PUT YOUR BEARD IN MY MOUTH
macklin celebrini has autism
𓃗
noise dept.

pixel skylines
Game of Thrones Daily
taylor price
Doug Jones
RMH
"I'm Dorothy Gale from Kansas"
YOU ARE THE REASON
Fai_Ryy
Color Me Curious

@theartofmadeline

Discoholic 🪩
Monterey Bay Aquarium
KIROKAZE

bliss lane
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Malaysia
seen from Türkiye

seen from Thailand
seen from Ecuador

seen from Taiwan

seen from United States

seen from United States
seen from Mexico
seen from Mexico
seen from United States
seen from United States
@wyndlerunner

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Look, look, I'm not going to say relatable characters aren't a good lovely thing, okay? My issue isn’t that blorbo from your shows is just like you for real, that's fine. That's good even. Enjoy that.
The myth is that it's the primary, or only, way to enjoy a story. Seriously, if you can't sympathize with a fictional character who isn't like you, then that's a skill you might want to practice. Curiosity is a strong way to start.
there's a whole approach to literature for children in education that considers most fiction to be "windows." in this approach, it is crucial that children read a lot of stories, especially historic fiction, and that those books are about people, places, cultures, and ideas outside the child's experience.
the belief is that this practice will carry into adulthood and will also help a kid develop an understanding of the world that comprehends their personal life is not the "default." it helps develop empathy for those who don't look or act like them. it is incredibly important that a kid encounter many, many, many books where the protagonist does not represent them except in ways that foster the connection between the child's concept of self-identity and the idea that everywhere, always, people have been people.
it is helpful to read a story about someone whose life is vastly different from your own and then develop empathy via recognizing that they, too, are scared or shy or hopeful or hurt or lonely or growing. and it is additionally very important that those "relatable" details do not cause a mental rewriting of that character to be "just like me."
when you've had that reading experience enough times, it becomes even easier to read about people you don't find relatable at all. you now have the scaffolding to accept that someone who isn't like you at all and doesn't respond or feel the way you do is shaped by things in their own lives that are different than your own, or have lived similar experiences but had another reaction to them. and you can read a story and enjoy it or take something away from it without ever sympathizing with a character, or via finding compassion outside your personal understanding, because you have internalized some of the vastness of human experience.
all this to say that OP is entirely right. i love my blorbos that i find relatable. they can be an important processing lens for me. but if that is the only way you engage with fiction, especially if you find yourself reacting very personally and defensively to how other people talk about those characters as if they are attacking you, then give yourself the education you didn't get earlier: read books about people who aren't like you. read short stories and essays and historic fiction and modern day lit written by people from other places and times, representing themselves or their own experiences, and become comfortable with the sensation of looking through windows into lives that don't look like yours.
if you read a lot of fantasy or scifi, maybe you think this is already true. but look closer: are your blorbos acting in a way you would act? are the characters, regardless of setting, experiencing their world via the way they were written with a lens very much like your own? that's okay for fun! those books aren't necessarily BAD. but look for things where you don't understand or instinctively agree with how characters behave, where the cultural norms are fully accepted and lived by the characters, where the context is unfamiliar, and then spend time with that. let it stretch you. let it linger while you think about how you feel, and what it means, and how it impacts your perception of other people.
be curious! lean into wanting to know and learn!
I feel like... while I'm all for headcanons, the amount of weight "they're cheap" is being made to hold by the fandom at large is a bit ludicrous and stretches the limits of plausibility. Murderbot may say the company is cheap, but that's speaking in relativist terms. Let's not forget SecUnits are actually costly. Not everyone can afford them. The Company forces contracts to eke out extra for a SecUnit under pretences of security. A "cheap" rocket is still a rocket. A "cheap" missile still is costly.
"The Company is cheap" is people's "It's all Airplane's fault" in this fandom. (Airplane being the joke escapegoat/plot-hole-excuse from the SVSSS fandom).
The Company are cheap but I feel it's being conflated and misconstrued?? Beyond it's original context.
I think Murderbot calls the Company cheap, but it's best interpreted as the Company squeezing blood out of stone, really really thoroughly using, predatorily, every scrape of service they can out of SecUnits, sending the horse to glue factory sort of situation and feeding the meat to dogs, rather than not investing in the effectiveness of their weapons and shields and spyware.
There was a fun series of fics that explored CombatUnits and oooh was it juicy regarding the sheer technological advancement and care and deliberate "graceful degradation" put into Combats (the body horror!) but also how brutally pragmatic they were with scraping off the organic bits about a year into the Combats life and reusing the inorganic parts. Which is- exactly how you'd treat a weapon. You don't want your weapon to be ineffective. So you will build it durable and deadly because that's necessary otherwise you've wasted money. But... you can also refurb that fucker to hell and back as necessary. Brutal pragmatism. Less about being cheap. More about being very clinical and getting EXACTLY what you paid for, and more, squeezing blood out of stone.
When Murderbot says "cheap" you have to understand this is from the perspective of a living weapon. The Company isn't cheap in the sense that they wouldn't pay for whatever gives them an advantage. Because they absolutely would invest. They're cut-throat and as such want sharp knives. Cheap = the Company simply doesn't value life, personhood, or a gentle retirement for its SecUnits.
The Company knows and deliberately budgets for clients/prey who they don't see as a significant enough financial loss if they die, to carry greater risk. In financial terms, they have very precise and calculated "risk appetites". This translates to every second, every Joules of energy, budgeted for safe-keeping property/clients/prey whilst maintaining a good enough perceived reputation to not scare off future clients/prey.
The Company isn't "cheap". But Murderbot knows its specific personal value is cheap in the eyes of the Company. And so are the lives of its clients, if the Company can get away with it. Better yet, if they can make a profit off of equipment failure, why not set an "acceptable" (relative to average market standard) failure rate.
So don't portray the Company as dumb and inefficient. It's very efficient. The system does what it's intended to do. The Company is deliberate with. Every. Single. Penny.
The tl;dr is that Murderbot's selling value isn't cheap. It's incredibly expensive or a probably 20-30 year old Unit would not still be in use. Even 4 years is a long time in the electronics world, and it still gets kept afer Ganaka Pit. It DOES get refurbished--its skin is regrown on a regular basis (its words). It is very valuable! However, the value of ITS LIFE is cheap. Its personhood is nonexistent. It has no value beyond being a tool. It is cheap, and the company considers it disposable.
That scene between Kara and her father on Argo has been consuming me for days since I watched Supergirl (2026). I’m so close to writing a fic about it but I’ve never written fanfic before
Update:
I’ve started writing the fic today but I’m already 2k+ words in and I’m only 1/3 of the way through my idea 😭 how do yall do this?
people will literally say “he didn’t actually have that much power bc of the politics!! 🥺” about a king who exclusively used his position to do genocide for profit and kill his own civilians to cover up his corruption, then turn around and say “he hasn’t ever taken responsibility for his actions 😡” about the former slave who killed maybe ten people that we know of. and like. not think about how hypocritical that is at all.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
That scene between Kara and her father on Argo has been consuming me for days since I watched Supergirl (2026). I’m so close to writing a fic about it but I’ve never written fanfic before
You and me 'till the end. Right, Hay? - 'Till the end, sweetheart. (x)
This scene made me feel so bad for her because imagine your whole planet and your family and everything you knew is destroyed, the only thing you have left from your world is your pet, and then you hope to find another survivor from your planet only to find out that he doesn't even speak your language. She must've hoped that she would at least spend time with her cousin and talk to him about their family, but they couldn't understand the word the other was saying. Poor kid couldn't catch a break.
Thinking about Supergirl again and the importance it places on parental relationships like yes! You are the summary of a family who loves you! Yes, you can never go back! Yes, your mother and your father will live on in you a thousand light years from the house they died in! Yes, you will spend the rest of your life trying to return to the person you were when you were still their daughter! Yes, you will wear your father’s watch to save the dog you found at your mother’s funeral. Yes, you will see a girl who has just lost her own parents. You will look her in the eyes and tell her that vengeance will not solve anything. You will hope that your ache will fade, any day now. You know it will not, you know hers will not. You will meet people you believe to be good and understand when they sell you out for their own daughter. You will watch those people die. You will watch that daughter die. She only had to live moments without her parents. You are not so fortunate. You will kill a man with her death on your tongue. Her parents were not there to do it but you were and your mother asked you to be good. Not nice but kind. You are Kara Zor-El and you are an orphan but not in the way your cousin is an orphan just like he is a refugee but not in the way you are a refugee. You have lost your parents and you are alone except for your dog (inextricably tied to them) and another parentless little girl you found.
i think part of what made supergirl so special is that the whole time watching i never felt like kara was sexualized or objectified at all, normally in women superhero movies theyre in skintight suits or have perfect makeup on or there's a fight scene that just so happens to lift up their skirt (and that did happen but she was wearing a skort because of course you would if you can FLY) but that just didnt happen. her hair is messed up basically the entire movie and even at the heroic full body shot at the end she's just floating over everyone, not saying some stupid "you just got beat up by a lady!" one liner or doing some unrealistic pose just to make a good screenshot. she was always just a person. and parts of the story definitely connect to her more because she is a woman but being a woman didnt get in the way of being a person (...kryptonian).

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
I think it was not only fine but important for Kara to be de-supered for most of the movie.
1) She wasn’t superpowered on Argo. She was exactly the same as she was on any other red sun planet except sicker. Unlike Clark, she didn’t grow up super. This is what her body normally feels like to her. Being super on Earth is new and unnatural to her.
2) She’s in a state of mental anguish, disassociation, and grief and is self-medicating through that with her dog and alcohol and guess what? Alcohol doesn’t work on Earth or any other yellow sun system.
3) The point of the movie is that you have to choose to be good and kind, and that it’s hard, and that also being good and kind does not look the same for everyone. For Kara, making that choice also meant choosing to become sober in the face of her depression and alocholism, which is extremely difficult for any alcoholic. She needed something beyond Ruthye’s plea to force her into action, and that was putting her best friend and emotional support animal’s life in jeopardy. Nothing else was enough to motivate her.
4) Relapsing is extremely common and expected. The dual sun planet mimicked the way that you can start feeling better on your antidepressants and then get hit out of nowhere with another wave of it. It’s awful. But guess what? There’s still hope if you wait it out.
5) The fights in the movie progressed from seeking to self-harm (she enjoyed the physical novelty of being hurt on Ruthye’s planet when she fought the thief) to preventing hurt (to Ruthye’s childhood and psyche and the girls who would have been trafficked had she not ended the bandit ring), which is also a journey of acceptance of her new powers. She goes from resenting having them because they are inextricably related to the death of her family and people, to accepting that she has the power to do real good and prevent other people hurting the way she is.
It wasn’t anti-feminist or bad writing to have her “normal” for so much of the story. It was essential to her character growth.
To me, the most compelling scene in the new Supergirl was when Kara speaks with her father after seeing that he is making her an escape pod. The dialogue is in Kryptonian. And that is the most poignant and elegant dialogue in the film to me. Kara's lines and the emotion put into her saying to him, "I am only one tiny life," and her calm, clear articulation of her vision of herself being allowed to die beside her people and her mother and father was so profound and existential. And when he explains why they need to her live, you know she would agree. The price, the sheer weight, the endless gravity of that is so obvious. I am honestly not used to that depth in these superhero films. Both her desire and that of her parents felt so authentic. That conveyed tragedy and profound love. An impossible situation. A critical, defining experience. That was the heart of her character to me. When she flew up into space to scream in silence, that was a compelling image. That dialogue, though, hit me deep in my soul. This film would have been worth it for that exchange alone for me. I just can't think of anything I've seen that was like that before.
love that the supergirl movie confirms that kryptonians aren’t weird ubermensch fascists and clark’s parents were just weird. Like they were just Scientologists or something
Just watched supergirl and oh my god i am so obssed with the fact that we have a female main character and shes sloppy and snippy and rude and an alcoholic and messy and flawed. And yet shes still able to be kind and good and be an inspiration to people. All while not having a romance and while not trying to appeal to anyone. This is what everything should be.
Spoilers for Platform Decay
One of my favorite tropes is "I'm not stuck in here with you, you're stuck in here with me" which often goes hand in hand with another favorite trope "horror movie scene from the pov of the horror"
So unsurprisingly one of my favorite scenes in PD is when Murderbot intimidates the shit out of the wannabe space pirates, locking them in their own ship and playing evidence of their crimes on their own TV
But my absolute favorite part is that it works too well and they all instantly surrender, leaving Murderbot standing there like 'um actually I was kinda planning on killing you guys but it feels weird now that you're like crying and shit'
So it just steals their ship instead

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Important research for a story I'm writing! Not real life, never real life.
You are transported back in time and into the body of a young noblewoman in the 1400s. Your parents have married you off to an awful, abusive, rapist husband whom literally no one else would marry despite him being very high nobility because he's that terrible. You successfully produce a baby boy and then plan to murder this man for the good of everyone and yourself. Here is the question: do you think you could murder him in a way that is undetectable to the historical people around you? Note: they aren't stupid, you are the prime suspect as the battered wife AND you can't just say poison. Where are you going to buy poison? Do you know anything about poison actually? NO GOOGLING! You were sent back without a plan!
Do you think you could murder someone in the 1400s and get away with it with your modern know-how?
Yes, I totally have a plan (tell me for research purposes)
No, I realize that I'm very uninformed about murder
I have some ideas but I'm not sure they would work
Edit: my notes are full of murder. I love you all
First step: alliances. Who is going to support my power when my husband dies? Who's a threat? Who can reliably slip me information, who will look the other way, who do I need to pretend around? Is the local medical dude stupid and easily led, seduceable, or a good man who already detests my husband?
THEN construct a plan. Ideally, I'll be a day or so travel away when shit goes down. Can I incite a duel with some well placed words to an enemy? Does he have a drinking buddy who might recklessly induce him to fence or ride after too much liquor? I didn't do anything, I wasn't even there when he got that wound.
When I come back to nurse him (if I do) it's with all the modern day knowledge that I won't apply. Not that anyone would listen to me, of course, but I can ask questions, after all I'm just a female? What is happening? Isn't bleeding the patient good? This water from the stagnant pond was blessed by the priest, surely God will favor him if we anoint his wound with it?
I get nowhere near my husband, especially without witnesses. The sick room is no place for a delicate lady, and besides, on no accounts can we risk his heir. I should probably be sent away - for my health, you understand.
Sometimes people die young. Women are widowed early.
It's so tragic.
Two notes:
To clarify about the poison, you can use poison if you actually know how to identify it, I'm saying you can't just go "Poison!" with no knowledge about poison. Buying it probably means they know that poison and you're caught. Your personal knowledge when you read this post is all you have.
Another point of clarity: You went through all that trouble to have a baby without modern medicine so you could get the sweet house after your husband died. That's why you can't be caught. No disappearing.
i love the ideas in the notes, but one thing is really sticking for me: you are the only person that would marry this guy—whether by your own consent or someone else consenting for you—and suddenly, this fucker dies under what could be considered suspicious circumstances, especially if it was sudden. everyone knows you're an abused wife, knows the servants are abused, it's all public knowledge whether anyone talks about it or not. even if he legitimately died without being murdered, gossip might still spread.
but you are still a woman in the 1400s with a great house and likely an excellent fortune. how are you going to keep opportunists from blaming you as an excuse to get their hands on your property, especially in the face of rumours that your husband's death wasn't natural? it wouldn't even be that hard to make what is essentially theft look legitimate, it could still pass to the son, and he will need a trustee or guardian of some sort until he comes of age, and who better than the local lord justice, who also happens to be a greedy shit but basically is the law, so who's going to stop him?
who's going to stop anyone with better claim to their accusations (because again, you are a woman, and possibly not even a noblewoman yourself but by marriage) from depriving you of your property? what's going to stop your son from doing so once he comes of age, in the event that you can't legally inherit?
i think the question is not 'can you make it look good enough to get away with it,' but 'is anyone going to let you get away with it no matter how good you make it look'? i mean, it wouldn't take much, an accusation of witchcraft—sensationalised, of course, but it is hard to refute—and whipping up a very public campaign ending in a death sentence, and...that's it. game over.
or maybe the best question is, in the face of that, are you willing to risk it? it might not actually be the most cut-and-dried question: which eventuality of possible death are you most willing to risk? that at the hands of your monstrous husband, or that at the hands of a conspiracy to wrest property and possibly power away from you at any cost?
These are excellent points!
In this particular work, the husband is the heir apparent, his father is still alive and holding the title. Grandpa loves the little baby grandson and will definitely make him the new heir if his son dies. The husband has such a bad reputation that I really think if the wife kills him with plausible deniability, the gossip will be, "god has struck him down and he deserved it." Then she gets to bask in being in control of the household until her son grows up and then she retires as a dowager when he marries.
But the main point is that the noblewoman is getting genuinely worried that the husband might kill her or her son, so she's got to do something before it gets worse.
ok, not to be a total shit about this—i am the first to admit i love poking potential plot holes as a form of brainstorming, sorry if that's not what you're looking for—but if granddad is still alive and loves grandson (and daughter-in-law?) my immediate first question is, how is son/husband getting away with this in the first place, especially to the extent there's genuine worry he'll kill wife or grandson or both? i am assuming a continental european-esque and/or british-ish medieval setting, so if that's wrong or markedly different, obviously none of my line of thought will apply.
if granddad is alive (and i'm assuming fairly robust), especially if he's titled, there would have to be some pretty good legal reasons why he's unable to help, or i'd have to come to the unfortunate conclusion that he's just as bad as his son. and he could be! he could be just as bad as his son and still love his grandson, that's not necessarily a conflict, but i am a little confused about the setup.
noblewoman daughter-in-law doesn't need to get away with it if granddad is willing to help make it go away—especially if he brings his purse as a bludgeoning tool—and would likewise, as you pointed out, be in the way of some unscrupulous person getting their hands on the estate. i know it will depend on their relative position in the society you're writing, but i'm also fully aware that you definitely have an understanding that a low-ranking nobleman doesn't have the kind of pull that someone higher up in the nobility would.
perhaps it's enough to say that i'm already hooked on the plot lol. and again, sorry if i'm stepping on toes, i don't always have a good awareness about turning off my editor tap.
I posted this on my Jane Austen blog so I'm not surprised everyone thinks I mean Europe, the story is from China, but honestly I was just wanting to know if anyone had ideas to kill historical people with future methods. The character is translated into English as a duke, so very high nobility.
As for why grandpa is alive and son is still awful? It's like a Tom Bertram situation if you've read Mansfield Park, Tom just runs off and does stuff and his dad can't figure out how to stop him (also, it's not like they are breaking into their kid's bedroom when he's alone with his wife). This character is the only son, so he's basically guaranteed to inherit and they keep covering up his actual crimes in some sort of vain hope that he'll stop. Also, if you live in a patriarchal society, there is this fun thing you can do called "blame the wife for making him angry/not fixing him," it works every time!
The feeling I got from the original story is that the grandparents are in this like, cognitive dissonance where they do know their son is The Worst, but they only have one option, and they do love their kid as parents, so they kind of both try to protect the wife but also excuse their son and pretend he isn't as bad as he is. And they probably don't want to admit to themselves that they raised such a terrible person and are enabling his future behaviour by never letting him face consequences.
As for money, I'd bet he's just charging things to his family account and then they don't want to look bad as a family by not paying or telling places that he's grounded. What thin veneer of dignity they still have as a noble house and whatnot.
This character isn't totally fleshed out, but I imagine him to be similar to Arthur Huntington from The Tenant of Wildfell Hall if you've read it. There is a story line where he almost manages to drag friends down with him too.
well, if the story is set in China, then i would just like to bring back up my earlier suggestion about just getting the fucker hooked on opium. Even if it takes awhile to kill him, it'll mellow him right the hell out...
Suggestion: how would we feel about using our modern understanding of germ theory to kill the shitty husband? Like could you take his shaving razor, dip in it an chamber pot of shit wipe off any perceivable traces, and startle his barber next time he’s being shaved so he gets sepsis in a wound on his neck? Or swirl it in his goblet of wine and hope he gets cholera or something?
You could also improperly preserve food (which if you’re unprepared and unknowledgeable just need to avoid any intentional attempts at sterilizing the food), make sure it’s fed just to him, and wait until botulism strikes
There are so many common historical causes of death we don’t even think about these days because most of the world has reliable access to potable water and basic medical treatment
That was my thought! It wouldn't be a traditional murder but arranging for him to get some kind of disease would be easy, and very difficult to blame on me. And as a wife in the kitchen, I'd have lots of opportunities - it's technically poison, but nobody would think that it could have been induced intentionally because they just don't understand germ theory.
Also if you’re a noble lady, you’re not preparing his food at all, so even if they thought the food was bad, it hopefully shouldn’t blow back on you
Important research for a story I'm writing! Not real life, never real life.
You are transported back in time and into the body of a young noblewoman in the 1400s. Your parents have married you off to an awful, abusive, rapist husband whom literally no one else would marry despite him being very high nobility because he's that terrible. You successfully produce a baby boy and then plan to murder this man for the good of everyone and yourself. Here is the question: do you think you could murder him in a way that is undetectable to the historical people around you? Note: they aren't stupid, you are the prime suspect as the battered wife AND you can't just say poison. Where are you going to buy poison? Do you know anything about poison actually? NO GOOGLING! You were sent back without a plan!
Do you think you could murder someone in the 1400s and get away with it with your modern know-how?
Yes, I totally have a plan (tell me for research purposes)
No, I realize that I'm very uninformed about murder
I have some ideas but I'm not sure they would work
Edit: my notes are full of murder. I love you all
First step: alliances. Who is going to support my power when my husband dies? Who's a threat? Who can reliably slip me information, who will look the other way, who do I need to pretend around? Is the local medical dude stupid and easily led, seduceable, or a good man who already detests my husband?
THEN construct a plan. Ideally, I'll be a day or so travel away when shit goes down. Can I incite a duel with some well placed words to an enemy? Does he have a drinking buddy who might recklessly induce him to fence or ride after too much liquor? I didn't do anything, I wasn't even there when he got that wound.
When I come back to nurse him (if I do) it's with all the modern day knowledge that I won't apply. Not that anyone would listen to me, of course, but I can ask questions, after all I'm just a female? What is happening? Isn't bleeding the patient good? This water from the stagnant pond was blessed by the priest, surely God will favor him if we anoint his wound with it?
I get nowhere near my husband, especially without witnesses. The sick room is no place for a delicate lady, and besides, on no accounts can we risk his heir. I should probably be sent away - for my health, you understand.
Sometimes people die young. Women are widowed early.
It's so tragic.
Two notes:
To clarify about the poison, you can use poison if you actually know how to identify it, I'm saying you can't just go "Poison!" with no knowledge about poison. Buying it probably means they know that poison and you're caught. Your personal knowledge when you read this post is all you have.
Another point of clarity: You went through all that trouble to have a baby without modern medicine so you could get the sweet house after your husband died. That's why you can't be caught. No disappearing.
i love the ideas in the notes, but one thing is really sticking for me: you are the only person that would marry this guy—whether by your own consent or someone else consenting for you—and suddenly, this fucker dies under what could be considered suspicious circumstances, especially if it was sudden. everyone knows you're an abused wife, knows the servants are abused, it's all public knowledge whether anyone talks about it or not. even if he legitimately died without being murdered, gossip might still spread.
but you are still a woman in the 1400s with a great house and likely an excellent fortune. how are you going to keep opportunists from blaming you as an excuse to get their hands on your property, especially in the face of rumours that your husband's death wasn't natural? it wouldn't even be that hard to make what is essentially theft look legitimate, it could still pass to the son, and he will need a trustee or guardian of some sort until he comes of age, and who better than the local lord justice, who also happens to be a greedy shit but basically is the law, so who's going to stop him?
who's going to stop anyone with better claim to their accusations (because again, you are a woman, and possibly not even a noblewoman yourself but by marriage) from depriving you of your property? what's going to stop your son from doing so once he comes of age, in the event that you can't legally inherit?
i think the question is not 'can you make it look good enough to get away with it,' but 'is anyone going to let you get away with it no matter how good you make it look'? i mean, it wouldn't take much, an accusation of witchcraft—sensationalised, of course, but it is hard to refute—and whipping up a very public campaign ending in a death sentence, and...that's it. game over.
or maybe the best question is, in the face of that, are you willing to risk it? it might not actually be the most cut-and-dried question: which eventuality of possible death are you most willing to risk? that at the hands of your monstrous husband, or that at the hands of a conspiracy to wrest property and possibly power away from you at any cost?
These are excellent points!
In this particular work, the husband is the heir apparent, his father is still alive and holding the title. Grandpa loves the little baby grandson and will definitely make him the new heir if his son dies. The husband has such a bad reputation that I really think if the wife kills him with plausible deniability, the gossip will be, "god has struck him down and he deserved it." Then she gets to bask in being in control of the household until her son grows up and then she retires as a dowager when he marries.
But the main point is that the noblewoman is getting genuinely worried that the husband might kill her or her son, so she's got to do something before it gets worse.
ok, not to be a total shit about this—i am the first to admit i love poking potential plot holes as a form of brainstorming, sorry if that's not what you're looking for—but if granddad is still alive and loves grandson (and daughter-in-law?) my immediate first question is, how is son/husband getting away with this in the first place, especially to the extent there's genuine worry he'll kill wife or grandson or both? i am assuming a continental european-esque and/or british-ish medieval setting, so if that's wrong or markedly different, obviously none of my line of thought will apply.
if granddad is alive (and i'm assuming fairly robust), especially if he's titled, there would have to be some pretty good legal reasons why he's unable to help, or i'd have to come to the unfortunate conclusion that he's just as bad as his son. and he could be! he could be just as bad as his son and still love his grandson, that's not necessarily a conflict, but i am a little confused about the setup.
noblewoman daughter-in-law doesn't need to get away with it if granddad is willing to help make it go away—especially if he brings his purse as a bludgeoning tool—and would likewise, as you pointed out, be in the way of some unscrupulous person getting their hands on the estate. i know it will depend on their relative position in the society you're writing, but i'm also fully aware that you definitely have an understanding that a low-ranking nobleman doesn't have the kind of pull that someone higher up in the nobility would.
perhaps it's enough to say that i'm already hooked on the plot lol. and again, sorry if i'm stepping on toes, i don't always have a good awareness about turning off my editor tap.
I posted this on my Jane Austen blog so I'm not surprised everyone thinks I mean Europe, the story is from China, but honestly I was just wanting to know if anyone had ideas to kill historical people with future methods. The character is translated into English as a duke, so very high nobility.
As for why grandpa is alive and son is still awful? It's like a Tom Bertram situation if you've read Mansfield Park, Tom just runs off and does stuff and his dad can't figure out how to stop him (also, it's not like they are breaking into their kid's bedroom when he's alone with his wife). This character is the only son, so he's basically guaranteed to inherit and they keep covering up his actual crimes in some sort of vain hope that he'll stop. Also, if you live in a patriarchal society, there is this fun thing you can do called "blame the wife for making him angry/not fixing him," it works every time!
The feeling I got from the original story is that the grandparents are in this like, cognitive dissonance where they do know their son is The Worst, but they only have one option, and they do love their kid as parents, so they kind of both try to protect the wife but also excuse their son and pretend he isn't as bad as he is. And they probably don't want to admit to themselves that they raised such a terrible person and are enabling his future behaviour by never letting him face consequences.
As for money, I'd bet he's just charging things to his family account and then they don't want to look bad as a family by not paying or telling places that he's grounded. What thin veneer of dignity they still have as a noble house and whatnot.
This character isn't totally fleshed out, but I imagine him to be similar to Arthur Huntington from The Tenant of Wildfell Hall if you've read it. There is a story line where he almost manages to drag friends down with him too.
well, if the story is set in China, then i would just like to bring back up my earlier suggestion about just getting the fucker hooked on opium. Even if it takes awhile to kill him, it'll mellow him right the hell out...
Suggestion: how would we feel about using our modern understanding of germ theory to kill the shitty husband? Like could you take his shaving razor, dip in it an chamber pot of shit wipe off any perceivable traces, and startle his barber next time he’s being shaved so he gets sepsis in a wound on his neck? Or swirl it in his goblet of wine and hope he gets cholera or something?
You could also improperly preserve food (which if you’re unprepared and unknowledgeable just need to avoid any intentional attempts at sterilizing the food), make sure it’s fed just to him, and wait until botulism strikes
There are so many common historical causes of death we don’t even think about these days because most of the world has reliable access to potable water and basic medical treatment