allweseeisskyforforever

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twenty years across the sea

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seriously the way they show us where all the pevensies are emotionally at the start of prince caspian is downright excellent (susan trying to be realistic and closed off, edmund charging in to back peter up, lucy trying to fix everything, peter chafing at everything) but i love peter's entrance especially because not only is he so clearly fighting demons (and also guys in the subway) but also my man is LOSING. he is getting his ass handed to him. and all his siblings can see it (which matters so much more than anyone else, because they know what he was like before, they remember, he shouldn't be losing like this, he's better than this, he's led armies, he's a king) and that moment when he meets susan's gaze and she just looks at him in disappointment??? ohhhh it's so fucking good. it was such good context and setup for how his entire arc was about feeling like a failure and craving the respect and autonomy he once had and overcompensating for it because at once he's a legendary king and an angry, rejected teenage boy. but also i just love to see my favs losing it's really fucking hilarious to watch

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"Scrooge only changed because he saw how nobody mourned him after his death" NO NO NO NO. You don't get it! The last spirit only worked because of the spirits that came before softening him up! If the spirits had shown him dead and ungrieved only it would not work. As the night goes on amid the visits Scrooge is already visibly changing. He's different after the first spirit and even more so after the second. And it's because of how much he's already changed that the final spirit is able to succeed

[allweseeisskyforforever]

I cannot express how much I adore dappled shadows formed by sunlight in paintings and photography and in real life

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Henry stands lovingly close.

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looking at that one booktok post and didn’t realize how funny this is. uou do not know what a safe word is

[allweseeisskyforforever]

[allweseeisskyforforever]

you are the grief i remember you as

fortesa latifi // fleabag // j. estanislao lopez // @promqueendyke // okechukwu nzelu // glennon doyle melton.

[allweseeisskyforforever]

Paul Mescal having the time of his life getting yelled at by Andrew Scott…. He's so me

[allweseeisskyforforever]

FLEABAG (2016-2019)

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FLEABAG (2016—2019) cr. Phoebe Waller-Bridge

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-there is so much life all over the place

graceland too- phoebe bridgers/ Ada Limón/ evermore- taylor swift/ @chessy/ @cursedsuggestion/ @mazzystarjpg/ garden song- phoebe bridgers/ @scorndotexe/ @death-born-aphrodite/ long story short- taylor swift

[allweseeisskyforforever]

Female Power in The Ocean at the End of the Lane

The Ocean at the End of the Lane is the femalest book from a male author I have read in a long time. The unnamed protagonist is stuck in the middle of a conflict between insanely powerful supernatural women: the evil Ursula Monkton / flea, and the good Hempstocks. Our hero is vulnerable and quite passive, although this is not surprising, as he’s only seven. The other characters are much less relevant – and the only two male characters are his father, whose plot-relevant actions are all controlled by the supernatural women, and the opal miner, whose failure and death is the catalysis for the plot. (Note – no named male characters.) Even the media the protagonist uses for escapism are heavily coded female. He reads his mother’s book collection, all of them with female protagonists named in the title, all of them doubtless intended for girls. In his darkest hour, when he is crouching in the fairy circle, he keeps despair at bay by quoting from two texts: Lewis Carrol’s Alice in Wonderland and Gilbert and Sullivan’s Iolanthe. Both texts have male writers and female protagonists.

Women are clearly more relevant than men to the plot, and to the protagonist’s world. The Hempstocks continuously save him, comfort him, save him, help him. This story could turn into the standard narrative of “women support man, man does heroic thing.” I expected it to. I thought the hero will somehow end up saving the day, or Lettie’s life, and having become a man, will gain the respect of old Mrs Hempstock. But he doesn’t. It’s not for lack of trying – he is brave and good, and willing to sacrifice himself for the world – but he simply can’t do the manly heroic thing in this narrative. Women are waging war around him on levels he cannot compete with, or even comprehend. These women will continue to save and nurture him, but not because he is a hero who is deserving of it, but out of pity and kindness. When a woman is kind to a man, that doesn’t mean he is good – it just means she is.

The Hempstock family closely mirrors the maiden-mother-crone trinity. I always found that categorisation inherently sexist, because it defines women by their reproductive and sexual capacities.  (The maiden is before procreation, and additionally at the height of her sexual attractiveness. The mother is at the height of her reproductive capacities. The crone has lost both sexual attractiveness and reproductive capacities, in exchange she is wise.) But Gaiman’s women are different. They don’t need men, and if they keep men are around, that is irrelevant who they themselves are. The maiden here is prepubescent, and not attractive – merely neat in her red raincoat. The mother isn’t anyone’s wife, and her motherliness rests in her strength and comfort, not her actual reproductive abilities. And the crone isn’t merely wise, she is as close to being God as it is possible to be without outright stating it.

These three powerful women are described with love and awe, and incidentally, in an utterly asexual manner. They are clearly idealised versions of woman, or considering their different life stages, one Idea of Woman. And this Ideal Woman is strong , self-sufficient, and whether or not the writer or the reader wants to fuck her is irrelevant. Even when abandoning a seven-year-old’s innocent point-of-view, when the narrator expresses an awareness that Young Mrs Hempstock is attractive, it is done in an off-hand, cursory manner.

In this book, Neil Gaiman shows us that he loves women. This does not mean he never made a sexist statement, or he never will. It just means that he wrote a novel in which women are powerful and, for the most part, good. I am not one to clumsily grasp for autobiographical detail, even if it was Gaiman’s decision to leave the narrator nameless and include a childhood photo of himself. The truth is in the novel: the artist is doing his best, despite the hole in his heart, but time and time again, he needs the help of Woman, not to accomplish his grand purpose, just to stay alive.

[allweseeisskyforforever]

listen I adore the many angsty, hurt/comfort kanej fics out there but there is just something about older, domestic kaz and inej just living their lives being criminals and in love that just makes me go—

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Idk I just like talking about potential Crows weddings.

On this edition: Wesper elopes and Kaz is PISSED

Kaz: you made…SUCH an ordeal….about going to our wedding….

Jesper: ya, we wanted to attend and show our support ❤️

Kaz: AND THEN YOU ELOPE?!

Wylan: it just kind of happened

Kaz: You’re getting remarried.

Jesper: what? Why?

Kaz: so you can have a stupid, ridiculously lavish wedding. I can’t believe this. You make Inej and I have this outlandishly excessive party-

Wylan: you got married covered in blood and we had to steal the food from a random bakery

Kaz: -and you get away with eloping?!

Jesper: I don’t understand. Did you want to go to our wedding?

Kaz: no

Jesper: then why are you upset?

Kaz: it’s the principle of the matter

Inej: I mean, I thought it was nice.

Kaz: how nice could it have- wait. You were there?

Wylan: we needed a witness.

Kaz, to Inej: you let this happen? After we were forced to look like Ravkan Grisha greeting royalty?

Jesper: your wedding literally took twenty minutes and you were wearing the same suit you are now

[allweseeisskyforforever]

we haven't talked enough about how the Bathroom Scene ends with Kaz dramatically saying "if you ever cared about me, you won't follow. you'll stay here" as he walks off to his potential death and then the literal next page opens with Inej internally monologuing "well that was offensive. What would I even do...go home and marry a normal man? Yeah right. You're it for me, buddy" as she stalks him over the rooftops

[allweseeisskyforforever]

every morning i wake up & get my coffee & i recite in my head this excerpt from ‘invitation,’ by mary oliver:  “it is a serious thing just to be alive on this fresh morning in the broken world.” & i just say it over & over again until it sticks to my mind for the rest of the day. it is a serious thing. i am alive. i am so lucky. this fresh morning i get the chance to live again & again & again