#we love some exact parallels

[fromtheseventhhell]

Another reason that Stansas hate the idea of Arya and Dany being friends (outside of them wanting to demonize Dany) is that they've convinced themselves that Dany and Sansa are the only main female characters, so if a Stark sister is going to have a significant relationship with Dany it has to be Sansa. Arya being constantly downplayed and treated like an accessory to Sansa has generally led to the consensus that her relationship with Dany will be defined by whatever Sansa's relationship (positive or negative) with her is. That's why Arya is always being left out of the "we were robbed of [x] female character friendship" conversations and why theories about Dany/Arya getting along are treated as Sansa hate; Arya, as a character, is seen as secondary to Sansa by a lot of people

[sskk-manifesto]

Ep 4 :)

[july-19th-club]

one thing that is so genius on a craft level with the broken earth books is that the derogatory for 'orogene' is - That Way - on 100% purpose. you're supposed to feel like it's not a word to say out loud, it's supposed to be uncomfortably similar to words you've already heard and know as cruel slurs in the real world. it's a direct fucking parallel designed to deliberately give the reader that crawling feeling and it works so well i dont even feel right typing it up for a post

[suits-of-woe]

is anyone going to talk about the blatant antonio/bassanio/portia parallels in the andrei/goncharov/katya dynamic and how scorsese literally said in interviews that he wanted certain scenes to have a shakespearean feel to them or do i have to write the meta myself

[putuponpercy]

What was James and Thomas relationship like in the reincarnation au?

A pair of clowns bumbling together to figure out how being human works. This AU in particular has no ships, so they're still frienemies friends like in the show. But they do share this weird connection from being the only two ex-engines for the longest time, with only a month's difference between them, a lot of shit they go through for the first time they go through together.

It's also worth noting that Thomas is there with James when they lay eyes on the latter's old engine body for the first time as it's recovered from the ocean and vice-versa with James being there when Thomas finally sees what's left of his old body, with both of them delivering the line: "Whatever happens next, we're all here for you, yeah?" to each other beforehand.

[inkskinned]

for a while i lived in an old house; the kind u.s americans don't often get to live in - living in a really old house here is super expensive. i found out right before i moved out that the house was actually so old that it features in a poem by emily dickinson.

i liked that there were footprints in front of the sink, worn into the hardwood. there were handprints on some of the handrails. we'd find secret marks from other tenants, little hints someone else had lived and died there. and yeah, there was a lot wrong with the house. there are a lot of DIY skills you learn when you are a grad student that cannot afford to pay someone else to do-it-for-ya. i shared the house with 8 others. the house always had this noise to it. sometimes that noise was really fucking awful.

in the mornings though, the sun would slant in thick amber skiens through the windows, and i'd be the first one up. i'd shuffle around, get showered in this tub that was trying to exit through the floor, get my clothes on. i would usually creep around in the kitchen until it was time to start waking everyone else up - some of them required multiple rounds of polite hey man we gotta go knocks. and it felt... outside of time. a loud kind of quiet.

the ghosts of the house always felt like they were humming in a melody just out of reach. i know people say that the witching hour happens in the dark, but i always felt like it occurred somewhere around 6:45 in the morning. like - for literal centuries, somebody stood here and did the dishes. for literal centuries, somebody else has been looking out the window to this tree in our garden. for literal centuries, people have been stubbing their toes and cracking their backs and complaining about the weather. something about that was so... strangely lovely.

i have to be honest. i'm not a history aficionado. i know, i know; it's tragic of me. i usually respond to "this thing is super old" by being like, wow! cool! and moving on. but this house was the first time i felt like the past was standing there. like it was breathing. like someone else was drying their hands with me. playing chess on the sofa. adding honey to their tea.

i grew up in an old town. like, literally, a few miles off of walden pond (as in of the walden). (also, relatedly, don't swim in walden, it's so unbelievably dirty). but my family didn't have "old house" kind of money. we had a barely-standing house from the 70's. history existed kind of... parallel to me. you had to go somewhere to be in history. your school would pack you up on a bus and take you to some "ye olden times" place and you'd see how they used to make glass or whatever, and then you'd go home to your LEDs. most museums were small and closed before 5. you knew history was, like, somewhere, but the only thing that was open was the mcdonalds and the mall.

i remember one of my seventh grade history teachers telling us - some day you'll see how long we've been human for and that thing has been puzzling me. i know the scientific number, technically.

the house had these little scars of use. my floors didn't actually touch the walls; i had to fill them with a stopgap to stop the wind. other people had shoved rags and pieces of newspaper. i know i've lost rings and earring backs down some of the floorboards. i think the raccoons that lived in our basement probably have collected a small fortune over the years. i complain out loud to myself about how awful the stairs are (uneven, steep, evil, turning, hard to get down while holding anything) and know - someone else has said this exact same thing.

when i was packing up to leave and doing a final deep cleaning, i found a note carved in the furthest corner in the narrow cave of my closet. a child's scrawled name, a faded paint handprint, the scrangly numbers: 1857.

we've been human for a long time. way back before we can remember.

[snookienthusi4st]

I LOVE UR HCS PLSL MAKE MORE 🗣🙏🙏

i gotchu! lmk if you want the same or different characters bc i was thinking abt doing sm for light

l lawliet x fem! reader hcs

warnings: smut, overstimulation, food play, kind of angsty if you squint, au where he doesn’t die

nsfw under the cut

• yk unlike the other characters i feel like there’s a lot of ways you two could’ve met

• you could’ve been at wammy’s, light’s school, an assistant, etc etc but for plot’s sake, you guys met during the kira case with you as a task force member

• you’re smart but you can tell when an idea needs to be altered, he silently takes notice of that and pays more attention to you

• sometimes you’d catch him just staring at you, but he’s an odd character to begin with so you just brush it off

• when you two miraculously get a second in private, he ends up being the one to ask you out

• not immediately tho, like you have to know the man for at least a year or two before he even considers it

• like it’s dead silent in the room after matsuda and the others head home and he just starts talking and it catches you off guard

“y/n?”

“hm?”

“there’s something i want to discuss with you.”

“what’s that?”

• you’re patient with him, since the man has no idea how to vocalize his thoughts in situations like these

“i think i’m developing feelings for you.”

“oh, me too.”

• the exchange is straightforward and to the point, and he appreciates that you feel the same

• you two agree to keep things private

• less because you guys don’t want people finding out and more for safety concerns

• sometimes it bums you out a bit because you wish the two of you could go out on dates like normal couples do

• but then you get back home and find a bouquet and your fav sweet on the counter and you realize you wouldn’t have it any other way :3

• you’re friends with watari too, and he comes in and checks on you two smtimes when you’re in his office

• he’s a workaholic, but he’s exceptionally good at making time for you as well, considering how smart he is

• sometimes you pick him up a sweet from the store and get to headquarters like an hour early so you have a chance to see him alone before the day starts

• parallel play is a big factor in your relationship, like he’s working while you’re doing something in the same room w some small talk here and there

• and if you ask him to, he’ll always take a quick break and give you some attention

• last thing he’d wanna do as a partner is make you feel neglected, right? he’s so sweet i love him

• kisses are fleeting, kinda like near, but less uncommon

• whenever you two are alone, he’ll always kiss you at least once, whether it’s your hand or your face

• the most emotion you’ll ever see out of him is when you kiss him or hug him

• it’s subtle but his eyes soften a bit, kinda like when misa kissed him in that one episode

• he waits for what feels like forever, but eventually he does tell you his real name

• he just wanted to be sure he really is as in love with you as he feels like he is, since he’s never really been one to put his heart over his head

• would probably still be after the case is over, just to be safe

• sex

• funny enough, i feel like you’d be his first time, which makes him love you even more

• he doesn’t seem like the type to seek that stuff out

• yk until you guys start dating and it kinda hits him that he could literally just ask to have sex with you

• which is what he always does, we love a consensual king

• has a low libido, but one of his favorite things to do if you have a higher libido is overstimulating you

• like he’s fingering you and curling them into that exact same spot, drawing out orgasm after orgasm from your aching body

“i’ve got you, just give me one more..”

• as for oral, he’s 50/50 when it comes to giving or receiving

• well maybe 51/49, he rlly likes eating you out

• will have your legs shaking afterwards every single time guaranteed

• apparently it’s canon he can tie a knot into a cherry stem w his tongue so best believe he WILL get you where you need to be

• he’s really gentle with you, even when he’s overstimulating you, his movements are always soft even when they speed up over time to get you closer

• he rlly is the sweetest, sex with him will make you feel so loved and appreciated, which is exactly what he wants to get across :3

• his words are gentle too, everything he says in that charming fucking voice is just so ughh

“shh, just breathe..”

“that’s my girl, just hold it a little longer. you can do that for me, can’t you?”

• would be into food play on a rare occasion

• definitely a whimperer when you give him head, i don’t make the rules

• overall he’s incredibly careful and shows you just how much he cares about you

• i feel like he’s into reading!

• like you’re asleep with your head on his shoulder, and he has one arm around you and the other’s holding a book and skimming through the pages until he’s ready to sleep too

• plays with your hair

• no matter what length or texture it is, whenever you guys are alone, he’ll js have a hand running through it

• you play with his too, and it’s rlly soft considering how little effort he puts in to actually take care of it

• would be into bands like the cranberries and the sundays

• idk it’s js the style of their music that makes me think of him

• before the case was over, sometimes you’d have nights where you couldn’t sleep from how worried you were

• worried that something would slip up and that kira would get to him, that anytime you’d see him would be the last

• but on nights like those, he was always incredibly reassuring, touched that you even care about him that much

“what are you doing up so late?”

“..i couldn’t sleep, can i stay with you?”

“you don’t have to ask, come here.”

• and he sits you on his lap and plays with your hair, whispering sweet nothings into your ear as he works until you fall asleep in his arms

• you’re such a new feeling to him, he’s never wanted to put anything over work before, much less something as unreliable as a person

• but you’ve earned his trust and his love, and he’s never gonna let you forget <3

[alwaysdaenerys]

I just feel bad for show-only fans of Game of Thrones and House of the Dragon sometimes, you know? Because the way that GOT ended, and the way HOTD is going to end, it's...bleak. All of the characters in the Dance of the Dragon saga are doomed; no one we truly love and care about is going to make it through, guys. It's horrible, actually. There is no victor--if that's even what we need anyway--and the status quo remains, crushing everyone beneath it's enormous, never-ending wheel: it's grim-dark and heartbreaking.

ASOIAF was supposed to be GRRM's response to that tragedy. A woman's family is usurped, she will take back what is hers, and achieve what her ancestor could not. But sadly, Game of Thrones is not ASOIAF and if you only watch the shows, you are going to see Rhaenyra go the same way as Daenerys, murdered and once again usurped. George wrote Rhaenyra as a tragic character, there is no doubt, but Daenerys is NOT SUPPOSED TO BE. She is meant change the status quo that tramples the smallfolk/women/cripples/ bastards/and broken things/etc. She is meant to live on and plants trees.

If you only watch the shows, all hope is lost. Nothing is solved. Nothing can truly be achieved. Nothing has changed. The wheel continues to turn. My heart aches to think that you will see the parallels and you'll wonder: is this the same exact thing as before? Did we learn anything?

I just hope book fans can get some relief, you know? Because George's ending absolutely cannot leave us without something to look forward to, without something to be proud of. He said bittersweet: not happy, not tragic, not hopeless. What future can the characters of GOT look forward to with an ending like that?

The Dance of the Dragons is the tragic tale, because ASOIAF is the dream of spring.

[heliza24]

Thoughts about Domesticity, Carework, and the American Dream in episode 2.5 of Interview with the Vampire

I’ve been mulling over episode 2.5 a lot. There was so much to love in the episode (the incredible writing, the kitchen sink off Broadway play of it all, the chemistry between Luke, Jacob and Assad, the vulnerability in Eric’s performance). But my mind keeps circling a couple of themes, trying to piece them together. So as usual I’m here on tumblr to try to work it out. 

I keep coming back to the way that Armand was gendered in this episode. His big complaint to Louis was that he was “home picking lint off the sofa”. He arrives with “mop and misery” to clean up the mess. Louis insults him by calling him “the good nurse”. All those things are feminized. They’re also extremely of the era; these are Feminine Mystique, mid-century housewife type complaints. The wife’s job is to make the husband’s life smooth and never worry about her own happiness. Obviously in the 1970s we’re seeing this begin to change thanks to second wave feminism. We’re in the process of trying to ratify the ERA, Ms. magazine has just been founded, and things are shifting. The kind of cheery domestic American dream of the 1950s is definitely shifting, and we see this in the episode as well. Betty Hutton selling sewing machines competes with Spiro Agnew resigning on TV. The watergate scandal signified a loss of faith in American authority, a kind of parallel destruction of the country’s father figure (brought down by journalists, no less). The comfortable lie of domesticity, the “prison of empathy” that Armand has created around Louis is crumbling. Armand is boring but he’s also bored, like a housewife taking valium to get by. The whole episode is set in an apartment that reeks of divorce, according to Daniel, and we’re seeing it play out in real time. When Armand lashes out to hurt Louis, he does it not through direct violence, like Lestat, but by holding his failure as a father over him, telling him that Claudia  never loved him. That jab, in combination with the way he’s edited Louis’s memories (gaslighting, another time honored form of domestic abuse) is enough to get Louis to hurt himself. LIke a wife who is always outwardly obedient to her husband but spends her time exacting petty revenge against him for the way he takes her for granted, Armand’s methods are never violent. They are soft and subtle and targeted.

I have to thank @bluedalahorse for first alerting me to the way the crumbling domestic American dream is threaded through this episode. And after she mentioned it I saw it *everywhere*. 

Obviously there is a level of complexity here in the Loumand relationship that this metaphor cannot fully capture. For one thing, Armand is a man. He was turned in a time before modern understanding of gender and sexuality really solidified, so in some way it makes sense that he would be the most gender fluid of our main characters, but his position would be a lot different if he were a woman, even a woman vampire. And Armand is very powerful. His insecurities and crippling fear of being alone keep him from exercising this power and walking away in a way that would perhaps be healthier for both him and Louis. But he is not trapped economically or socially in the way a wife would have been in this era. (That being said, I get the sense that *something* about the way the fire happened in Paris has made Louis and Armand go to ground. Maybe there is an element of being “trapped together because of fear of exposure”. But even then, I think my point still stands.)

To drill down and become more specific, there’s an extra added layer to the way Armand is feminized in this episode. I’ve written a lot about disability in this show and also the way it approaches eugenics, and those things were very on my mind as I rewatched this episode. (To be fair, they are always on my mind when I watch anything. Being disabled will do that to you.) Anyway, the specific way that Armand casts himself in this episode is as a caregiver. He is a beleaguered, bitter caregiver to those weaker to him. I think you hear this especially when he describes to Louis what happened: “you said the worst things you ever said to me, and then you walked into the sun. And now you are a convalescent.” The absolute sneer on the word convalescent.  The absolute disdain for being put in this position again. The way he denies Louis the blood and keeps him out of his coffin for so long. The “final act of service” in calling Lestat. And then the tenderness laced with fear. Will he “be on suicide watch for the next 1000 years?”. 

Armand is fascinating to me because of the way he seems to instinctively reject people who remind him of his own past weaknesses. Those weaknesses are buried down deep in his characterization, but they’re there and they’re important. He was sick and wasting away when he was turned. And before that he was an abused sex worker. You can see the way he dismisses people in similar situations in the way he treats Daniel in this episode. He calls Daniel a “broken boy” when he’s talking to Louis. He casually rejects the idea that there might be any sort of truth captured in Daniel’s tapes. The interviews on those tapes are with a sex worker and gay veteran and his disabled refugee husband. All of these people are so close to Armand in so many ways. I even think this is why Armand comes down so hard on Claudia, and why he cannot abide the true empathy and love Louis has for her. Claudia was turned when her body was weak. Weaker and more disabled, so to speak, than Armand. But they are not dissimilar. But Louis loves Claudia anyway, and respects her strengths. No one ever shown the love Louis shows to Claudia to Armand. No one ever granted him true empathy. The only way he has been able to hold on to any love at all is to grovel, to manage, to care give. The only way he experiences care is to give it. Of course he’s broken, of course he’s bitter.

So now we come to Daniel. The broken boy who has suicidal ideation and a drug problem, things that make him imminently dismissable in Armand’s mind. But Daniel also has a drive, a passion for life, and a love for the people who slip through the cracks. Louis and Daniel definitely share this great affection for humanity, and it’s what allows them to connect in San Francisco and again in Dubai. And it’s what makes him inscrutable, and captivating, to Armand. Because there really is no greater act of service than telling somebody’s story. Daniel describes himself as a therapist ironically in Dubai, but what he’s doing is carework. It’s real empathy. And Armand doesn’t understand that. Armand doesn’t understand what someone is doing recording the stories of people who were just like him. A whole universe of possibilities opens in the moment when Armand almost starts telling Daniel his story. Out of all the ways Daniel tries to save himself, that little life line of empathy is what almost snags Armand. But then Armand clamps back down, realizes he’s staring into a “black hole”. He’s trying to insult Daniel when he says that, but to me it just sounds like he’s describing himself.

When Armand is lulling Daniel into death, the thing he chooses to describe to him is the American domestic fantasy. He describes it as a fate worse than death. He describes it as a boring trap. And he specifically casts Daniel in the masculine, straight role in that fantasy, with a wife “vacuuming on valium” who “counts down his thrusts”. In some ways Armand is painting his own relationship to Louis as the worst possible fate that Daniel could suffer. (And it makes me wonder– did Armand ever wonder if he would amount to anything? Does he think his life has any meaning at all, if you subtract the vampiric powers? Armand has never stopped to introspect like this, but I wonder what would happen if you forced him to.)

But Daniel is stubborn, and his desire to tell stories and empathize with people resists death. I love that he still defends himself, still claims that he’s “a bright young reporter with a point of view” and that that is worth something. Because it is.

When Louis asks Armand to save Daniel, Daniel unwittingly becomes a symbol of Louis and Armand’s continued marriage. He’s a wedding ring, a vows renewal. He’s emblematic of the continuation of failing vampiric domesticity. And when Louis tries to repair the damage Armand has wrought, he isn’t able to offer Daniel soothing words about his ability to find a spouse or raise children or understand love. Louis doesn’t understand those things, so how could he teach Daniel about them? But Louis has always understood stories and humanity, so he is able to gift Daniel his writing and his reporting back. 

I think you can interpret Daniel’s failed marriages and difficult relationship with his children in a lot of ways. We could say that he was always going to fail at these things, regardless of whether or not he met the vampires, because of the discontent that Armand sensed in him. Maybe the trauma that this aborted gay hookup with Louis created was enough to re-closet him, and send him down a dark road of unfulfilled straight relationships. Or maybe Armand’s words really did echo around in his head and pull him down as much as Louis’s lingered and sustained him over the years. Maybe we’ll get more answers about this as the show goes on, or maybe it will live in the ambiguous world of memory and manipulation the show so often plays in.

Regardless, I think this episode was a masterpiece, and the way it firmly established these themes about the failure of domesticity and the burden and joys of carework are going to really matter, I think, as we hit the brutal conclusion of the season. When emotions are at a breaking point, especially between Armand and Louis, they are going to resonate because they were grounded in this little claustrophobic wonder of an episode.

As a little postscript, I’m not quite sure where we’re going with Devil’s Minion after this episode, or if we’re even going there at all. If a DM timeline happened in the past, it would require additional editing of Daniel’s memory, and I’m not quite sure if that reveal would work structurally. (I would love to be proven wrong about this though, because I would love for young Daniel and Armand to have interacted more, for Assad and Luke’s chemistry if nothing else. They were so wonderful together.)  If it were to happen in Dubai, or to happen again Dubai, however… well that’s interesting. Because older Daniel is disabled. He’s even more firmly in this category of people that Armand is apt to dismiss. And if they were to get together, there would probably be some aspect of caregiving on Armand’s part. And there would also be some caregiving on Daniel’s part, in his ability to listen to Armand. So that has the potential to be really fascinating, and maybe mutually beneficial to both characters. But I think we have to cover a lot of ground before we would be able to get there.

[thesiltverses]

Now that we have the complete poem... I have to ask, have you had it since the beginning, or was it made along the show? Also, were you to give it a title, would it be The Silt Verses? (Not to be confused with The Silt Verses the show or The Silt Verses fictional religious text within said show)

The poem actually might not quite be technically complete; when the dust has cleared I think I do want to quietly tweak these last two episode titles so they form an explicit repeating pair to finish off the final quartet. So:

Of love, and gods’ defeat; Of love, and gods’ defeat.

I didn’t want to do that right away, because at various points this season we’ve had people assuming they were listening to the very final episode and getting worried, so I wanted there to be a big flashing neon PART ONE PART ONE sign.

I didn't have the exact poem in mind from the start (because of course we've had to adjust the number of episodes over time and season-by-season) but I knew it was a poem about a storyteller who begins to tell a story, then begins to resent their own story, rages and rails at it, longs to be freed from it, but ultimately makes the choice to keep bearing it on into the dark until death.

I don't think I would call the poem 'The Silt Verses', although I don't know what I would call it! To me it's a separate but parallel mini-story, a kind of implied framing device from some future storyteller who's staggering through a desolate land and telling the tale of what went down in the show.

Sort of like an inverted Tales of the Black Freighter from Watchmen.

[chungledown-bimothy]

I have so many Thoughts about the ACOC backup charaters, especially in relation to the player's primary one.

Zac: Lapin and Cumulous are both socially reticent guys just on the periphery of the family. They both serve a higher power that is not the Bulb. Lapin was tricked into it, while Cumulous was created for it. Lapin hides it, Cumulous basks in it. Different perspectives on Fuck The Bulbian Church.

Emily: Neither Jet nor Saccharina wanted to rule. Jet would have envied Saccharina's freedom even more than she did Annabelle's, and Jet had everything Saccharina wanted most. Essays could be written about these two, so I'm gonna leave it there and move on.

Lou: We know very little about his backup character, but we do know that his name is Murdo Brer, and he's a necromancer (wizard) who lives way out in the far reaches of Candia. His extreme interest in the dark side of magic turned him into an oozing, slimy, legless molasses man. The exact opposite of Amethar, the illiterate pillar of a rock candy barbarian/fighter whose life is the center of everything.

Ally: Liam is an outsider, he doesn't really belong there. But Caramelinda went out of her way to check in with him about his well-being and suggest a way out of the castle, if he wanted one. He's the only person she was nothing but warm and kind to. (of course. her husband and daughters certainly didn't help that) And then Ally's backup character is Sir Amanda Maillard. The s'mores paladin having an affair with the queen. She belongs in the castle even less, and, of course, her relationship with Caramelinda is very, very close. These two spots of warmth and kindness in Caramelinda's otherwise extremely stressful and challenging life.

Murph: Saying that Theo loved Lazuli and that he is who he is because of her is an understatement. All we know about his backup character is that it was a Bubblegum Monster construct created by Lazuli. That obvious parallel aside, there's something there in the chewiness of gummy bears and bubblegum. It's candy that takes a wile and some effort to finish. They've got staying power. We see that in Swirlwarden's ability and really everything about Theo, and I think it's safe to assume that a construct that looks like that is also not easy to take down.

And then there's Siobhan. Where this started, for me.

Her backup character was Bitternight Darknibs, a warlock made of sugarless chocolate. She said that, if she were to have played her, she would have been Rococoa, having come back from the dead as a revenant to get revenge on Calroy.

Rococoa's need to avenge her murdered family being so strong it brought her back from the dead vs Ruby feeling like part of her died when Jet did and revenge being the only thing keeping her going. Jet being the one connected to Rococoa. If Ruby had died, Amethar would have lost his daughter and gotten back his sister, kind of.

We don't know how aware of her past Bitternight is, maybe it's just, like, a thing we know and will devastate Amethar to learn later, or if there is a more immediate recognition/reunion sort of thing. But no matter what, it would have been absolutely devastating.

[indigovigilance]

Bullet Theory

Thesis: Crowley passed Aziraphale a bullet during the Final Fifteen kiss. This bullet contains his memories. He tucked it under his tongue, then began to access the memories during the ride up the elevator.

Edit: debunked by God himself, in response to this post. As a reminder, please don’t send fan theories to NG.

Proof:

Glint in the mouth

Inspo credit to this post by @somehow-a-human

Yeah so we were already paying way too much attention to that very special four-letter word we thought Aziraphale was going to say, but it so happens that during that cut-off phoneme is the only time you can see this shiny object in his mouth. (catching this on the right frame was emotionally painful and I’m sending Gavin Finney my therapy bills (actually no I’m not I love you very much sir)).

So that’s the basis of this theory. Crowley passed Aziraphale a bullet that he then tucks under his tongue.

Add’l Evidence Post-Kiss

Aziraphale works his jaw after raising his fingers to his lips: [gif]

Then when the Metatron comes in, he turns his back on the Metatron and raises his hand. I originally thought he was wiping his eyes. Now I think he’s raising his hand to his mouth, maybe to spit out the bullet, maybe to make sure it’s secured under his tongue.

Credits Scene

Aziraphale has the craziest fucking look on his face through the credits, we can all agree. But towards the end, his eyes flicker back and forth, as if he is watching or reading something. Then he smiles. I hypothesize that he is still accessing his memories during this time, and getting the information he needs to [redacted].

Thematic Justification: The Bullet Catch

Aziraphale having a bullet in his mouth as part of a two-man act of deception is not a fresh concept by the time we get to The Final Fifteen.

Additionally, the use of surreptitious modes of communication, where messages are passed from person to person inaudabily, is introduced in this same magic trick. 

NB1: I wish I could credit the person who I first saw point this out (relatively recently). It wasn’t even tagged as meta, I don’t think. But the gist was there’s some parallelism between “aim for my mouth but shoot past my ear” and the “pin the lips on the lips” move that Crowley pulls in the Final Fifteen. If I find it I will properly cite.

NB2: One hypothesis that has circulated around, I think creditable to @sendarya, is that Aziraphale mouths “trust me” to Crowley just before he gets on the elevator. This isn’t necessary to the Bullet Theory but it would be thematically consistent.

Small objects carry memories

Why a bullet? Well, it’s a small object that has meaningful significance between the pair of people involved, much like:

Beelzebub introduces us to the idea that a small object like a fly can be used as a storage container for memories. We also see that the object entering the body of the person is a viable way for the memories to be delivered.

(btw Jon Hamm if you’re reading this, you have very pretty eyes)

“I keep a derringer in a hollowed out book”

K, so it’s not like Crowley is just carrying a bullet loaded with Aziraphale’s memories around with him at all times, is it? (I mean, it could be, but probably not. I’ll just point you to this meta for my theories on why, if Crowley had anything that needed to be kept safe, he would keep it in the bookshop.)

We learn in S2E4 that Aziraphale keeps a gun in a hollowed out book somewhere in the shop. A gun wouldn’t be any good without bullets, right? This may not be the reason the derringer was left as a Chekhov’s Gun for S3, but it’s a possibility. If Crowley wasn’t already in possession of a bullet, he knew that he could find one in the shop. Even more likely, the exact bullet used in the 1941 magic trick is a precious keepsake being kept somewhere in the bookshop, and Crowley chose to use that exact bullet because of the memories already directly attached to the object.

Why Aziraphale even has memories to be returned to him

We know that Aziraphale could have had his mind wiped because Heaven has done it before. Certainly once. Probably twice. We know this because when Metatron is announcing that Gabriel, alongside having his memories erased, is being demoted to 38th class, Muriel pipes up and reminds us that they are 37th class:

So this wasn’t a “just Gabriel” thing. Mind-wiping is a routine form of personnel management in Heaven. There is NO reason for us to believe that it didn’t happen to Aziraphale. But in case you need a reason to believe it, here goes:

We know from our interactions with Jim that the person whose memories are missing (1) doesn’t necessarily know and (2) isn’t necessarily distressed by that fact, even if they do. Muriel also fits this “cheerful empty shell” archetype. You know who else does? Ding ding ding. The one and only A. Z. “wiggles with delight” Fell.

I can already hear your very valid counter-argument. This guy is actually terrified out of his mind on any given day that his romance with a demon will be discovered. Yes. Because he’s involved in a romance with a demon. The other two angels we’ve met don’t have this issue. Beyond that, though, these three characters share more in common with each other disposition-wise than any of them do with the other angels we’ve met (Uriel, Michael, Sandolphon, etc.).

We also know that Aziraphale has been [demoted] at some point from Cherub to Principality. This is book canon: 

"Technically Aziraphale was a Principality, but people made jokes about that these days."

This has also been confirmed (insofar as Neil Gaiman ever confirms anything) by Word of God:

(marketing video screengrab clipped for brevity)

We don’t know for sure it was a demotion, but I think we have enough evidence to infer that with a high degree of confidence.

Anyways.

Summary: Aziraphale is a cheerful angel who was demoted and has a name that is not biblical canon. This evidence indicates that was probably mind-wiped. This is not the first time I’m proposing this. It won’t be the last.

How Crowley Did It

My meta on Continuity Errors gives the complete proof for why I believe that Crowley is able to stop time without Aziraphale knowing, and I propose in that meta that the kiss was a cover-up for the exertion of effort necessary to pull that off. I further proposed that during the pause, he retrieved something from the bookshop. At the time of writing, I didn’t know what. Now, I have an inkling that it was a bullet.

If you need a refresher on Clock Theory, here’s one. The idea is that the clock behind Aziraphale shifts by fifteen minutes from before the kiss to after the kiss. This is consistent with a theory that Crowley paused time (but the clock kept running) in order to retrieve the bullet, dump Aziraphale’s memories into it if he hadn’t already, and then return to transfer the bullet to Aziraphale.

Why Crowley Kept the Secret So Long

As with Continuity Errors, I am ending this meta with a very unsatisfactory “I don’t know.” The motivation for Crowley to keep Aziraphale’s memories from him until the very moment he’s about to leave must have been a strong one. I think it has something to do with why Crowley was so insistent on trying to get Aziraphale to run away with him, instead of dealing with whatever’s coming. But as with Continuity Errors, I suspect that the good omens meta hivemind (and the vast collection of people who are posting clues, you have no idea how important you are) will assemble yet more breadcrumbs that we can follow to some sort of hypothesis.

Until then,

iv

(here's my meta index if you would like to read more stuff like this)

[sassasafreeaction]

It’s time to talk about the Laudanum Lesbians, Elspeth and Wee Morag. Right away, it’s pretty obvious that you’re supposed to draw parallels between them and Aziraphale and Crowley. When the viewer first meets Elspeth, we get this gruff girl who threatens the two of them and is established to be doing something “morally wrong”. Life hasn’t been kind to her, and she clearly doesn’t trust people. To really drive it home, she and Crowley are on the exact same page while they’re talking to Aziraphale and wheeling the body to the alley. 

Then we meet Wee Morag, and it becomes apparent that every decision that Elspeth makes is to better their life together. She offers Wee Morag food (which is something our favorite demon is wont to do for his partner) and specifically oversells it as something fancier than it actually is. Wee Morag calls her an angel. It’s meant to be a little tongue and cheek since it’s in the presence of a literal angel, but it also serves as a way to show that while Elspeth may not be a Good person, that she at least cares about the person close to her.

Now for Wee Morag at this moment, we don’t get much from her aside from her obviously being the moral compass out of the two of them. She tells Elspeth that she's going to Hell literally two seconds after referring to her as an angel. The more important part of this interaction I would argue is Aziraphale’s response to Wee Morag. Some part of him recognizes a kindred spirit in her. He takes off his hat in a show of sincerity and says that it was lovely to meet her. This is important for later in the episode.

After they fail to sell the body, all three of them end up back in the alley with Wee Morag. Elspeth is again choosing to not trust Aziraphale despite his change of heart to do what he now knows is actually a good thing. Wee Morag starts off on the fence, worried about those souls that won’t get into Heaven. Elspeth tells her that she promised to help, and through everyone’s various methods of convincing (tempting may even be the better word as there is a demon sitting next to her when she agrees), Wee Morag says that she’ll do it because that’s what friends do. Regardless, she’s now had her change of heart. Although I would say hers is more driven by the same thing that drives Aziraphale to help with the Antichrist. It is fundamentally for her and Elspeth’s benefit, not the Greater Good per say, but she needs that reframing of doing the moral thing of upholding her promises and potentially helping people.

In the graveyard, Elspeth does all of the hardwork and Wee Morag holds the light both to assist how Elspeth sees, but also likely to help her keep watch. She’s filling a guardian role for Elspeth. Later when Elspeth sells her body, she even says “She only wanted to look after me.” Upon seeing the actual body (a priest’s body no less), Wee Morag realizes with horror what they’re doing - the potential moral ramifications stare her in the face. She ends up caught in the crossfire of a gun, and she dies for it.

Originally, I thought that Wee Morag’s death sets Crowley up to worry about what might potentially happen to Aziraphale in the future. In a way, I still think it does. She was the Good character helping the Bad character, and she pays dearly for it. His line “It’s a bit different when it’s someone you know, isn’t it?” while pointed at Aziraphale can be felt by everyone in the room. Elspeth has been dealing with death this whole episode, but her whole life is turned on its head when her ‘pal’ dies. Crowley recognizes that it’s the knowing part that actually causes something to hurt. (It’s one of the reasons why he doesn’t have many human friends. He does have a friend though, and it would absolutely gut him to lose him.)

The episode isn’t over though. We still have to watch someone else pay for stepping over the imaginary boundary of Good and Evil, except rather than it being Aziraphale, it’s Crowley. Like Wee Morag, he steps out of his usual role and helps Elspeth, and for that, he pays dearly. He gets dragged off to Hell to have whatever Demons do instead of a rude note done to him. After everything that’s happened, it’s no wonder why you get that panicked shout of “Crowley” from Aziraphale. They just watched the worst case scenario happen for people like them. 

Also as another quick fun aside, both sets of characters are bound by something that allows them to not be able to carry out their actual dreams and goals. Elspeth and Wee Morag were bound by poverty while Aziraphale and Crowley are bound by their respective Head Offices.

[ironunderstands]

Double Indemnity, Spellbound and how a retroactive plot twist kicked the communities ass (which also has some VERY interesting implications for Aventio)

I had a very enlightening conversation on TikTok about the nature of these two romance/thrillers, and while unfortunately, I have no idea how to watch them, the plot synopses I’ve seen and analysis other people have made have caused me to come to this conclusion/interpretation of these references:

On the first viewing of the Double Indemnity questline, the reference to the DI movie is meant to be played straight, with Aventurine and Ratio being just as doomed to fail as they are in the movie, and their relationship as equally as toxic and fake.

On second viewing, it’s the complete opposite, and the track (and other movie reference) you receive at the end, Spellbound, proves it.

Let’s start with Double Indemnity.

Also disclaimer I’m gonna be over simplifying the plot/themes of these movies because a) both are singular references, DI is only referenced in the name of the quest itself and Spellbound is only referenced in a track you receive once you complete DI, and references this small probably aren’t meant to be anything more than a fun Easter egg for those who notice it b) this is hoyoverse they aren’t clever enough for that anyways c) the nature of references isn’t going to be having everything be the exact same anyways, so I’m just going to go with the overall interpretation of DI + Spellbound/their impact, picking the stuff which aligns with the actual plot of the DI quest, I don’t care what happens in one frame at 30:01.56 minutes in and neither do the writers

Anyways, how does the Double Indemnity reference on the first viewing seem?

On our first play through of the Double Indemnity quest, we are made to believe that Dr. Ratio and Aventurine do not trust each other, but they are begrudgingly working together for the sake of stealing Penacony for the IPC. Then, Aventurine makes it seem as if he wishes to use the singer Robin’s- also the sister of Sunday, the head of the Oak Family and the one they are negotiating with- death as a means to pressure Sunday into forking over some of the Family’s secrets, which Aventurine will then use against him in future negotiations.

With this setup, the Double Indemnity reference is a solemn warning- Aventurine and Ratio will fail.

You see, in the movie, Phyllis Dietrechson intends to kill her husband in order to earn the money from the Double Indemnity clause (which is a real legal thing btw!), roping in one Walter Neff when he falls for her. However, their relationship isn’t stable and in the end, Walter betrays Phyllis, ratting her out to the investigator Keyes, ultimately meaning they don’t earn the DI clause, also killing Phyllis in the process.

Hopefully you can already see where I’m going with this, but it’s time to draw some fun parallels.

Sunday is Keyes, Ratio is Walter, Aventurine is Phyliss and Robin is Phyliss’s husband.

Although Aventurine a) isn’t married to Robin and b) he didn’t actually kill her, he is the one who witnessed her “death” and in the first viewing of the Double Indemnity quest, we are made to believe he intends to profit off of it, although this time the payout isn’t money: it’s Penacony.

To do this, he enlists the help of Ratio- albeit not seducing him, but still convincing him to help nonetheless- and together they go to meet Sunday for negotiations.

However, Ratio “betrayed” Aventurine, ratting him out to Sunday behind his back and informing him of his plan, which mirrors how Walter confesses to Keyes. This results in Aventurine being sentenced to death, much like how Phyllis dies by Walter’s hand, Aventurine seems like he will die by Ratio’s, calling him a wretch before slinking off.

And there you go, their partnership is as doomed as the one in the movie, failing because their trust + love didn’t hold up till the end, a devious foreshadowing.

At least, that’s how it seems on the first playthrough.

Because Aventurine and Ratio’s plan SUCCEEDS.

And on the second viewing, knowing that the betrayal is fake, you realize they succeed because they do the one thing the people in DI (and I’ll get to Spellbound) DONT do- they actually TRUST each other.

Ratio and Aventurine’s plot is a success. And it’s because they deliberately made it seem like they were doing a Double Indemnity plot. Like they were going to make the same mistakes as the characters in the movie. Sunday falls for the false appearance hook, line and sinker, and that’s his downfall.

They win because they TRUST each other, you can even say because they actually LOVE each other, unlike the characters in the movie, where it’s more list than anything else. Walter and Phyllis don’t make it together to the end but Ratio and Aventurine DO, and they get to continue on with their lives because of it. The reference to Double Indemnity in this quest is genius because it works both before and after you learn the retroactive twist of Penacony. It makes you believe Aventurine + Ratio are doomed to fail, and it makes you realize they were always going to succeed, expertly dawning the false appearances Sunday expects from them, becoming literal actors playing out the roles of two people who will fall short due to their selfishness. Sunday believes he’s seen this film before which is why he BUYS IT, and god it’s just beautiful looking back on it. He thinks he’s Keyes about to uncover a dastardly plot to profit off his sisters death, and in turn he paints Ratio and Aventurine with the identities of those he believes would do such a thing, which they do their best to play into. Ugh it’s amazing.

And now, for Spellbound.

You receive this track after completing Double Indemnity, containing the description above.

Now, this is a reference to Spellbound, another one of Hitchcock’s films.

The main characters in this one are Dr. Anthony Edwards, a man suffering from amnesia, and Dr. Constance Peterson, a psychoanalyst who he was meant to replace, who discovers a dark secret about Edward’s while they fall for one another; he’s an imposter. He believes he killed the real Dr. Edward’s, but she thinks he’s just suffering from a guilt complex. Fake Edward’s goes missing, and the real Edward’s assistant arrived and informs them that he’s missing. She finds Fake Edward again, living under the pseudonym John Brown, and although he tries to leave, she convinces him to stay, telling him that with the help of her mentor, psychoanalysis can help recover his lost memories.

Through an incredibly complicated psychoanalysis of dream, Constance begins to uncover the truth- learning the person who believes himself to be Dr. Edward’s (and is using the pseudonym John Brown) is actually a man named John Ballantyne. Ballantyne accidentally caused the death of his younger brother in the past, resulting in his deep guilt, as well as recalling the location where the real Edwards died- skiing off a cliff to his death. With his memories, they find the body, but it has a bullet wound, so Ballantyne is taken into custody.

However, her boss, Dr. Murchison lets it slip that he actually used to know (and didn’t like) Dr. Edwards, and through another complicated sequence gets him to confess his guilt and ultimately kill himself, which frees Ballantyne, ending the movie with the two going on a honeymoon.

So, what does this mean in the context of the quest line?

Well, let’s say Ballantyne and Constance are representative of Ratio and Aventurine respectively.

“Every psychoanalyst must first have someone else diagnose them.”

If we read Aventurine as the psychoanalyst (Constance) and Ratio as the diagnoser/doctor (Ballantyne), it reveals an interesting interpretation.

That being that they knew the truth from the start/ they had already succeeded.

Or in other words, unlike in Double Indemnity, in Spellbound, they actually succeed.

In the film, Constance is the one doing the diagnosing, the one trying to figure out the truth, and you can see that in Aventurine pretending he’s trying to find out the truth behind Robin’s death. However, in the DI quest, it’s the opposite. Ratio’s as Ballantyne is the one doing the diagnosing for the psychoanalysist, Constance, or rather, Aventurine.

To diagnose someone, you must be very familiar with them, or at the very least the ailment plaguing them, and Ratio he knows Aventurine through and through at the start, and what plagues him (his own sense of meaninglessness) unlike the protagonists in Spellbound who despite falling for one another quickly, don’t begin being intimately familiar with one another.

In this way, they have already succeeded. Aventurine and Ratio already know one another, and while they might not know the reason behind Robin’s death, that was never what they were searching for in the beginning, meaning they effectively can skip through all the drama (aka the ups and downs of Spellbound, finding out the truth behind Robin’s/Edwards’ death), and reach their happy ending- a honeymoon; or in DI’s case, Aventurine attaining his cornerstone, and fulfilling his end of the plan.

Interestingly, Aventurine slots into the role of Ballantyne and Ratio as Constance equally well, with the phone call Constance makes to save Ballantyne being reminiscent of the note Ratio makes to save Aventurine, as well as Aventurine being the replacement, or in the sense, the one to find the truth about Robin.

Personally, I think Aventurine and Ratio are reminiscent of both the main leads in Spellbound, which is why it’s complicated to discern the meaning of the reference. Oh how I wish I knew what the original Chinese description for this was (if you do please tell me 🙏).

Is it just meant to signify them being in love? Is it meant to signify that they will succeed, due to how well they know each other? Is it both, which is what the inclusion of Double Indemnity (the movie) suggests?

Either way, it adds onto the already present idea that the trust between Aventurine and Ratio is what allowed them to succeed in Penacony, and that’s not just something expressed by these movie references.

Think Aventurines Eidolons: Stag Hunt Game and Prisoner’s Dilemma, both of which are game theories about trust. Or how Aventurine says that Ratio knows him best, or how Ratio entrusts Aventurine with close secrets of his, like him being the “Genius” of the council of Mundanites.

“Do you trust me?” “That depends on you.”

These are 2 lines in their 2.0 conversation that really stick out to me. Ratio will always offer his trust so long as Aventurine can prove himself worthy of it, and as we have seen, Aventurine always delivers, proving himself long before Penacony in the Final Victor lightcone, albeit in his weird homoerotic way.

Therefore Ratio will always trust him.

And because of that, they win.

Now whether you take the deep trust between them to be romantic or platonic, or infer the literal honeymoon at the end of Spellbound to mean something for Aventio, either way the feeling absolutely there, and it’s crucial for an understanding of their relationship.

Also damn, the retroactive plot twist fucking slaps.

[violetasteracademic]

What do you think about the passive language used in azriel’s bonus chapter? Azriel says he found himself entering the foyer right before elain comes and then he finds himself in the library at 7.

Oooooh my darling anon. You have me giddy and kicking my feet with excitement to talk about this! Once again, a simple anon ask has spiraled into a deep crack theory post. This is a long one!

I love this bonus chapter so much. The prose are some of her loveliest work and the treasure trove of details is simply masterful. And I'm so excited about where I think the story is headed.

I definitely understand what you mean regarding passive language: there's a sense of everything happening without intention. In fact- he is explicitly acting against his "every intention." but the devil is in the details. As you said, the bell chime for the seven pm service. The exact same bell chime from when Nesta attended a service and was lulled into non-con scrying session with ancient songs. Ones Clotho just happened upon below level seven of the library one day in a random stack of books. Azriel giving away Elain's necklace to G/wyn or any other priestess who would like it after meaning to return it to the store. There's so much to get into but for the sake of keeping this post a reasonable length (which I still failed at anyway), I am going to hone in on what is, in my opinion, the most important line in the entire G/wyn section of the bonus chapter:

For whatever reason.

One of the most difficult parts about writing is that it is so easy to get hung up on a catch phrase or a certain way of describing things. Whether it is through our subconscious minds, or more intentional developmental edits, there are phrases that invoke something very specific and it is hard not to re-use them. I struggle with this. SJM has definitely come under fire for this as well.

For whatever reason has been used 13 times in the entirety of ACOTAR including the bonus chapter (it takes .5 seconds to type it into the search bar on Kindle and it displays the number count up top, this is not as unhinged as it sounds 🫣) and two of those times were regarding G/wyn, three were regarding the Priestesses, and every single time it was used to express that there is hidden information at play- be in magic, motivations, or machinations- something out of character, or something we do not yet understand. It essentially means that there is a reason, but it is not being revealed.

All of Azriel's passive actions and the little parallels between Azriel's experience with G/wyn and Nesta's experiences in the book (hearing G/wyn's song calling to her, her power rumbling in response to G/wyn, the glow, so on and so forth) are also connected through this line:

Azriel:

Nesta:

If we trust that for whatever reason does in fact indicate that there is a reason, there is an oft overlooked detail that also connects Nesta and Azriel's experience on page: G/wyn's breath.

In Nesta's for whatever reason moment, G/wyn is guiding her through the Valkyrie breathing technique. Nesta continues to focus on G/wyn's breath, which leads her to feeling this rush of thinking about how amazing G/wyn is, how she is good at everything, and somehow nothing about it irks the easily irked Nesta. G/wyn's breath settles her and leaves her content to be there:

Contented. Calm. Distant. Stilled. Resting. These are all of the sensations listening to G/wyn's breath creates. Now let's look at Azriel:

Azriel's shadows hear the silent music in G/wyn's breath. Suddenly, Azriel and his shadows are calm. Content. Stilled. Resting.

Even more interesting? Both of these moments occur after deeply painful moments with Elain. For Nesta, this takes place after Elain calls her out for focusing on what Elain's trauma did to her. Azriel is obviously wrecked from being ordered away from Elain. Then they both find themselves with G/wyn, there is a pointed experience of them interacting with her breath, and they are suddenly distantly removed from the situation that was ailing them mentally. Settled, calmed and feeling abnormally giddy over thoughts of G/wyn and how amazing she is and how happy they are to make her happy- for whatever reason.

Now, if you are still with me, we are REALLY going to get into some crack theory.

I do not believe that it is a coincidence that in a book where Nesta and Cassian were the two POV's, only Nesta and Azriel experienced G/wyn's lulling effects. We are dipping into major HoFaS spoilers here, so stop now if you don't want to move ahead!

In HoFaS, we learned the Cauldron has been corrupted by the Asteri. They pooled their power into it so that it would work their will. I think there is likely a push and pull for power within the Cauldron itself between the dark corruption of the Asteri and the original power of fate and creation by the Mother. Both entities exist within the Cauldron, if you will. We also learn that Truth-Teller was made in the Cauldron as a weapon against the Asteri. But we also learn that Azriel himself was a weapon crafted by the Asteri:

I believe this is in reference to Shadowsingers, but either way, there is a suggestion that whoever- what ever- Azriel is, it was crafted by the Asteri.

I also believe that whatever Nesta stole from the Cauldron was not the power that the Mother had gifted to Elain when it recognized her, perhaps the Archeron bloodline (let's not forget the Bone Carver's words about salvation laying dormant in a human bloodline), but the dark corruption of the Asteri.

No longer just a tool of creation, but a deadly tool of destruction. Nesta's power of death. And Silene's parents turned the horrors it produced to their advantage. I assume this is in reference to Truth-Teller, the knife that can unmake things which was created the Starborn bloodline to defeat the Asteri:

A tool not of creation, but of destruction. Unmaking.

I absolutely love Azriel and Nesta's friendship, but I also think there is something deeper going on here. I think Nesta and Azriel both experience the weight of the darkness of the Asteri's powers. Yes, they both have trauma. But they also are deeply unsettled people who fight incredibly hard against the darkness that weighs on them.

I believe both Nesta and Azriel carry the literal corruption of the Asteri, and it is something only they, and not the rest of their family, has to fight. They are doing it. And they also lean on each other in a very deep and beautiful way.

UGH. I love them, Your Honor.

I also believe that Nesta gave back her corrupted powers at the end of ACOSF (hopefully). And the mother interrupted her giving back all of her power, leaving only what the Mother intended remaining. Nesta seems much calmer and more settled in HoFaS, and while we can attribute it to her emotional growth, I think again it is extremely important that Nesta and Azriel, the only two characters to have been affected by G/wyn's luring, were also the main characters in the crossover where the corruption of the Cauldron is revealed.

Okay- but what does this have to do with G/wyn? I know, I know, G/wyn's lightsinger theory is the most accepted theory. And it might be true. But I also don't think it is everything. There is more going on here, and something that specifically leaves Nesta and Azriel susceptible. Nesta was also welcomed to the library to work with the priestesses in ACOSF for whatever reason.

I have made a few posts now about the Priestesses as the likely next mini villains in the upcoming ACOTAR book in alliance with Vallahan. You can read those here and here if you are interested. But I believe the invoking stones of the priestesses might come into play. In this case, what is occurring isn't specific to G/wyn, and I don't believe that she is the only one that could have this affect on Azriel and Nesta. Or maybe it's both, her lightsinger abilities allow her to lure while the invoking stones allow her to lull. Either way, there is a wider picture of the Priestesses and the secret powers they hold involved.

G/wyn believes that the stones are filled with the power of the Mother, and can only be used to protect and not harm. However, Ianthe also used her invoking stone (that was my interpretation, anyways) to lull guards to sleep. Feyre also questions if the invoking stones contain power far deadlier. Lucien confirms that the power the priestesses hold can be utterly lethal if they choose it.

If the invoking stones are also Cauldron Made, then they too carry both life and death. Creation and destruction. Protection and harm. I truly believe that G/wyn is completely ignorant to her own power, what the stones are capable of, and what the intentions of some of the corrupt Priestesses are. To destroy the rule of the High Lord's and regain their power:

The feminist in me is like yes queens, get off your knees and take your power back. But in this context, I think we can safely assume this is not a good thing, as we know many of the High Priestesses are also corrupted and do not have good intentions.

I think there is a lot of evidence that the like calls to like occurring very specifically between Azriel, Nesta, and G/wyn, might have less to do with the (very fair and again possibly correct) theory that G/wyn is a light singer and much more to do with the warped power of the Asteri. I think it is most likely Gwyn is not a villain, nor has any impure intention in her heart. But she does believe in her religion, in the Priestesses, and that they solely enact the power of the Mother for good. That leaves her in a position to be easily manipulated by the "promise" of greater good. The sole fact that she doesn't even think the invoking stone or power of the priestesses is capable of harming when we know otherwise says a lot about her indoctrination.

I also don't even know if G/wyn will specifically play a role in what I assume will be the future luring and lulling of Azriel, or if she was just a deeper representation of the power the priestesses hold. Either is definitely possible.

So yes, Azriel was acting out of character, a bit dazed and passive and almost in a trance. Just as he and Nesta had both experienced around G/wyn before.

For whatever reason.

[rizsu]

please, be mines !! atsumu miya.

sum. love-struck atsu tries to court his new crush.

atsumu's confused. he finds himself sitting in his car practically devouring you with his gaze—no, none of you know each other but atsumu feels like he's in one of those romantic stories where the lovers reincarnate into the modern era.

am i a pervert, he fights with himself for an answer. by no means does he want to ever come off as a stalker but if you saw a silver coloured car with G5 tint parked parallel from your position... yeah he'd look like a creep. for another ten minutes atsumu sits there. he feels like those women in hallmark movies sitting at the table sighing lovingly as the blow their cup of coffee. “you know what,” atsumu talks to himself, unbuckling his seatbelt before finally making a move.

on your side, you're inside the café wiping the tables. you work here as a little side job—it's your friend's café to be exact, she begged you to work and you needed a part-time job to keep yourself occupied before summer. just seconds before you turn the ‘opened’ sign to closed, a rushed pair of arms slam against the glass door welcoming a lanky male.

you cannot be serious, your eyes twitch at the sight of two handprints on the very clean and very sparkly door. switching your mood into customer service mood, you welcome him, “hi! what would you like?”

an awkward silence introduces itself—atsumu's still trying to catch his breath from battling his luck versus the sign. sucking in a deep breath, atsumu gives a little grin before answering.

“'m new here. can you recommend something?”

“sure! how about an eclair with some frappucino to start?” gesturing him to one of the tables, you make a u-turn towards the counter.

atsumu follows and sits comfortably watching you do your job. he gets a little fidgety.. atsumu really isn't one for awkward silence. awkward in the sense that he's the only one here and you're the only worker here, probably on closing shift duties.

it takes him a few minutes and some playing with his fingers before he pulls out his phone to text someone (osamu).

“and here's your order...”

“it's atsumu.”

“atsumu! enjoy it.”

placing his order on the table, you give him your mastered customer service smile, walking away with thoughts about how pleasing he is to look at. meanwhile atsumu's malfunctioning—when your crush smiles at you (no matter the reason) it immediately stuns you. if there's anything that can describe what atsumu feels and thinks it'll be ‘!?!??!?!?!?!??!?!?!?’

forcing a cough to recollect himself, he finally digs into the meal, relishing in it's glorious flavour (he's exaggerating). wait fuck, atsumu thinks. he's a bite away from finishing his order and after that he'll have no reason to stay here any longer. trembling hands brings the last bit of the eclair to his mouth as imaginary tears race down his face. a heartbreaking story, really.

looking up from your phone, you notice his table's lacking the food you gave him, “are you finished? i'll come get it.”

“huh? oh, yeah, i'm done unfortunately,” whispering the last word, atsumu looks at you with an awkward smile; he doesn't know what to do, so he decides to start a conversation.

“so... uh, you work here?”

“well...”

“forget i asked that—what's your name?”

stifling a laugh, you take off your apron, folding it in half before resting it on the counter.

“i'm y/n.”

standing from his table, atsumu stretches a little, stuffing his hands in his pockets as he walks up to you.

“so, y/n, do you need a ride home?”

“it's a bit too early for that but i'll give you my number.”

atsumu's lips shape itself into an ‘O’. a pink dust works its up his neck as he rubs his nape, looking away with another awkward smile. right, we barely know each other.

writing your number onto a random piece of paper, your fold it before handing it to him, “text me!”

muttering a little ‘thanks’, he gladly accepts your number. i'm too good, he compliments himself—celebrating because he got your number.

grabbing your stuff, you look at atsumu, tilting your head at the door to suggest you're going to close up for the night.

“oh right,” he grabs his keys, shoving his phone into his pocket before he walks up to you, “but what about the pay?”

“it's only two items. don't worry about it.” walking out the door you lock up the café, matching steps with atsumu out to your car. “you drive!?” atsumu's shocked. why didn't i think about that, he questions himself. god, he feels like a dumbass.

smiling at him, you nod your head. he's kinda cute, you think. unlocking your car, you dump your stuff in the backseat, slamming the door before you open the driver's door. “g'night, atsumu. see you later!”

“g'night. i'll text ya.” waving you off, atsumu walks back to his car with the biggest smile. he's going to make it everyone's business that he got a potential girlfriend and maybe even a wife.