dazzled_eyes

I'm a romantic at heart in search of the best story, whether in print, TV or film. I'm also a bit Robsessed.

[moonbean117]

[rob-pattinson]

LUPITA NYONG'O 2026 | "The Odyssey" World Premiere, London (July 6)

[rob-pattinson]

ZENDAYA 2026 | "The Odyssey" World Premiere, London (July 6)

[ohmovie]

ROBERT PATTINSON TENET (2020) Dir. Christopher Nolan

[bodeckerhedron]

ROBERT PATTINSON as CHARLIE THOMPSON

➤• THE DRAMA (2026) DIR. KRISTOFFER BORGLI

[rob-pattinson]

ROBERT PATTINSON 2026 | "The Odyssey" Photocall in London, England (July 5)

[katnissmellarkkk]

i still can’t believe the twilight movies have people genuinely thinking charlie swan deserves the dad of the year award. book charlie couldn’t handle his only child’s tears to the point that he would avoid her any time she had any emotion at all, including during her catatonic depression, he would disable her truck on the pure suspicion she may be sneaking out (because she went to bed too early in the evening… to spend the night with edward in her room), he left to go on long fishing trips randomly, allowed her to move in with him and immediately do all the cooking, cleaning and laundry for him without helping out at all, when he grounded her at the end of new moon he basically treated her as his live in maid once again, he sided when jacob when he basically sexually assaulted her in eclipse, and most of all, he never fought renee for custody of bella because “renee needed bella to take care of her”. bella was 18 months old when renee took her and left btw.

[cassandraclare]

perpetualprocrastinationisme asked:

Will we learn more about Andrew and Eleanor Blackthorn in TLKOF? Will Ty or Dru be thinking about them as they go on their adventures?

A very little. In the scenes in TLKOF from Ty's perspective, there is no room or reason for him to think about them. Dru wears her mother's gear and thinks briefly about her father, but he died when she was eight, and Eleanor when she was even younger. To her, her parental figure is Julian, who she thinks about a lot, as does Ty.

svnshinee9 asked:

I was just wondering, since it's mentioned quite a few times, does Ty's hair and eye colours (different from the rest of the other blackthorn siblings) hide a piece of information we're still missing??

Nope! It is meant to be a fun piece of business tying him back to Jesse and the other Blackthorns of that time. That's all.

izzylightwoodfledaway asked:

Hey Cassie, I know we've just got A Sea of Change where we saw what happened to Mathew Fairchild after the TLH. And we sort of know that James and Cordelia lived happily ever after TLH but are we gonna see them later in their lives? Maybe James or Cordelia or Lucie could even get mentioned in the TWP? Maybe their ghosts could make a cameo? Or their story ended at TLH?

The forward progress of their stories ends with TLH. They do not live on forever or return as ghosts. We may hear bits and pieces about their lives, as history (Matthew's apartment in Paris lives on). It's not to say someday there might be a short story or something, who knows?! — but not in TWP.

laamedusa asked:

Hi Cassie!

I was wondering, does Ash remember or have any memories of Nene? I totally get if you can’t answer this but I loved their short story and would love to see more of them!

He does! He remembers her well though he won't necessarily admit it at first. She certainly changed him, as he has only known otherwise terrible role models.

smrxlmn asked:

Will we get any boyfriend moments in the first book? I know it's too spoiler, but.. but...

I don't know what that means! — and googling did not help me. Google did tell me that boyfriends should go canoeing or kayaking together, though I am not sure they would like that. You will have to clarify next round. :)

maryheronthorn asked:

hi cassie!

i was wondering if we are going to see a little bit of the sill on-going beef between emma and zara. i remember zara still being super angry and promising to kill emma when she got out of idris soooo maybe IF she gets out… will we see round 2? 👀 or is zara over it?

Zara is never over anything, but she also has beef with a lot of people. You'll definitely see her though she has bigger problems than Emma in TLKOF.

heronstairs asked:

hey Cassie, i'm super curious to know if we learn why the runed gun only fires for James & Kit during the plot of twp. it's been haunting me. very excited to reenter the shadow world in tlkof!! <3

We already know why it fires for James, but we will indeed find out why it fires for Kit, too, in TWP. Ty figures it out.

iveneverbeenanaturalt asked: Will Maryse’s brother be in TWP? any chance we'll see them reunite?

We will definitely see Max. (Max 2? Max 3?) His knowledge proves invaluable. Maryse and Max reunited before TLKOF so that would have to be in special content or a deleted scene. (For those of you who have not read Better in Black, you will find out who Max is!)

ecairis asked:

Are Emma and Julian planning to expand their family?

Definitely not at the moment. You will see why.

[scr4n]

Pepperoni pizza 🍕

[dazzledeyes]

Where's mine? LOL 😄

[scr4n]

🍕.

[dazzledeyes]

Looks delicious! I can eat that now. 🤤

[simpfordemetri]

Bella depression after Edward leaves is one of the most important parts of the saga (for me) because it explains how a mate bonds actually work in Twilight.

The mere belief that she had been abandoned by Edward and separated from him causes her entire life to come to a standstill. She isn’t just sad over a breakup. She literally stops living.

That is crucial to understand other characters like Marcus, he is not only depressed. LIKE BRO if Bella breaks that much after only a few months without Edward, how must Marcus feel after centuries without Didyme? Especially when we know he only remains with the Volturi because Chelsea manipulates the bonds tying him to them. Without her gift, he likely would have 💀 a very long time ago.

Also the obsession the Romanians have for the Volturi. The Volturi didn’t just take away their kingdom and coven, they also killed their mates, it is only fair that they want revenge now.

New Moon is not about a breakup, it’s about what happens when a bond that was meant to last forever is torn apart. Bella experiences a temporary version of what other vampires have been enduring for centuries.

Also vampires feel even more intensely than humans so if she as a human experiences that level of devastation after being separated from her mate, how unbearable must it be for a vampire?

Marcus deserves the world😩

[edtwilightlla]

The movie eventually captured my interest, thanks in large part to Edward whispering Romeo's lines in my ear—his irresistible, velvet voice made the actor's voice sound weak and coarse by comparison.

I die whenever Edward quotes this XD

[petittdove]

there’s a recurring discussion when talking about Twilight: the fact that Edward watches Bella sleep. for many, this is automatically classified as stalker behavior— invasive, disturbing, and indefensible. and, from a realistic perspective, it is. in real life, entering someone’s room without consent and watching them sleep is a serious violation of privacy.

but the problem starts when this analysis ignores a central element: Edward is not human.

in Twilight, we’re talking about a romance between a human and a vampire. not just any vampire, but a centuries-old being, a predator by nature, whose existence is anchored in impulses that are not human. when Edward invades Bella’s room, this is wrong by human standards, and the text itself makes it clear that he knows this. in Midnight Sun, he rationalizes, hesitates, acknowledges the transgression. the narrative doesn’t treat the act as morally impeccable.

now, through the lens of the Gothic genre—because, whether like it or not, Edward is a vampire, and vampires are Gothic beings—the scene becomes almost archetypal. the traditional vampire has always been a nocturnal invader. in Carmilla, for example, the vampire’s presence in the protagonist’s room is far more invasive and explicitly predatory. the figure of the vampire carries precisely this burden of transgression: he crosses physical and moral boundaries. he observes. he watches.

within this tradition, Edward’s behavior is not a “writing error.” it embodies a classic vampire trope. in fact, it is one of the most coherent attitudes aligned with the supernatural archetype within a narrative that often domesticates the monster to fit the mold of young adult romance.

what generates friction is not the act itself, but the framing. part of the audience reads the scene as Gothic fantasy—the predator fascinated by the prey he chooses not to consume. another part reads it as a romantic model applicable to the real world. when a work is consumed primarily by teenagers, the line between dark fantasy and idealized love becomes blurred. modern criticism often operates from a contemporary ethic grounded in explicit consent and clear boundaries — and that is entirely valid.

but it is also reductionist to ignore that we are dealing with a narrative about a supernatural being. to demand that a vampire operate with the same psychological and social codes as an ordinary human is to empty the very conflict of the work. the fascination of the novel lies precisely in the tension between danger and control, predator and moral choice, instinct and abstinence.

Edward is not presented as a model of emotional health. he is obsessive, extremely self-controlled, old-fashioned, morally rigid. he sees himself as a monster. the text works with this ambiguity. he is not simply a “perfect prince”; he is a predator trying to perform humanity.

therefore, the discussion is not “right or wrong.” the discussion is: through which lens are we analyzing it?

if we consider contemporary realist ethics, the behavior is problematic.

if we consider Gothic literary tradition, it is consistent.

if we consider romantic fantasy, it is part of the erotic tension of the domesticated supernatural.

in the end, Twilight, for me, exists precisely in this hybrid space: it is not classic horror, but it is also not realistic romance. it is a tale about the monster who chooses to love instead of consume, and discomfort is part of that construction.

[zsuo]

neil | tenet (2020)

[petittdove]

there’s a recurring discussion when talking about Twilight: the fact that Edward watches Bella sleep. for many, this is automatically classified as stalker behavior— invasive, disturbing, and indefensible. and, from a realistic perspective, it is. in real life, entering someone’s room without consent and watching them sleep is a serious violation of privacy.

but the problem starts when this analysis ignores a central element: Edward is not human.

in Twilight, we’re talking about a romance between a human and a vampire. not just any vampire, but a centuries-old being, a predator by nature, whose existence is anchored in impulses that are not human. when Edward invades Bella’s room, this is wrong by human standards, and the text itself makes it clear that he knows this. in Midnight Sun, he rationalizes, hesitates, acknowledges the transgression. the narrative doesn’t treat the act as morally impeccable.

now, through the lens of the Gothic genre—because, whether like it or not, Edward is a vampire, and vampires are Gothic beings—the scene becomes almost archetypal. the traditional vampire has always been a nocturnal invader. in Carmilla, for example, the vampire’s presence in the protagonist’s room is far more invasive and explicitly predatory. the figure of the vampire carries precisely this burden of transgression: he crosses physical and moral boundaries. he observes. he watches.

within this tradition, Edward’s behavior is not a “writing error.” it embodies a classic vampire trope. in fact, it is one of the most coherent attitudes aligned with the supernatural archetype within a narrative that often domesticates the monster to fit the mold of young adult romance.

what generates friction is not the act itself, but the framing. part of the audience reads the scene as Gothic fantasy—the predator fascinated by the prey he chooses not to consume. another part reads it as a romantic model applicable to the real world. when a work is consumed primarily by teenagers, the line between dark fantasy and idealized love becomes blurred. modern criticism often operates from a contemporary ethic grounded in explicit consent and clear boundaries — and that is entirely valid.

but it is also reductionist to ignore that we are dealing with a narrative about a supernatural being. to demand that a vampire operate with the same psychological and social codes as an ordinary human is to empty the very conflict of the work. the fascination of the novel lies precisely in the tension between danger and control, predator and moral choice, instinct and abstinence.

Edward is not presented as a model of emotional health. he is obsessive, extremely self-controlled, old-fashioned, morally rigid. he sees himself as a monster. the text works with this ambiguity. he is not simply a “perfect prince”; he is a predator trying to perform humanity.

therefore, the discussion is not “right or wrong.” the discussion is: through which lens are we analyzing it?

if we consider contemporary realist ethics, the behavior is problematic.

if we consider Gothic literary tradition, it is consistent.

if we consider romantic fantasy, it is part of the erotic tension of the domesticated supernatural.

in the end, Twilight, for me, exists precisely in this hybrid space: it is not classic horror, but it is also not realistic romance. it is a tale about the monster who chooses to love instead of consume, and discomfort is part of that construction.

[thegaylibertarian]

[liminalweirdo]

I am once again begging you to get your hands on physical media and/or save your fave stuff OFFLINE.

[astrodidact]

[intheheartofman]

[wonderwanda]

I reblogged this yesterday, but I want to reblog it again. Diabetic ketoacidosis turns your blood acidic and will essentially burn you from the inside out.

The stories you hear of people dying from rationing, this is what happens to their body.

Affordable insulin isn’t just a right, it’s a necessity.

No one should have to die like that when it’s preventable with access to proper medication.