#I just like Frank more

[f0xgl0v3]

I’ve tried to draw Dakota upwards of 5 times now and have failed each time

I get the pose down everytime and then I start the first draft and suddenly I sit there and go, “I must draw a different character. My hands simply demand so.” And then next thing I know the goblet of sand kool-aid (because honestly that koolaid is probably super with all the unmixed sugar in it) is gone and now I’m putting a bow in the hair of Larry Ahlgren the legionnaire.

One day I’ll draw Dakota. Hopefully.

[batman-gif]

"Frank and Gerard early 2000's stage kisses" this "Frank and Gerard early 2000's stage kisses" that. LISTEN! 2022 Ray and Frank forehead kisses. In conclusion . Frank iero.

[clownsuu]

Thank you for indoctrinating me into being a Wally/Howdy enjoyer. It's not the pair I would have expected to see but still a cute pairing (with GREAT potential angst) nonetheless.

I saw a pajama-outfit meme a few days earlier that fit these two very well, though I forgot to save the actual thing it’s self smhhhh (basically it’s the ship dynamic of “slay slay bich serve” and other is literally just in their boxers MCGFGYDHJDD)

I like to think when ever howdy is content/sleepy/wholesomely happy, his antennae wiggle a lil bit

also bonus Sally and Julie cause I love their chaotic energy MCHHDH

[crazycometspecular]

Bit of design tampering

[no ill intentions]

[carnivalcarriondiscarded]

he is just. so shaped. so so so So shaped.

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[shalom-iamcominghome]

I've been doing a lot of reflection as of late, especially after this past class.

This past class was about the Torah and Tanakh in general, and the way the rabbi talked about the commandments (specifically the ten commandments) has made me really reflect on how I interpret them, specifically the fifth commandment, or honoring your mother and father.

This is a commandment I have wrestled with for a long time - in fact, it brought me away from g-d at multiple times. I was severely abused when I was incredibly young by my mother, and I used to feel insulted at the implication that I were to honor her while she got to live a better life. It was hypocritical, in my eyes.

But this rabbi surmised that this particular commandment was because parenthood is an act of creation, something that is like the g-d from which we come from. My realization is this: I don't think we're necessarily meant to take even these commandments literally.

I this particular commandment is more of a call to honor creation - creation is a gift, and like any gift, many people simply will not like it and will discard it. The person who abused me created me, but she did not honor creation. She didn't honor me, but I can still honor it.

I have started to honor creation much more. I'm too young, too unstable, not mature enough to be a father (though I fantasize about it), but I create all the time. I create relationships, I create with my hands through crochet. I create memories, I create my world. And I can honor who I am and where I came from that made me who I am. I've been learning one of the mother tongues of my family (Italian, since part of my family originates there) and it was judaism that inspired me to do this.

I don't think g-d wants me to honor my abuser. I think He wants me to remember the Holy action of creation. When I am a father, that act of creation will be Holy, and indeed, I am already joyful about the thought.

I have seen many people struggle with this particular commandment, but I think this perspective helps me personally. I don't think I ever have to forgive my abusers (plural), and I don't think I am commanded to simply because they happened to be family. I am commanded to recognize the holy, to elevate the mundane. In doing so, I will remember g-d. Through creation, I honor g-d and everything he has done for us, for me, and for our collective people.

[mermaids-ate-my-dinner]

Hot Take

Heros of Olympus would be so much better if everybody was single.

[stewyhosseini-bf]

Also the fucking irony. Of Kendall getting mad at Tom for that unhinged line but then calling shiv a piece of dirt like 20 minutes later is not lost on me but also that really is the quintessential sibling experience, it has to be said

[grayloch]

Oh he's just my favorite!! It's Frank Frankly :D He was such a challenge but im super happy with the results yay!! I can't wait to see more of him!

(Frank of course belongs to @partycoffin )!!

[pinknyellowblob]

blob try to draw something that isn’t frank and julie related challenge (IMPOSSIBLE!!1!1!!)

[batz]

ok ya but This Scene from the new dhmis made me become so happpy i wanted to gnaw thru a brick wall when i saw it. i love gay puppets. wow<3

anyway what if they were oldmen

[a-a-a-anon]

absolutely fascinated by young dee who is criminally under-discussed so here is my dissertation on what happened in her college years (ft. dr. gainer, setting her roommate on fire, being institutionalized)/my idea for a fic that I will almost certainly never write/my way too serious take on a few throwaway dee lore lines

timeline background: we know that dee majored in psychology ('charlie got molested') and got "three fourths" of the way in (meanwhile dennis finished his psych minor.) assuming this was a four year program, I'm gonna guess that in her third year she got institutionalized and most likely had to drop out ('gun fever too: still hot'.) we also know that she had her back brace until she was twenty ('underage drinking'), so I'm guessing that means she got her back brace off in her third year.

we know that dennis fancied himself a psychologist since he was young, but I think dee did too. in particular I think she was wary and interested in her brother's psychology; she seems very aware of his psychopathy and bpd in 'making dennis reynolds a murderer' and 'psycho pete returns.' in my head she's been interested in dennis' psychology since they were kids and she saw him snapping crows necks. so instead of forcing her way into acting school, she studied psychology to better understand her brother (and also deep down, herself, who is very much the other side of the same fucked up coin.) it also meant she could tell herself she could study her characters even better when she became an actress.

i think she put in (her version of) genuine academic effort to get in, fuelled kind of by spite (remember the way she studied that thick medical book in 'hero or hate crime' or her very quick math in 'boggs: ladies reboot'). she studies books and gets cricket to quiz her and she still fails to get into penn. but frank always pitied her (i think she was his favorite of the twins-remember "let your sister into the gang", "that's my girl!", "i'm sorry the grift didn't work out, sweetie") so he shells out cash to get her in, but also to get her away from home so he has to deal with her even less.

dennis wants to do anything dee does but better and he wants to keep her close by (to watch her crash and burn, and also because he's weirdly possessive-see 'the gang broke dee' "i'm your select!"). and obviously he's barbara's favorite. so barbara gives him money to get in too. she also gets him into a frat and pays for his classes and his rent and everything he needs. dee has to live in a dumpy dorm with a female roommate.

but college presents dee a chance to moult her previous place in life where she was known as a monster (remember how insistent she was that "people can change!" in 'franks pretty woman'. I think dees always wanted to believe she can shed that feeling she's inferior, but she never has). in my head her female roommate is basically normal-has real friends of her own, mentally stable, attractive-which is exactly what dee craves. dee wants to be popular and well liked and she wants to infiltrate her roommates life, imitate her, be in the Cool group. and she places all her hopes on a friendship with the roommate but dee has never navigated real female friendships before, not with someone like her. deep down she also wishes she found what dennis found in mac, whatever it was, because ever since dennis met mac he's never been as close to her. and i do think dee is some flavor of queer. and the roommate is well liked in the way that dee admires and envies. so there is that blurriness between wanting to be her and wanting to be with her. in my head her roommate looks like the woman from dee's fantasy in 'the gang saves the day' (and they both represent that promise of escape from dee's shitty life).

dee is so desperate for the roommates approval and her love and her life that she goes insane, copying and flattering and competing with her. ever the shitty actress, she tries to emulate her, but comes off as manic and creepy. and maybe her roommate is nice enough to not completely shun her, recognizing that she's struggling. maybe in dees mind they actually are becoming friends when her roommate asks things like "are you okay?"

and dee has to talk about her plan with dennis because he's the only person who would Get It. and she makes it sound like it's almost working. dennis feels jealous and worried and threatened that maybe dee might actually be seen as normal, especially when she gets her back brace off in the third year. so dennis fucks her roommate, more of a show that he owns and controls each and every pathetic part of dee’s life than anything else. and so that dee knows she'll never be as good as him, she'll never as easily charm people as dennis does. (or at least he tells her he does).

to prove that To Someone dee is Good Enough, and so desperate for attention, dee (who's been groomed all this time) enters a sexual relationship with her professor dr. gainer. she tells herself she has the power in it, that she seduced him ("he didn't molest me. i had sex with him 'cause i wanted to.") and she has a mental break, because the thing she told herself held her back from being loved (her back brace) is finally gone by now and yet she still feels like a monster, and the only scrap of "love" she can get is from her professor.

and then she can't take the fact that she can steal her roommates clothes, can emulate her sexual prowess (in dee's own fucked up, delusional way), and still neither be well liked like her nor be loved by her. so maybe dee will always be a monster. so dee tried to burn her roommate in her bed, because she represented the promise of change and popularity, and that promise was a lie and dee's effort was for nothing. and she's institutionalized.

and i think there was kind of a falling out between the twins and their parents, because barbara wants to abandon dee but dennis can't help but visit her. and frank doesn't even step foot in a place that reminds him of his traumatic childhood, and avoids dee even more than he used to because she is his childhood mirror image. so the family becomes even more fractured and estranged.

and maybe dee becomes medicated and slowly crawls her way halfway to normal by the first season (her acting classes are so well-adjusted, taking part in healthy hobbies of her!). until her father comes back into her life and everything falls apart <3

side note, even though dee is crushingly lonely-"I just got a cat 'cause I wanted something to hang out with. I don't have, you know, a roommate or anything, and I don't really have anyone to talk to..."-AND she struggles to pay rent whenever frank cuts her off, i hc that she refused to ever get a roommate in particular female roommate again after this because both her internalized misogyny got worse and she was afraid of what would happen (what she would do) again.

[clownsuu]

i love all the flavors of howdydarling art you make sm!! i've really been stuck on the drawings you did of wally with insomnia, i love the idea of howdy carrying his ass to bed when he shows up at the bugdega totally exhausted. i thought it'd be cute if wally stepped in to take care of howdy too when he's feeling overworked, or the two of them just collapsing into a nap pile at the end of a long day

It’s been raining all day and the vibes for cuddles n sweet shid is I m m a c u l a t e

Sometimes when I think about howdy and Wally, I think about them doing that specific lil wiggle/dance you can do with your followers in cult of the lamb smhhh (and frank really wanting to join but is very shy about it)

[marley-manson]

Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

[carnivalcarriondiscarded]

world's most annoying man is not allowed outside due to his inability to shut up