here’s the thing: ophelia never made it out of the water either
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@hedyblooms
here’s the thing: ophelia never made it out of the water either

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the life you’ve been given.
what's true of labyrinths is true of course of love and memory.
when you start remembering.
—jack spicer
and if i say that helena is haunted by the hollow –
and if i also say it’s interesting that the hollow is where kier first encountered the woe bride –
something something elevators, waterfalls.
I love them

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is severance poetry a thing?
a young helena sneaks out at night to skate on the frozen lake.
this scene came from a fic i probably won't finish,
SO –
ta-da: a poem...
“I had been withdrawing into a retreat of numbness, it is so much safer not to feel, not to let the world touch one. But my honest self, the real me, was revolted at this playing dead, and hated me for it.”
— The Unabridged Journals of Sylvia Plath
Inspired by this thread.
I hate the drowning scene at the ORTBO I feel so sick thinking of Hellyna going through it. Helly was so confused (first time outside, Irving is drowning her, she had just discovered she's an Eagan) but also Helena's last moments as Helly (the closest thing she's had to freedom) are getting waterboarded by the one person she thought could fill the void of paternal love she craves, because he had already done it with the other half of herself. Nobody comes to help her until she turns into Helly, Milchick hesitates even after she has given him a direct order in between getting drowned and she probably came back to being punished for this the same way Cobel used to punish Mark every time something went wrong in S1. And then she's told she has to go back to MDR.
You’re easy to (pretend to) care about.

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Attila — Helena and Mark at Zufu 📍🥡🥢🥠 | Twitter
I still can’t get over this. It looks even better painted, like that is ART
Big fan of characters who “kill” their younger selves. Characters who resent the past version of themselves for letting them get hurt, who look at that kid and feel revolted by the foreignness of it. Characters who feel they have to cut the child out of them like a tumor because it’s hurting them too much and if I don’t kill you you’ll kill me. Nearly nothing remaining of that past self but for the little connections and mannerisms they can’t kick, and when it shines through, it’s a terrible, tragic thing, because the child is still in there. It’s in there and it’s grotesque in its suffocation. But it’s there.
Darkest Miriam: Let your tears flow
has this been done yet
Anyone ever heard that thing where men who want submissive women don’t marry submissive women, they marry strong women so they can break them? That’s Jame with Hellyna. He wants Helena to be strong but he broke her. So now he’s moving onto Helly. He’s gonna try to break her next.
You must be cut to heal. Jame Eagan likes to leave scars

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Helena wore the Eagan name like armour. Not out of pride, but necessity. Protection.
She never believed in the mythology of Kier. Found his teachings and stories laughable (not out loud, never out loud). But she learned the choreography of devotion, step by practised step.
Her father had tempered the rebellious child out of her slowly. Left all the loud parts of her hollow and quiet and cold. But something remained. A small spark, glowing low. She held it close, like a secret, like cupped hands around a dying flame.
Helena had earned the Eagan name. And if she didn’t wear it - if it didn’t mean something - then what had it all been for?
(Saw @kendrysaneela’s post and it got me thinking).
The Severance finale was a masterclass in acting, writing, directing, cinematography – everything. Such a cinematic, heart-rending, heart-mending ending to the season.
It’s so human under all the absurdity, too. To just want a little more time.
See you at the equator.