Loving This Character Isn’t Enough I Need To Unhinge My Jaw And Sink My Teeth Into Them 

tfota posts by me

This is in no way a complete list (nor it can be, coz I post a lot about them XD) but I will keep adding to this list in time. I'm kind of just putting together some things I love <3

Jude and Cardan thinking about each other so much that they even dream about one another

Why Madoc didn't allow Jude to declare herself ready for knighthood in the tournament?

“And is it?” “Out of your system?”

Cardan's fear for Jude while she's held prisoner in the Undersea

Karma in tfota

Like father like daughters

Cardan "I am no murderer" ready to kill for Jude

Jude misunderstanding the signs Cardan gave

Madoc respects Jude as a Queen

Jude's uncomfortable love for Madoc

“It meant nothing, and he should forget it.”

“I see a new monarch coming” aka. Cardan's queen aka. Jude

Soft Jurdan

Caring Cardan Supremacy

QoN underrated scene

some small/deep parallels in tfota

Jude and Cardan: heart-less

When Jude's taken a prisoner by the Undersea

How Jude feels in the mortal world and how Cardan sees her in Faerie

What Kaye thought she saw in Cardan's eyes for Jude vs. what he really saw.

tfota parallels with Simon Snow trilogy

Cardan and Baz: I didn't know what I wanted

When they don't think what/who could hurt them

How Cardan and Snow make Jude and Baz laugh

Jude and Baz: maybe I should kill him

the energy between jurdan and snowbaz

Snow and Cardan simply giving heart attacks

tfota parallels with tsc

Jude and Julian: acting behind the scenes

Cardan and Julian making decisions based on ...

Jude and Kit being like: enough is enough, I need to show them.

Cardan Greenbriar and Kieran Kingson

Cardan Greenbriar and Ash Morgenstern

tfota and other small parallels I've squealed over

Jude and Annabeth fooling people with their smiles

Cardan Greenbriar and Oliver Marks

Patroclus, Cardan and Emma, in the dark

Jude Duarte and Delilah Bard, same energy?

they feel like the only real/solid thing in the world

A little of my treasure for you 💗

Lmaoo yess!!😭

#same ship different font

maybe if you take a hot shower. cook something. eat a little soup. feel a little sunshine. make something with your hands—it doesn’t have to be big. maybe if you stretch your body and draw a silly little picture and get some rest, the world will feel like something your hands can still hold

Jude Duarte, The Wicked King (2019) ♛ ♜ ♗ ♞

“‘For a moment,’ he says, 

‘I wondered if it wasn’t you shooting bolts at me…’

‘And what made you decide it wasn’t?’ He grins up at me.

 ‘They missed.’”

tu fui ego eris

“Anthony was rather famously besotted with his wife, who was in turn rather inexplicably besotted with him.”

Julia Quinn, On the Way to the Wedding (Bridgertons, #8)

#I wanna live here 😭😭

Tektober on Instagram

Dropping the Mask

Wang So’s final moment in the story with him REVEALING HIS SCAR really does complete his journey in many, poignant ways - from covering his scar to revealing it, from self-loathing to acceptance. The last moment when the audience sees Wang So’s scar for the one last time is a direct parallel to the time when we and Hae Soo saw it for the first time - back then he was ashamed of it, back then he tried to cover it and to hide it - it made him immensely self-conscious and vulnerable. Back then, he was looking at Hae Soo and this time his piercing gaze once again belongs to HS even if she isn’t there. It’s as if So was able to look through the space and time separating them and find her in the future, just like he is promising her that he will one day.

This time we get the same extreme close-up of his face - but he isn’t self-conscious nor vulnerable anymore. I’ve read some comments that Wang So couldn’t love himself the way he was until the very end, but that’s not true - HE IS ABLE TO ACCEPT HIMSELF JUST THE WAY HE IS, BE IT HIS SCAR, HIS FEELINGS, HIS FAILURES, HIS ACTIONS. And even without HS by his side he’s able to become of one the greatest kings in the Korean history, even with all the terrible things that happened to him, even with all his scars.

If you’ve ever wondered why Egyptian mummies are so rare, it’s because wealthy Europeans ate them. Between the 12th and 17th centuries, while pilfering the continent for goods, resources, artifacts, and Africans themselves, colonizers also looted and exoticized Egyptian tombs. Mummies were ground up into medicines and consumed by the elite, believed to be a remedy for various ailments and an infusion of life-energy from the spirits of the dead. When Egyptian mummies became scarce after hundreds of years of eating them, corpses from other parts of North Africa and Guanche mummies from the Canary Islands were instead exported and sold to European apothecaries. But even as they engaged in cannibalism for their own selfish indulgences, one of the primary ways that Europeans demonized Indigenous peoples was by naming them all as savages and cannibals.

Colonizers have not limited their use of racial cannibalism to the medicinal. They have also used it punitively and vindictively. During the genocidal King Leopold II’s occupation of the Congo (1885-1908), Belgians massacred more than 10 million Africans. Most were forced to work for the Anglo-Belgian India Rubber Company, and were severely punished if they did not meet their rubber quota. In Don’t Call Me Lady: The Journey of Lady Alice Seeley Harris, there is a black and white photo of a Congolese man named Nsala, seated at the edge of a porch. His eyes are fixed on the severed hand and foot of his 5 year-old daughter, Boali. The Belgian militia had cut them from her body before killing her and her mother. To further exact their cruelty, they ate Nsala’s wife and child. They did this because he had failed to meet his rubber quota for the day.

The thing about white supremacy is that it does not merely subsist through the consumption of the Other; it whitewashes by de-emphasizing and lessening these misdeeds and others. History looks very different when white people are not the protagonists in its retelling. A significant instance: the accepted and well-known white feminist narrative about the Salem Witch Trials of the 1600s is that it was a hysteria driven by rampant misogyny and a pointed persecution of white women, the survival of which they harken to as evidence of their historical resilience. I prefer to think of it, more accurately, as a community of racist, religiously-intolerant enslavers and colonizers of stolen Native land cannibalizing itself—and I wish it had finished its meal instead of begetting centuries of white people who would gorge on the lives and cultures of Black and Indigenous folks.

As the Donner Party traveled across the U.S. as part of a violent westward expansion in 1847, a small group that broke off from the larger party became stranded without food in a grueling wintery hellscape. So, they conspired to murder their two Native American guides, Salvador and Luis, for food. The two men ran away, but were found a few days later and were swiftly eaten, the only members of the party to be hunted and murdered before they were cannibalized. Salvador and Luis are rarely spoken of when the story is told to relay the suffering and survival of the people who ate them. In the version of the story that tells the truth about colonialism and the violence it requires, the Donner Party are the monsters, not the damsels.

The Transatlantic Slave Trade was a monstrosity of boundless proportions. Its enormity altered the world in a multitude of ways and none were/are more changed by it than Africans and their descendants. Many Africans believed—or, rather, knew—that white people were cannibals and feared that they would be taken away and consumed, like the others who had disappeared and not returned once white people began to arrive on African shores. Fear of white cannibalism on the ships carrying Africans to other lands was indeed palpable, and often led to attempted mutiny and escape or suicide by jumping into the waters below.

—  Sherronda J. Brown, THE HISTORY OF CONSUMPTION AND THE CANNIBALISTIC NATURE OF WHITENESS