my [Once and Future] wife
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Cosimo Galluzzi
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YOU ARE THE REASON

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he wasn't even looking at me and he found me
we're not kids anymore.

#extradirty

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@groundbreakingdot872
my [Once and Future] wife

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i see youuu lover boy⌠trying to catch gwenâs hand
also i think there is a larger issue at play here, which is how white-liberal ideology around the construction of "proper" behavior has done a number on how conflict vs. safety, and safety vs. comfort, are conceptualized in collective spaces, where for example any confrontation or interruption to actually address something potentially unsavory is seen as an escalation, borderline an act of violence the way it disrupts everyone having a good time, and "letting it slide"/moving past something/redirection is seen as a de-escalation and the righteous choice of "not taking the bait" or "being the bigger person" or whatever self-pat on the back. that is not what de-escalation is. conflicts and disagreements aren't inherently dangerous, and trying to prevent the existence of conflicts by entirely ignoring the issue because confronting it is uncomfortable and we do not want to "escalate" is not how safety is achieved.
DOECHII for Cosmo ⨠(2025)

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by god we have got to popularize woman whump
18/50 Pictures of Angel Coulby
doomed siblings am i right
â Jandy Nelson, I'll Give You the Sun // Murder by Death, Brother // Jodi Picoult, Nineteen Minutes // The Crane Wives, Icarus // author unknown // Suzanne Collins, Gregor and the Code of Claw // Lindsey Drager, The Archive of Alternate Endings // Barbara Davis, The Keeper of Happy Endings // Lin-manuel Miranda, Who Lives, Who Dies, Who Tells Your Story // Rebecca Makkai, The Great Believers // Trista Mateer, Is it Okay to Say This? // Euripides, tr. by Anne Carson, Antigonick
Do you ever think about how Elyan was fighting off his fatherâs trade in The Dark Tower? Heâd been doing that for ages before of course, Itâs been four years since you left and not much as a word, but it wasnât until that duel, a defeat and closure all once, that he realized how much heâd wanted to pick up his chosen trade, the sword, and cross it against his fatherâs, in one last battle of wills. Gwen had said he never settles down, never thinks about the future, but the stilted words of their conversation in that cell, years prior, invited in another reason for his sudden departure. Elyan had left because of Tom.
The morning of his fatherâs death anniversary, and a few days before he, himself, would die, Elyan made the graveside visit, with Gwen comfortably wrapped around one arm. So, when our father died, wasn't that the right moment either? Heâd spent many moments righting the wrong, in order to get to this one. On his return to Camelot, he took up his fatherâs forge and trade. When his sister ascended the throne, he took the oath instead. The right moment is always now.
But when Gwen is kidnapped under his protection, all those old feelings rise to the surface. Consequently, he fights to reach her by becoming his old self again, the one sheâd loved in frustration. None of us would even be here if it wasnât for me. Words that echo his quiet confession to Arthur the night before. Gwen had raised him, brought him up. I don't know what I'd be if it wasn't for her. And so he never looks back, barreling ahead into danger despite the others calling out to him. Dropping his sword onto trip-wired flagstones, an imperfect metaphor for the demands of responsibility him and his father mightâve argued about long ago. But now, he runs recklessly and fearlessly ahead, unheeding the calls to stop. No one else matters now. He follows his heart wherever it leads him.
It leads him to something his father mightâve forged. A sword Morgana has enchanted to be indefatigable; the past resonating into the present once again. After all, it was Tom who forged a sword of impeccable quality to be magicked for greater purposes. Itâs a terrible irony that another would end him.
Yet the thing is, he fights this sword and wins. Elyan banishes the past out of a window, brute-forcing it from their lives despite Gwenâs warning that it cannot be defeated. That it always comes back. You cannot overcome it. He defeats it. But not before it had dealt him a fatal wound on its way out. She holds him then, the wrong place at the wrong time, and tells him she only thing she thinks would reassure him. Father would be proud of you.
It mustâve felt like another blow. But he loves Gwen more in that moment to tell her that sheâs the one he came back for. Settled in camelot for. Returned to old form for. And of you. So proud. A reference to their shared childhood, fraught with disagreements and a deep affection, in equal measure. And of a father who drove them apart only to be the reason theyâve reunited again, one last time. Itâs his last act as a brother to echo her words, without revealing all the effort it takes to do so. It hurts to admit, to give the sword, his father, the final say. But heâd rather that, than hurt her. Itâs what you do when you love someone, isnât it?

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Pursuing until the end of time
I love taking care of garter snakes so much
Thinking about how in The Castle of Fyrien Gwen came to the conclusion that it was her scream that led Cenredâs soldiers to them, and even apologizes for it, when itâd actually been Morganaâs doing. Mirroring the larger scheme in Lancelot du Lac of Gwen, once again, thinking sheâs to blame, when really itâd been Morgana all along.
because she's compassionate and self-reflective, she immediately looks inward for the problem. "what did I do wrong?" instead of "who did this to me?"
which makes the morgana-gwen tragedy hurt even more because morgana repeatedly weaponizes the exact thing she once loved about gwen: her kindness. gwen assumes good faith. she assumes responsibility. she assumes that if something went wrong, she should examine herself first.
and morgana keeps exploiting that.
the most infuriating part is that gwen rarely gets the catharsis of learning the truth. the audience is allowed to be angry on her behalf, but gwen herself is left carrying guilt for crimes she didn't commit and mistakes she didn't make. that's a genuinely recurring pattern in her storyline.
What BBCM needed was more corrupt knights who werenât reliant on magic to indicate their cruelty. So not Valiant or Dagr (who was only pretending to be a knight), but nobles who are villains because of their classism, their anti-magic stance, their general lack of compassion that contradicts their own code. Camelot knights or fighters from other anti-magic kingdoms, like Amata, who have nothing to do with magic because they believe it is an inherent evil.
Theyâre not trying to assassinate Arthur or anything like that. Theyâre antagonistic villains because of how their unethical values hurt the people theyâre sworn to protect. Theyâre villains because of the very qualities that Utherâs reign encourages in them, that Arthurâs reign continues but must end. Perhaps Arthur is able to ignore their flaws that are so blatant to those suffering the abuse, up until it affects him personally. And he realizes he was warned, he just minimized the issue because he doesnât care about those with magic, or because itâs considered ânormalâ to treat servants as tools instead of people.
Let this be a lead into Arthurâs own character development, where he fully realizes the effects of the laws heâs upheld, how they donât really benefit the people at all. Bring Arthur the understanding that the real enemy isnât just anyone who undermines his authority, but is instead something he himself has perpetuated, something he will put an end to (especially since his romance with Gwen relies on it).
Make Arthur a great king instead of just calling him one. Or if he is not meant to show this growth until the very end, then donât justify it and minimize its effects in the meantime. Emphasize Merlin, Gwen, Morgana, and other oppressed peopleâs stakes in the magic ban being overturned and the working class becoming equal, because this is just as important as any Arthur assassination plot, if not more so.
No more dependency on magical means for villains. The plots-of-the-week lose meaning when they forget that people donât become evil because theyâre âcorruptedâ by magic, but because of their own inability to value and respect other people as their equals, whether they have magic or just the weapons Arthur provides them. And yes, involving the conflict between Merlin and his magical kin is compelling! He has to choose between Arthurâwho is conflated with the greater good of his peopleâand another individual victim of Utherâs Purge sometimes! And he will try to resolve this by some compromise that benefits both parties, or heâll see no way to escape the ultimatum! But that story does not rely on the âsomeone is trying to assassinate Arthur⌠with magic!â formula that is found in nearly every episode.
Show us that the reason a character is a villain is not because theyâre, by default, suspicious for lying about their associations with magic or for disapproving of Arthurâs laws, but because they are doing harm to the people weâre rooting for: the magical communities that Uther traumatized, the working class who have as much worth as any noble, or even the personal life of an individual that has nothing to do with the way Camelot is ruled (without neglecting to show how this intersects with their status). Show us the distinct ways in which the core four and the round table are impacted by this. Show us just how an attack on Arthur can be construed as an attack on the people Merlin is trying to protect.
Return the life and depth to the story. Expand on the world-building. Make the individuals throughout Camelot and Albion as significant as their kings are. Create villains that are consistent with the underlying themes. Remember what each character, including the villains and antagonists, is fighting for.
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season 1 episode 10: the moment of truth

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weâre in the golden age of web weaving rn
YOU DON'T UNDERSTAND. SHE'S NEVER DOUBTED HIM. AND HER FAITH GIVES HIM SO MUCH STRENGTH. I'Mâ
Foams at the mouth