My Favourite Character Arc Has To Be Fitz And His Evolving Relationship With Doors

Modern AU in which Megan and her family know about Ingary, and Howl and Gareth are good buddies who text each other all the time (Howl magicked their phones to work between worlds)

Why you should write healthy marriages:

1. They aren’t done enough.

2. They help other people understand what a healthy relationship looks like.

3. Fights can last for weeks and still be part of a healthy marriage.

4. Stereotypes. Break all the marriage stereotypes.

5. Soft cute couple moments DON’T stop after marriage.

6. Marriage is completely independent of character arcs. Those two individuals with trauma will still be two individuals with trauma but with gold rings.

7. A healthy marriage is one where people understand that their partners have baggage/trauma/flaws, but love them even in rough patches. 

8. It isn’t that healthy marriages aren’t compelling, it’s that people don’t know how to write marriages correctly. 

9. Marriages being an end goal often perpetuates that women are trophies to be won.

10. Marriages being an end goal often perpetuates that someone’s “freedom” ends there. Bury this trope, please, I beg of you.

jet lag s13e2 “we’re about to go absolutely thurbo mode”

Steve actually dies dies when the plane crashes and his spirit remains. Hes attached to Peggy and as far as he can see, its more of an attachment of love then unfinished business.

Peggy cant see him or hear him. The closest he gets is in her dreams. Its not perfect and not every night. He's still unsure of how he can communicate to her but theres some peace of reliving memories in her mind.

She talks to him but still cant see him as time goes on.

Peggy does often feel watched. Sees a flash of famiar baby blues but just chalks it up to the various lack of sleep to grief. She feels comforted during storms where thunder rattles her bones, like a famiar weight is around her shoulders once more. And her dreams...reliving the dances they shared in private in her rented apartment, or conversations where they whispered sweet nothings.

During tense moments of anger or fighting, she gets overwhelming senses to say things she doesnt know to exist but fully believes somehow (and it turns out to be true), or last minute tactic changes she isnt aware was an option (just like how Steve saw outside the box).

Its like Steve is there, still changing and saving her life. She never voices this but shares the private thought.

One day (maybe during S1 of AC or pre-AC by a few weeks), she's hurt to the point she almost dies and is thankfully saved by others quick thinking and Steve clinging to her hand, begging her to hang on.

He has a thought, a selfish one that if she does die, she would get to be with him but Peggy doesnt deserve to die. Not like this. She doesn't deserve to perish like this. No one does.

She has so much work to do. To change the world. Hed give his life a thousand times over for her to survive.

When Peggy's eyes flutter open, she takes in the early morning light, the curtains fluttering in the wind. The sweet smell of grass and a cool wind blowing on her, tickling her hair.

"Thank God you're alive," she hears a voice that she never thought she'd get to hear again. She thinks it must be a hallucination but she doesnt care. Steve is beside her, still wearing his old and tattered uniform he's died in, but there, holding her hand and its ice cold and he smells of cold and the sea but hes here.

It turns out, after she was hurt, so close to death, Peggy can now see Steve.

sophie is trying so desperately to view the moving castle and everything inside it as just a stop on her magical self-discovery journey. she tries to leave like four times because she thinks the narrative is ready for her to move on to a new adventure but she doesn't realize she's been rooted here. she thinks the fairy tale has to keep moving but what she doesn't realize is in real life there aren't perfect beat changes. sometimes you don't leave to represent a change in your perspective or goals. in real life you fall in love and get curious about new worlds and get attached to little brothers and fire demons. in real life you make a home.

obsessed with re-embodied First Age war heroes interacting with the aman-born youth

Youth: Wow, your hair is so pretty! Such a first age throwback. Could you be related to Maedhros Fëanarion? Maedhros Fëanarion: Never heard of him

Finrod Felagund: That's a cool ring, kid. Reminds me of early first age bëorian metalwork. Youth: Gee, thanks, that's exactly what I was going for! Does it make me look like King Felagund? Finrod Felagund: Absolutely. He'd be proud

Youth: Atar said you're from the first age. Did you know the sons of Fëanor? Was Celegorm hot? This blond guy the other day told me he was really hot Caranthir: Don't listen to that blond guy again. I know what he's doing

The Differences Between Hera and Eowyn

Just thinking about these two shieldmaidens, and the stark differences between them.

I think a big one is that Eowyn is a romantic, whereas Hera has no wish to marry.

Meanwhile Eowyn hungers for battle and glory, and Hera, although willing to fight, does not desire it.

Hera seems to have grown up in a time of peace, or at least her childhood seems to have been peaceful. Although she lost her mother, she was too young to remember her, she had a father, two brothers, a cousin and a motherly figure. She had constant love, affection and security. However, Helm seems to have been protective of her, so freedom was her greatest desire.

Eowyn's mother and father died at an age for her to be devastated at their loss. She then lost her uncle, her father figure, as he succumbed to Grima's enchantments, and her brother and cousin regularly left her behind. Her life was marked with violence and loss.

Meduseld was a cage, but the only people close to her leaving Meduseld were soldiers riding to battle. Freedom meant battle, because battle was what went on beyond the walls of Meduseld. Battle also meant a place in the histories, a chance to be remembered. Battle was where her brother and cousin went when they left her behind. Battle was the opposite of the dry nursing role she was ill suited for, yet had thrust upon her.

Eowyn yearned for battle. She yearned for love. To ride to battle, to be loved, to be remembered, would ease her grief over being left behind, abandoned by those around her. Her infatuation for Aragorn was wrapped up in her admiration a soldier has for a captain. Romantic desire and desire for battle were intertwined.

Both of them were royal shieldmaidens who chafed under the expectations of their sex, and showed great courage in times of crisis, but the similarities begin and end there. Hera, we see, was playful, young, naïve, clever but sheltered, until the events of the film forced her to grow up. Hers was a coming of age story.

Eowyn was cold, despairing, bitter and angry. The events of the movie and the books see her regain the capacity for hope that was taken from her.

A Fflam being fflamtastic is a new comic page worth a Tumblr.

Hii!! I feel like I haven't seen you in ages, I hope you're doing great!! If it's not too late, could I request a Dousy lockscreen? Thank you, and have a nice day!!

Awww, thanks!!! I am doing great, I have delicious chocolate 😂 back at you, I how you're doing well, too!! Oh GREAT request

Gosh I love these two. Thanks for the ask!!