I Might Be Cancelled For This But I Don't Give A Single Flying Fuck. You're Allowed To Change Your Race,

Ok but picture this, Agatha goes on a life death?changing field trip with Billy. Probably they find Tommy and Wanda, and Wanda restores Agatha’s body since she kind of saved both her kids.

Rio expects Agatha to run as soon as her feet physically hit solid ground again, but she just…doesn’t. Like Rio shows up and is all, “what’s it going to be? Where are you going to run this time coward???”

And Agatha just looks at her, looks around, looks at her and is like, “did I not tell you to fix my damn yard?”

Rio is stunned. Like of all the responses. And Agatha is being (mostly) serious. She clearly expects Death (capital D) to do her damn landscaping. And before Rio can figure out how to react, Agatha is like, “that includes my door and sink. Who tf throws the actual kitchen sink at someone. It’s supposed to be a figure of speech, you overgrown hipster!” And just throws her hands in the air and starts towards the house. Rio is so flabbergasted that she just leaves for a bit. But not before fixing the door. Every time she comes back she expects Agatha to be gone, but nope, there she is, inexplicably hanging out in New Jersey. Sometimes she’s teaching the boys. Sometimes she and Wanda are having philosophical arguments (aka she’s also teaching Wanda but neither is willing to admit it. Rio refuses to leave until Wanda does on those occasions.)

Occasionally she takes trips to other places for various reasons. She nails a note to the door specifically for Rio with detailed instructions for Señor Scratchy and a plea to leave her damn azaleas alone. (Rio does not, and Agatha often comes home to a well fed bunny and man-eating flowers. How one makes azaleas man-eating is anyone’s guess, but Agatha’s money is on semi-divine spite.) Every time she returns to find Rio sulking on the porch. Which is odd because sometimes she has to rush out of the house to get in position. Like Agatha has started to walk up her driveway and seen Rio fling herself out the door and onto the front steps to glare at her. (Señor is a very relaxing bunny and sometimes Rio loses track of time ok.) Neither of them discuss this beyond Agatha rolling her eyes and inviting her back in for a drink or dinner or what have you.

This continues for a truly obnoxious amount of time until Rio finally decides that Agatha is done hiding from her and decides to become the biggest nuisance in existence. Agatha is always annoyed but she never sends Rio away. The worst she does is bitch and moan, and occasionally throw something at her ex-maybe current-wife. If she’s doing something truly important, or, more often, if it looks like Rio is thinking a little too hard about murdering the twins, she’ll tell her to go play somewhere else for a bit. Rio always snarls and growls but she usually heads off for a couple of days. The problem is almost always that she’s either bored or stressed. She always finds herself back in Westview to annoy Agatha eventually. (Sometimes if she’s in a very good mood, Rio will help with the twins’ lessons. But don’t tell anyone.)

Eventually they settle into what everyone else can tell is a relationship, but which they both firmly deny is anything more than a convent arrangement. They make this everyone’s problem, in true agathario fashion, but no one seems to really mind.

Idk, just something I have rattling around in my head.

Imagine, the whole coven still alive and actually being protective of Rio when they're out and about and she's being quirky in the real world and people in public say shit or look at her weird and then the entire Coven of Chaos simultaneously starts insulting people all at once and no one can make out what they're shouting over each other at the same time and Lady fucking Death just smiles "innocently" (but also thankfully) behind them even though she could totally handle her own

reblog to teleport your mutuals to a massive party when jkr dies

consuming desire : cannibalism as a metaphor for love.

love, at its core, is an act of surrender. to love is to give a part of yourself—your time, your attention, your vulnerability—and hope that the other person handles it with care. but what happens when this surrender becomes devouring? when love transcends the boundaries of self and morphs into something ravenous, something primal? enter cannibalism—perhaps the most shocking and visceral metaphor for love, yet one that is repeatedly used in literature, film, and art to depict the uncontainable hunger of human connection.

cannibalism as a metaphor for love walks a tightrope between horror and intimacy, and that’s precisely why it fascinates. it forces us to confront the extremes of desire: the yearning to possess, consume, and merge completely with another. in exploring this concept, we uncover the tangled relationship between appetite, intimacy, and annihilation.

“i want you inside me” : the physicality of love.

the language of love has always been laced with consumption. lovers speak of “devouring” each other’s presence, “tasting” sweetness in kisses, or “losing themselves” in one another. these phrases evoke a sensual hunger, but taken literally, they edge into cannibalistic imagery.

consider the act of kissing. in its essence, it’s a symbolic act of consumption: lips press together, breaths mingle, and a fragment of one’s essence is exchanged with the other. it’s a socially acceptable devouring—a soft echo of what would be unspeakable. yet the darker, more primal undercurrent of such exchanges is what fuels the metaphorical link between love and cannibalism.

cannibalism literalises what love often implies: a desire to fully possess, to ingest and internalise another person so they can never leave you. the boundary between two individuals collapses, and the act becomes a grotesque communion.

eros and thanatos : love and death as twinned forces.

freud famously posited that humans are driven by two primal forces: eros, the life instinct, and thanatos, the death drive. cannibalistic love is where these forces collide. the act of consuming someone you love is both an act of ultimate intimacy and ultimate destruction—a union so complete that it obliterates individuality.

in films like raw (2016) or bones and all (2022), cannibalism is portrayed as a macabre form of bonding. In raw, the protagonist’s discovery of her cannibalistic urges mirrors her sexual awakening, conflating desire with destruction. bones and all, on the other hand, frames cannibalism as a shared affliction—a metaphor for loving someone despite their darkest impulses. the lovers’ hunger for each other is both literal and figurative: they crave connection but fear the annihilation it brings.

this duality taps into our most primal fears about love. to love someone deeply is to risk destruction: of your heart, your boundaries, your sense of self. cannibalism renders this fear tangible, transforming the abstract pain of heartbreak into something visceral and bloody.

the religious undertones : communion and sacrifice.

the metaphor of cannibalism in love often carries religious overtones, particularly the idea of communion. in christian theology, the eucharist involves consuming the body and blood of christ as an act of devotion and unity. cannibalistic love mirrors this act of spiritual consumption but reframes it in a secular, often horrifying context.

this idea is vividly explored in han kang’s novel the vegetarian. the protagonist’s refusal to eat meat—and later her refusal to eat at all—becomes a metaphor for her rejection of societal expectations and the demands of love. her husband’s attempts to control her body echo the act of consumption: he seeks to possess her entirely, to mould her into a form that serves his desires. in rejecting this, she transforms herself into an unattainable ideal, one that can only be metaphorically consumed through memory and longing.

cannibalism also taps into the idea of sacrifice. in myths like the greek story of pelops, or the biblical tale of isaac and abraham, the act of consuming (or nearly consuming) another is framed as a profound, albeit horrifying, demonstration of love and devotion. these stories remind us that love often demands sacrifice—and sometimes, the sacrifice of the self.

love as hunger : the biological imperative.

on a biological level, love and hunger share striking similarities. both trigger the release of dopamine, the brain’s pleasure chemical, creating a sense of euphoria that can border on addiction. in this sense, the metaphor of cannibalistic love isn’t so far-fetched: to love someone deeply is to hunger for them, to crave their presence as intensely as one craves sustenance.

yet hunger, by its nature, is insatiable. the more you consume, the more you want. this insatiability is what makes love—and by extension, cannibalism—such a compelling metaphor. it captures the endless loop of desire: the more we try to possess another person, the more we realise how elusive true possession is.

modern obsessions : why cannibalistic love resonates today.

in a world increasingly defined by alienation and disconnection, the metaphor of cannibalistic love speaks to our longing for intimacy. we live in an era of 'ghosting', casual relationships, superficial connections, and carefully curated personas. to love someone—truly, deeply—feels radical, even dangerous. cannibalism amplifies this danger, turning love into an act of rebellion against a culture that fears vulnerability.

the rise of cannibalistic love stories in popular media also reflects our collective anxiety about boundaries. as technology blurs the line between public and private, self and other, the idea of being “consumed”—whether by love, fame, or social media—feels increasingly relevant. cannibalism forces us to confront these anxieties head-on, offering a grotesque yet strangely beautiful vision of what it means to truly connect.

the ultimate act of intimacy.

cannibalism as a metaphor for love is shocking because it reveals truths we’d rather avoid. it strips away the niceties of romance and exposes the raw, animalistic core of desire. it forces us to ask uncomfortable questions: how far would we go to possess the ones we love? what would we sacrifice to keep them close? and when does love stop being an act of connection and become an act of destruction?

in the end, cannibalistic love reminds us that intimacy is not without risk. to love is to hunger, to consume, and, sometimes, to destroy. it is a terrifying, beautiful, and profoundly human act—one that mirrors our darkest impulses and our deepest longing for connection.

perhaps that’s why we’re drawn to this metaphor, again and again. because in love, as in cannibalism, we find the ultimate paradox: the desire to be one with another, even if it means losing ourselves, and by an extension, our humility in the process.

Bad habits

Thinking about Rio and hurting bad.

Thinking about the love she had for Agatha, a mortal, a love so strong that Rio was willing to bend her own rules—the sacred balance—just because Agatha said one thing.

“I will hate you forever.”

Rio knew that there was nothing to stop what was coming. She did not want to do it, she had no choice. It was the way of life and so was the way of death. It was the way of Rio’s very own being.

And yet Agatha still rejected her. Everything that Rio stood for and everything that Rio ever was, over something that she had absolutely no control over.

Can you imagine how painful that would be?

Still she stood there and took everything Agatha threw at her.

And Rio did try to find a way to work around, she offered time. For Agatha, for Nicky. And for herself.

She bought time for both of them to delay the most unthinkable. For Agatha, it was the death of her (their) son; and for Rio, nothing was more unimaginable than the loss of Agatha’s love and affection.

It was the greatest gift and blessing Death could ever offer to anyone.

Agatha would get what she wanted, at least for a while. She would welcome their son to the world and live out possibly the happiest moments of her life. But for Rio, it was a countdown to the darkest and most sorrowful time ever known to her.

And Agatha would never know any of that.

Rio Vidal, the most powerful yet most tragic character of the show. Who gave her all but at the end, got nothing back.

★Power idea for your DR★

• Sword.

Alright, you see that cool thing Yondu do with his arrow ?

Imagine that with a sword. Or two. Or as many as you want.

You can whistle, snap fingers or just don't do anything and your swords will do whatever you want.

I don't know for you but I find it cool as fuck.

• Shapeshifting

Kinda basic I know, but definitly underrated.

An animal ? Any human you see ? Both ?

This power is so cool. Not the strongest but it delicate and truly beautiful. Usefull and pretty fun for your scenarios.

• teleportation

I know, this one is basic too but oh c'mon guys, simplest are the best.

Really usefull for fight and jokes.

Can be dramatic. And I know you guys love that.

• Mythologycal call

Alright, for people who like to overpower themsleves.

You whistle ? Sing ? Clap in your hand ? Just ask ?

Choose your own way to be dramatic.

And you can call a God from one of those mythology to ask their power for your fight/task...anything you want.

There's SO MANY mythology in this world, just pick one and you litteraly can have the power of any god you want.

currently thinking about standing at melissa's classroom doorway unbeknownst to her. it's her free period and she's sitting at her desk with her earbuds in listening to her playlist and she's grading her students' worksheets. while she's reading, she's tapping her foot to the beat and mouthing the lyrics, completely absorbed in the song. she moves her shoulders and bops her head, doing a little dance in her chair while i stand there leading against the doorway admiring her.

i don't say anything, only giggling at my girlfriend's happy state and returning to my own classroom, smiling to myself

(she was listening to this btw)

Also there has never been a “good” US president. Each and every one of them has presided over unimaginable suffering. You only think they’re good because you were comfortably removed from that suffering and violence

A list of some names for 13,022 Palestinian children who were killed by Israel in #Gaza in just 111 days.

If this is not genocide then what!!