#and loads others

[just-timewasting]

My reaction when I see people listing things about how new episodes of TV shows are bad.

[ruporas]

need to exist in your warmth (id in alt)

[chocodile]

👁️Sleep with one eye open👁️

[sforzesco]

something. about. the horror of being sent on an impossible (death) quest and obligations and hospitality politics. the trauma of not having a home, and then the trauma of being in a house that becomes actively hostile to you, one that would swallow you whole and spit out your bones if you step out of line. all of this is conditional, your existence continues to be something men want gone.

it's about going back as far as I can with the perseus narrative because there's always a version of a myth that exists behind the one that survives. the missing pieces are clearly defined, but the oldest recorded version of it isn't there! and there's probably something older before that!! but it's doomed to forever be an unfilled space, clearly defined by an outline of something that was there and continues to be there in it's absence.

and love. it's also about love. even when you had nothing, you had love.

on the opposite side of the spectrum, this is Not About Ovid Or Roman-Renaissance Reception, Depictions And Discourses On The Perseus Narrative.

edit: to add to the above, while it's not about Ovid, because I'm specifically trying to peel things back to the oldest version of this story, Ovid is fine. alterations on the Perseus myth that give more attention Medusa predate Ovid by several centuries. this comic is also not about those, either! there are many versions of this story from the ancient world. there is not one singular True or Better version, they're all saying something.

Perseus, Daniel Ogden

Anthology of Classical Myth: Primary Sources in Translation, edited & translated by Stephen M Trzaskoma, R. Scott Smith, Stephen Brunet

[olessan]

The Rings of Power 2x08: Shadow and Flame

"My place is here. You know it is." "And where is mine? If not with you?"

[hellenhighwater]

Can I ask what's your job when fostering kittens? And is it better or more complicated that you have your own cats?

Oh, I forgot to answer this earlier! (Just as a general apology to everyone--I get an anywhere from 5-20 asks a day and while I read all of them, I rarely have time to respond to most. Sorry! Still appreciated though!)

Cats, generally, can't be spayed or neutered until they're at least 3lb, which is typically around three months old. Most ethically run shelters and rescues will not adopt out any cat that isn't fixed, including kittens--so when kittens come in, they have to be raised until they're old enough to be spayed or neutered. Kittens are also pretty fragile, and need a bit of extra care and attention in those early months.

Fostering kittens does a number of good things! It gives the kittens a home-setting place to grow for those first three months, which means they'll acclimate to their adoptive homes better than a kitten that's only seen the inside of a shelter. Second, it frees up space in the shelter! When it's kitten season (aka any warm month), very nearly every shelter is overwhelmed with kittens and cats, and is desperate for space. Fostering opens up room in the shelter for cats who can be in and adopted out faster. Third, it socializes the kittens! A person or family fostering is able to pay more attention to a handful of kittens than even the most dedicated shelter staff or volunteers.

So my job is just to feed the kittens, clean up after them, and monitor their health as they grow. And play with them and handle them as much as I can! The shelter provides all the things they need in terms of food and meds, and I've made myself a firm rule that if a kitten needs more than can be done in a couple daily check-ins (like, say, bottle feeding) I can't foster that kitten. I usually am able to spend more time with them than that but I can't guarantee it, so generally I only take kittens who are feeding themselves, at least 4 weeks old, and generally doing well. I often take momma cats with litters, because then I have a built-in coparent.

The babies will gain about a pound per month, so I'm likely to have the current batch well into December. It's a ton of fun to have kittens around and I get to enjoy having them while also helping them succeed.

[psychotic-nonsense]

In October of 1967, Steve Harrington is born in Hawkins, Indiana.

He's raised there, forced to live under the strict expectations of his parents, Richard and Samantha. Barely escapes their clutches, freedom fueled by the kids and adults that take the role of guardian and family when the time is right. Keeps himself in check with the always impending apocalypses that arise beneath his feet.

In June of 1985 - when Steve Harrington is 18, while Richard and Samantha Harrington are visiting New York for an extended work trip - Veronica Harrington is born.

She was carried and raised in secret from their hometown. They take care of her between their business hours, dropping her in the hands of nannies and babysitters galore. They don't even think of Indiana during Veronica's early childhood, too focused on work and making sure their daughter starts up right.

In October of 1986 - when Steve Harrington is 19, aged further by ending the Vecna War, yet tamed by his newfound love in Eddie Munson - Richard and Samantha Harrington return to Hawkins.

They don't ask about what happened to their son. They don't ask about the town. They don't ask questions, just give responses to them. Sneering at Steve's friends, complaining about the state of the house, commenting at the disfunctional chaos their home has become.

In November of 1986, Richard and Samantha Harrington disown Steve.

They just let him go. They at least give him a folder of his legal documents, but otherwise just tell him to get out of their house and never use their name again. Claiming Steve doesn't need anything from the room because the Harrington's own everything in it. They don't call him son, they don't say goodbye, they don't acknowledge who's actually taken care of the house, they don't admit most of Steve's former room has changed with money Steve earned himself, they don't dare to give him any money or care where he goes. They just say they're sick of dealing with an unworthy mistake of a child, and force him out of their house.

In November of 1986, the Party's adults adopt Steve.

He runs to them first after everything happens. Held himself together at the start, but broke down the second the words were out. While everyone was trying to comfort Steve, Wayne Munson and Jim Hopper were the first to succeed. They know firsthand that this family would never be the same as blood, no matter how much that blood has boiled and burned before, but the love will be stronger and it will be here. When everyone seconds it, Steve finally accepts it. He becomes a child of the Party - he's everyone's son and everyone's brother, taking whatever surname he sees fit.

In November of 1986, Steve Henderson and Eddie Munson leave Hawkins.

Despite all this good, Steve can't bear to stay in this damned town a second longer, where everyone knows who he is and will soon know everything he isn't. And it's not like Eddie was looking forward to sticking around Hawkins either, especially without his Steve. The kids are the first to agree, surprisingly, and the adults promise to find a way for the boys to get out. Later that week, when Richard and Samantha leave the house to prepare for Veronica, Steve and Eddie break in to take everything that's rightfully theirs. While they're there, not sure what prompts him, Steve makes a bag of his clothes with shoes and his wallet tucked within it, shoving it into his closet. Dustin's mom uses an old favor to get the boys an apartment in Chicago, the Party has one last farewell, and the two boys are gone.

From 1986 onward, Veronica Harrington is raised in Hawkins, Indiana.

Richard and Samantha are adamant in their daughter coming out exactly how she should. They steadily convince the town to forget the Harringtons ever had a son and lock the room on the second floor next to the stairs without ever touching the inside. They raise her with formality and pride at the top of their expectations, wanting at least one child to come out right.

But Veronica is the spitting image of Steve's honesty and care. She puts on a facade when needed, but even at a young age, she wants nothing more than to be someone's light in the darkness. She plays with every lonely kid at school, and tries to make people laugh at the business parties she's dragged to. It's not received well by her parents, but Veronica is much too strong willed and stubborn to let it phase her.

In April of 1991 - when she's 6 and they're so much stronger around their hearts - Veronica Harrington meets Steve and Eddie Munson for the first time.

It's the year Erica is set to graduate high school. Steve and Eddie have been making the drive for every holiday this year, ordered determined to give her the best senior year she could have. It's Easter Sunday, and Wayne somehow managed to drag his boys away to church - a Munson custom, as even Eddie insisted they go.

While at the snack table post sermon, a little girl comes up to Steve, mistaking him for her father. He and Eddie gently comfort the girl, introducing themselves and offering to help the girl find her parents. That's when Veronica introduces herself, striking Steve deep in his heart. Still, he keeps quiet, even gifting her a little origami crane made from napkins at the table. He calls her "chickpea" for the color of her dress, tells her to keep the crane secret and safe, "If ever you need to find your way back home, you hold that close, and it'll tell you."

Meanwhile, Wayne has come across Richard and Samantha in the crowd opposite the kids. Exchanging formalities, Wayne mentions his son and nephew are in town, news the Harrington's are surprised at, as Wayne didn't seem like the father type. However, trying to keep face, they remain civil and insist on introducing their daughter.

Cue Veronica running to her parents with Steve and Eddie in tow. Cue Steve calling Wayne dad right to Richard's face. Cue the Harrington's immediate leave from the church, Veronica waving behind her with a crane placed carefully in her pocket.

From then on, Veronica Harrington's life changes indefinitely.

Her parents' expectations grow tenfold. She finds out she's horribly allergic to chickpeas. All of her friends must be approved by her parents, and any that don't fit their image are ordered to leave her.

Veronica takes these changes in stride - is her class's top student, captain of the softball and volleyball teams in junior high, keeps the friends she wants in secret from her parents - but she can't help but keep the crane in a little box in her room. Gets a necklace with a little origami crane pendant, holds it whenever she needs to make a hard choice. Can't help but expand herself in secret, learn things her parents would never approve of - lock picking, other languages, sleight of hand, a clothing style that's nothing like the dark blues of her family, all warmth and light. She explores every room in her house, yet is unable to find her way into that room upstairs next to the steps.

In May of 1998, Veronica Harrington discovers the truth about her brother.

She's about to be a freshman. Her class was touring the high school in preparation, and while passing the athletics hall, her eyes hit the swimming trophies. Each row stuffed with trophies, and each one with a name that stabbed her right in the stomach: Steve Harrington.

After that, she couldn't bear all the secrecy anymore. Late that same night, she finally uses her lock picking skills to break into that room. And though it's devoid of life, it is a bedroom, so evidently lived in. It's frozen in time, twisted sheets covered in dust, old papers crinkled from being stepped on but not picked up, old clean clothes still sitting in the hamper. It's a boy's room, clearly, and Veronica is careful walking around this place of memories.

She does still explore, quietly clicking on lights around the room, too cautious to touch the overhead lights. She looks under the bed, finding a bat and a trash can lid, both embedded with rusty nails. A shirt that still smells like fresh laundry yet has a back stained permanently with long red lines down the shoulders. Dozens of stapled documents labeled NON-DISCLOSURE AGREEMENT, detailing horrific events that each have that same name signed at the bottom.

With shaking hands she checks the closet, and finds it mostly empty. All except for a deep green graduation robe and cap, a cream Hawkins High letterman, and a duffel bag hidden in the back corner. The cap has a 1985 tassel, and the letterman has Harrington branded on the back with basketball and swimming patches galore. And the bag, when she checks it, looks like a survivalist pack someone would make in an apocalypse. At the top sits a wallet, and inside is an ID for a Steve Harrington, who has the same face as the one in her origami memories.

And Veronica is done. She wakes up the next morning and throws Steve's jacket on the kitchen table, startling both her parents mid sip of coffee. She finds herself in a screaming match with her father, demanding them to quit lying to her, begging to know who her brother is.

In a fit of rage, Richard tells her. Tells her everything Richard and Samantha never saw in Steve, about Veronica's secret birth, the disownment, Steve's disappearance from the Harrington house and Hawkins. She's reminded of that one Easter Sunday, and is told how Richard and Samantha faked Veronica's allergy to keep her mind from being tainted by whatever curse befell their bloodline before. Orders her to never say that name again.

In a fit of rage, Veronica bites back. Calls her parents cruel and overly expectant. Comes clean about her secret freedom. Says she'd rather be nothing than ever carry the burden of the Harrington name ever again.

She hides away in her room after the fight. Cries in her closet with her origami box cradled tightly to her chest, begging it to take her home because this place isn't anymore, maybe never was. Cries for the brother she never even got to meet, who went through so many horrible things yet still got put through this same punishment. Cries for the future she won't get to have, losing her hope for a new beginning that will now never be.

At the start of June, 1998, Veronica runs away.

She makes it through the rest of May in near silence. She writes notes for all of her friends at the end of the school year, and one for her parents to inevitably find. Finds 75 dollars in Steve's old wallet, stuffs the duffel bag the rest of the way with her belongings, and says goodbye to Hawkins.

She takes the first bus she can find out of town. Doesn't care that it's going to Chicago, doesn't really care where she's going now. She befriends an old homeless man riding the bus as well, becomes another interesting name in his "Book of Wanders (Pronounced as Wonders)." As Veronica's telling the story about unknowingly meeting her brother, she remembers the crane in her bag. She reaches in to retrieve the little box, then the crane, nearly crying seeing how disheveled and unfolded it is. Broken and doomed, just like her. But looking at it now after so long, she thinks she sees something written inside it. Despite it shattering her heart pieces, she carefully unfolds the little crane.

At its center, in old, bleeding blue text, reads, "Find the Swooping Bat if you've lost your way."

The old man laughs then, taking Veronica's hand and placing it onto her chest, over her heart. "It's fate," he whispers in the dark bus. "There's a place called that in Chicago."

Veronica uses her money to rent them both a hotel for the night, giving the old man a warm bath for the first time in weeks. She gifts him the clothes as well, saying it's, "an honorary thanks from my brother, for helping me get here." They bid each other farewell in the morning, the old man telling her to keep hold of fate.

She finds her way to the Swooping Bat easily, hand on her necklace guiding her way. It's a quaint little diner, popular enough to be comfortably warm when she walks in. A young lady in a wheelchair - Max, says her nametag, with pins saying things like, "Summer work blows" and "USC grad or bust!" resting on her collar - guides her to a booth next to the sunrise.

"Anything I can get you today?" Max asks when Veronica's seated.

Veronica's fully ready to order everything on the menu, what with how delicious this place smells, but then she remembers her funds. 5 bucks, if she's lucky. "Just a chocolate milk, for now. Biggest one you have, please." She somehow plays off Max's skeptical look, her eyes sweeping over Veronica's no doubt disheveled and no-food-in-36-hours appearance.

It somehow works out, and Max is wheeling away. Veronica allows herself a moment to collapse, stomach growling in pain and eyes burning with the realization she has no idea what she's going to do now. She just has this last bit of hope to hold onto, and without it, she'll be nothing but a husk.

She's not sure how long she sits there, staring at the sunrise and letting sound and AC whisk her mind away, but there's suddenly a little knock on her table. Her head snaps up, and there's Max again, setting down a giant glass of chocolate milk... alongside a loaded breakfast plate.

"It's on the house," Max rushes to explain, all fondness when Veronica scrambles to get her wallet. "Courtesy of the owner. And between you and me," she whispers with a wink, "just take the damn food, kid."

Veronica stumbles over herself for a moment, rendered near speechless, before she finally comes back. She begs Max to thank the owner profusely, before rushing to dig into the pancakes before her. She's halfway done dousing the stack in syrup by the time Max wheels away, when there's suddenly someone laughing.

"Of course," says a choked-up voice behind her. "Can't have any chickpeas starving in my booths."

Veronica nearly drops her fork. She turns so sharply she gets dizzy. Seven years can't change a person that much, surely, because though he's bigger in the torso and he has glasses on the bridge of his nose and his hair is cut so close, he still has the same softness in his voice and the same slouch in his stance and the same moles around his eyes and his smile is so bright despite the tears in his eyes, and though Veronica can barely see through tears herself, it's not like she needs them anyway to know it's-

"Steve!" she cries, scrambling out of the booth to meet her brother halfway. The relief of it all working out has the rest of her restraint collapsing, forcing harsh sobs out of her and into Steve's shoulder. The siblings hold each other in the middle of a restaurant, a voice in the background asking everyone to leave them be. Steve doesn't stop whispering, even as his chest heaves with broken gasps between tears, "You're save, Veronica, I got you, I got you, it's gonna be okay, you're safe here, it's okay, sis, it's okay..."

"That you, lil' chickpea?" whispers a different voice once they've calmed down. Veronica reluctantly pulls away and finds a man kneeling beside them, a hand on Steve's shoulder and similar tears in his eyes. His hair and tattoos remind her of the tamed wild from seven years ago, covered in black in the middle of church yet glowing brighter than the stained glass, the one that Steve looks at in past and present with a glowing love Veronica never saw between her parents.

"Yeah," she whispers, wiping her tears away before placing a hand atop her necklace. It catches Eddie and Steve's eyes and make them beam with pride and relief. "Yeah, it's... it's me...."

[starlitmeadows]

Reunion

[marzipanandminutiae]

I don't know if Lizzie Borden did or didn't Do It, but what matters more is what she did afterwards:

moved to a grand house with her sister and had intense, Ambiguously Gay friendships with actresses until her death at age 66

there's a terrible slasher film called Lizzie Borden's Revenge and I'm like. revenge for WHAT. what about the entire rest of her life could possibly leave her feeling in need of vengeance. barring local notoriety and the emotional toll thereof, the rest of her life was excellent

[blackkatdraws2]

Baby I'm Home [Blank Scripts AU]

[Song: Baby I'm Home - ODETARI (feat. Kanii & 9lives)]

[scruncheduppaper]

drew this bc because i hate sitting thru chapel

[annabelle--cane]

the thing about victor frankenstein is that, aside from the deeply unpleasant but distressingly period-typical views about women and his polar exploration sunk-cost fallacy attitude, he's not even really an outstandingly bad individual. spending two years trying to make a whole person with no solid plan for what to then Do with this person is an extremely extremely bad idea, but after that all his reactions to stress and tragedy are fairly common and natural. avoidance, depression, decision paralysis, secret keeping, etc., these are very normal trauma responses. they are just literally all of the very worst responses he could possibly have had given his particular situation.

[emotoangel]

okay I’m going on a little ineffable phannie rant read at your own gut wrenching discretion bc I can’t lie this shit’s about to get parasocial

because it’s not just Dan and Phil dressed as Crowley and Aziraphale, is it?

it’s Dan and Phil, who have struggled with their sexualities for years. closeted, faced every speculation under the sun when it comes to their own sexualities, the other’s sexuality, their relationship, their legitimacy, if they’re queerbaiting or not, being OUT. OUT and dressed as two canonically gay men in love with each other, two men who would see the world burn to know the other was safe. two men who helped stop the end of the world so they could be together.

a man who is bitter and cold and a little bit bad (but not evil I would say, though he might try to make you believe he is) and a man who is love and light and exclusively good (or so he’d like you to believe). and am I talking about Dan and Phil there, or am I talking about Crowley and Aziraphale?

it’s about these two men who, even 5 years ago, feared the word ‘gay’. it’s about how Dan, Mr Commitmentphobe, Mr I Can’t Even Commit To A Pet, Mr Soulmates Are Not A Thing That Exist, bought a costume, and sprayed (or, fucking hell god help me DYED) his hair red, and posted a cute picture of him and his ranch partner/4000 year old tortoise/companion through life/actual soulmate and TAGGED IT INEFFABLE HUSBANDS.

it’s a couples costume!!! it’s impossible for it not to be, considering they are two of the most well known canonically in love gay men on the internet right now!! it’s a thank you to their little phannies online who make them feel safe and comfortable enough to do what they do every day. and it’s a shoutout to the progress they have made in 15 years. a ‘hey, we’re here, we’re happy and gay and (in love) together’. and that’s SOO SPECIAL. ITS SO SPECIAL. and it means everything!!!!

AND ITS NOT EVEN JUST THE ONE PHOTO.

it’s the selfie on the story of them cute and couply and drinking the aziracrow drinks and looking happy and in love 😭

AND DON’T EVEN GET ME STARTED ON CAT AND BEAR SAVE THE WORLD VS HOWLEY AND AZIRAPHIL ARE HERE TO SAVE THE WORLD

anyway basically I’m so insanely proud of them, feeling very parasocial about the progress they’ve made in 15 years to get to a point where they’re comfortable enough to make phwedding jokes and gay jokes and jokes about both being switches and furries and in love. feeling so proud of them being out and proud and gay and in love and also I have a good omens tattoo so I’m choosing to believe they did this for me personally thank you x

[citrlet]

because i was asked for what mods i use, i decided i'll just make a whole post!

most of everything here is pretty cottagecore/naturey~

under the cut because my game is heavily modded this list is long!!

visual

medieval buildings

way back pelican town

seasonal cute characters base / expanded / east scarp

all cuter animal replacements

vibrant pastoral 1.6 (temporary fix)

overgrown flowery ui

medieval craftables

dynamic night time

cottagecore fences

lamps

gwens paths

animated gemstones

foliage redone foliage only

rosedryads fairies

elle's town animals

sve facelift

more grass

medieval dnt

flowergrass and snowfields

expansion fish redesign

clothing / hairs

more accessories and stuff

cozy scarves

hoods and hoodies

vanilla pants and skirts

the coquette collection

seasonal hats

ani's colour collection

improved and new hairstyles

kyuyas hairstyles pack

furniture

idalda furniture recolor

h&w outdoor furniture

h&w fairy garden furniture

west elm furniture

nano's retro style furniture

asters big furniture pack

gameplay / mechanics

cjb cheats menu (just to walk a little faster)

cjb show item sell price

greenhouse gatherers

craftable mushroom boxes

advanced casks

lumisteria serene meadow

growable forage and crop bushes

cornucopia more flowers / more crops

atelier wildflour crops and forage pack

wear more rings

tree transplant

passable crops

no fence decay redux

multi yield crops

crop fairy

challenging community center bundles

better chests

automate

spawn supply crates on beach

expanded storage

bigger backpack

blue eggs and golden mayo

better ranching

npc map locations

data layers

expansions

stardew valley expanded

east scarp / lurking in the dark / never ending adventure / always raining in the valley

lumisteria visit mount vapius

misc

jen's cozy cellar

cozy farmhouse kitchen

asters walls and floors megapack

wrens expanded greenhouse

cuter coops and better barns

nicer sewer

also recommended

hudson valley buildings

elle's seasonal buildings

seasonal fences

ridgeside village

immerisve farm map 2

[astrhae]

...maybe it's all part of a great big ineffable plan

[moodlesmain]

I am THIS close to going full conspiracy board trying to piece together the components of my favourite genre "spooky, mystery solving, coming of age adventures that involve a clash of the mundane and the supernatural"

EDIT: I went full conspiracy board mode