Friendly Reminder: If someone argues that we don’t need Elain’s POV because her actions already tell us what she’s thinking, then they're proving how lazy, shallow, and flat-out not credible they are.

Because this is the same series where, in book one, Feyre:

repeatedly begged Rhys to break the bargain,

told him she hated him,

threw a literal shoe at him,

demanded to be sent back to Spring Court because she believed that was her home,

insisted she didn’t want his company, his presence, or anything to do with him.

If we only judged by her actions, the conclusion would be simple: Feyre wants nothing to do with Rhys. End of story.

Except it wasn’t.

Because we had her point of view.

And that POV is the only reason we understand she was traumatized, defensive, in denial, and already developing complicated feelings she didn’t know how to name yet.

So after reading books one and two after watching Sarah J. Maas explicitly show us how misleading actions can be without internal narration coming into book five and saying “we don’t need a character’s POV to know what they’re thinking” isn’t clever. It just tells me how you're not credible at all.

And honestly? I’m glad those arguments live on that side of the fandom. Every time I see them, it just reinforces how flimsy the foundation is. I don’t even argue anymore, I read it, nod, and move on, because nothing makes me more confident in my ship than watching people argue against it by throwing out the most basic narrative tools the series relies on.

So yeah. Keep making that argument.

It says a lot, just not what you think it does.

If people seem unusually upset by our theories or posts, it’s worth understanding why.

Our arguments are built on the text. They’re structured, foundational, and consistent with what’s actually written.

We’re not desperate that we appeal to moral judgment or shame, we’re citing the text, and the text backs us up..

My mother AND grandmother refuse to entertain any conversation or suggestion that even a single one of my features is like my dad. They're always like "this one? This one's all me. Her nose? Eyes? Everything? Me" and she will literally fight you on it.

And that's how Ik I'm pretty 😂

The argument that Elain/Lucien is “bad” because Elain said she wants nothing to do with Lucien is genuinely one of the dumbest fandom takes I’ve ever seen.

By that exact same logic, anyone who shipped Feyre and Rhysand during A Court of Thorns and Roses, before the rest of the series was out, would have been called a misogynist.

Let’s remember what canon actually looked like at that time.

Feyre explicitly said she hated Rhys. She wanted nothing to do with him. She saw him as cruel, manipulative, and morally corrupt. Meanwhile, Rhys sat on his ass while she nearly died Under the Mountain. From Feyre’s POV, he did nothing but make things worse.

So if your standard is:

“She said she doesn’t want him, therefore shipping them is wrong, immoral, or anti-woman”

then congratulations you would have been anti-Feysand in book one, and you’d be shaming every woman who saw the setup coming.

And yes, there was setup. Tension. Narrative contrast. Emotional friction. Growth potential. All extremely common romance tropes.

This is not some niche or toxic dynamic, this is how romance is written.

What Ewriel stans are doing now is the same thing: pretending that early-stage resistance, or avoidance automatically means “never happening,” while ignoring the obvious set up because they don’t like the ship.

You cannot disprove Elain/Lucien with canon text. So instead, you moralize it.

You claim it’s misogynistic.

You claim it’s forcing a woman.

You claim it’s disrespecting her autonomy.

If Elain saying “I want nothing to do with Lucien” is your end-all argument, then you are functionally a Feyre/Tamlin shipper in ACOTAR book one, screaming at anyone who noticed the Rhysand setup.

The difference is: some of us actually read romance outside of one series.

This kind of tension and slow development is normal. And pretending otherwise just because you self-insert as Elain and don’t like Lucien is honestly pathetic.

Hope that clears it up.

Friendly reminder:

In every single scene where Gwyn and Azriel are together, Sarah explicitly has them notice each other and be aware of each other’s presence. That’s a narrative choice she consistently reserves for mates.

It genuinely does not get more obvious than that.

Gwyn, deep inside Azriel’s, watching the fandom lose its mind and insult real people for being confident in fictional ships simply for reading the books and seeing the romantic development clearly like:

Clutching Zoro’s broad, muscled chest and sobbing into it feels like the only form of therapy that would actually work right now.

List of quite popular books where one romantic lead rescued the other romantic lead and it turns into a healthy relationship for those who have been told Gwynriel would somehow be bad because Azriel two years ago saved Gwyn and also because apparently antis don't know that it exists and is a popular sub genre:

1) From Blood and Ash – Jennifer L. Armentrout

2) The Bridge Kingdom – Danielle L. Jensen

3) The Wrath and the Dawn – Renée Ahdieh

4) A Court of Mist and Fury – Sarah J. Maas

5) House of Earth and Blood – Sarah J. Maas

6) The Winner’s Curse – Marie Rutkoski

7) The Bone Season – Samantha Shannon

8) The Invisible Life of Addie LaRue – V.E. Schwab

9) Shatter Me – Tahereh Mafi

10) The Darkest Night – Gena Showalter

11) The Last Hour of Gann – R. Lee Smith

12) Binding 13 series- (tws)

The hero saves the heroine multiple times throughout the series.

13) The Deal – Elle Kennedy (tws)

Hero helps heroine through trauma, protects her, supports her healing.

14) Archer’s Voice – Mia Sheridan (tws)

Hero repeatedly rescues and shelters the heroine emotionally and physically.

15) The Host – Stephenie Meyer

16) The Shadows Between Us – Tricia Levenseller

17) The Witcher: Blood of Elves (and series) – Andrzej Sapkowski

Geralt rescues Ciri many times; their dynamic evolves into deep loyalty & love (not romantic, but still the same trope structure).

18) Rhapsodic – Laura Thalassa

19) Blood Type – K.A. Linde

20) Daughter of Smoke & Bone – Laini Taylor

21) An Enchantment of Ravens – Margaret Rogerson

22) A Curse So Dark and Lonely – Brigid Kemmerer

23) Fallen – Lauren Kate

24) Graceling – Kristin Cashore

25) Serpent & Dove – Shelby Mahurin

26) The Bone Witch – Rin Chupeco

27) Every Breath – Nicholas Sparks

28) The Air He Breathes – Brittainy C. Cherry

29) The Boy Who Sneaks in My Bedroom Window – Kirsty Moseley

30) The Protector – Jodi Ellen Malpas

Bodyguard romance rescuing is the literal central trope.

31) The Hardest Fall – Ella Maise

Soft rescue + emotional-safety dynamic.

32) The Simple Wild – K.A. Tucker

Hero rescues heroine physically and emotionally across isolation/danger.

33) The Lucky One – Nicholas Sparks

The hero feels responsible for rescuing the heroine after the war.

DARK ROMANCE (tws)

34) Tears of Tess – Pepper Winters

Dark rescue/protection dynamic.

35) Captive in the Dark – C.J. Roberts

Extremely dark dynamics with rescue/protection woven throughout.

36) Twist Me – Anna Zaires

Hero becomes protector and rescuer despite dark context.

37) Monster in His Eyes – J.M. Darhower

Hero rescues heroine from danger & trauma

And so many more- literally 100s...

p.s.- this is copy pasted from my list of romances I read between 2018-2025