incoherent rambling trash

i love you semicolon. no one look at my 80 word sentence

i don't think the krag twin's realtionship with cheeky is fully superiors vs underling. i think they see cheeky as a father figure (and. considering what they did to their actual father that's not a good thing). but their posse seems to be the two of them, gordon and cheeky, and in esme's they almost seemed to be trying to justify what happened, to cheeky, 'things got out of hand', 'it's strong stuff'. if they truly only brought him to clean up after them, what's the point of saying that? cheeky's already insanely loyal, even when ian basically tells cheeky the krags are cannibals, cheeky still never verbally doubts them and the krags must know that. so why are they making an attempt to seem blameless, to shift what happened as the tea's fault rather than theirs, when cheeky would make up excuses for them anyway? i think they also treat cheeky so poorly as a sort of revenge/wish fulfilment, albert wouldn't bow down to them- he was their elder and superior- but cheeky respects the krags' authority too much to not listen, everytime they humilate cheeky, tell him to shut up, sit down, clean up, wipe blood on him, shake him around, i think they're seeing a paternal figure there and i think that's why they keep cheeky close, they never got proper closure with albert since he never gave in to them so cheeky is their replacement

"why can't they just be friends?" not in the homophobic sense, but in the "in your need to center romance in everything you are missing the whole point of the media in question" sense

rfth's lock stock and two smoking fireballs exists in a universe adjacent to ours where time is fluid and intersects randomly and bizarrely. yet, like the flow, certain parts of donlon brush against certain parts of history more than others: the queenly court of the carnabal interacts primarily with the stuart restoration and it's reintroduction of play and coffee-houses; the bigwhigs from the georgian period and its maintenance of empire; the mudlarks harken to the mudlarkers of the victorian era, echoed in their ideas of morality and purity; the mobgoblins to the 1960s, finding a mirror in the real world's kray twins; and the street genies emerge from the later decades of the 20th century. in this essay, i will

has anyone said anything about how rover died literally minutes after being reunited with susie? how she almost completely denied him at first, how she didn’t recognise him and how much that must have hurt him, and that was the last version of her he ever saw? and they never had the chance to work it all out? she thought he was a stranger. probably not even an hour later he would be dead, shot through the chest by some guy who doesn’t know about any of this and even if he did he wouldn’t care. He would be buried by someone he considered friendly in his killers’ garden. Susie still doesn’t know yet. She doesn’t know that that was the last time she would ever see her husband. Anyone else thinking about that?