✮⋆˙ hayden⋆˙⟡

“forget about your house of cards ” ao3: vortexonsaturn

[212thghost]

the true horror of the Watcher

i’ve gone on about this is one of my other posts already (and im gonna repeat myself a bit) and i’ve seen some other people talk about it, but i really want to get all my thoughts out about this. 

throughout the show, we see the Eye manifesting as betrayal of consent. honestly, what’s so terrifying about being watched, observed, or even judged if you consent to it? if you know you’re being watched and are okay with it, if you share a secret willingly and gladly. even horrible and devastating knowledge is best processed when you’re prepared. a huge part of the Eye’s horror is that it’s completely against your will. you don't want to be watched or you don’t even know. your worst secret somehow got out and now everyone knows. the discovery you just made completely blindsided you. it takes away your autonomy, your privacy, and your security. more so, it’s a perfect breeding ground for paranoia. what if it happens again, what if your secrets are never safe again, who will betray me next? this particular manifestation is a perfect tool for the Watcher. 

one of the most obvious examples is Jon and Elias having the ability of Compulsion. they can literally force anybody to tell them anything they want, and once they ask the question you physically cannot make yourself stop speaking!! Daisy describes it as “your secrets pulled out like teeth, just because he asked.” (MAG 91) not only are your darkest secrets being revealed but they are taking it from you. 

Jon is made into the ‘Archives’ by Elias without truly understanding what he was being groomed for. and this is absolutely NOT to say that Jon was completely unwilling or that in a thousand little ways, he didn’t choose to be an avatar. i mean that Jon was being groomed into the perfect lynchpin for Elias’s ritual since Day 1 and he had no idea. Elias sends him on little quests, throws avatars his way, and puts him in situations for the sole purpose of getting him Marked by the Entities. Jon has no say in these encounters nor does he know what they really mean. Jon might’ve chosen to be an avatar but he had no say in participating in the Watcher’s Crown. i'm not even going to get into Jon’s overall relationship with his body but we all know it’s abysmal.

and i have to talk about the “Hello Jon” because this is a complete and horrific breach of Jon’s autonomy in so so many ways. for one, he cannot even stop reading the ritual once he begins and he so desperately tries. the fact Elias tricks him into summoning the Entities by writing the incantation as a statement is what really gets me. Jon feeds off statements. i know this is probably going to sound silly or melodramatic, but Elias pretty much slips something in his food. imagine you’re eating a sandwich and there’s a fucking explosive in it. in so many different ways, Jon’s autonomy is completely stripped for the entirety of this episode. he cannot stop speaking, he cannot move, he was deceived, and the means of this betrayal was in something he believed and trusted would be safe. 

Jon routinely reads people’s minds, and while it (usually) isn’t intentional, he still breaches their consent. the others, for example Basira, makes a point to tell that he is not welcoming snooping around in their heads. we have the entire MAG 142 incident. Jon finds someone Marked and he takes her statement, he pulls it from her lips, and part of the horror is that she could not stop herself from speaking. she has no say in the matter, her secrets are spilled out before this stranger who will not stop watching her just because he asked. the statement giver says, “I want to tell him to, to go away; I, I wanted to kick him and run. But I sit down. And I start to tell him everything.” (MAG 142)

also Jon cuts a bullet out of Melanie without asking while she’s asleep. Jon makes Jordan Kennedy into an avatar without asking; he remakes him, almost how Elias remade Jon. Gertrude, as well! She binds Gerry to the Catalogue of the Trapped Dead! I have to think she knows he’d hate that, but she does it anyway. Gerry has no autonomy here. 

some might be thinking: isn’t all fear pretty nonconsensual? yeah. i understand this argument, but i'm specifically talking about the way the Eye purposefully utilizes a breach of consent to create even more horror and fear. also, some of the subtle horror of the Entities is that sometimes it doesn’t betray you. in s4, Martin chooses to isolate himself. while this choice is one he made under Peter’s persuasion, his trauma and abysmal self-worth, and his misguided attempt to protect the others, the emotions that feed the Lonely are from a willing and conscious choice. Martin willingly chooses to give himself to that fear and isolation. that’s what makes it so horrifying. his autonomy was never disrespected and, if anything, Peter could not force him at all for his plan to work. 

what really sells me on this concept is from the Watcher’s Crown Incantation. it says, “You who wait and wait and drink in all that is not yours by right.” (MAG 160) the Eye is not entitled to all its knowledge. it is not entitled to see you. it does not deserve your secrets or fear or history. it takes it. the Eye drinks in information hungrily and greedily, it pulls it from your mind like teeth with no real comprehension except for a cold and malicious desire to know all that there is. it does not ask or plan or wait or persuade, it simply takes what it wants.

[vortexonsaturn]

[haveyoureadthisfanfic]

An Archive of Our Own, a project of the Organization for Transformative Works

Have you read i left a part of me back in new york (The Magnus Archives)?

Yes, I am/was in the fandom

Yes, but I’m not in the fandom

No, but I’m in the fandom

No, I’m not in the fandom

Voting ended onJul 4, 2025

Summary: Jon’s soulmate died in 2014, before he ever got to meet them. Years later, he hears the first and last words his soulmate will ever say to him in the same day. It's too late, he has to let him go.

Author: @212thghost

Note from submitter: I'm usually not one for soulmate aus but this was really good??

[vortexonsaturn]

MY GF IS FAMOUS 😛😛😛😛😛

[212thghost]

GUESS WHO’S UP JONGERRY POSTING AGAIN

i think every version of jon and gerry across the multiverse meet at least once. they are crucial to each others’ stories. they set each other free—gerry finally tells jon about the fears, giving him more awareness, freeing him metaphorically from his place of ignorance, while jon literally frees gerry by releasing his ghost from earth. they will always cross paths. they have to.

in tmagp, even the voice in the computer that sounds like jon, which might be the last scraps of his soul, sends sam to that world’s gerry. because gerry helped him. 

in another life jon and gerry got to meet. they got to know each other. they got to be friends, roommates, even partners. 

there is a lifetime without the fears, where they met at school as kids. a life where jon stumbled into pinhole books and kept coming back to see that cashier. a life where gerry wandered into a bar just in time to see the strangest cabaret band. lifetimes where they meet on cigarette breaks at their normal 9-5. lifetimes where they meet at uni, where they’re randomly assigned roommates or catch each other’s eye across the room during lectures. lifetimes where gerry introduces himself as “gerard delano” instead of “gerard keay.”

there’s lifetimes where they meet at the institute. where the research assistant bringing gertrude files piques gerry's interest. where cancer didn’t kill gerry too soon and he was there all along, fighting jane prentiss alongside jon. lifetimes where the cancer doesn’t kill him but jon is there with him at every visit to the hospital. there’s lifetimes where gerry is the archivist and those where jon is still the archivist, but a little more aware this time. a life where gerry, only 9 years old himself, ripped A Guest For Mr. Spider out of jon’s hands and burned it right there in the park. those where they met hunting down leitners. 

there’s a life where gerry finally gets ahold of the catalog of the trapped dead and finds a ghost named jon trapped within its pages. there is one where jon doesn’t burn that page.

there’s even a life where gerry brings down the knife that kills the eye’s pupil. there’s one where jon is holding the knife instead. 

there’s a lifetime where they’re married. 

[vortexonsaturn]

My gf ignored me to make this post during pride month so…💔

20 minutes delivered.

Wow.

[212thghost]

THE AO3 AUTHOR CURSE IS REAL. MY LAPTOP’S MONITOR JUST DISCONNECTED FROM THE FUCKING KEYBOARD ??? THE HINGE BROKE IG BUT ITS ALSO STILL WORKING FINE ? GUYS ??

[vortexonsaturn]

everyone send love for my gf…going through tumultuous times rn….

[212thghost]

what’s your favorite teeny tiny detail from a mechs song?

the soft sobs/breaths in ‘Stranger’

jonny’s voice growing faint as he passes his mic to tim for “‘FIGHT’” in GPTVTMK

something falling over + the “OWW” at the end of ‘One Eyed Jacks’

brian’s humming in ‘Lost in the Cosmos’

marius going “heh😼” in ‘Thor’

the instrument of the mech coming in as they’re mentioned in TIDODP

the deck of cards shuffling + being placed in ‘One Eyed Jacks’

marius audibly licking his lips in ‘Loki’

the guitar mimicking an emergency siren in ‘Once and Future King’

arthur’s 10 caliber railgun (X Caliber)

other (drop it in the notes)

Voting ended onMay 8, 2025

[vortexonsaturn]

it gets to a point.

[12doomed]

ur holy to me

[vortexonsaturn]

“The Deer in the Valley”

I did not leap to frighten you.

I leapt because the valley opened itself—

mist rising from the grass like breath,

a thin gold light spilling through the trees,

and the wind, for once,

smelled like what it used to.

The air was still,

the kind of stillness that feels like prayer,

or the hush before the sky begins to speak.

I moved without thinking—

drawn by instinct,

or memory,

or something older than either.

You came

fast and sudden,

with noise that did not belong to the morning.

And yes, you swerved.

And yes, you were afraid.

But I did not come to break your day.

I was already part of it—

the frost beneath your tires,

the shadow that flickers through your window

and reminds you

that the tar of this road was not always here.

There were rivers once,

and soft, forgiving paths of pine needles.

There were birds who sang before the sun

and stones that warmed themselves in silence.

The hill once rose,

spine now flattened by your desires.

You did not hit me.

And for that,

I thank you.

But you looked at me like I did not belong—

as if I were the sudden violence

in your otherwise peaceful morning.

But I was not the one

who changed the shape of things.

I am only a deer.

And yet I remember

how the light once touched the leaves

without being cut by wires,

how the creek spoke its name to the moss,

how stillness was not in emptiness,

but abundance.

You drove on.

I stood in the hush you left behind,

watching the dust settle.

My heart beating fast,

but not broken.

You did not kill me.

And still,

I carry the grief

of nearly being forgotten.

[vortexonsaturn]

House is an atheist. We know this. He tells us often, with bitterness and certainty. He rejects the idea of God, of souls, of cosmic meaning. He dissects faith like he dissects symptoms: a fragile delusion, beautiful maybe, but ultimately dangerous. For House, belief is the enemy of truth. Religion is a sedative for the desperate. He doesn’t believe in miracles—he performs them under fluorescent lights, scalpels, and sarcastic monologues.

And yet, the entire show is draped in religious imagery.

The irony is deliberate. The tension is constant. House, M.D. is not a show about religion, but it is deeply religious in structure and tone. It’s a modern-day gospel about suffering, sacrifice, and the endless question of whether redemption is possible for people who are fundamentally broken.

And at the heart of that contradiction—at the center of House’s reluctant, silent religion—is Wilson.

Wilson, the oncologist. The caregiver. The forgiver. The one person who doesn’t try to fix House, just stays. In House’s world of godless suffering and brutal honesty, Wilson becomes the impossible constant. A living parable. A symbol of grace. He is not just House’s friend—he is House’s church. The only place he returns to. The only place he trusts.

Despite everything he says, House believes in Wilson the way people believe in God—not in certainty, but in need. In faith. When everything else fails (medicine, logic, self-destruction) it’s Wilson’s presence that remains. Not because he proves anything, but because he chooses to stay.

Wilson is where House goes when nothing else makes sense.

And this is where Amber enters—because Amber is crucial to understanding the show’s theology.

Amber isn’t just Wilson’s girlfriend or a romantic foil. She’s a vessel. A sacrifice. A holy symbol burned into the center of House and Wilson’s dynamic. She represents the cost of belief. And her death is House’s Fall.

Amber is cast in religious imagery from the start—sharp and shining, dressed in clean lines, commanding presence. She’s the only woman who matches House in intellect, in stubbornness, in biting wit. But while House uses those qualities to alienate, Amber uses them to love. To claim. She chooses Wilson with a kind of divine certainty, and House both resents and envies it.

And then she dies—because House called her.

Because House, in a drug-fueled haze, reached out for Wilson and accidentally destroyed the one person Wilson loved most.

Amber becomes a martyr. She dies for House’s sin. The sin of needing Wilson, of being selfish, of reaching out without understanding the cost. Her death is sacrificial. She absorbs the consequences of House’s weakness. And it shatters Wilson’s faith. In House. In meaning. In everything.

But here’s the terrifying, beautiful part: even then, Wilson comes back.

Not immediately. Not easily. But he returns. He forgives. He chooses House again, knowing the damage he can cause.

And isn’t that what religion is, at its most painful?

The choice to return.

The choice to love something that hurts you.

The choice to find meaning, even in suffering.

From that point on, House is haunted—literally and metaphorically. Amber appears to him as a ghost. A judge. A reminder. Her presence during his Vicodin-fueled breakdowns is a vision, not unlike biblical visitations: accusatory, radiant, always asking questions he doesn’t want to answer. She becomes a conscience, a prophet of pain. Not just Wilson’s loss, but House’s guilt made flesh.

And House listens.

Because he believes her.

Because he believes in what she represents: that his actions matter. That pain has consequences. That love, once given, leaves an eternal mark.

That’s the thing. For all his denial, House’s life is shaped by faith—just not in any god he’ll name.

His god is Wilson.

His gospel is logic.

His demons are guilt, pain, and the memory of Amber in that white, frozen bus.

His sacraments are Vicodin.

His confessionals are sarcasm and silence.

His moments of worship are quiet, rare, and often happen when Wilson isn’t looking.

But it’s faith all the same.

When Wilson gets cancer, everything crashes again. This time, House can’t save him. There’s no diagnosis to solve, no miracle to pull from his bag of tricks. He is powerless. Human. And finally he understands the most terrifying truth of all: he can’t live in a world where Wilson doesn’t exist.

So he dies. Or pretends to.

He sets fire to his life. He lets everyone believe he’s gone. He chooses exile, isolation, and total obliteration of self—all so he can spend a few final months beside the man who has always been his moral center, his constant, his quiet divinity.

That’s not just friendship. That’s religion.

A god falls from the sky. A believer lays down his crown. A sinner chooses love over truth. A cynic learns how to pray—not with words, but with presence.

And isn’t that the most blasphemous, beautiful faith of all?

[vortexonsaturn]

“The View From the Other Side of the Glass” : Window Imagery in House, M.D. and What It Says About Isolation, Intimacy, and Human Pain

In House, M.D., windows are more than architectural features—they’re metaphors for the emotional and psychological barriers between characters. The show’s deliberate use of glass and transparency reflects themes of isolation, observation, and the struggle for genuine connection.

⸻

1. The Transparent Divide: Watching Without Touching

From the pilot episode, Dr. Gregory House is often depicted observing patients through glass walls. This visual motif showcases his role as a detached diagnostician, preferring observation over direct engagement. The glass serves as a barrier, allowing him to analyze without emotional involvement.

In Season 1, Episode 1 (“Pilot”), House watches a patient from behind a glass wall, symbolizing his reluctance to form personal connections. This recurring imagery emphasizes his self-imposed isolation and the emotional distance he maintains from others.

⸻

2. Wilson’s Office and the Art of Half-Intimacy

The glass wall between House’s and Dr. James Wilson’s offices serves as a physical representation of their complex friendship. The adjustable blinds on this window reflect the fluctuating levels of openness and secrecy between them.

In Season 2, Episode 24 (“No Reason”), the blinds are closed during a critical conversation, highlighting the emotional barriers that exist even in their closest relationships. The manipulation of this window space demonstrates the tension between vulnerability and self-protection.

⸻

3. The Patient Room: Being Seen vs. Being Known

Patient rooms encased in glass walls transform individuals into subjects of observation, emphasizing the clinical detachment inherent in medical diagnosis. This design choice reflects the show’s exploration of the tension between empathy and objectivity.

In Season 3, Episode 12 (“One Day, One Room”), a patient requests to speak privately with House, challenging the norm of constant observation. This deviation from the transparent setting shows the patient’s desire for genuine human connection beyond clinical scrutiny.

⸻

4. The Vista of Loneliness: House’s Apartment

House’s apartment features large windows overlooking the city, symbolizing his isolation amidst a bustling world. These windows allow him to observe life without participating in it, reinforcing his detachment from society.

In Season 5, Episode 24 (“Both Sides Now”), House sits alone in his apartment, the city lights visible through the window behind him. This imagery accentuates his solitude and the emotional walls he has constructed around himself.

⸻

5. Breaking Glass: Rare Moments of Emotional Honesty

Occasionally, the show uses shattered or distorted glass to signify moments when House’s emotional defenses crumble. These visual cues represent breakthroughs in his psychological barriers.

In Season 5, Episode 24 (“Both Sides Now”), House experiences hallucinations that blur the line between reality and illusion, depicted through fragmented reflections. This distortion of glass imagery illustrates his internal turmoil and the collapse of his mental defenses.

⸻

6. The Final Shot (Spoiler Warning, Obviously)

In the series finale, Season 8, Episode 22 (“Everybody Dies”), House and Wilson ride motorcycles on an open road, free from the confines of glass and walls. This departure from the show’s typical enclosed settings symbolizes House’s release from his self-imposed isolation and his choice to embrace life.

⸻

So What Does It All Mean?

Throughout House, M.D., window imagery serves as a powerful narrative device, illustrating the characters’ emotional states and the barriers they construct. The pervasive use of glass demonstrates themes of isolation, the desire for connection, and the complexities of human vulnerability. By examining these visual elements, viewers gain deeper insight into the characters’ internal struggles and the show’s exploration of the human condition.

just a quick lil yap i needed to get out guys :D

[yourfaveisanavatar]

House from hit tv show House is an avatar of the eye

house from house md is an avatar of the eye!

[vortexonsaturn]

WRONG. Due to my EXTENSIVE knowledge (my gf talks about The Magnus Archives every single day and reads me the wiki to sleep and I love House more than I love her….JK!!!! :D ) GREGORY HOUSE WOULD BE AN AVATAR OF THE WEB. ADDICTION. HES A LIL BITCH. HES HES HES. HES HOUSE. He is Not the EYE >:(

[212thghost]

the hill i’ll die on is ‘Pieces’ is the most underrated song by The Mechanisms like as a society we do not talk about this masterpiece enough

jonny and tim’s duet. im levitating. someone call doc carmilla bc im deceased. the guitars. their voices. ashes singing the final verse and that “goodbye.” the lore implications for udad. “blood is thicker than water but flows just as free” YALL.

[vortexonsaturn]

are u manipulating me rn yes or no

yes 🥰

[vortexonsaturn]

hulloooo !! huullooo! bullooo

now who could this be….

[vortexonsaturn]

TS PMO U KNOW WHO U R 🤬🤬🤬🤬

[212thghost]

Jon’s soulmate died in 2014, before he ever got to meet them. Years later, he hears the first and last words his soulmate will ever say to him in the same day.

“His words, his grandmother always remarked as being particularly unique. She was convinced they were sarcastic or a joke, but the longer Jon spent reading these statements day after day, the more he thought it wasn’t sarcasm. ‘You're new. Did you kill them?’"

read on ao3 -> "i left a part of me back in new york"

to all my jongerry truthers stuck in rarepair hell, i come bearing gifts

[going2hell4everythingbutbeingbi]

just started watching house and I thought yall were exaggerating but no. every episode is just like three wrong diagnoses that almost kill the patient and then house is like "he has underwater skunk herpes" and they give the guy a new butthole and he's cured. and then house chugs vicodin while talking about wanting to rail wilson.