#and not know how to articulate it

[starlightomatic]

something about how the disability rights movement got watered down, in people's eyes, from "we demand that buildings are built to physically accommodate us, eg with ramps" to "there's nothing we can do about the world around us, but it would be nice if people were more accepting of seeing people stim"

[kingofmyborrowedheart]

Begging swifties to understand that Taylor didn’t write reputation and Lover with the knowledge of how the relationship was going to end and that trying to “excavate” those albums for evidence to prove a specific theory as to why it ended is not how they should be viewed. Taylor wrote those songs feeling a very specific way because that’s what she was experiencing and she is now reflecting on them with hindsight and relates to them differently than when she first created them. These conflicting emotions can exist; how she views it now doesn’t diminish how she felt about it when she first released it.

[meticulouslymindlessart]

Thetis with the arms of Achilles

I saw several mosaics depicting this motive and decided to try my hand at it as well.

Also, I just find Thetis to be quite interesting as a character. There’s gotta be something fundamentally Tragic about raising a child, knowing that he will most likely die very young.

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(Close-Ups)

[goblins-riddles-or-frocks]

forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.

[fvaleraye]

limbus company is a wild game. you play as a nonbinary amnesiac who got their head cut off and responded by replacing it with a flaming wall clock, whose second job is to (ineffectually, at first) be the manager of a group of people on a bus and whose first job is to revive and heal them anytime anything happens, which is all the time. your party is comprised of a dour scientist who has a habit of speaking in poetry, a mysterious white haired genius implied to be in a constant mental discord call with different versions of herself across multiple universes, an autistic woman who named her shoes after a fictional horse and turns into an ancient and powerful vampire if they're ever taken off, a swordswoman who speaks a third of her mind in acronyms and loves to murder people "artistically", an autistic frenchman built like a fridge who refuses to be a person unless ordered to, a long haired rich pretty boy who accidentally pisses people off with his sheltered behavior half the time and pretends to be dumber than he is to purposefully annoy people the other half, a british thug whose entire plot could have been solved by just spitting it out and also turned into a wolf monster for a bit, a ginger who got bored of her office job and decided to get on a boat and hunt whales about it, a russian gambler whose mental health and self image are rapidly deteriorating while she is also getting progressively worse at hiding it, a young man who is really in over his head while also being very good at killing people who also is weirdly good at translating the earlier mentioned swordswoman's acronyms, a kiss-ass former military woman who would probably kill everyone else in the party if she thought she could get away with it, and a german former-soldier who got a mutant bug arm and intense ptsd and depression. there's also the all powerful guide who tells you where to go who is legally not allowed to be too helpful and is also perpetually sick of your shit, and the strange girl who drives the bus you all ride in without a license or a lick of training. also the bus looks like a train. add onto the fact that most of the characters and their backstories are references to classic literature, and you have what is possibly the world's MOST dysfunctional dnd party.

we love this fucking game.

[demenior]

I desperately want to draw scenes from Black Sails w the Critical Role warlock/Uk'otoa/pirate boys.

Vandran imposed over Flint, and Fjord over Silver.

Sabian is Billy (but scrawny)

[hoofpeet]

Mech pilot girl <3

[hey-hey-j]

(sort of a companion piece to this)

older brother instinct

(★ my Kofi)

[mirrorhouse]

I have what you're looking for. High quality. Befitting a man of my tastes. I have a room over on Divisadero, not too far a walk.

[sexy-sapphic-sorcerer]

Holmes and Watson / Tristan and Isolde

BBC Radio 4's Sherlock Holmes, The Devil's Foot (radio drama transcript) /// Granada's The Memoirs of Sherlock Holmes, The Red Circle /// Metafictional Monday: Tristan und Isolde, @teaformrholmes /// Brayton Polka, LIEBESTOD: On Love and Death in Wagner's "Tristan und Isolde", p. 248 /// The Private Life of Sherlock Holmes, Vincent Starrett /// BBC Radio 4's Sherlock Holmes, The Devil's Foot (radio drama transcript)

[gummi-ships]

[haeva]

Don't mind me, I'm just going insane about the fact that Edwin wanted to save Simon from Hell so bad despite what Simon did to him. That sad little smile he does when Simon says "best of luck" and him looking back when he eventually does leave on his own. He is just so plain good and I need him to somehow figure out that he did actually save Simon from Hell.

[radioactive-mouse]

i keep thinking about like. how the brutality levels vary between seasons and how secret life is the natural culmination of everything these people have been through and the watchers pushing everything to extremes. i’m going to try to articulate how crazy this makes me

3rd Life: god. 3rd life was a clear cut war. we haven’t seen a season since where nearly everyone has such an intense devotion to their chosen faction. the fact that there’s no precedent that they’re coming back next season, the fact that as far as they know, dying means staying dead, makes just how much they’re willing to go down with the ship that much more heartbreaking. grian ended the season exactly how it was played by damn near everyone else— i love you, i would do anything for you, i would rather die than keep going without you. the season of widows.

Last Life: and then they come back. and then ending things isn’t an option. and all of a sudden it’s not a war, it’s a death match, and damn is the competition is vicious. deaths are more often than not a vague, impersonal thing— not get away from my king, my husband, my charge— just the flash of a knife and a quick sorry, just playing the game! if 3rd life told you to hold the ones you love close, defend them to your last breath, last life urges you to burn that love out of your chest entirely.

Double Life: but everything slows down eventually. no more dying for the one you love— just learning to live with them. double life is about knowing that when you die, you will go together, hand and hand into the dark. a soap opera, the players joke. a small kindness, the universe replies. again, pearl wins the same way everyone else lost— no, not yet, please, just give us a little longer together, i’m not ready, i’m so sorry—

Limited Life: but the clock, unyielding, ticks ever onward. and god, everyone is starting to feel it. that sick, nauseating feeling of dread creeping up on them: what if it never ends? what if this is it, this is all that’s left for us— tearing each other apart over and over and over again, and for what? for a show? to feed those hungry things lurking in the dark? we’ll give them a show. bombs rain from the sky, the world shaking under the weight of it. there isn’t a thing left by the end that’s not rubble. we’re all doomed! the players cry, laughing with nothing but nihilistic, unrestrained joy. none of it matters! we come back again, and again, and again, have a little fun with it! light the fuse, collateral be damned. when death means so little, what’s the point in pretending they don’t take a little joy in it? we settle this like grian and scar before us, scott jokes, armor and weapons tossed to the side. are you insane? martyn thinks, remembering the hollow look that would wash over grian’s face when he thought no one was watching. it ruined him. it will not ruin me. this is a death match for a reason.

Secret Life: and here it is. the natural conclusion. this season is candy colored, the map dotted with cute pink houses and silly builds, the players all running around doing these ridiculous tasks. it’s so easy to forget how bloody this season was. unclosing wounds, bruises that don’t fade, the sting of fire or falling from a simple misstep. the hurt never goes away, but it gets easier to ignore— distract yourself with something silly to pass the time: spyglasses and frogs and the ugliest house you’ve ever seen and matching leather jackets and the doghouse and the relationSHIP and a weird tunnel full of doors and secret soulmates and god it’s almost, almost, enough to forget how much it all aches, how much the grief weighs on you, how many times someone you love has died, sometimes to your own blade. almost none of the grudges you hold are real by now, not really. not when you’re going to live and die with these people for as long as the hungry, many-eyed things delight in your suffering. you love each other, in the strangest way— sure you’ve all killed and betrayed each other in a thousand different ways, but at the end of the day, they’re all you have. clinging to each other in the face of the vast, unknowable horrors that drive you to slash each other to pieces. it’s still a game, after all. they’ve gotta figure out how to be good sports about it eventually.

[aashiqeddiediaz]

i don’t know if i know how to word this properly but basically i just really like that buck’s realization shows older people who might be questioning their sexuality that it’s okay to not know in your thirties or older, but i also really like that it shows younger people that you don’t have to know right here and now and there’s no age you have to know by. i like how it emphasises the fluidity of sexuality in the form of a macho firefighter who hasn’t considered men in any conscious (or even subconscious) light, and i think that’s a very important point to put across

there’s something to be said about finding out that you’re queer in your thirties and i love that 911 is showing us that through buck, and showing us that maybe you might always know through hen, and showing us that maybe you’ve repressed it for a good chunk of your life through michael but there’s also something to be said for the younger viewers who are struggling to label themselves - to know that it’s okay to not know just yet and still be valid, and be a member of the queer community. and there’s also something to be said about seeing a thirty year old man slip into his realization all happy and safe with another firefighter who tried to hide that part of him, and basically i love my lil gay firefighter show

[varpusvaras]

You would think that the dinners in the Wayne Manor are a loud affair, with Bruce and Jason around the same table.

Yes, they do argue. They do the whole "disagrees about politics with your relative during Thanksgiving dinner"-thing. The arguments are indeed loud for a moment and then everyone sits quietly and do not look at each other for the rest of the dinner.

But that's normal, really. Arguments around the dinner table are nothing new to the Waynes.

No no no. It's worse when Jason is over at his in-laws.

Because he and Oliver will be going at it.

They don't argue. When they yell, it's just to emphasize their point. It's just a discussion about politics. And political movements. And how they are depicted in this particular piece of historical fiction. And how the parties in power during that time period contributed to whatever big world event that was going on back then. And how that changed things when moving onto the next century. And how that, my ladies and gentlemen, brings us to today and to this point-

And it just. Goes on. And on. And on. And on.

The Queens have the rule of "do not bring up politics during dinner" because the chances are that Oliver and Jason will at some point just leave the table to go do something about a problem they have deemed too important to ignore and can they please just have one Thanksgiving dinner with everyone at the table for the whole duration of it. Please.

[meamiiikiii]

mira !!! :]