I HAVE DONE FOUR THINGS THAT WERE DUE. IN THE PAST FOUR THINGS I HAVE DONE ZERO THINGS THAT WERE DUE! WINS!!
i still have. uhhh. 17 things due.
um.
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@ghostofasecretary
I HAVE DONE FOUR THINGS THAT WERE DUE. IN THE PAST FOUR THINGS I HAVE DONE ZERO THINGS THAT WERE DUE! WINS!!
i still have. uhhh. 17 things due.
um.
making tiny lists on flashcards save me
save me, tiny flashcard lists

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I realized long ago that shit just fucking happens. oddly the shit fucking happening is distributed very unevenly among the general population which I am sure is due to a variety of factors. and also due to some people having God's Terrible Eye upon them
this is it yeah
playing stupid games but im really bad at them so im not even winning the stupid prizes
all the rights that come with marriage you should be able to have without marriage btw. you should be able to designate a person who can visit you in the hospital regardless of your relationship to that person.
James McIntosh Patrick - Dorothea Hannah (1928)

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fitz, every day for a year: hey should we maybe do something about the fact that regal is clearly planning a coup. like, he tried to kill verity using galen, he tried to kill me and burrich. he’s keeping everyone away from his ailing father and drugging him. like its not even subtle at this point. he has a vision board i think.
every adult in his life: fitz you fool. you dumbass bitch idiot. you stupid little boy. regal would never do that. sure, he says he’s going to every day and he’s a wretched little man who clearly hates you and has tried to kill you, and verity, and kettricken. but you just have to get over that. hes just a silly little guy. you know how youngest children are. now go take some drugs and kill a bunch of guys.
Just got to the Galen chapters in my rote re-read, and it's so devastating to see how confident and competent Fitz is in the Skill for like-- half a chapter:
I just wish it were one chapter longer. One more chapter before I have to listen to 8 1/2 books of his Galen-induced "I was never very strong with the Skill" litany.
It is such a good metaphor for how childhood abuse can mess with your ability to form attachments, though.
The Skill's a magic centered on connection, and adolescent Fitz wades into it openly and easily. But after Galen he struggles to have a healthy relationship with it - either walling himself off or plunging too deep too fast.
so much of fandom is about alignment. every arc is about how does this character come to understand their life as i understand it, feel the way toward every relational connection as i think they should feel, in line with all these implicit assumptions about what i believe to be the freest, most liberated, most integrated, most worthwhile human life. they should realize they are abused, and narrate an understanding of the causes and effects of this perfectly in accord with my own, and feel the way towards those who have harmed them whatever happens to be the way i clearly believe a “healthy” person should, regardless of how this particular character happens to feel in canon. if they don’t feel the way i feel, this is false consciousness, and to be corrected - they will “realize” they were x y or z and inevitably respond accordingly. it is impossible they could have in fact known this before and simply made different choices than i would have. everything is an arc from disillusionment to knowledge, from sin to salvation, with knowledge and salvation, ending with ME, the fan-psych-priest, and what i understand of the world. they should realize they are gay of course, and “come out” and “live their truth”, and vanquish any lingering self-loathing, then have as reward a sexuality exactly in line with what i believe to be the most healthful. they must have sex of course - to be averse to this in any way is to be lacking, and this must be fixed - and romantic love - ditto. but not too much of it (no “hypersexuality”, monogamy is the unquestioned welcome cure for such sad signs of self-hatred which is of course the only possible reason anyone could possibly have for fucking two whole people). not the wrong kind (nothing that could be “sex as self-harm”, no power dynamics). if they have any beliefs i find politically inconvenient, that will be addressed. are they religiously devout, or maybe believe in the divine right of kings? (my current examples, but endlessly swappable) welllll either the entire point of the narrative itself must be about proving to them these treasured beliefs are erroneous, and the canon should be so lax as to fail to amend such error, fic can handle it (or erase it, vanish it). wait, you might say! no, i love stories about FUCKED UP characters who are sooooo messy and repressed and never heal, hashtag internalized homophobia tag is my fave. but i regret to inform you i think this is basically two sides of the same coin. see, either you Align, or you are doomed to enduring misery. no one could possibly ever live a whole life that means anything outside of the parameters of what, i, personally have decided is a meaningful, good, well-ordered existence. they might be a circus sideshow of dysfunction to gawk at, tragedy the inevitable only result of such recalcitrance, the satisfying, comforting moral message to be salvaged from such resistance (hashtag doomed by the narrative) - it is not possible to hope for anything more.
im nonbinary in a way that doesnt really matter
shrewd didn’t, like, use the skill to compel fitz’s loyalty back then, right. when he swore him in
I walked to him slowly. When I reached him, he got down on one knee, to be eye to eye with me. The Fool knelt solemnly beside us, looking earnestly from face to face. Regal glared down at all of us. At the time I never grasped the irony of the old King genuflecting to his bastard grandson. So I was solemn as he took the tart from my hands and tossed it to the puppies who had trailed after me. He drew a pin from the folds of silk at his throat and solemnly pushed it through the simple wool of my shirt. “Now you are mine,” he said, and made that claiming of me more important than any blood we shared. “You need not eat any man’s leavings. I will keep you, and I will keep you well. If any man or woman ever seeks to turn you against me by offering you more than I do, then come to me, and tell me of the offer, and I shall meet it. You will never find me a stingy man, nor be able to cite ill use as a reason for treason against me. Do you believe me, boy?” I nodded, in the mute way that was still my habit, but his steady brown eyes demanded more. “Yes, sir.” “Good. I will be issuing some commands regarding you. See that you go along with them. If any seem strange to you, speak to Burrich. Or to myself. Simply come to the door of my chamber, and show that pin. You’ll be admitted.” I glanced down at the red stone that winked in a nest of silver. “Yes, sir,” I managed again. “Ah,” he said softly, and I sensed a trace of regret in his voice and wondered what it was for. His eyes released me, and suddenly I was once more aware of my surroundings, of the puppies and the Great Hall and Regal watching me with fresh distaste on his face, and the Fool nodding enthusiastically in his vacant way. Then the King stood. When he turned away from me, a chill went over me, as if I had suddenly shed a cloak. It was my first experience of the Skill at the hands of a master.

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what’s worse: ignoring the incest in farseer, or acknowledging it but calling it ‘pseudo’
thank you for sharing your rote snippets they are so beautiful! and LOVE seeing verity get some attention + scrutiny you understand him so well
wow, thank you so much <3 <3 <3 this is so flattering, especially coming from you! i genuinely adore your writings, like, a crazy amount - more on that in a minute… (aka, it’s bedtime for me right now but tomorrow i Will be in your ask box because i’ve been keeping up with buckhound & i need to yap. about how insane it’s making me)
but yeah! verity… what a figure! as someone who has spent a lot of their life thinking about the concept of the quote unquote charismatic abuser, (specifically in the context of a family structure, and specifically as how that ‘charismatic’ abuse is interpreted socially) i love him & i truly think robin hobb is expertly & successfully & novelly articulating something about the experience of someone who has such a gravitationally strong pull on your life & a total entitlement to your mind / body / person etc. without ever retreating to the safety of some, like, squeamish analytical perspective. like we firmly understand why it is that fitz stays where he does & (at least thus far) it’s never once felt like we’re being led to gawk at fitz’s, i don’t know, ‘stupidity’ at being ‘taken in’ by someone who continually decides to violate his privacy & personhood in every possible configuration. like, my god! it’s so compassionate! it’s so nauseating! it makes me feel crazy! there’s just so much there.
anyway, in thanks, here’s 1 special snippet just for you: my one & only chiv mention (thus far) for the definitive chivalryposter on www dot tumblr dot com
i like how the one or two times verity took fitz’s strength from him have become this awful central pivot-point their whole relationship necessarily balances around. like at the heart of all of their interactions is the twofold knowledge of this sort of unspeakable thing that’s happened before and the (unspeakable) fact that it will likely happen again. & that is taken for granted by both of them, even as verity reassures (himself? fitz?) it was only a few isolated instances of ‘great need’ that will not be repeated. fitz’s one protection is his binding sense of duty to these people - he can (well, he tries to) justify any breach of himself through the fantasy that it is a necessary sacrifice, that what he is used for has a greater purpose, that they do not do these things to him but through him, maybe. but above all, what’s most telling is how even with all these structures built around around it to hide the damage, it’s still something fitz can’t help but fear, like, intensely. he is only ever strange & awkward & shy & disturbed about its presence. it is (at least to fitz’s present knowledge) the most immediate & punishing way the divide between them can be indexed - and fitz truly finds it uniquely shameful! both to experience and to do! and not only that, but verity shares his interpretation - the only way he can absolve himself of his shame is through implying that, one day, fitz must, categorically, become like him. & this is all despite the historically established precedent of using ‘king’s men’ for this exact purpose within the farseer line! aaaaand we haven’t even cleared the first hundred pages! what the fuck!
i just think it’s so telling how verity’s reaction to fitz accidentally sharing his nights with molly with him is to find it, like, an awkwardly funny inconvenience to himself that’s ultimately 100% fitz’s fault and #NotHisProblem but fitz’s reaction to verity doing literally the exact same thing to him is like: i’m so ashamed. maybe if i don’t tell anyone about it no harm will have been done. i can’t ever forget it happened. i’m so ashamed. i’m so ashamed. i’m so ashamed
it is so interesting how whenever fitz’s narration of experiencing the skill moves away from verity, the wording becomes far more explicitly reminiscent of rape & csa - like she can only allow herself to name it for what it is when removed from the context of a person she loves doing it to her!
‘i lay on the floor of the king’s study, gasping… i felt the creeping tendrils of the skill sense groping after me. i withdrew deep into myself, shielded frantically in the way verity had taught me. and still i felt their presence, like ghostly fingers plucking at my clothes, trailing down my skin. it filled me with revulsion.’ / ‘skill nudged me. clumsily. justin, prodding at me. i could not repress the shudder that went through me. my king’s use of me had left my mind as raw as a bleeding wound. justin’s awkward skilling was like having cat’s claws rake my brain.’ / ‘i suspected there would be an obscene ecstasy to such a theft of power, and that will would wish to savor it alone.’ / ‘i cowered low inside my cell, praying that i could not be seen, keeping as still as i possibly could. my own eyes were clenched tight shut, like a child who believes that if he cannot see, he cannot be seen… i could sense will looking for me as if i were hiding under a blanket and hands were patting at it.’ / ‘i felt an insidious probing of my defenses, more intimate than a kiss. as if he kneaded a whore's flesh, he felt me over for weaknesses… verity, i whimpered, but my king could neither hear nor respond.’

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actually i dont think we talk enough abt how horrifically awful verity’s treatment of kettricken was. like just genuinely shockingly bad
augh i just have to start a little collection of fitz's narration about verity bodyswapping with fitz to use fitz's body to have sex with kettricken (against fitz's knowledge; fitz actually thinks he's agreeing to be killed) in the chapter disturbingly titled "verity's bargain":
I do not understand. Nighteyes pleaded for an explanation. I do not wish to understand. I do not want to know. But whether I wished it or not, I did know. I walked slowly and the wolf came at my heels. We walked past a dying fire between two tents. No one kept watch. From Kettricken's tent, there were small noises. Verity's face was what she saw in the dimness. Verity's dark eyes, looking into hers. She believed her husband had finally come to her. In truth, he had. I did not want to hear, I did not want to know. (Assassin's Quest, ch 38, p 803)
in just this short passage (14 sentences total) he says he doesn't want to understand/hear/know 4 times.
At the base of the dais, Nighteyes whined. The Fool glanced down at him, then back up at me. Puzzlement crossed his face. "My lord?" he asked. I reached for the thread of Skill-bond between us and found it. The Fool's face grew very still as he struggled to understand. He came to sit beside me. He stared at me, as if he could see through Verity's skin. "I like this not," he said at last. "Nor I," I agreed. "Why have you..." "Better not to know," I said briefly. (p 804)
this brings the count to 5. also note that fitz did not tell the fool what is happening; instead he just sort of taps on their telepathic connection and the fool figures out from that that they've swapped bodies, but not why. and he might not even have done that if nighteyes hadn't been giving him away. he also didn't tell nighteyes in the previous quote...he's not telling anyone about it but they know anyway, and then they express their distress, which of course he tries to ignore as he is ignoring his own distress.
I did not know why I did it. Perhaps because he had never before spoken to me of a sister or a home he missed. I refused to stop and wonder. Not thinking was so much easier, and not feeling was easiest of all. (p 805)
this part is not directly about him not wanting to know about what verity is doing with his body, but of course those last two lines sum up his standard go-to of repression repression repression, which he is currently exercising to ignore what verity is doing with his body.
i didn't include the context but it is also fascinating: the thing he is doing and doesn't know why is...using the telepathic connection he has with the fool to connect the fool to the dragon, which the fool doesn't have the ability to communicate with directly on his own. everything else that happens in this sequence of pages, fitz is trying to avoid facing how connected he is to others. but here, he's actively and unnecessarily engaging in it. because the fool says the dragon reminds him of his older sister, who he misses.
The dragon tugged at me insistently. I suddenly knew what had really drawn me here. Take my memories of my mother, and the feelings that went with them. I do not want to know them at all. Take the ache in my throat when I think of Molly, take all the sharp-edged, bright-colored days I recall with her. Take their brilliance and leave me but the shadows of what I saw and felt. Let me recall them without cutting myself on their sharpness. Take my days and nights in Regal's dungeons. It is enough to know what was done to me. Take it to keep, and let me stop feeling my face against that stone floor, hearing the sound of my nose breaking, smelling and tasting my own blood. Take my hurt that I never knew my father, take my hours of staring up at his portrait when the great hall was empty and I could do so alone. Take my-- Fitz. Stop. You give her too much, there will be nothing left of you. The Fool's voice inside me was horror-stricken at what he had encouraged. --memories of that tower-top, of the bare windswept Queen's Garden and Galen standing over me. Take that image of Molly going so willingly to Burrich's arms. Take it and quench it and seal it away where it can never sear me again. Take-- (p 806)
"i do not want to know" verbatim again. tally of 6 now. all throughout the series he has been going "i do not see it" to his own thoughts, but he is usually not doing it so explicitly. he is really struggling here. i said this in another post but it's so striking to me that he is able to rattle off this litany immediately upon realizing he has a way of getting rid of memories. these are all things he doesn't want to know and actively puts in effort not to know every day. but in order for him to know which memories he wants to get rid of, he does have to know what they are. he represses things so forcefully and so automatically but of course they still come to him when he's sufficiently triggered to think of them. he would not usually be able to recite them so readily, i think. but he's so upset at what verity is doing with/to his body (and so upset by the vision he just had of his ex and his father figure about to have sex??) that i think the usual safeguards protecting him from his own memories are quite fragile here. he's reached a breaking point.
"I am sorry, by the way. About your Molly girl and all. I did try to tell you." […] I only asked, quietly, "Is there nothing private anymore?" "Only the things we keep from ourselves," she replied sadly. She looked over at me. "It is a good thing you do this night. A kind thing." Her lips started to smile but her eyes teared. "To give him one last night of youth and passion." She studied me, the set look on my face. "I shall say no more of it, then." I walked the rest of the way beside her in silence. (p 808)
jesus that's the THIRD person who knows about this violation via mindreading powers. not counting the guy who's doing the violating (and who also knows about fitz's ex sleeping with his father figure, via mindreading powers). can this kid catch a break. and this person doesn't even have the decency to be disturbed by it, she's just like, "it's so nice of you to let your uncle use your body to have sex with your aunt before he kicks it <3" uhhhh read the room kettle?? i guess she does read the room right after that and shuts up, but still.
this passage is almost too on the nose ("is there nothing private anymore?" "only the things we keep from ourselves") but robin hobb has certainly earned it, 50 pages from the end of the trilogy. i also like in those last three lines how she communicates fitz's frame of mind - avoidant, in shock - through sparse, understated language. only one adjective and it's the incredibly bland (and short) "set" to describe his expression. highly effective.
"Sorry," Verity said quietly, and it was in his own voice. I looked up to find him looking down on me. I stared up at him mutely. I could smell Kettricken's scent on my skin. My body was very tired. I knew a moment of total outrage. Then it crested and fell away as if the emotion were too much effort. Verity's eyes met mine and accepted all I felt. "I will neither apologize to you nor thank you. Neither would be adequate." He shook his head to himself. "And in truth, how could I say I am sorry? I am not." He looked away from me, out over my head. "My dragon will rise. My queen will bear a child. I will drive the Red Ships from our shore." He took a deep breath. "No. I am not sorry for our bargain." His eyes came back to me. "FitzChivalry. Are you sorry?" Slowly I stood up. "I don't know." I tried to decide. "The roots of it go too deep," I said at last. "Where would I start to undo my past? How far back would I have to reach, how much would I have to change in order to change this, or to say I was not sorry now?" The road is empty below us. Nighteyes spoke in my mind. I know. Kettle knows, too. She but looked for something to busy the Fool and sent you along to keep him safe. You can come back now. Oh. Are you all right? "FitzChivalry. Are you all right?" There was concern in Verity's voice. But it could not completely mask the triumph there as well. "Of course not," I told them both. "Of course not." I walked away from the dragon. (pp 809-810)
i love this passage because he both recognizes his own feeling (if fleeting) of being wronged ("then it crested and fell away as if it were too much effort" aughhhhh) and actually says out loud that he is not okay! twice!
also the progression from "are you sorry?" to "are you all right?"…uh maybe you should have started with the second one. yikes. but fitz's violation is simply a side effect for verity, it is necessarily not the main event. which is interesting, because he has been so careful to protect fitz from giving up his life to the dragon, because he loves fitz. he did not think winning the war was worth fitz giving up his life (which is wild, considering all the times fitz could have died from helping verity, and also considering that fitz will probably die if they lose the war, along with everyone else), but this, he was willing to do. there's an irony there, because giving up his life is exactly what fitz thought he was agreeing to. if he knew that verity was going to use his body in this way but then give it back afterward, would he have agreed?
i'm having trouble interpreting "how much would i have to change in order to say i was not sorry now?" i guess it means…he is sorry (he regrets that this happened to him) but also feels that it was inevitable, that it was the only option? that so many things would have had to be different in order for him to have been able to actually refuse this "bargain"? which again, he didn't actually know he was making when he was making it…but it does suggest that he would have agreed to it if he had known that's what he was agreeing to. with the possibility of added guilt toward kettricken. as it is, he is not actually responsible for this act of deceit against her, because he didn't know it was going to happen. i have no idea how he would have handled the aftermath if he had had foreknowledge.
The stream water was very cold. Coarse horsetail grasses grew along one bank. I used handfuls of them to scrub myself. […] Nighteyes sat on the bank and watched me with a pucker between his eyes. I do not understand. You do not smell bad. Nighteyes. Go hunting. Please. You wish to be alone? As much as that is possible anymore. […] The wolf slipped off through the trees. Experimentally, I scrubbed at the Fool's fingerprints on my wrist. They did not come off, but I learned a great deal about the life cycle of a horsetail fern. I gave it up. I decided I could take my entire skin off and still not feel free of what had happened. (p 810)
the most fascinating thing about this passage is here fitz is trying to wash away the violation, and suddenly he's pivoted to trying to wash away this completely unrelated mark on his body (the fool's fingerprints, the source of his mind-link with the fool) and he equates it with trying to "feel free of what had happened." but the fool's fingerprints have nothing to do with "what had happened." they are another sign of his vulnerability and lack of privacy, in a way, and coming right after him telling nighteyes he wants to be alone, this does seem to suggest that's what he's trying to erase. it's just such an interesting leap to make - if he could erase the fool's fingerprints, how would that make him feel free of verity using his body? they are not causally related. but maybe it would give him more of a feeling of control over both his body (since the mark is physical) and his mind (since it's the only physical manifestation he has of any of his mind-links. he doesn't have a manifestation of the mind-link through which verity took over his body).
also, that bit about him learning about the life cycle of a horsetail fern when he uses a horsetail fern to scrub at the fool's mark on his body is referring to how, because of what that mark is made of, he gains intimate insight into anything that touches it. so it's a symbol both of how other people can access his own interiority, and also of how he can access the realities of others as well. it's a two-way thing. and yet in both directions it's an invasion of him - he doesn't want people to invade his privacy, but he doesn't necessarily want to be inundated with the experiences of others either. he keeps saying he doesn't want to know, and here he is, being forced to know another thing he didn't ask about. granted, in this case it's not anything traumatic or private, but still. the fact remains that this magic makes him sensitive to both knowing and being known.