#Should Wives Work?

[cleoenfaserum]

The 10th SHORT FILMS Academy Awards held in March of 1938 corresponding 1937 film releases. (1298)

The 10th Academy Awards were held on March 10, 1938 to honor films released in 1937, at the Biltmore Hotel in Los Angeles, California and hosted by Bob Burns. Originally scheduled for March 3, 1938, the ceremony was postponed due to the Los Angeles flood of 1938. 10th Academy Awards - Wikipedia

A Night at the Movies is a short film starring Robert Benchley. A Night at the Movies (film) - Wikipedia

link https://youtu.be/zn8gAMVA62I

Romance of Radium is a 1937 American short film directed by Jacques Tourneur, Romance of Radium - Wikipedia

link https://youtu.be/724Do_WYGsA

The Private Life of the Gannets is a 1934 British short documentary film, directed by Julian Huxley The Private Life of the Gannets - Wikipedia

link https://youtu.be/aOtirKYYDrs

Torture Money is a 1937 American short crime film directed by Harold S. Bucquet. Torture Money - Wikipedia

link https://ok.ru/video/2128385346228

Should Wives Work? is a 1937 American short comedy film directed by Leslie Goodwins. Should Wives Work? - Wikipedia

link https://youtu.be/NMuGpdvJQ4c

Penny Wisdom is a 1937 American short comedy film directed by David Miller and produced by Pete Smith. Penny Wisdom - Wikipedia

link https://youtu.be/kD5d5fR5B_w

The Man Without a Country is a 1937 American short drama film directed by Crane Wilbur The Man Without a Country (1937 film) - Wikipedia

link https://ok.ru/video/3265168345756

The Old Mill is a Silly Symphonies cartoon produced by Walt Disney Productions, directed by Wilfred Jackson, scored by Leigh Harline. The Old Mill - Wikipedia

link https://youtu.be/MYEmL0d0lZE

Educated Fish is a 1937 animated short film that was part of Paramount's Color Classics series. Educated Fish - Wikipedia

link https://youtu.be/UGVtnE-EFW8

"The Little Match Girl" or "The little girl with the matchsticks" is a literary fairy tale by Danish poet and author Hans Christian Andersen. The Little Match Girl - Wikipedia

link https://youtu.be/5KTy-S3bfvk

[doctorsiren]

I have an idea (concept sketch that I will make a more refined version of in the morning since it is midnight)

[notsosecretlyalesbian]

Abbott Elementary 1×13 | 2×22

[grimmbunny24]

A Thought I Had. An Idea, Even.

I was thinking about Good Omens, as one does, and I realized that the handful of scenes in which Aziraphale and Crowley raise the Antichrist could be its own show. I am not saying it should have been expanded upon in the book or the TV series, I’m not even saying there should be a spin off about raising Warlock. All I am saying is, this would be a great concept for a show. Imagine, an entire comedy show about an angel and a demon raising the Antichrist.

[karalovesallthegirls]

“i’m not going to write this” you say as you simultaneously create a tag for any future instalments in the same universe. (i see you and i agree lena should have two wives.)

Listen obviously I’m not going to write this story BUT just imagine…. The tension, the forced conversations as Kara and Lena both pretend to still be the women they were all those years ago, pretend like they aren’t strangers with nearly a decade of distance between them. With Kara and Lena experiencing an anxious desperation to get away from each other as deep as their desire to never leave each other’s sight.

Andrea goes to bed before them - she has to, she’s trying to be strong but even she isn’t strong enough to navigate the sleeping arrangement - and when she wakes up in the middle of the night it’s not a surprise to find Lena’s side of the bed empty and untouched. The predictability doesn’t lessen the burn. The guest room sits empty, though, and instead she finds Lena curled up in a ball on the couch with Kara sleeping beside her. Not on the couch, no, instead sat propped on the floor at Lena’s feet, her hands gripping right at her ankles in her sleep. Like she was scared if she let go for a second Lena would vanish.

Everyone wants to know what this means for them - Kara was dead legally, so their marriage was voided in the law, but then Kryptonians mate for life, and it’s not like Lena ever really let her go in her heart - but they have no answers. It’s clear they don’t fit together anymore, not any of them, but the idea of any one of them letting go is unimaginable. So they fight and they fake it and they find ways to connect as the new, scarred versions of themselves, and there’s a palpable jealousy between the three of them.

Andrea can feel Kara’s eyes burning into her when she comforts Lena, when they share well-worn jokes Kara never learned. And Andrea can see the longing in Lena’s every move, every word, and it burns and burns and burns. Andrea stares at Kara and wishes she had stayed dead. Her dreams are filled with the other woman: dreams of her dying again, of her never returning at all. Of her smirk as Lena tells Andrea they’ve run their course because “really, did you think I’d pick you over her?”

Andrea dreams of what Kara’s mouth must taste like, of how her lips and tongue might move against her own, what she must do to have Lena so fully under her spell. Perhaps if she could kiss her then she could know how to give Lena everything she’s been missing for seven years. Maybe then she could be enough for her. She feels almost desperate thinking about it.

And Kara burns just as deeply in her own way, Andrea can feel it. Kara’s eyes track her every move, always studying and analyzing and overwhelming her. The questions are endless every day - tell me about your life, what do you love to do, what makes you tick.

“You are the one person she chose after me. She wanted you,” Kara explains after Andrea’s furious refusal to answer her forty ninth question about her perspective on things. She’s staring at her with a hunger Andrea feels in her toes. “I have to understand. I have to know every part of you.”

Kara looks at Andrea like she wants to devour her whole. Andrea feels the same.

[loud-whistling-yes]

Behold: a fool! A fool that took a whole month of agony to make, but a wonderful fool nevertheless. A lovely lady but no one's baby sort of fool (ft. ssh album cover from the old post)

[vulgarvisionary]

I fear I’m now obsessed with drawing Crowley again. This is my take on Crowley in some more femme-presenting, fancy dress! Where’s Aziraphale? I dunno, maybe primping in the bathroom in order to impress her gorgeous date…

[forgottenporkbun]

do i spend the entire day crocheting mushrooms to make a little garland or do i spend it drawing my obsession (by obsession i mean mh)? This is the problem with having multiple hobbies.

[serpentface]

Can you tell us more about the Usoma-Hibitte

The Usoma-Hittibe is a sister (typically the eldest) of the Usoma, the Wardi monarch.

((IMMEDIATE LINGUISTIC TANGENT: The phrase Usoma-Hittibe could be functionally translated "king-sister"- Usoma has been the word used for Wardi monarchs for much of their history, which does not actually Translate as 'king'. The word Usoma stems from a now obsolete concept-word referring to death as a 'catalyst of the cycle' (referring to death and birth as dualistic forces that sustain life via their perpetual cycling). This gradually became closer in meaning to 'benefactor of life' or just 'benefactor', which began to be applied to kings as an epithet, and eventually became their titles as sovereign with most other uses falling into obsolescence (though it also appears in the name of the Face Kusomache). Hittibe straightforwardly translates to 'sister', though dead literally is a feminine form of a word meaning 'of the (same) womb'.))

The modern day role is largely a remnant of traditions of the oldest Wardi monarchies and their lineage structures (most significantly the Ephenni, who developed the first monarchies and TREMENDOUSLY shaped all following models of Wardi kingship). All Wardi tribes had patriarchal systems of power (though with greatly varying intensities) throughout their recorded history, but not all have been patrilineal.

The Ephenni (and a lot of the other west-southwest proto-Wardi tribes) had matrilineal kinship structures for the vast majority of their history, with kinship passing from mother to son. This translated to a system of royal inheritance where kingship was passed from a king to his sister's eldest son, rather than to his own sons. The king and king-sister would each be wed to their own consorts, but only the king-sister's children would be potential heirs under normal circumstances.

In a societal context where power is patriarchal and inheritance is matrilineal, this system is Very effective for both ensuring inheritance remains in one family AND to prevent succession crises (which the incest approach to keeping rule within a family doesn't accomplish). A child's father generally cannot Technically be completely certain in a world without genetic testing, which in patrilineal kinship opens the door to claiming illegitimacy of heirs. A matrilineal structure where kingship passes from a man to his nephew via his sister negates this- the mother the a child is unambiguous (you can see her being pregnant and giving birth), and even if the child WAS born out of adultery, the illegitimate father does not ultimately matter to the child's status as legitimate heir. The child will bear the mother (and thus the king's) family name regardless, thus keeping power securely in one family with no avenues to dispute legitimacy.

The Usoma-Hittibe thus had profound importance as the mother of kings, outranking the Usoma's actual wife in significance. A Usoma's own sons would instead live out their lives as noblemen with no claim to the throne (though technically would be 'reserve' heirs in catastrophic failures where a Usoma-Hittibe and any other king-sisters fail to birth sons).

This matrilineal kinship structure was lost over the course of history through a combination of internal societal changes, centuries of occupation, and the assimilation of the various pre-Wardi peoples into collective Wardi identity. Imperial Wardi culture now exclusively uses a patrilineal kinship structure. However, before this change could fully occur, the Usoma-Hittibe's role had extended into numerous ceremonial and political roles and was deeply entrenched into the identity of Wardi royalty, and the position was thus retained even through her reproductive obsolescence.

The most obvious shift to the role of modern Usoma-Hittibe is that they are Not Only no longer the mothers of kings, but have absorbed the cultural 'celibate woman occupying positions of power' archetype and now remain unwed and ostensibly virgins for life, as well as having slightly 'masculinized' elements of their performance (their etiquette and some of their regalia is considered masculine, though not to the same extent as Odonii). This parallels the importance of celibacy and 'de-feminization' in Odonii, partly conceptualized as allowing a woman to retain strength in bodily and spiritual integrity that is otherwise deemed only natural to men. Like Odonii, the bodies of Usoma-Hittibe are politicized into symbols, imagined here as physical representations of the health, strength, and integrity of the royal family. She will be used as a proxy for the entire royal family in rites intending to bless and protect them. She is the public female face of the royal family, and serves ceremonial functions in most rites that would normally be taken by a family's wife.

In addition, a Usoma-Hittibe has a significant degree of hard political power. She is the default regent in case of an Usoma's early demise, has the ability to take action in his stead during absences, and can freely make appointments to the lower court (but not the council), giving her potentially tremendous influence over the court. Her power is still ultimately limited- a Usoma has absolute veto over any of her actions, she is prohibited from issuing military commands (even when acting as regent, this must be in coordination with the council), and the inner council has veto power by majority vote on actions she makes in a living Usoma's stead (though the council does not have generalized veto power over regent Usoma-Hittibe).

There has also been a significant shift in recent history to the Usoma-Hittibe gaining significant control over the state priesthood of the Face Kusomache (which is Partly assigned a role as the protector and legitimatizer of royalty). The Usoma-Hittibe is currently THE person who appoints a high priest to Kusomache as an aspect of her ceremonial roles, and the past few Usoma-Hittibe have negotiated privileges to perform rites otherwise exclusive to the priests (which is unprecedented, as this priesthood (and all other core cults to the Faces save for Odonii and Galenii) is closed and all-male). This has contributed to internal fracturing among this priesthood- cult traditions surrounding Kusomache focused on this Face representing death and safe transitions to the afterlife (as well as sacred mysteries and the movements of the cosmos), and the additional 'protector of royalty' trait was rather inorganically assigned by the merging of an entirely separate tradition. Many members of Kusomache's priesthood feel the Face is being warped and defiled, resent the Usoma-Hittibe's appointments of puppet high-priests, see tremendous insult in these royal lay-women integrating themselves into the cult's structure, and fear that these king-sisters will attempt to take over as high priests. Some have even broken off to form a separate sect to Kusomache in response, which by official decree are illegitimate, but is gaining public favor as one of many symptoms of growing distrust and dissatisfaction in the royal family.

---

SIDE NOTES ON THE QUEEN-CONSORT

The queen-consort's modern role is somewhat expanded in that she is now the mother of Usoma's heirs, but in few other capacities. Her powers are limited to those natural to her social status, and she has no hard political power whatsoever, even within the scope of the court (though some queens gain indirect power via personally influencing their husbands, sisters in law, and council). Imperial Wardi royal families have generally sought to display themselves as the ideal perfection of the familial sphere with the Usoma as the epitomical protective household patriarch, and thus a queen-consort typically lives in the utmost of feminine cloistering within the palace and is rarely (if ever) seen by the public (in the limited cases in which she travels outside of palace grounds, care will be taken to keep her out of sight within her carriage or litter). This functions to emphasize her privilege as the highest status wife within the domain, and by extension to show the invulnerability of the royal family as a whole by the unseeable and therefore untouchable nature of its Vulnerable wife/mother.

(The concept of a wife being able to exist in protection exclusively within the family home is considered an ideal, which isn't really attainable for nobility and is out of the goddamn question for the lower classes. You'll notice 'women's bodies being heavily politicized and abstracted' being a recurrent cultural theme here- the wife of a household is the vessel for a family's continued existence and conceptually the vulnerable representation of the family's survival, which must be controlled and protected. The social privilege of royalty allows for this to be utterly realized in the case of the queen).

The queen-consort is (apart from being known by name) functionally the abstract concept of the idealized wife and mother and the womb of kings rather than an individual person to most of the public. Attention is actively Drawn to her physical absence via a queen being represented in effigy in the vast majority of public appearances by the royal family (represented in statuary, and in abstraction in the form of the lotus sceptre held by the Usoma-Hittibe). Statues representing each current queen-consort are placed in major temples to Kusomache, Ganmache and Anaemache to gain the protection of these Faces and to be honored by the visiting public.

[miraclemaya]

There is a car

It is morning, and I wake up thirty minutes late. 

My husband has already left home. No note or text explains, but I understand.

I wake the kids. As they get ready, I make their lunches. My son gets leftovers from last night’s takeout, my daughter gets an egg sandwich and macaroni salad. They both get a small brownie.

When the kids are done, I rush them out the house and straight to the car.

As I pull out of the driveway, I notice a car parked by the curb. I’ve never seen it before. It’s painted a dark blue, and none of my neighbours own it. 

I drive down the lane, and give the car no mind. I need to drop my kids off at school.

It’s there when I come back.

At night, after dinner I stay awake. My husband has already fallen asleep. He has spoken four sentences to me. I look out the window, gazing out at the moon.

The car is still there, illuminated in the light of the full moon.

I gaze at my nieghbour’s driveway. It is empty save for one car.

I stare at the car. I don’t know its make, nor its model.

I go back to bed and fall asleep hours later.

 I wake up late. Again.

This time, my husband shakes me awake. I make him breakfast. 

The kids are harder to wrangle today, my daughter having had a nightmare last night. I shush her, and bundle them into the car.

I don’t pay much attention to the car parked by the curb.

This night I sleep as soon as I hit the bed.

I dream of large vast places. Places without people. Places where I feel home. Places I feel welcome.

The car is still there that morning. I ask my husband if he’s seen anyone enter or exit it. If he saw it arrive or leave at any point.

“It’s just strange, I guess.” I say. 

He gives me a look and a shrug. I don’t bring it up again.

Both the kids are sick today. I make the necessary calls, give them the necessary medicine, and make the necessary meals. 

I am about to ask my son if he knows where the thermostat is, when I realize I don’t remember his name. I don’t check their temperatures after that. 

I leave the house later, needing to get groceries.

The car is still there.

I don’t sleep at all that night. I tell myself it is because I worry for my children.

I spend the whole night looking at the car.

I wonder if it is locked.

It is 4 am when I decide to check if it is.

I walk out the house. The full moon is out and bathes the car in white light.

It looks almost inviting.

My bare feet feel the grass beneath me. It’s wet. I almost slip, nearly bashing my head across the sidewalk.

The Car doesn’t let me.

I open the door.

I step into it.

I sit down.

I leave.

They welcome me.

[wonder-worker]

Angelberga was a peculiarly prominent personality in manifold aspects of European politics [in the late 9th century. Born to the Supponid family of Italy, she married Emperor Louis II and had several opportunities to establish her position as an active and controversial player in the vicissitudes of her husband's reign]. She acted as Louis's regent, accompanied him on expansionary military campaigns in the south of the peninsula and represented him at [congresses, tribunals, and diplomatic negotiations]. Strikingly, she was also the beneficiary of a spectacular collection of charters. Almost one in seven of Louis II’s extant charters were issued in her favour. Angelberga’s conspicuous exploits in the field of charter acquisition did not diminish after the emperor’s death, and this helped her to maintain a position as a key power-broker in Italian politics, control of land [particularly monastic foundations] being a fundamental building-block of power in this period. In the interregnum following 875, during which Charles the Bald of West Francia and Karlmann of Bavaria fought to claim the succession to the heirless Louis, Angelberga herself conducted the negotiations and decided the loyalty of a major sector of the Lombard political community. She maintained this high profile until her death [having supported her son-in-law Boso's quest for power, endured a temporary exile, maintained the support of Pope John VIII, and founded the monastery of San Sisto in the city of Piacenza, where she probably ended her days sometime before 891].

— Simon MacLean, "Queenship, nunneries and royal widowhood in Carolingian Europe"

[housewilson]

you'd think she was talking about his husband with how unwarrantedly she dropped that mid-conversation

[lil-oreo-crumbles]

Oh god someone take my brain away from me.

Here’s a potentially weird concept. That I just came up with. Minutes ago.

Forget the Citadel of Starco, yeah, forget it. What about a fucking… Citadel of Toffee’s wives/husbands/partners. They’re just. All together. In one place. Mingling.

I know he’s shipped with a ton of OCs maybe I just want to see them interact yk?? I feel like a lot of them are so different yet would get along so well.

Don’t ask about canon characters since I feel like there’s a ton of different versions of those, and I wouldn’t want ALL of them to be there, there’d be WAYYY too many Moons and Rasticores if that happened. They’d kinda overflow the place yk?

But crossover ships. I think. Those would be acceptable. Maybe.

Maybe this would be primarily OCs though. I dunno, and maybe this idea is so cursed, but I had the thought and had the impulsive urge to share it with the world.

Yeah. A place where the numerous amount of OCs that people made to ship with Toffee. Just. In one place. Perfect. It’d be a really sweet place for a collab I think.

[eeblouissant]

oh Sophia is the biggest golden wives believer because what the hell was “okay, I want to see 6 hands above that blanket right now” (season 3 ep 11. 14:05)

[arcane-vagabond]

It’s not creativity if you wait for other people to take the leap of faith of trying new things and then taking advantage of the results that show people actually like diverging from the same old stuff.

[sskk-manifesto]

Ep 5!!!