I had all and then most of you, some and now none of you.
Keni
will byers stan first human second
Claire Keane
TVSTRANGERTHINGS
Mike Driver
d e v o n
Cosimo Galluzzi
No title available
Peter Solarz
todays bird
macklin celebrini has autism
Show & Tell
art blog(derogatory)

⁂
we're not kids anymore.
trying on a metaphor

titsay
AnasAbdin
let's talk about Bridgerton tea, my ask is open
cherry valley forever
seen from Poland

seen from T1
seen from Malaysia
seen from Mexico
seen from Mexico

seen from Japan

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 United States

seen from United States
seen from Palestinian Territories

seen from Uzbekistan

seen from Uzbekistan
@lennakasra
I had all and then most of you, some and now none of you.
The wonderful @lennakasra drew The Lesson of You fan art!!! I'm so touched, a friend said, "It's like if TLOY was a very dirty picture book!" and I love that LOL. Also featuring one of my favorite insane Charles lines hehe. Thank you SO SO much Flower, I adore it and I adore you <3
I'M SO GLAD YOU LOVE IT!!! I had a lot of fun drawing this and i love The Lesson of You so much!! 💞💞💞
Did Coriolanus really love Lucy Gray and Sejanus? Why is his behavior in the books often so extremely contradictory? Why did he seem, most of the time, to feel more empathy toward Lucy than toward Sejanus? Why did he see Lucy as a forest nymph, and Sejanus as a privileged, usurping boy who complained all the time?
.*`Structural Narcissism:
Snow feels neither guilt nor remorse, because his psychic structure is built around a constant axis of self-justification. He cannot tolerate vulnerability or dependence, so he turns everything into a struggle for power. His intelligence and charm work as narcissistic defense mechanisms: he manipulates, seduces, or betrays, always to preserve the feeling that “everything is under his control.”
The fear of losing status (the collapse of the Snow family) is the core of his narcissism. His entire sense of self depends on maintaining that façade of control, purity, and distinction.
.*`Empathy toward Lucy Gray vs. Sejanus:
With Lucy Gray Baird, his empathy arises because she represents an idealized projection: beauty, creativity, freedom, and charisma, all the qualities he lacks but longs to possess. At first, he perceives her as an “object to be rescued,” which reinforces his narcissism (“I am the one who saves her, who elevates her”). Lucy fascinates him because he admires in her what he wishes he could be, and at the same time he wants to dominate her so as not to feel inferior. His empathy is instrumental, it doesn’t come from compassion but from aesthetic and symbolic identification.
In contrast, with Sejanus Plinth he cannot empathize because Sejanus is a moral mirror, not an object of idealization. Sejanus confronts him with everything Snow denies about himself: guilt, genuine empathy, ethical dissent. Moreover, Sejanus comes from a wealthy district family, which triggers class envy and threatens Snow’s fantasy of superiority. He despises him because Sejanus exposes the truth he cannot bear, that he himself is morally corrupt.
• Snow idealizes Lucy Gray because he can turn her into part of his narrative of greatness and control.
• Snow rejects Sejanus because Sejanus exposes his lack of humanity and makes him feel weak.
• His “empathy” does not come from feeling, but from the symbolic utility each person has for his ego. Lucy Gray feeds his narcissism; Sejanus endangers it.
.*`Did Coriolanus ever love Sejanus and Lucy Gray?
The answer is yes—but the word “love” can’t really apply, though it’s the only one we have for such an emotion, right? He did care for them, but in a twisted, disturbing way, always governed by his structural narcissism. That’s called narcissistic attachment.
.*`With Lucy Gray:
What Snow feels for her seems like love, but it’s really a mixture of fascination, desire for possession, and fear of loss. Lucy Gray offers him what his environment never does: spontaneity, life, emotion. He admires her because she embodies what the Capitol has stolen from him—authenticity and freedom—but at the same time, he needs her subdued so he doesn’t feel vulnerable.
When he starts to distrust her, that “love” dissolves into paranoia. In his mind, affection can only exist as long as the other person belongs entirely to him; once Lucy escapes his control, she becomes a threat. That shift from “love” to “hatred” is typical of structural narcissism: the other ceases to be a subject and becomes an object to be eliminated if they no longer sustain his ego.
.*`With sejanus:
His relationship with Sejanus is more complex because Snow does feel an emotional bond, even if he experiences it with contempt and disgust. Sejanus is naive, compassionate, moral; he represents everything Snow cannot allow himself to be. Deep down, there’s a mix of envy, repressed admiration, and guilt. When he betrays him, he does it coldly, but the inner conflict shows—he needs to rationalize it, to repeat that “it was the right thing to do.” That indicates that, in his sick way, he did care for him, only his psychic system cannot tolerate the idea of owing loyalty to someone weaker or ethically superior.
Snow experiences affection, but filtered through his narcissistic structure: love that needs domination, empathy that turns into repulsion, attachment that demands obedience.
• His love is never about surrender, it’s always about possession.
• And when the other (Lucy or Sejanus) confronts him with his lack of control, his affection turns into punishment.
• So yes, he did love, but only within the limits of his own distortion.
.*`Arguments for saying that Snow did feel affection (though deformed):
• Contradictory behavior toward Lucy Gray.
Throughout the novel, Snow shifts from protecting and admiring her to wanting to possess her. That ambivalence (affection and fear, desire and control) shows that something emotional is driving him. If he felt nothing, there would be no such oscillation. The intensity of his reaction to the idea of losing her or being betrayed by her reveals hidden emotional dependence.
In structural narcissism, dependence disguises itself as dominance: “I need her, but I must destroy her so I don’t depend on her.”
• His contradiction with Sejanus.
If he only despised him, there would be no inner conflict. But the text shows moments where Snow feels uncomfortable, irritated, even frightened by Sejanus’s moral purity. Constant irritation is a sign of repressed attachment, not indifference. Moreover, when Sejanus dies, Snow obsessively rationalizes his betrayal, repeating that it was “necessary” and “for the good of the Capitol.” That defensive insistence is typical of denied guilt: he needs to justify himself to avoid psychic collapse.
.*`Guilt and remorse in Snow:
He feels no conscious guilt because his structure doesn’t allow him to see himself as an aggressor; he experiences his actions as “justice,” “order,” or “duty.” But there is unconscious guilt, expressed through his moral rigidity, his disdain for vulnerability, and his intolerance of emotional chaos.
After Lucy Gray and Sejanus, he becomes colder and more calculating: that repression shows that something emotionally marked him, even if he transformed it into political control and systematic cruelty.
In psychology, this is interpreted as defensive guilt: the subject doesn’t repent, but their entire life becomes structured around never again feeling loss, betrayal, or inferiority.
Snow becomes incapable of trusting or loving without manipulating. It’s his way of not repeating the pain of being rejected (by Lucy) or morally confronted (by Sejanus).
Snow’s search and compulsive repetition: how Coriolanus kept seeking Sejanus and Lucy in other people.
.*`Lucy Gray = Katniss Everdeen
This is the most evident repetition, even acknowledged by literary critics.
Katniss is the updated reflection of Lucy Gray:
• Both are girls from District 12.
• Both have an ambiguous relationship with the Capitol.
• Both use music and performance as resistance.
• And both awaken in Snow the same mix of fascination, fear, and desire to control them.
• When the older Snow watches Katniss in the Games, his reaction is almost identical to what he felt for Lucy Gray: he admires her for her cunning and charisma but immediately needs to reduce her to a threat.
This pattern reveals that Snow never overcame his bond with Lucy Gray, and his obsession with Katniss is a projection of that old wound: this time he wants to dominate what once abandoned him.
Katniss doesn’t know it, but psychologically speaking, she embodies the lost object, the free, unpredictable woman who cannot be subdued.
Sejanus = Peeta Mellark (and partly Seneca Crane or Plutarch Heavensbee)
With Sejanus, the repetition is subtler but just as strong.
Snow sees in Peeta Mellark a clear echo:
• He is compassionate, idealistic, incapable of hatred.
• He values humanity even in the midst of horror.
• And, like Sejanus, he follows a moral code that makes him appear “weak” to the system.
When Snow faces Peeta, he feels the same mixture of contempt and threat he once felt toward Sejanus. His hostility toward Peeta is more emotional than it should be, Peeta is not politically dangerous, yet Snow despises him in a visceral way. That intensity cannot be explained by political calculation alone; it’s an unconscious reaction to a human type that confronts him with his own lack of compassion.
That’s why Peeta irritates him so much: he is the Sejanus who survives, the one he cannot personally betray.
One could also argue that Seneca Crane (the Gamesmaker who shows compassion) and Plutarch Heavensbee (who manipulates him with ethical intelligence) are partial repetitions of Sejanus: both betray him from within, and both morally underestimate him. Snow eliminates or despises them just as he did Sejanus, as if replaying the same psychological drama on different scales.
.*`Plutarch and distorted affection:
• Affection disguised as control
Snow cannot tolerate direct emotional closeness, because he experienced it as a threat (with Lucy and Sejanus). Yet he still needs to feel a form of intimacy, even if it’s mediated through hierarchy or manipulation.
That’s why he develops a cold “cordiality,” an almost paternal or polite manner with people who interest him. With Plutarch, for instance, he shows a peculiar respect (a measured courtesy) as if he valued Plutarch’s intelligence and refinement, but always making sure it’s clear who holds the power.
That’s his version of affection: a relationship of mutual dependence where the other admires his authority, and he responds with a form of controlled “protection.”
• The unconscious reflection of Sejanus
With Plutarch, the pattern with Sejanus repeats, but inverted:
Sejanus admired him from a morally superior position.
Plutarch “flatters” him from an intellectually inferior one (or so it seems).
This dynamic makes Snow comfortable, because it removes the risk of being morally outshone. However, that pseudo-friendship still carries an echo of the previous bond: he’s drawn to surround himself with cultured, sensitive, creative people, but he needs them to depend on his validation.
It’s as if, unconsciously, he were looking for a new version of Sejanus, one who wouldn’t make him feel guilty.
That’s why when Plutarch betrays him, the blow isn’t only political, it’s symbolic. It’s the same trauma repeating itself with a new face.
• Repressed affection and its twisted form
Snow does show, in several scenes, something resembling genuine affection, but always tainted by calculation.
He speaks courteously, remembers personal details, grants small privileges: all of that is his warped way of saying “I value you.”
But he doesn’t do it out of empathy, he does it because he needs to feel that there’s loyalty toward him, that someone “understands” him.
His form of affection is possessive, hierarchical, and transactional.
In psychological terms, this is known as narcissistic attachment: the subject needs closeness, but manages it as a transaction that reaffirms their own worth. If the other person steps out of that structure, they are destroyed.
everyone wants magneto to kill a nazi until a nazi actually dies and then ppl suddenly grow this weird moral backbone of "ok killing is wrong this is too far! freedom of speech!"
college-aged babies from my modern-day cherika au the ones who bloom in the bitter snow ✨
“I want you by my side. We’re crustaceans, you and I. We want the same thing”
i was blessed with a vision and i needed to bring it to life
i give you shrimp divorce
Sometimes i believe i need to learn how to read, but then wish blesses us with art 💞💞
thinking about them again and how parental they are towards Sean like damn that really is their first baby 🤯
“What? you know you thinking the same”
i love their casual flirting so fucking bad they weren’t subtle with this shit
this was such a small thing but it means so much to me the way they look at each other 😭😭😭they’re so gay
a reminder that erik lehnsherr was fourteen years old when he first met sebastian shaw.
i’m not one for moralising fictional characters and shipping dynamics, but whether depicted within the context of x-men or otherwise, the holocaust was a real historical event that should not be glamorised or glorified in fictional works, and that extends to depicting romantic relationships between an auschwitz official and the child they abused and traumatised.
we are fast approaching a post-survivor age, against a political backdrop of those same atrocities being enacted on marginalised groups today. we owe it to those who lived, and those who died, to depict the horrors of the holocaust with a degree of sensitivity. research what truly happened. read survivor testimonies. see if you can come away from that still wishing to depict a romantic arc, however dark or twisted, between perpetrator and victim.
i’m not speaking in favour of censorship, or against ‘problematic’ ships and storylines. but if you insist on shipping erik/shaw within the context of the movie canon, please at least have a shred of awareness that what you’re talking about is, at best, a nazi grooming a jewish child who is interned in a concentration camp.
I hate it when women fetishize gay men. The way you Draw Charles is giving fujoshi bait.
Hi anon!<3 I love fetishizing gay men and being misgendered! Anyway, here's a totally normal Charles I drew for ya<3
I shall now return to my unfinished commissions
I love this so much
to think that we could stay the same 🧬
redraw of my first cherika piece, a little over six months later
i’ve been thinking a lot about how much my art has improved since i started participating in fandom again - my three year graduation anniversary just passed, and it’s wild to see how far i’ve come and how much happier i am regaining the confidence that art school p much kicked out of me. the og version of this piece is what brought me into cherik and introduced me to a lot of people who i’ve come to care so so deeply about. i love this fandom and i love my friends
I was playing Secret of the Mimic and made a weird connection that I don't know if someone else has made or if there's a theory out there or if it's already debunked.
But, Edwin son, David is pretty sure the tiger ghost that haunts us, who is repeating in his voice some of the mimics voicelines. So that could maybe mean that David's ghost is inside the mimic (it wouldn't be the first time a child possesses an animatronic).
So what I was thinking was related to the third ending. The one where we seem to be in a room similar to fnaf 4 and we manage to turn the mimic back to David.
I realised that some time ago some people using the handbook theorised that the crying child's name was Dave, which is also a shortened version of the name David.
Using this info I was thinking that maybe the crying child has always been the mimic. Maybe he is always crying not only because he is scared of the animatronics but because his parents aren't there anymore. Also, he could be scared of the animatronics being violent because he is one. There has been theories that the crying child was scared of them because he thought he saw someone getting stuffed into an animatronic. If he was the mimic as David, he could have some memories of him stuffing the fazbear employees in the factory into the suits. It could be something like "what if they are as violent as me?". That could explain the irrational fear he has to the animatronics being violent. Maybe he isn't entirely aware as David that these are his memories and he believes that those are nightmares. That could also be an explanation as to why the nightmare animatronics exist at night. His memories as nightmares have made him believe that there are very dangerous animatronics and that they are going to hunt people.
Also he refers to them as his friends. Maybe it's not a child talking about his favorite dolls, because we know that Fiona created Chica and there are some prototype fnaf 1 animatronics in the factory. Maybe the mimic considered them as friends and that has translated into him calling the dolls his friends.
Also, in the books we have animatronics pretending to be humans with illusion technology, maybe William afton manages to create one of those so that the mimic looks like flesh on the outside, so he can pretend to be a kid.
And the ages also kinda make sense, David is 4 in the secret of the mimic and the crying child is older like 12 or something and it seems that secret of the mimic does come a bit before fnaf 4 and as the mimic can change forms maybe he is pretending to be aging as a child.
That would also make the phrase "I will put you back together" be more literal than we thought when the crying child dies.
And if he manages to get repaired in some way after that, the room in security breach where we find post its of some kind of animatronic learning and the afton table would be of the same character. It would be the mimic repaired, trying to remember who he was and playing pretend with a robot family as he starts to realise who and what he is.
napping with mama💤
They‘re watching the Barbie movie!!
Commission by @veevil of @rottengrowls‘ OC Liv Hilliard, Emma Frost and my OC Sofía Vasquéz. Thank you again, it‘s so beautiful!! 💗
T4T CHERIK IS HERE BABY!
Art I made for @ghostboy512's t4t cherik fic!!
@ghostboy512’s t4t cherik fic permanently altered my brain chemistry ✨