#anyone else who wants to do it can!

[egophiliac]

starting off with an amuse-bouche of some of my initial favorite bits! y'all, this update was WILD.

[journey-to-the-attic]

happy fnaf movie (uk) release day!

[forzathunder]

"I have many fears, most of them about Lucrezia." — Cesare Borgia (The Borgias, 2011-2013) + hints of insecurity

that she adores someone that much / if she will reject his dark nature and act of love and violence as Ursula did / if he truly is not part of her desires / that she easily forgets him

[thisismisogynoir]

I love it when women hate men. I love it when women are allowed to vent to each other about how horrible and creepy men are. I love it when women form friendships with and prioritize each other over relationships with men(whether they're attracted to them or not). I love it when women put men dni in their bios and on their nude photos and on posts on their blogs. I love it when women refuse to mollycoddle and accommodate entitled male feelings with "but this doesn't mean I hate all men, I know a few men who are great, I love my father/sons/brothers/uncles/male cousins/guy friends" I love it when women complain about men WITHOUT "not all men" being a disclaimer. I love it when women avoid socializing with/refuse to be around/befriend/get close to men because they know men can't be trusted. I love it when women make "kill all men" jokes. I love it when women offer absolutely no concern or care for men's feelings and if their misandry offends men whatsoever because why should we, men are the oppressor class who have raped and killed and abused us and kept us as subjugated as second-class citizens for millennia, they regularly mistreat us and the women in their own marginalized communities still every single day and make this world so much harder and more awful for us to be in, and if we choose to hate them and not spare them any sympathy then so be it, and I don't just mean "men as a class" either, you can be a woman who doesn't want to have anything to do with any man on an individual basis and completely cuts off men from her personal life too and ykw I will love and fucking support you in that because men deserve absolutely NOTHING from us. If they're so tough and strong then they can handle it just like they can handle being lonely. If you are a woman who hates men, ESPECIALLY IF YOU ARE A LESBIAN AND/OR A TRANS WOMAN, then just know that I love you. I love you, I support you, and you are safe here.

[doctorwhommm]

got silly with this one ◡̈

[itscooltoskate]

Tagged by @velocidaixxtor graciass!! 💚

picrew + last song listened to

I'll tag @befickleforever, @lilyletham, @navybrownie, @frankly-alien, @san--jose--sharpedos & @arcadeghozt if you want to, no pressure :)

[novelconcepts]

There’s a line from American Gods I keep coming back to in relation to Yellowjackets, an observation made early on by Shadow in prison: “The kind of behavior that works in a specialized environment, such as prison, can fail to work and in fact become harmful when used outside such an environment.” I keep rotating it in my head in thinking about the six survivors, the roles they occupy in the wilderness, and the way the show depicts them as adults in society.

Because in the wilderness, as in prison, they’re trapped—they’re suffering, they’re traumatized, they’re terrified—but they’re also able to construct very specific boxes to live in. And, in a way, that might make it easier. Cut away the fat, narrow the story down to its base arc. You are no longer the complex young woman who weighs a moral compass before acting. You no longer have the luxury of asking questions. You are a survivor. You have only to get to the next day.

Shauna: the scribe. Lottie: the prophet. Van: the acolyte. Taissa: the skeptic. Misty: the knight. Natalie: the queen. Neat, orderly, the bricks of a new kind of society. And it works in the woods; we know this because these six survive. (Add Travis: the hunter, while you’re at it, because he does make it to adulthood).

But then they’re rescued. And it’s not just lost purpose and PTSD they’re dealing with now, but a loss of that intrinsic identity each built in the woods. How do you go home again? How do you rejoin a so-called civilized world, where all the violence is restricted to a soccer field, to an argument, to your own nightmares?

How does the scribe, the one who wrote it all out in black and white to make sense of the horrors, cope with a world that would actively reject her story? She locks that story away. But she can’t stop turning it over in her head. She can’t forget the details. They’re waiting around every corner. In the husband beside her in bed. In the child she can’t connect with across the table. In the best friend whose parents draw her in, make her the object of their grief, the friend who lives on in every corner of their hometown. She can’t forget, so she tries so hard to write a different kind of story instead, to fool everyone into seeing the soft maternal mask and not the butcher beneath, and she winds up with blood on her hands just the same.

How does the prophet come back from the religion a desperate group made of her, a group that took her tortured visions, her slipping mental health, and built a hungry need around the very things whittling her down? She builds over the bones. She creates a place out of all that well-intended damage, and she tells herself she’s helping, she’s saving them, she has to save them, because the world is greedy and needs a leader, needs a martyr, needs someone to stand up tall and reassure everyone at the end of the day that they know what’s best. The world, any world, needs someone who will take those blows so the innocent don’t have to. She’s haunted by everyone she didn’t save, by the godhood assigned to her out of misplaced damage, and when the darkness comes knocking again, there is nothing else to do but repeat old rhymes until there is blood on her hands just the same.

How does the acolyte return to a world that cares nothing for the faith of the desperate, the faith that did nothing to save most of her friends, that indeed pushed her to destroy? She runs from it. She dives into things that are safe to believe in, things that rescue lonely girls from rough home lives, things that show a young queer kid there’s still sunshine out there somewhere. She delves into fiction, makes a home inside old stories to which she already knows the endings, coaxes herself away from the belief that damned her and into a cinemascope safety net where the real stuff never has to get in. She teaches herself surface-level interests, she avoids anything she might believe in too deeply, and still she’s dragged back to the place where blood winds up on her hands just the same.

How does the skeptic make peace with the things she knows happened, the things that she did even without meaning to, without realizing? She buries them. She leans hard into a refusal to believe those skeletons could ever crawl back out of the graves she stuffed them into, because belief is in some ways the opposite of control. She doesn’t talk to her wife. She doesn’t talk to anyone. It’s not about what’s underneath the surface, because that’s just a mess, so instead she actively discounts the girl she became in the woods. She makes something new, something rational and orderly, someone who can’t fail. She polishes the picture to a shine, and she stands up straight, the model achievement. She goes about her original plan like it was always going to be that way, and she winds up with blood on her hands just the same.

How does the knight exist in a world with no one to serve, no one to protect, no reason propelling the devastating choices she had grown comfortable making? She rechannels it. She convinces herself she’s the smartest person in the room, the most capable, the most observant. She convinces herself other people’s mysteries are hers to solve, that she is helping in every single action she takes. She makes a career out of assisting the most fragile, the most helpless souls she can find, and she makes a hobby out of patrolling for crimes to solve, and when a chance comes to strap her armor back on and ride into battle, she rejoices in the return to normalcy. She craves that station as someone needed, someone to rely upon in the darkest of hours, and she winds up with blood on her hands because, in a way, she never left the wilderness at all.

How does the queen keep going without a queendom, without a pack, without people to lead past the horrors of tomorrow? She doesn’t. She simply does not know how. She scrounges for something, anything, that will make her feel connected to the world the way that team did. She moves in and out of a world that rejects trauma, punishes the traumatized, heckles the grieving as a spectacle. She finds comfort in the cohesive ritual of rehabilitation, this place where she gets so close to finding herself again, only to stumble when she opens her eyes and sees she’s alone. All those months feeding and guiding and gripping fast to the fight of making it to another day, and she no longer knows how to rest. How to let go without falling. She no longer wears a crown, and she never wanted it in the first place, so how on earth does she survive a world that doesn’t understand the guilt and shame of being made the centerpiece of a specialized environment you can never explain to anyone else? How, how, how do you survive without winding up with blood on your hands just the same?

All six of these girls found, for better or worse, a place in the woods. All six of them found, for better or worse, a reason to get up the next day. For each other. And then they go home, and even if they all stayed close, stayed friends, it’d still be like stepping out of chains for the first time in years. Where do you go? How do you make small choices when every decision for months was life or death? How do you keep the part of yourself stitched so innately into your survival in a world that would scream to see it? How do you do away with the survivor and still keep going?

They brought it back with them. Of course they did. It was the only way.

[here-comes-the-moose]

Crosshair: Who ate my donuts?! When I find out who ate them, they are going to be-

Omega: It was me.

Crosshair: -forgiven because mistakes happen and everyone deserves a second chance.

[hellenhighwater]

Have you taken any pottery classes or were you entirely self taught? I REALLY want to get into it but classes are quite expensive

I took some sculpting in undergrad, but it was in the context of casting and mold-making, not ceramics. So I'm fairly comfortable with clay as a medium but not so much with clay as an end product--not being able to do armatures and having to think about firing is weird. (If I had the opportunity to do bronze casting again, though, I would, no hesitation.) That puts me in the minority of my current pottery peers, who are largely self-taught or only learned in our studio.

I do pottery now at a co-op studio space, and technically that means that I'm taking classes there--but the classes are more like guided lab time? There's not really assignments or anything, and there's only a couple other people who sculpt, none of whom are in my class. Mostly the class just means that the person in charge demonstrates a technique or two once a week and then lets us do our thing.

Personally I think that shared studio space is the absolute best way to go. You spend less in startup costs (kilns are EXPENSIVE, running kilns is expensive, glaze is expensive) and it plugs you directly in to a group of fellow artists who can help and support you at whatever skill level you're at. Yes, classes are expensive--my class is $250 per season. But for me that includes lab space, 50 lbs of clay per season, almost all of the glaze I use, kiln time, and other people doing all the maintenance and kiln loading/unloading etc. Very much money well spent.

Artist-run shared spaces are often not turning a profit on anything with studio fees, just covering operations costs, so while it's pricey, it generally is just...what it costs to do that hobby. And it is sooooo much easier to be motivated when you're going to what is, basically, Grown-Up Art Club.

But if costs are prohibitive for you to do pottery via classes, and you want to learn to sculpt, then get some polymer clay and see what you can do. It's a different game than actual clay, but form is form, and the medium is secondary to figuring out how to translate an idea into reality.

Polymer clay is relatively affordable and doesn't require nearly the infrastructure of ceramics. If you can't spend the money on classes or a shared studio, then polymer clay is a great way to develop technique and an eye so that when you're in a position to spend the money, you already have the skills to make it worth what you're spending.

[itsalwaysforyou]

there’s blood in the water, there’s blood in the water

kenny ortega, descendants / the crane wives, the crooked, the cradle

[betweensaintsandmonsters]

okay okay vampire obi-wan and anemic human anakin who goes to be his meal at like a fancy vampire bistro that pays willing humans to "donate" blood (get bitten) and tastes like shit whomst obi-wan then tries to take care of (in all the ways he can from sunset to sunrise) first so his food tastes good (bc anakin keeps coming back) and then because he cares

sends cookbooks to his apartment, tries to get him to go to the doctor, sends him other little gifts when he sees thinks that make him think of anakin, obi-wan just like wants to take care of his boy because he's clearly not taking care of himself (he signed up to be vampire food so that much should have been obvious) and obi-wan just wants him well is that too much to ask?

they fight about this often. (first: "how did you get my address?" "It's on the form you filled out to be here" "invasion of privacy much?" then: "you could always just... choose someone else?" "and let another vampire suffer from your lack of self care? absolutely not."") ("i don't know why you're putting so much into this? "i must have nothing else to do.") ("if this bothers you so much... just let someone else feed off me." "no.")

anakin stops showing up to be dinner for a few weeks and obi-wan gets worried. but he's not sure how far he's allowed to go in his worry, they're technically just... predator and prey (though obi-wan wouldn't describe them like that) it's just that no one tastes like anakin (that's definitely it) and nobody sasses him like anakin, and nobody is anakin and anakin is missing and clearly if he's been gone this long he can't possibly be okay

(and obi-wan is right, anakin isn't okay. he's in the hospital with an arm that might need to be amputated (but it was obi-wan's favorite place to drink from since he won't touch anakin's neck for reasons he WON'T explain)

(if you asked obi-wan why he didn't bite anakin's neck to begin with, he'd heavily imply there's no reason, but when pressed, it would be that anakin let's out this breathy moan when he's bitten, and it's music to obi-wan's ears, a symphony to his soul, he doesn't think he'd survive it if that was right in his ear, he'd have to kiss the boy then and there, have to keep him, and he can't do that, so his neck is off limits. it is IMPERATIVE anakin does not know this)

and he's lost a lot of blood and he's suffering and not alone because ahsoka and padme keep visiting, but he doesn't know how much he misses obi-wan until he isn't seeing him)

so one night obi-wan goes to anakin's apartment to see he isn't there and hasn't been there in weeks based on sent, and panics because what if he drove his beautiful boy away, or what if someone went after him, and obi-wan can't go in bc vampire rules say he needs permission and also it's good manners.

eventually anakin comes back to him, sans one arm, apologetic because "i know that's where you liked to bite" as if that could possibly be the reason that obi-wan is as upset as he is when he comes in. "i'd understand if you need a different meal," he says, as if that's all he is when obi-wan refuses to bite him because for the first time, he looks fragile and that's heartbreaking

so anakin leaves and obi-wan is gobsmacked, flabberghasted, realized anakin waited to have this conversation as close to sunrise as possible so obi-wan couldn't follow him out of the bar, but he doesn't realize that his vampire would absolutely run into the sun for him (except quin and satine 1000% don't let him "that's not how you get your man, he doesn't want a pile of dust, where's that going to get you, man, think for just a fraction of a second")

so obi-wan send anakin more little gifts, things he can puzzle out one handed as he gets used to being an amputee, trinkets he might enjoy, notes that are meant to make him smile, or that say he'll find somewhere else to feed on the boy if that's going to get him to come back when nothing else has worked. all he wants is to let anakin know that he's he's appreciated, make him feel wanted and loved.

eventually anakin sends him a note back with his phone number and then texts him to come over. he makes obi-wan stand on his stoop for an excruciating amount of time and he gets a lecture about personal space, and respecting people's wishes and "it doesn't matter that you're 300 years old, some people just don't want anything to do with you!" and anakin tries to say all of this with a straight face, before he cracks because he misses obi-wan and it is an act, and he's been in love with this vampire since he decided it was his job to take care of one human that wasn't taking care of himself.

then anakin kisses him and gives him a goofy grin and asks "what are you doing just standing there?"

"are you inviting me in?"

"i guess i am. you're stuck with me though, i'm your problem now."

"darling, you've been my problem for a long time, and i wouldn't have it any other way."

and eventually they fuck, and obi-wan bites anakin's neck, and here's his symphony played out in the most desirable circumstances. and they live happily ever after

(until anakin pesters him about making him a vampire "so i can be your problem, permanently" and they argue about it, but agree that anakin gets a life first "you've gotta be at least 40 before i turn you, i'm not going around looking like i forever robbed the cradle!" "you're not even 40! 25." "nope." "fine, 30 then, final offer." "and if I say no?" obi-wan's grin is feral, like he knows he's lost but he's still willing to play the game. "i know you won't" so does obi-wan)

[lunarharp]

more phoenix wright situations

[nature-documentary]

She’s gonna be a star!

[alsojnpie]

🥳it's his day you guys!!! 🥳

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations, all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[buddietommys]

"Do you think we're soulmates in every universe?"

"Are we even soulmates in this one?"