-read my 'things I noticed/general thoughts' post that's been sitting in my drafts since I saw it earlier this month. it's very long I'm very sorry.

Act One:

it was really fun watching this show in September given that there's two references to it in the first song

I adore the monologue about the pills that Dr. Fine gives during 'Who's Crazy'. it's rhythmic and funny yet also unnerving. It's such a quick and impactful way to summarise what Diana has been through for the past 16 years

Gabe does a 'one of your French girls' pose on the kitchen counter under the cabinets during 'My Psychopharmacologist and I'

Jamie Parker made direct eye contact with me during the last part of 'Who's Crazy' and it was one of the most intense experiences of my life

I might just be dense but I don't get the point of the neon sign that says 'Fine' which drops down during the Dr. Fine scene. Initially I thought that then one would drop down saying 'Madden' during his scenes to help people differentiate between the doctors but then it didn't so it just feels like a weird extra prop

speaking of random props, shout out to the iPad on the table in the opening scene which Gabe pretty much instantly takes away after telling Diana that she shouldn't obsess over tragic news stories and is then never seen again as far as I remember

Dan in the flashback scene being such an optimist about Diana's pregnancy and the future they're gonna have together... soul-crushing

Caissie Levy's 'I Miss The Mountains.' Holy Shit.

I love how Diana and Gabe are the only characters who sing on/stand on the table. it's as though it's this extra dimension of the house that only they have access to and it's a really neat and subtle way to show that they relate to each other in ways other characters don't

'It's Gonna Be Good' is so underrated. Jamie Parker's somewhat genuine optimism becoming optimism-through-gritted-teeth is incredibly acted

The way Jamie delivers the first line of 'He's Not Here' is devastating. the heaviness of that moment as you feel the audience around you realising what's just happened is something I'll remember forever

Gabe body-blocking Dan from Diana during 'I Am the One' is such good staging. People talk about how Jack Wolfe plays Gabe with a lot of layers and a lot of simultaneous contradiction and this song is one of the best examples of that. how Jack manages to project a character who is goading his father and protecting his mother at the same time is beyond me

also Jack has maybe half-an-inch on Jamie which obviously isn't something the actors control but it does makes Gabe seem just that bit more threatening when he's getting in Dan's face

for the first part of Superboy and the Invisible Girl when it's just Natalie singing, Gabe is actively laughing. He's totally unperturbed by her efforts to make herself seen to her mother. it's only when Diana replies, particularly when she says "you're our little pride and joy, our perfect plan" that you see his face drop and you see him trying to figure out a way to stop her from getting Diana's attention which then results in him kicking her off the melody in her own song

"I'll hurt you" being directed at Dan and "I'll heal you" being directed at Diana as Gabe gently touches her face gets me so bad. but the most painful part of 'I'm Alive' for me is when Gabe looks at Dan as he says "I'm the perfect stranger who knows you too well." that's the first time you realise that perhaps Gabe doesn't just impact Diana, and there's something much larger at play

Caissie and Jack W's voices harmonising on 'Catch Me I'm Falling' was one of my favourite parts of the whole show. Their voices are so magical together and their mother/son chemistry is incredible

The 'I Dreamed A Dance' into 'There's a World' sequence is one of the most tragically beautiful things I've ever witnessed. I went into the show knowing what Gabe was trying to achieve during 'There's A World' and yet Jack's voice is so beautifully haunting you totally forget you're supposed to root against Gabe in that moment

Jamie Parker's 'I've Been' is some of the best acting through song out there. Interestingly my friend and I had very different interpretation's of what Gabe's horrified reaction to the blood meant. I viewed it as him being upset about what he convinced Diana to do - he doesn't like seeing her hurt. Whereas my friend saw it as him being angry at himself that she didn't manage to follow through, meaning that he has failed to regain control over her life

'I'm no sociopath, I'm no Sylvia Plath. I ain't no Frances Farmer kind of find for you' is one of the best musical theatre lyrics of all time. I genuinely don't know why I Miss The Mountains is the 'big song' known from N2N over 'Didn't I See This Movie?', it's just so good

Natalie's 'She trusts you!' line is heartbreaking, I was basically watching that entire scene through my fingers because of how high the emotion was

Act Two:

'Pfizer's woman of the year' will in fact be peak comedy every time. Eleanor's delivery is *chef's kiss*

Gabe having just one line in 'Wish I Were Here', and that line being 'Wish I were here.' Yeah. I feel very normal about that.

Natalie's line of "Can I hide my stupid hunger, fake some confidence and cheer?" being pretty much exactly what Gabe has done throughout the entirety of act 1

"And you're not a scary rockstar anymore" got one of the biggest laughs at both of the shows I went to

Dan's desperation during 'Better Than Before.' He is simultaneously trying to cajole Diana into remembering and get Natalie to be more positive. This one song really highlights how he's being pulled in a million different directions while trying to hold it all together and Jamie portrays that so well

Aftershocks. Wow. The way the last word of each line echoes throughout the theatre is great sound design. I've been in exam halls louder than the audience during that song. Holding a room that captive as a silhouette is quite the feat Jack Wolfe you will always be famous

"I don't know where the fucking pieces go" as Diana pushes things off the table as if there's a real jigsaw there that she's rage quitting and choosing to give up on is such a nice detail

"Have you talked of your depression, your delusions and your son?" The gasp in the theatre both times was sickening

the response of "good' in reply to "name?" when technically that was part of his name as they are the "Goodmans". I don't really have a point here I just think it's neat

The 'It's Gonna Be Good" reprise was one of my favourite Dan/Diana moments. Caissie and Jamie are really pushing each other to their emotional limits and they handle it so well

The first "Why stay?" is so fragile as Diana sits against the kitchen island. Also interesting given that Dan and Gabe will also sit against there later when they are at their lowest point in the story. The idea of the characters crawling to the 'centre/heart' of the home when they are at their weakest

"This is one old game that I can play so well" is the line that has stuck the most with me throughout the show. Jack's delivery of it while striding across the kitchen table - seemingly totally invincible - is crazy.

how Caissie manages to deliver "you shrugged and said that no one really knows" with humour and desperation at the same time is amazing

When Gabe and Diana stand on the table and if they let go of one another they'll fall. yeahhhhh.....

Gabe's realisation that Diana isn't going to give up on getting better. Totally collapsing in on himself and beginning to cry. How you manage to feel bad for him after all the destruction he's caused is wild

Diana's "maybe I'm tired of the game" relating back to Gabe's "this is one old game that I can play so well"

the lyrics in 'Hey #3' clearly reflecting things Diana has done, Henry cutting Natalie off at "bleeding in the bathtub"

"I am the one who'll heal you" being said to Dan not Diana this time

"Why didn't you go with her?" is the most devastating line in the whole musical I said what I said. Jamie's delivery of it is heart wrenching

the drums and bass kicking in for the loud part of I Am The One as Gabe becomes desperate to be seen once again

Jack and Jamie's acting in this moment is so intense. there's a moment where it's genuinely feels as though only one of them can make it out of the interaction alive

Jack's emphasis on the word 'loved' in the line "I am the one who loved you" nearly killed me on the spot. how somebody can deliver a line so desperately while remaining pitch perfect is unfair

Natalie coming in to kiss Dan's head at the start of 'Light' like Gabe kisses Diana's in the first scene. I'm such a sucker for a gut punching

the "And are they real?" line about Diana's parent's from Henry gets such a loud reaction from the audience. Some people laugh immediately, some people clearly get shocked out of their sobs. so good

In conclusion, this is my favourite musical of all time and I'm going to be so annoying waiting for the pro-shot to come out

[gremlinmodetweeker]

okay okay, it's a lil silly but hear me out konig + phantom of the opera au

man's got it all; need to cover his face, obsessive tendencies, and the need to be a secretive lil (big) weirdo *chef's kiss*

NO NO NO HOLD ON YOU'RE COOKIN. NOT SILLY AT ALL.

Now look here, I dunno if you know this, but I am a sucker for classic literature. One of my top three favourite books of all time is Frankenstein by Mary Shelly. That woman ate when she wrote that book and I will listen to nothing else. I also really want to write an essay about how Frankenstein is Mary Shelly discussing the inherent horror of motherhood in those times and how the lack of a mother figure shapes an individual. I think it's an extremely layered book, but I like to see the parenthood lens of the book.

Now now now, this is about Phantom of the Opera. I do know a bit about the original phantom, and I don't like to think König or reader dies in the end (just personally, I can't write a tragic ending. I really need a happy ending, not for the reader, but because I need a happy ending). So, let me introduce the idea that this is a version where the phantom wins.

This is one where the phantom was fucking right and actually, freak of nature as he is, maybe he had a point!!! Maybe, reader shouldn't be dating someone twice their age. Maybe, though König is a bit older for sure, he's actually not that old and a more appropriate age. Albeit, though now recovered, König still suffered a case of leprosy after being exposed during a war. He considers himself hideous, but maybe reader would be able to look past his sickness?

Now, is König appropriate as a lover? Probably not. He's obsessive, jealous, and a borderline stalker. He's determined to kill off the man who's trying to seduce her ('How dare you try and take my little songbird away from me!!!') and will do anything to keep reader to himself. However, he's also saving reader from a far worse fate with someone worse than him.

Reader is enchanted by Makarov of course, but König knows better and is determined to show her the light. He desperately wants to just talk to her and explain everything to her, but at this point he's committed to what he's doing and social anxiety makes him unable to just knock on her door and talk to her like a regular person.

Once again, like every incredible story in the English language, if you guys just talked everything would be fine but nobody knows how to be an adult.

Anyways, König loves reader dearly. Watching her perform makes his heart ache. His one saving grace is a beautiful voice he uses to enchant her. If his face is nothing but sickness, let him sing to his little songbird and help her connection to music. He'll do what he can to cling to any connections he has to her. He's desperate to hold her, and he'll do whatever he needs to to get to her.

IMPORTANT EDIT:

König with the phantom mask but he has two long red ribbons coming out the bottom of the eyes and the rest of his face is hidden under a dark hood. Consider it.

[little-teacupss]

Harriet's lullaby. Mini fic

Note: This is a mini fic to "The Trapped fairy." And the prequel that I hope to have out by next week, big thank you to my best friend @brokenmilkcrates, go show Zach some love because he's been helping me come up with ideas and lore for this whole series :D go show love to @skellseerwriting who has also been giving me tips and ideas for this series! For the tag list, if you want to be added, put mail in the mailbox!

Tag list" @jupiterisaroace, @brokenmilkcrates , @skellseerwriting, and @giveityourworst! @saturnisaroace

Note 2: Remember you can give criticism without being a prick! Also, I hope you enjoy this little story, the song "Home." From Broadway Beauty and the Beast is what inspired it and will be sung in it!

___________________________________________

Fay smiled at the little girl who rolled around under the covers and giggled at her mother, who was trying to get her to sleep, Harriet squealed when her mom threw the blanket over her head before quickly removing it again, before she began to pout and cross her arms at her mom.

"Will you sing me to sleep, Mama?" .Harriet asked her mother with curious eyes as she stared up at her, Fay's smile softened as she nodded and climbed into bed next to her daughter, who curled up against her side as close as she could possibly get, Harriet let out a soft yawn as Fay's calm voice filled her ears. "Yes, I made the choice for Papa. I will stay, but I don't deserve to lose my freedom in this way, you monster."

She hummed and began to sweep Harriet's hair gently and brush through it gently, twirling the ends that curled, as she sang. "If you think what you've done is right well, then you're a fool think again.

"Is this home? Is this where i should learn to be a happy, never dreamed that a home could be dark and cold, I was taught every day in my childhood. Even when we grow old, home will be heart is never were words so true, my hearts far far away home is too, is this home is what this what I must learn to believe in, try to find something good in this tragic place?"

Fay turned her head as she sang when she heard a loud creak from behind. Her eyes dilated when her eyes met James' dark ones that stared at her from the doorway as he listened to her sing. "Just in case I should stay here forever held in this empty space, oh but won't be easy I know the reason why."

She watched as he approached, and also climbed into the bed. He gently ran a hand over Harriet's hair as she fluttered her eyes, James smiled before nodding at Fay to continue her lullaby. "My hearts far far away homes alay what I'd give to return to life that I knew lately but I know I can't solve my problems going back, is this home am I here for a day or forever, shut away from the world until who knows when?"

She smiled at James as they both looked down at their sleeping daughter, who was curled in between before she continued. "Oh, but then has been altered once it can be changed again built by the walls around me, change every lock and key."

Fay's gaze trailed up from Harriet to James' relaxed face as he watched their daughter before his eyes met hers as she sang. "Nothing lasts. Nothing holds all of me, my hearts far far away home and free."

As she finished the song, James leaned forward, Fay was shocked when she felt herself leaning forward to meet him. The two shared a slowly, passionate kiss full of love and agony. She felt his hand come up and cup her cheek to which she brought a hand up to the back of his neck and began to gently play with the ends of his hair, the two only separated when they were panting and gasping for air, as they stared at each before laying back down where their daughter laid in between then.

The two brought the hands to the middle to rest over their daughters chest, where they intertwined over her before moving, so their foreheads were touching against Harriet's small head, the two stared at each other like they were in a staring contest before, Fay's eyes began to flutter shut, she felt a pair of lips against her forehead, her eyes opened to see James laying back in his original place as he whispered. "I love you, Fay."

Fay stared at him as she dragged her teeth over her bottom lip before she also whispered. "I love you too, James."

The little family soon fell into a slumber, with James holding Harriet and Fay close while Fay held onto Harriet with her head nuzzled against his chest while James hummed a familiar tune.

___________________________________________

Does anyone want to guess the song he was humming? Anyway, I hope you like this little mini fic, I literally just thought to write of it like thirty minutes ago, so I hope you enjoy!

Anyway, until the next story! Ba bye!

[dis-astre]

i love love love the quote "tu sais que je crois à toi" ("you know i believe in you") in les miserables cause it hold so much meaning for grantaire's character cause he's a cynic, he's not supposed to believe in anything but he believes so much in enjolras that he's willing to die for the cause etc

but at the same time i can help but to think that this line is just a lie. he doesn't believe in enjolras, because believing in him means believing in the cause and in the revolution and everything enjolras' character symbolizes. he doesn't believe in him, he loves him. he means "you know i love you", but obviously doesn't say it (and so enjolras doesn't know it). he doesn't go to the barricades because he believes in the cause. he goes to the barricades because he loves enjolras so much he can't do anything else.

[bougiebutchbinch]

Do u ever just think about. Eury sitting on the beach. Waiting for Odysseus after warning him not to go after Circe. Wondering if he'll ever see him again

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[frostbite-the-bat]

society if literally 80% of rw fandom and especially rw analysis youtubers (who are great, EXCEPT) stopped calling gourmand heckin' chonker chubby diabetic ginormous whatever and paid more mind to their whole character and not just the fact that they're fat

[hadesknockedupintheunderworld]

Madk's mangaka is one of the few people who truly understands the old adage

Love and hate are two sides of the same coin

[gunpowdercarousel]

It's weird that Larian seems to show Astarion a lot of favoritism in terms of content and yet his companion storyline is such a side quest compared to all the others. As far as I'm aware he has no real connection to the mindflayers/Absolute other than the initial kidnapping/parasite insertion, which is - like - the bare minimum needed to have a connection at all.

His conflict with Cazador is such a random aside when you're in Baldur's Gate. It's like yeah I need to stop the other two Chosen, I need to solve this murder conspiracy, locate the Elder Brain, deal with Raphael, figure out what to do with the Crown of Karsus, and... oh yeah, I guess there's Astarion's thing to deal with, too.

It's hilarious, really, because it means while this one huge, world-ending event was going on there was also - by complete coincidence - an entire OTHER world-ending event happening just down the street that wasn't connected in any way. Not only is the Absolute's army on the march, but Cazador is trying to become the Vampire Ascendant at the same time and only ASTARION knows about it. Cazador is literally just some OTHER bbeg whose centuries-old plan happens to be coming to fruition the same week as the Chosen's.

I literally almost forgot to do his plotline because it had so little to do with the overarching conflict of the story. The only connection he ever really makes is with Raphael, who he needs ONCE for ONE minor thing and that's it. And Raphael isn't even that important to the Absolute plot, himself.

Astarion doesn't really have any connections with the Chosen, any other characters, any other antagonists, he's just kind of his own thing. Once you deal with Cazador he's just kind of along for the ride. Meanwhile, Wyll's father is integral to the Chosen's plan, Shadowheart has the plot McGuffin that can foil the Absolute, Lae'zel's people are sworn enemies of the mindflayers, and Gale wants the Crown of Karsus for himself, not to mention his Goddess is literally tasking him to deal with the Absolute.

Everyone else has a good reason to be there EXCEPT ASTARION. Like he's just there because he has a worm.

Anyway, rant over.

[disaster-bay-leaf]

thinking about house md being a tragedy doomed by the narrative

[official-english-major]

*grabs you by the shoulders while frothing at the mouth* all great works of literature feature themes of love and loss

[scrimblospectrumdisorder]

unironically one of the most fucked up endings to any manga ever i literally cried for like 30 minutes when I first reached the last few chapters of this

[martianbugsbunny]

Love the way Rosco and Despereaux are narrative foils. Their love for the light led them into the darkness. One of them wore what he wanted on his sleeve so that he was exiled for it and the other locked what he wanted away where only he was ever allowed to see it. They both lost their tails for different facets of the same quest. They both had their hearts broken, but one managed to put it back together right with forgiveness and the other didn't know how to mend his properly. One is a deceiver. The other is pure earnestness. One of them belongs not where he was born, but where he loves. The other doesn't belong anywhere, neither where he was born nor where he loves.

[milksnake-tea]

hes actually so beautiful what the fuck

[asgardian--angels]

anyway seeing people on iwtvtwt being legitimately upset/put off by the previews for ep 7 baffle me, im looking around the room like i thought we were all here to revel in this fucked up vampire love story which is, and I cannot stress enough, fucked up

I mean I'm obviously not seeing this from book fans but, it just is wild to me that show-only fans are somehow having a moment of 'whoa this is so messed up are they really going to xyz? I don't know if I can handle this' or even that they aren't going to watch it

did you miss the part where lestat literally dragged louis by the jaw in a trail of blood down the alleyway, or when lestat stone cold threatened to grind claudia's bones into dust if she didn't get back in her cage for louis's so-called happiness, or any number of the other pretty fucked up stuff in s1? let alone the very bonkers messed up stuff in the books? I just. We literally already had a scene in s2 where Louis hallucinates Lestat telling Louis to kill him because that's the only way Louis knows how to love, followed by Louis actually smashing his skull over and over against a stone wall only to realize he killed a random innocent person instead. That kind of fucked up is the expectation for this season.

Look, eps 7-8 are going to be intense, but still well within the realm of what's established in the show and certainly within the wide wide realm of the anne rice books. The show goes some very dark places emotionally and physically, and that's critical to the point of the show itself. Will it be tragic, and unfair, and brutal? Absolutely, as it was in the book. We cannot stop that Titanic from hitting the iceberg - Claudia will die and we cannot prevent it, but Armand could have and did not. There will be senseless cruelty, and mind games, and dark acts of rage and revenge. This is gothic horror and gothic romance, and I just don't think anyone should be genuinely surprised by what that entails.

Most of all, I just absolutely do not want to see any negativity towards the show after this episode, any 'how could you's or 'this was sick and disgusting' or animosity towards writers, cast, crew, etc. Do Not. This is not the show to be asking for, or expecting, violence or tragedy to be toned down, or major plot points like Claudia's death to be somehow changed. You do not need to have read the books to love this show, but it is imperative to acknowledge the show echoes the books in both content and tone, and that it does not shy away from those dark venturings is a hallmark of an excellent adaptation of an iconic series.

Anyways I am kind of apprehensive of going on Twitter after this episode, because I just want to revel in my feelings and not have to deal with or even think about other people's myopic grievances. This episode is going to make me lose my mind in the best of ways, and the more fucked up it is, the better. I want to see everything unravel, I want to see things in the present day come to a head, I want to see Lestat being made to condemn his sister-daughter to death, I want to feel Louis's sorrow and helplessness and rage when he cannot save her. Let's just have a good time, alright? We're not here because we want a happy show where everyone turns out alright in the end, we want a story that is compelling and complex and tragic and reflective.

basically everytime i see these twitter opinions i just remember jacob anderson in full burnt prosthetics singing jones barbecue and foot massage