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for as much as I love her relationship/fixation on mary and how revealing it is of her perspective on gender roles/morality/sex etc, I think her weird little dynamic with des has become my favorite.

between the two of them, he's the only one privy to her crippling mommy issues, her explicit resentment of grady (in connection to aforementioned mommy issues), and, to some extent, her relationship with travis. she quite literally trusts him with her life but she can not fucking stand him and rarely misses an opportunity to make it known.

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I love a woman who can't be serious when her life is being threatened

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so it's starting to look like I will not be around all that much outside of discord til the end of may.

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nobody gets out alive.

dialogue prompts from nobody gets out alive: stories by leigh newman.

you have a wonderful laugh.

i wish i had known you before.

play me a song. it'll make you feel better.

what a fucking corner we have found ourselves in.

you don't even know what ____ means.

i'm your friend. remember?

there's no need to fib.

do you have the horrors?

i have a chill. it's probably hypothermia.

microwaves will cook your brain.

i'm so proud of you.

what an arrogant shit i was.

you're an odd one. dark. i like you.

i'll never leave you. you know that, right?

it's a son of a bitch world, and nobody gets out alive.

i've never seen you afraid before.

you can tell a lot about a person by their handwriting.

you know how i hate to yell.

why can't you just tell me what's going on?

i'm leaving. just like you wanted.

what's wrong with crying?

my first and only friend.

there were so many times i almost told you. so many times i never did.

the great love of my life was our friendship.

everybody everywhere thinks they're a good person.

what if we got out of here?

did you ever run away? you know, as a kid?

it wasn't all shit and shenanigans.

i've always wanted to learn [language].

have an oyster. they're a delicacy.

you're in trouble. do you understand that yet?

it'll make me feel better if you're there.

you're the best ___ in the world.

i have been alone for most of my life.

you can stay here, if you don't want to go home.

it's easy to be married when you're happy, but nobody's ever happy all the time.

we are allies of convenience: nothing less, and nothing more.

god is a brute. imagine a world where mary was in charge.

how are you still so naïve?

you're breaking my heart.

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mary grappling over the moral implications of her choice not to murder olivia in essentially the same way as she did her brother vs. olivia's interpretation being, more or less, "so you DO like me 💓💓💓" will never not be funny to me

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olivia in bullet points:

a self-described "boring stay-at-home mom", olivia is most comfortable hiding behind the carefully cultivated persona of the soft feminine, self-effacing, and long-suffering housewife and doting mother, and the diminution it invites deflecting unwanted attention toward her (late) husband.

there are very few aspects of her life that don't have some aspect of performance. from her married name, bloom, to the museum-esque glass house she lives in, olivia is, in many ways, a construct.

the (wo)man behind the man behind bloom appliances, it was olivia's idea, strategically fed through her brother, grady, to use the warehouses for laundering and distribution.

from seducing des to killing randall, olivia has a propensity to act with horrific impulsivity but, quick on her feet, often passing off her actions as premeditated.

as a whole, she is brimming with a lot of rage and pent up resentment. for the family that raised her in tense competition with her brother, for her husband, and later mary for her apparent freedom from the same constructs she, herself, feels trapped by.

when she flirted with the idea of "leaving it all behind", it was really bait for mary. or, more specifically, this very specific idea of mary she'd crafted in her head and attempted to draw out with this game of cat and mouse. killing travis was meant, not only to signify that final step past a line that can't be uncrossed, but a debt in blood she felt owed after grady's death.

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TO LOVE / TO DEVOUR ... olivia bloom, from tara armstrong's mary kills people, as interpreted by lea. follow at your own discretion. minors and under 21 dni. heavily influenced by headcanon.

CARRD. PINBOARD. PROMPT(S)