#BOILED ALIVE

[danskjavlarna]

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Hellfire and damnation: my collection of vintage depictions of life in hell.

[bloodybosom]

[marzipanandminutiae]

quotes by Victorians about the 1920s view of their generation's women

"We are frequently told that the Victorian woman...generally behaved like a pampered and neurotic infant. This is all moonshine. I do not think that I ever saw a woman faint before I came to London in 1869, and not often after then...they enjoyed a hearty laugh, and a good many of them a contest of wits with any man." -Nineteenth Century, a Monthly Review, 1927 (written by a man born in 1850)

"What queer ideas the girl of 1929 has about the Victorian period- they are not a bit true...Marriage was by no means the end and aim of our existence. Oxford and Cambridge claimed quite a few of us after school days were over. We had great ideas about 'life' and what it all might mean to us." -St. Petersburg Times, 1929 (written by a woman born in 1853)

"True, debutantes were chaperoned at balls. But that fact did not prevent them from dancing as frequently as they chose with their favorite partners. The idea that girls in the Victorian era spent their days sewing seams and practicing scales is another fallacy." -Gettysburg Times, July 1, 1927 (quote from the Dowager Lady Raglan, Ethel Jemima Somerset, who lived from 1857 to 1940)

[acheh]

my sillies...

[isabellaofparma]

Shōgun | 1.07 - "A Stick of Time"

[funkbun]

id love to see some cobigail in ur style :3 !!

COBIIIII my beloved. her silly girl swag

[deathdetermineslife]

my husband (fictional) has went off to war (isn't real) and i am patiently waiting his return... (he died in canon)

[toxycodone]

The worst part about dating Homelander isn't even the fact he's fucking terrible it's that you KNOW how good he can be when he tries.

Like he can be gentle. Give thoughtful gifts. Say sweet things. But it's not like his usual public bullshit. He's doing this genuinely. Because mixed into whatever the FUCK the terrible thing is that you two have. He does love you.

And knowing his past only makes it worse. Considering how terribly he's been mistreated and how much it influenced his psyche...you kinda wonder at times how he isn't...worse, somehow. You've seen people in movies attempt to blow the whole world up for much less.

But it's a lot to think about. Enough so that it gives you a headache. So instead, when he's offering flowers instead of insults. Loving touches versus forceful. You indulge in it for as long as it lasts.

[askymzbuki]

Strange Brew

[twinsfawn]

i fucking hate summer so bad bro

[hylwicks]

oh yeah baby, sonic au time! Moonlighter ref + lore summary

[hermitcraft-alignment-charts]

i have been resurrected from the dead by the pure energy of absentmindedly scrolling through rendogs channel and being forcefully YANKED back into my hermitcraft phase by the sound of his voice

[hydrus101]

It’s so fascinating to me about how much of Malevolent centers around bad or misguided fathers.

We spend ample amounts of time with Arthur’s grief and his faults, his fear of fatherhood, his failings of Faroe and the ensuing spiral afterwards. We hear of Bella’s strict upbringing, of Daniel’s controlling nature, the desire to shape his daughter into what he expected her to be, and even admitting to Arthur’s face that he intended to mold him as well, into what he thought his daughter’s husband should be. We learn of Larson’s betrayals, the sacrifices of his children: the monsters he made of those he should’ve loved, all in the pursuit of power and legacy. There’s an argument to be made even, of fragments and reflections and daughter and sons, that the King - that initial version of him now dead in all respects - was a sort of father, with John and Yellow as his residuals, his sons, his heirs, in a way. Finding their own identities now, free from the shadow of a predecessor, free to chose their own destinies, wether that is to separate themselves entirely, to scream defiantly of humanity and hope and self, or to try and reshape the visage of that dead malevolent god in desperate pursuit of love that wasn’t given, driven by a hate that was shared. What other analogy so seamlessly fits with the relationship between Arthur and Yellow than that of a neglectful father? The one who was supposed to be patient, be caring, be kind, the one who was supposed to teach this new being, this new child, about what life could be like? What love and kindness it could hold? But Arthur was too unsteady then. Too unstable to give Yellow the upbringing that he deserved. His nature was shared with John, and we’ve seen the depths of love he’s embraced. Yellow was simply nurtured wrong, encouraged down that spiral by a foster father who embraced and even venerated his rage. And similarly, in the basement in New York, we are reminded of nature and nurture, of animals and babes. Briefly, quick as a glance, we learn of the Butcher’s father, both a seething livewire and a subtle undercurrent in his motivations, manifested, perhaps, in his tumultuous relationship with failure, his self inflicted violence. Roland and Amanda receive less of the spotlight, but the foundations of everything are built upon their relationship. And now, with the Unclean, we know more of Arthur’s own father—who’s fate is known and the same as his mother’s—and his envy towards his friend, his childish jealousy and vindictive actions, of which he now condemns, having learned better, having known better. Every aspect of the narrative is seeped in fatherhood, in parenting, in children. Malam says as much by the fire: “They are our betters, our futures, our learned mistakes.” Malevolent is, at its core, about parents and children and hope.

And now, Arthur and John are on the run from a mother, on a mission given to them by a father, who’s daughter is largely a mystery, or perhaps, more familiar than we might think.

[dippedinmelancholy]

Something about both Nesta and Elain having dreams of the continent and of travel in some capacity. The freedom and utter fucking dream of a woman in the era the human realms (and honestly the fae realms too) having the funds and freedom to do so, how rare it is as women have very little place outside of homemakers and wives. Nesta and Elain both having dreams of finding themselves and happiness after a childhood of trauma of watching their mother die horribly, their father broken, and losing everything they ever had with truly their only hope of escape being marriage. Nesta and Elain finally on the cusp of reaching for their dreams, of having the space to find themselves and their dreams without the terror of starvation and endlessly cold winters that brought the threat of death every year. Nesta and Elain, taken from their beds by cruel soldiers who mocked and abused them. Nesta and Elain, nothing more than pawns in Hybern’s attempt to get allies in the human realms. Nesta and Elain watching their dreams shatter into nothingness as they are violated, boiled alive, reshaped into a thing that once enslaved their entire race of people. Nesta and Elain, shoved into a home high reaching into the skies with no escape, no contact with their sister, surrounded by the monstrous race that enslaved them, both victims to this new, horrible alien power in their veins. Nesta and Elain, pawns to their sister and her new “family”, only welcome as long as they play nicely. Nesta and Elain, stripped of their dreams, watching everything they once wanted ripped away. Nesta and Elain, beautiful and immortal, but nothing more than pawns against the men they never asked to be connected to. Nesta and Elain, who’s stomachs don’t tremble in hunger, but a new starvation settled deep in the marrow of their bones, a hunger that will never be sated, because they will forever be pawns to these fae monsters. Forever trapped. Forever indebted.

There’s no freedom for those the cauldron reshapes. Only death and a place in a game they never wanted to play. There are no dreams now, only hunger for what they will never have again. They will never see the world, they will never know what freedom tastes like. There is no escape from the sins of their childhood, no escape from the men or court a monstrous entity tied them to without permission. There is only expectation and the death of all they were.

[screechingfromthevoid]

I'm so glad Marlath got utterly fucked. It perfectly captures what the table, what Brennan, wants this story to be about.

This story, this time is supposed to be people putting back the pieces of the world with only each other to depend on. There is an infection in mortality that causes people to betray and backstab and swindle your fellow human. It, unfortunately, has always been there and will always be there.

But what do you do to stop the spread of infection? You cut it off at the root. If they had simply beat him and took the book, he would just make another. Go to another gathering of scared and hungry people and do it again.

Fiedra saw this man sell out his own kind then make a move to subjugation others IMMEDIATELY. Perhaps he didn't think it was the same if he was doing the eating. So what does she do? She cuts off the infection before it can spread. There is no use for a silver tongue if it's in your open palm.

Fiedra does something obscene and violent on the outside. But something so necessary. If not met with the same violence force, the same blatant disregard for the victim's wellbeing, people like Marlath will push until they are the new emperor of strife. Self made into monsters.

This small, blossoming town is safe, for now, from the likes of Marlath. I think it will be until people no longer remember the halfling woman who felled two guards beside her family, all for a fledgling of a community.

[d3dlyb4t]

munkustrap sketch i did on paint >:3333