#are those who don't understand or don't WANT to understand the consequences

[greenknighteitm]

Edited: to @holycrapitis i'm going into this with the Idea that Trump is guilty. I am interested in this evidence you say that exists of him not doing these crimes and the evidence of democrat crimes. I will be honest to you, I will fact check it, because of the rampant propaganda everywhere, rMost(I don't think any but I could be wrong. Im being lazy and not reading to make sure) of it directed at you isn't about the charges.

It seems like it's a confusing mess of policies... It seems a felon would need a waiver, not sure how one would get one. But it seems likely a waiver wouldn't work with how many felonies he has, tho I can't say I'm terribly informed on the exact charges to say that with certainty since this was just a quick google.

I would tend to agree with this person but as far as I know people used maruijana could be felons and I don't think those people should be disqualified depending on their other qualites.

Like I think this blank kind of statement does a lot of harm to minorites, which isn't that the kind of thing leftists, even democrats, are trying to avoid?

But it's possible that Trump is legally not allowed for different reasons, I wish it said what ones.

So onto the person I reblogged from.

The majority of people who voted probably aren't Communists, like the cold war propaganda is still very much in effect. And kamala definitely isn't, especially economically, and generally I don't think politicians Democrats are communist and are probably mostly still running on the ideas of the cold war. Theres definitely some outliers who are closer but definitely no elected.

And as the past shows, communists aren't necessarily going to be socially leftist (equality for all, in everything, raise people and lower people to become equal, etc . Because a lot of people who are rich become rich of the exploitation of others. We should give the value back to those who are exploited.) And I'm sure there's people on the social left who think kamala still isnt far enough, which might be.

Hmm there's got to be some words to define socially left other then being equal...

Anyways people know Trump was legally elected, but legal doesnt mean good. As far as I know, which to be fair isn't much, in the echo chambers who want trump to be president the idea was that trump was elected but was illegally changed. But I'm not in those circles so it's possible another narrative was that he would've if Democrats didnt make the votes turn their way, in legal ways.

AFAIK which honestly isn't much again since scrolling down theories on why we lost is psychlogically damaging no matter what side it is or even what it is I think

The theories I have heard say that Republicans gerry mandered the hell out of counties to get the results we got. But idk if that's an actual theory because then leftists are just being hypocrites(which I feel can be a good reaction if you feel like your in danger) about the electoral college since in the situation where its just Gerrymander at fault Trump would have still have the popular vote. So I think a more reasonable theory would be it had an effect, but not to the point where kamala won. The biggest effect was propaganda, in all of its forms. Even from people who don't know they are. If it's content showing a specific opinion, it's propaganda to someone. To educate you need good faith back to back conversation and research between people. At least in my opinion. With that definition intent definitely matters IMO since like an ad is explicit propaganda while a lot of content is implicit propaganda.

TBH I'm not liking this narrative that people who voted for Trump understand the consequences and believe the same things Trump does. Especially if they were like me and tuned out politics when he was elected like I did with biden, which I'm ashamed about. There's too many variables for me to believe that they all hold the same beliefs as trump.

Hold some of them? Believe lies about about both? Both? All the above? Yeah, sure. But I think it's crucial to not stereotype people who think different. It allows for dehumanization I feel which won't help us to grow this nation and have its citizens mature. Not to say the country is immature, in the traditional sense, where I think thats viewed as a bad thing, more that there's more progress to be made and when we think more globally, we realize there's so much more room to grow.

Want to say thanks to @holycrapitis for catching my attention and getting some of my thoughts together. I think when something like this happens, where the candidate you wanted to win doesn't, it activates the same emotions as grief does. So I've kinda been avoiding the topic. I'm sorry to those who were on the other side and got hurt even more by those who won while you were grieving four years ago no matter how much I disagree with you and how much I think these beliefs will hurt this country and my friends and family.

Its a shame I don't see this kind of empathy more. We should always start with this kindness. But it's what tribalism does. It dehumanizes the "them" and says its for the good of all, that it is justified, etc. Its never justified. It only hurts everyone.

[puimoo]

Some thoughts on Dick's parents, away from the rose-tinted glasses.

[Obligatory ‘new to comic canon’ warning!]

I was working on writing up my thoughts on young!Dick in general, when I kept getting stuck in my thoughts around how there are particular personality traits he likely already possessed before coming into Bruce’s care. This led me down the Grayson family route, which is always interesting. In everything I have consumed so far, this is always portrayed as a very loving relationship that hasn’t really been explored in much depth in canon. Which leads me to…

I completely understand why Dick loves his parents so deeply and don’t doubt at all that they loved him, but there is also this interesting selfishness with them that I find difficult to ignore.  I can’t help but keep coming back to this: they included Dick in an act where they chose not to have a net.  A position where, if he makes a mistake, it could mean his death or (probably worse for Dick) the death of his parents. This isn’t a situation that occurred out of necessity, his parents chose to do this: they could have chosen to use a net when they started involving Dick in their act, but they didn’t.  They could have chosen to wait until Dick was older and more able to make a call about what risks he could and couldn’t take, but they didn’t.  When the options were to adapt their act to protect their son or to keep it as they wanted to, they chose the latter – and I would say because the act wouldn’t be the same if they did.  I very much doubt it’s because they didn’t realise the risk involved, and rather that it wasn’t enough to get them to make changes. 

And so, you have an 8-year-old Dick Grayson who has likely been training for years under the knowledge that if he doesn’t get things perfect – if he makes a mistake – he and his parents could/would die (and it would be his fault).  You have an 8-year-old Dick whose parents are willing to risk his well-being for the ‘greater good’, and he sees this as normal – this is how families are, the payoff is worth it. You have an 8-year-old Dick who likely doesn’t value his own life quite as much as he probably should, because his parents didn’t exactly appear to, either.  You have an 8-year-old Dick Grayson dealing with adult responsibilities and adult consequences. 

This is all drummed into Dick at some level before Bruce even enters the picture. It helps explain why young!Dick struggles to understand why he shouldn’t be able to fight at Bruce’s side – his parents included him in situations that could (and did) turn deadly, and they didn’t feel the need to include a physical or metaphorical safety net.  This is going to sound really harsh, but I think it’s also kind of true: they didn’t value Dick enough to. The act was more important, and the show must go on.

I don’t doubt at all that his parents loved him.  In some ways, it’s even worse that this comes from a place where there is likely love because it gets as deeply ingrained as those healthier, positive parental elements.  However. There is an interesting prioritising of their act over Dick, and I’d love to see this explored more.  Less the perfect, untouchable parents and more the actually somewhat morally grey parents who had both a positive and negative impact on their son.

(or: we really throw the cat amongst the pigeons and hypothesize that the reason they don't use a net with Dick is because it is part of his preparation for the Court of Owls, but that is not simply taking off the rosy glasses but smashing them completely!)

[doverstar]

I'd love to defend Gilmore Girls: A Year In The Life for a minute (I don't usually make long posts and may delete this later for that reason) because I feel like writing something inconsequential.

Other people get lots of comfort watching the original show (especially in the fall). I feel cozier watching AYITL. The characters are much older; the dizzy, flighty, still-growing-up feelings for Lorelai and Rory have faded, and it's full of moments that make it clear that certain things in their lives are definitely always going to be there. Constants. Luke, Stars Hollow, family, Kirk, Taylor, the changing of the seasons. Now - for my defense. (I'm rambling.)

Okay, many, many people don't like the revival. I understand. It's different in a lot of ways from the original show, and lots of expectations were not met. When I first saw it, it threw me too. But I didn't dislike it. In fact, the more I rewatched it, the more I thought it was almost better than the first show. The leading ladies are not flashy young stars anymore - Rory is Lorelai's age when the OG show first began, and Lorelai is gracefully and fabulously careening toward grandma times with all her wit and charm, all her most comfy habits, and it makes me want to hang out with her more than Season 1 of the show ever did. And I think the fact that ASP came back to write for these characters again and end it on her terms, at last, was an absolute win, and I love how she did it because it fixed so many things I thought were wrong in the show.

Lorelai is self-centered, terrified of commitment, and has no idea how to put others before herself and not run away during the hard times - unless something involves Rory.

Rory is self-centered, thinks she is special, and has no idea how to deal with not getting what she wants. The consequences of her actions almost never directly affect her, and when they do, said consequences are quickly stamped on and snuffed out by her mother/friends/family.

Emily is self-centered, desperate to be in control, and finds her worth in what other people think, in how things look, and that includes what Richard thinks.

In the show, Lorelai has moments where she learns to stay and learns to put other people who are not Rory before herself. Those moments don't last. She definitely has good intentions, but they're all conditional. She only has good intentions up to a point - and that point is usually when someone or something threatens her happiness and feeling of safety, or Rory's happiness and feelings of safety (understandable; that's her child).

In the show, Rory is told she is the sweetest kid in the whole world. Rory is told she'd never do anything to hurt anybody. Rory is told she's special, she's smarter than her peers, she's not like other girls. Rory 100% believes that. She also probably has a bit of a problem with living up to that image - she wants to be all of those things, and thinks she is, and can't handle it when it seems like people think she's not. (That may or may not have something to do with Christopher, who always had somewhere more important to be, or with Lorelai, who was so cool and strong and sure of Rory.)

And the show has moments, too, where Lorelai has to face the music and see that she's screwed up or is hurting someone with her behavior (Max, Chris, Luke, Jason, Emily, Richard, Sookie), but very very often, Lorelai breezes her way through that music and keeps moving, and flits to the next thing or person that will make her happy, because she does not know how to stay and stand and fix what she's broken. Because it only matters if she is happy and if Rory is happy. (The same thing goes for Rory in the show - consequences come, but Rory rarely has to properly deal with them herself. She is coddled and propped up the whole way.)

Now, to my point!

I watched AYITL and noticed something was different right away. Lorelai is with Luke (she should be), who is the opposite of her - constant, loyal, selfless, determined to stay no matter how hard things get. But they're not married. Lorelai is scared to really commit, and marriage is one of the hardest things you can commit to - ever. And Lorelai is not happy. Rory, for her part, is not perfectly settled as a reporter or a journalist or any of the things she was always told she could be. And she's not happy. And Emily, bless her, has lost her husband and her false sense of control is spinning away, and of course, she is not happy.

And A Year In The Life takes the show's clumsy half-arc of these three Gilmore women and perfectly completes it.

Lorelai's fear of commitment and habit of bolting when things get hard drives her to push every new chef out of the Dragonfly, refuse to expand the inn to better accommodate Michel's needs, shun Rory's tell-all of her past mistakes, shame Richard at his funeral and break Emily's heart, and worst of all, nearly wreck the closest thing to a proper relationship she's ever had: the one she has with Luke. She can't face that she misses her father, loved her father, and that maybe her mother is right about her relationship status. She can't face that people might read Rory's writing and see all her flaws and all her mistakes growing up in printed ink, and she can't run from that. And when Rory insists, Lorelai cuts ties. Lorelai has spent years avoiding marriage with Luke. She has spent years hurting her mother in an effort to defend herself at all costs. And she has spent years ensuring the Dragonfly Inn is exactly what she wants it to be; because changing it would be uncomfortable, and as a result, she won't commit to a new chef, she won't expand, and she's about to lose Michel the way she lost Sookie.

Rory's bubble of self-centeredness and assurance that she's special is popped with the needle of reality at last: she is not special. She's a young woman who has to actually work hard to find a job and make some money, like everyone her age. She is talented and she is smart, but she's not God's gift to journalism, and people keep saying no, and people keep asking her to prove her skills and her merit, and she doesn't know how to deal with that because everyone has always told her she can do anything she wants and she's the best. She wants a distinguished career and can't find anyone who will take her on; she tries to write for a raging batty feminist (hello Alex Kingston I love your work) and that goes sideways; she wants Logan Huntzberger but she turned down his proposal and now he's engaged and it has to be a secret; she wants somewhere to live - just not Stars Hollow because she's better than the thirty-somethings stuck back home. She wants Lorelai to approve of her book and insists her mother give her this, as if Lorelai hasn't always given her whatever she could. And when Lorelai says no, Rory does what she wants anyway and almost fractures their relationship over it.

Emily's control is completely gone - she can't control her emotions, she can't control her tongue, she can't control her maid or her maid's handy family, she can't even control a stupid painting of her late husband. She's on a downward spiral and her anchor is dead. She tries to regain a sense of worth, because surely that will bring happiness back. She tries to gain it from how many possessions she has, that doesn't work. She tries to gain it from Jack, who is not well-suited to her but he makes a matching accessory to the life other people will see. That doesn’t work. She tries to gain it from therapy with Lorelai, control her daughter at last, that doesn't work. She tries to control Richard's headstone, that doesn't work. She even tries to find solace with her beloved D.A.R, and she finds that emptiest of all.

A Year In The Life has these women finally face their flaws head-on and grow. The way characters should.

Rory: Rory is confronted with the fact that she is not special and has to move home like everyone else her age and get a job she does not want, because that's life, and that's what everyone else has to do in the real world. And when she's at her lowest, pouting, she gets advice from someone who has faced his own flaws long ago and has grown and who knows her at her best, and encourages her to get up and work hard (Jess Mariano, ladies and gentlemen). And she does. Rory hits bottom and takes Jess's advice and works at understanding her mother, who is not perfect, and even goes to interview her father, who is also not perfect. She fights with Lorelai over the book and insists on her own way, and when Lorelai refuses, Rory can only blame herself. She has a rabble-rousing night with her LaDB boys and winds up sleeping with Logan in one more bubble of fantasy, one more umbrella-jump of escapism, like the old days, because Logan is her weakness. And when she wakes up the next morning, Rory turns and walks away from Logan and the affair and her insistence on having what she wants regardless of who she hurts (hello, Dean Forrester and her affinity for taking spoken-for men) for the final time. And the consequences of her desires? She’s pregnant. (Come on, we all know the baby is Logan’s; Rory’s life rhymes with Lorelai’s.) She goes to Christopher to interview him for the book and is subtly asking her father why he wasn’t in her life, because she needs to know what to do with her baby and her lover. She didn’t go to Lorelai to figure that out. She went to her dad, because the truth is, Rory didn’t have her father, and part of dealing with the consequences of her actions is to work out how to take care of this baby and whether or not that means involving the father. She’s owning up. She goes to Lorelai and offers to give up this book; she doesn’t make excuses or whine, she wrote the book anyway because she believes in it, but when she’s gotten three chapters in, she respectfully goes to her mother and asks her to read it and then, for the sake of Lorelai, not herself, Rory promises to quit and throw the book out if Lorelai does not approve. Because Lorelai is more important to her than herself. Rory has worked hard and made mistakes and gotten pregnant and she has stared the world in the eyes and seen she’s not special. And she has to deal with that. And she does, finally, deal with it. And she’s happy.

Emily: Emily is confronted with the fact that nothing is inside her control—except what she does. Worth does not come from what she owns or who she’s with or what she’s wearing, and it didn’t come from her marriage, either. That wasn’t why she married Richard anyway. She is miserable and alone, and part of that is her fault. She married Richard because she loved him, and she keeps coming back to Lorelai because she loves her, and she opens up her house to Rory when Rory needs a place to write because she loves her. Emily looks around at what she has and recognizes what has worth and what doesn’t, maybe for the first time, with clear vision. She recognizes that she can’t control everything. At first, that fact keeps her down. She forgets what day it is, the curtains are closed, and she doesn’t get up in the morning. No Richard, no Lorelai, no reason to move. And then Lorelai calls her, and tells her about who Richard was and what Richard did and how it mattered, and that inspires Emily. She can get up. She buys a place on Cape Cod, totally opposite of the sort of life everyone admires and expects to have worth, and she does what she’s really always been best at—she loves. She takes care. She took care of Richard, she took care of Lorelai and Rory when they needed it, and she takes care of Berta and her wonderful family, instead of having a maid take care of her needs. She packs up and moves out, she sends Jack away, she reveals the D.A.R. for what it is and quits them forever, and she takes a job at a whaling museum because she just likes it. It’s nothing fancy, and neither is her oceanic house or the music she plays in it or the clothing she wears, because none of that is worth anything anyway. Her family is. Her friends are. She gets the painting of Richard done right and brings it with her, and she gives up attempting control of everything and only takes control of how she behaves. She gives Lorelai what Lorelai needs for the Dragonfly, and her only stipulation is that she gets to spend more time with her daughter and Luke. She loves, she takes care of others, she helps. And she’s happy. And now, the best for last. The star.

Lorelai: Lorelai sits in that stupid Stars Hollow Musical and hears a song that perfectly describes her problem—it’s never or now. Make a commitment. Do something hard. Make your life about something other than your momentary present happiness and comfort, the way you do with just Rory, sometimes, but make it a permanent change. Make change permanent! Don’t run away! …And then she runs away. She’s been miserable, she’s hit bottom, like her mother before her and her daughter after her. She’s losing friends, she’s losing Luke, she’s losing Emily, she’s losing Rory over the manuscript, and it’s all her fault. Lorelai tries to breeze past it. She does Wild. She does what she’s never done before, she does something hard and uncomfortable, but she does it for herself, and therefore it doesn’t quite work. She tries to hike, Dipper Pines won’t let her hike, she meets other women her age who think this hike is gonna fix things, it doesn’t, and she gives up and goes to get coffee because that’s her go-to. (Coffee is speedy, bad for you, and only a temporary rush—kind of everything Lorelai clings to, actually.) But the coffee shop is closed, and when Lorelai is denied that allegorical Band Aid, she goes around back and sees a great view and finally finds clarity. She didn’t need the hike—she needed to think. She needed a moment of silence and introspection to gain the insane courage to finally stop moving, stick around, and face her fears. To put her eyes on herself and then take her eyes off herself and onto other people—namely the people she loves. Lorelai calls Emily and cries, because it’s hard to do this, it hurts, but with one story, she proves she loved her father, and she knows her father loved her, and the fact that she’s calling shows that she knows Emily loves her too, and she loves Emily, and has loved them both all along. It gives Emily the strength she needs to get out of bed. That was hard, but Lorelai did it. And now she’s going to do more hard things—she’s going to commit. It’s never or now, and Lorelai chooses now. She goes home and the first thing she does is propose to Luke and become Lorelai Danes overnight. Hard. Scary. Just right. She patches things up with her daughter, and chooses Rory over herself—for the hundredth time, yes, but when it’s at its hardest for her to do. “I’ll read it when it’s done.” Lorelai expands the Dragonfly. She goes to Emily for help, which is also super hard, but this time it’s not for Rory – it’s for her, and it’s for Michel, and it’s for the Dragonfly. And she accepts Emily’s affectionate terms. Lorelai chooses Rory, Luke, Emily, and Michel over herself, and commits, and she doesn’t run away. And she’s happy.

And all of it is earned. Finally earned.

I could talk more about the incredible writing, about ASP at her best, about the perfect themes and scenery and the very intentional end to Paris, Lane, Kirk, Taylor, Dean, Jess, Logan, Chris, and the general cast’s stories, but I’ve already rambled for too long.

Suffice it to say: A Year in the Life is my Gilmore Girls. It’s best version of the story. I think it was expertly done. Not perfect, but an ending that was earned.

[bread-wizards]

I actually think Dorian and Orym should fight more.

Remember when their slowly building tension over and entire episode (full of passive aggressive remarks and blame throwing) led to threats? And how after, Orym thanked Dorian for handing over the crown sadly because he knew Dorian would be mad at him? And Dorian couldn't even look at him because he was legitimately hurt, thinking Orym was disappointed in him for doing what he thought was right? That was peak.

The fact they went from that to their current closeness and trust is the best part of their entire dynamic. Their relationship was hard fought and still will be. They will fight for it because they respect and care for one another deeply, and their disagreements don't change that, only improve it.

[werevampiwolf]

Also, people can change from how they were raised. My parents are low-key white supremacists (low-key in that they'd say they weren't if you asked, but if you read them some talking points with no context, they'd agree with them). Consequently, I had to unlearn a lot of things once I got old enough to understand what was going on (and was allowed to access outside information, because I was kept extremely sheltered and isolated for most of my childhood). I did need people to give me some level of patience and space to possibly mess up as I learned. I'm not talking about saying the N-word or something; that's not something I ever liked. I'm talking like "wow, you're really pretty for a [insert thing here] girl" or asking to touch someone's 4C hair. I wasn't taught as a small child that that was rude, and was actually taught that things that were a lot more "macro" than microagressions were okay, so I had to learn where the line is. I like to think that I would have still powered through in learning not to be how I was raised if people were constantly jumping down my throat for every little thing, even though I was trying my best, but I can't actually say that for sure. I'm only human, after all, and I was just a teenager at that.

(I'm not exaggerating on what my parents are like, either. My parents made me promise when I was 8 (in 2004) that I would never date or marry outside my (white) race, and my parents still defended that the last time I brought it up, because "no one wants mixed babies.")

And I'm also a disabled trans queer who's also a leftist, and the only person I've ever been in a relationship with was mixed race. You obviously can date a person of color and still be racist though (also see "i have a black friend"), but my point is that even though I didn't keep the agreement, I can't change the fact that I did still make that agreement in the first place. Though I don't blame myself too much for that particular incident because I was 8; I wasn't even really conceptualizing dating in anything but the broadest of strokes yet (and I ended up being demi ace). Also, I really wouldn't have had the option to refuse, and doing so would have put me in danger. I didn't know it at the time, but my mother had already planned to kill me a few years prior for being "difficult" (AKA having autism that they refused to let me get diagnosed with). I'm pretty sure the only reason she didn't was because she wasn't sure she'd be able to overpower me without help from my dad, since I was always big and strong for my age, and my mother has had a severe back injury my entire life.

This isn't just a me patting myself on the back either. My point is that people can actually change, but you do need to let them. You don't have to forgive them, but no one is ever going to get better if they feel like they're not allowed to. They may be taking a real risk by even considering "disloyalty". You think neo-nazi groups let you just walk away and become a leftist without a fight? They don't. And even if they're not putting themselves in physical danger, it's still very isolating to leave behind your friends and family and start over. (I never had to leave a neo-nazi group, though I know someone who did, but I have experienced the isolation from leaving everything behind.)

Just... try and be patient with those who are fighting with you, who are still learning but are trying their best.

Never forget that acceptance of far-right ideals (ie tradwives, terfs, casual racism) in liberal spaces is a huge part of why today’s radicalization is so widespread and unquestioned

[cathodic-clairvoyant]

There's a lot about discussion of hdwr that baffles me (not all discussion to be clear, because i do think there's a lot of good discussion about hdwr. But equally so are there the ones that make you wonder if you're reading the same story) and I think one that is especially annoying is the constant infantilization of miwa as this passive eternal victim. It drives me up a wall because this is quite literally an issue she's struggled with within the text of the story! She had an arc about how she dislikes how people treat her this way like towards the beginning of the story! And like even ignoring that, this story is about like nuanced and realistic portrayals of being in relationships and learning how to navigate them and so it's like what's the point if you're going to immediately reduce the characters to "the victim" and "the victimizers?" Is that even interesting? Is that a useful lens to look at interpersonal relationships?

[riot-control-camp]

OKAY NOT DONE TALKING ABOUT THE LITTLE GARDEN ARC

ESPECIALLY THE NARRATIVE PARALLELS BETWEEN ZORO AND SANJI AND DORRY AND BROGGY??? THE FACT THAT THOSE PARALLELS PARTICULARLY IMPLY THAT THEY HAVE A SPECIAL BOND THAT WILL LAST LITERALLY FOREVER???

THE VISUAL WHERE THE AUDIENCE REALIZES THAT THE MOUNTAIN RANGES WERE SKULLS?? PAIRED WITH THEM LYING IN THE SAME POSITION AS ZORO AND SANJI'S TWO DINOSAURS LEFT BEHIND ON THE BEACH?

average tumblr user notices single instance of symbolism, more at 11.

but usopp getting more moments of bravery!!! WE STAN HIS ARC!!!!! I LOVE HIM!!!

zoro getting to laugh and tease people this arc was beautiful, i love that stupid cunty bitch

sanji getting his part of the arc done through cunty trespassing, lying through his teeth, and beating up animals? FANTASTIC THANK YOU FOR MY LIFE (specifically thank you for that twisting move he did with his heels around the vultures head. how does it feel to live MY. D R E A M)

LUFFY WAS SO SHAPED. I WOULD KILL FOR HIM. HE'S SO FERAL.

and calling it now, nami is absolutely going to get malaria girl is the QUEEN of "it's nothing [2 episodes later it is in fact a resonant Something with excruciating plot relevance and emotional stakes attached to it"

almost simped for crocodile but miss all sunday was Right There MA'AM. MA'AM. RESPECTFULLY AND ASEXUALLY, TILL THE BED FUCKING BREAKS--

also he has a giant gold pet which i don't fuck with. also his rings remind me of redd white from ace attorney who is Unfuckable as he is a murderer of a mentor figure (other forms of murder have not detered me from simping in the past. in fact it is typically a point in a character's favor)

also oh my god tumblr makes so much more sense now that i am attempting to use it while high, my fluency rate and understanding of how every person on this platform is distressingly and hilariously comfortable assuming their experience is universal

okay but the still of the giant's weapon shards thrown over their head in victory? makes me insane, will never be over it cannot fucking handle it will be crying forever and ever

[helpimstuckinafandom]

JUSTICE FOR DAVINA CLAIRE I'M SO FUCKING SERIOUS FUCK OFF OH MY FUCKING GOD

[icewindandboringhorror]

A very interesting cloud formation!

[ruvviks]

made the realization my vampire story would work best as a video game and now i can't stop thinking about it

[mydr3aminvi0let]

i wear a lot of skirts and pink and whatnot as my style has developed with me & my personality but when one of those age regression girlies latch onto me....i do not like that

[alister312]

wah

[positivelyapunovexponent-good]

Okay why does this make so much sense???

I was diagnosed with autism when I was three years old and enrolled in an intensive ABA program, which attempted to use operant conditioning to train me out of acting autistic. One of the things that always confused me, reading over the ABA practitioner's notes decades later, is just how sweeping the category of "autistic problem behaviors" they were trying to extinguish in me was.

For instance, one such “autistic problem behavior” was my "reluctance to attend to non-preferred activities". When I was asked to do something I didn’t want to do, sometimes I would say 'no' or even cry before relenting and doing what I was told. Which is indeed uniquely disordered behavior, because neurotypical toddlers are famously obsequious angels who relish being ordered to do things they hate! (/sarcasm)

In all seriousness though, it's alarming that perfectly standard toddler stubbornness was something the ABA therapists felt they needed to condition out of me. It wasn't enough I learn to be indistinguishable from my non-autistic peers (which is already a messed up goal in its own right), the standard of “neurotypicality” I was told to aspire to seemed nothing short of being a perfectly obedient automaton. 

None of this made sense back when I thought neurotypicality was about normalcy. But it does now that I realize neurotypicality is, and always was, about control

it does more harm than good to prop up the myth of the ‘neurotypical’ who completes tasks cheerfully with no issues. this person is a capitalist fantasy. the more you define yourself in comparison to this myth the more you justify social structures staying the same with minor accommodations to the ‘exceptions’ and the continued pathologizing of discomfort under hostile conditions

[sidsinning]

Apothecary Diaries is pog as fuck bc serious political issues and dynamics from a woman's POV are rarely depicted in ANY form of media

It's always a man's world where women's issues surround him. Even if we get a female perspective once in awhile- it all comes back to how it facilitates his game in the end. She's a footnote in the overarching scheme of things. Misogyny exists. Back to the real plot.

Apothecary Diaries is strictly from a female perspective and how each class of woman has to act, what limits they have, what rights they have and don't have between each class, etc. These women have to behave a certain way under a patriarchy, which you would think makes it a man's story, but it never is. The women are THE focus of this show, their struggles are THE plot. The focus is about how the patriarch effects them.

Take the concubines for example. The show dives into how bearing a child affects their rank, how traumatizing it is to lose that child, the consequences of that, etc. We have barely seen the emperor who sired all these kids because this is not about him.

Jinshi's personal plot is secondary to Mao Mao's journey- he is mostly there to provide new cases for Mao Mao to solve and to learn more about the shortcomings of his class when taking care of citizens like Mao Mao.

Jinshi is not a bad person, but by virtue of his position in the higher classes, he cannot understand how harsh life as a poor WOMAN is specifically- he can only catch glimpses of it from what Mao Mao tells him and feel outrage but powerless in his wealth and luxury

Mao Mao is a fortunate commoner woman for what privileges someone in her class should and shouldn't have. She happened to be adopted by a knowledgeable man. She is allowed to read, write, learn, and has enough skill to be a poison tester and have a job EXTREMELY out of her class limit as an apothecary, also a job not traditionally meant for women

Mao Mao is not a "noT lIkE oThER gIrLs" protagonist, she is FOR THE GIRLIES. She only wants to help the women around her, and women are whom she has the closest relationships to. She sees a woman being harassed and can't let it stand. She sees a frail, traumatized woman dying from the recklessness of those who should be caring for her and spends day and night nursing her back to health, while also punishing the people who were so careless with her needs.

My girl has STUDIED UP on THE BODY to TEACH these upper class ladies on how to really HEAT things up in the BEDROOM

Sex depicted in Apothecary Diaries is both something women are not shamed to be enjoying, while at the same time being acknowledged as an unfortunately huge economic necessity to market themselves.

Like shit is just so real in this series???

Listen, I can go on and on about how GOATED the series and especially Mao Mao is but you get the picture

[corkinavoid]

DPxDC Constantine Is Having Fae Problems

Not as in 'problems with the fae', but as in 'the Batfam don't understand shit about fae and it is somehow Constantine's problem'

"Thank you."

Whatever thoughts Constantine had before come to a screeching halt. He slowly turns around, praying he's misheard, but, unfortunately, no. He heard that right.

The black-haired kid - he looks like a kid, but, really, he is not, and he is not even human to begin with - is smiling at Nightwing, who just laughs and ruffles the boy's hair.

"Don't worry about it, it's nothing," the moronic eldest batkid says, like it's not a big deal, and Constantine just... can't. He is not dealing with this right now. He needs a drink.

And then it happens again. Not with the Nightwing, though. This time, it's Black Bat. Now, in all honesty, Constantine is not so sure about her being human either, what with her appearing out of goddamn aether and being silent as a ghost, but the point still stands. The new addition to Bat's menagerie of children, the fae boy, the changeling who insists he is Robin's brother, thanks her.

It's quick and easy, just like a human would say it, and Black Bat just nods back at him, but Constantine knows what it means. He knows the weight of fae gratitude.

The big question is, do the Bats know it?

He promises himself to address this issue later with the Big Bat himself. But every time he encounters the man, he just forgets to bring it up. Constantine strongly suspects it's not his bad memory at fault here, but a certain fae. Not that he is going to outright go and blame the damned creature, of course, Constantine values his life, mind, and consciousness. Also, he is very aware of the consequences of talking to the fae, unlike the furry brigade.

Alas, he can't forget something if he witnesses with his own eyes. So the next time he is in the Batcave, he makes it a point to wait until the same thing eventually happens. And, score for Constantine, it does.

"Thank you," the kid - again, not a kid, not a human, but whatever - tells Red Robin, and Constantine immediately snaps his head to him, pointing a finger at the smiling fae.

"I mean no disrespect, but what are you doing?"

The kid - Danny, as he insists to be called, although Constantine knows better than to call a fae by any name - tilts his head to the side. He looks confused, but there's a sly glint to his blue eyes. Oh, the fucker knows exactly what he means. He just doesn't want to admit to it.

"What do you mean?" It's not him, but Red Robin asking, and Constantine turns to look him in the eyes. Mask. Whatever.

"He is thanking-" a terrible thought crosses Constantine's mind, and he stares at Red Robin with horror, "Oh, don't tell me you were all thanking him and apologizing to him like he is a human being."

"I don't see how this is your business," Red Robin scolds, and his eyes narrow. Constantine can't see his actual eyes through the mask, but he knows the Bats well enough to know the kid looks as deadpan as he can.

"You can't do that!" He reaches down to the pocket where he keeps his cigarettes, but stops halfway. Right, no smoking in the Batcave. Wait, he never obeyed that rule! Constantine turns to glare at the fae boy. Danny appears as innocent as a newborn baby. Little bastard.

"Quit making a scene," comes another voice, and this one John recognizes, turning to look at little Robin. Now that he thinks about it, the demonic child claimed the fae as his brother, and he definitely should know how to talk to fae!

"Why didn't you tell them about the rules?!" He asks Robin, and the kid doesn't even bat an eye at him.

"You will not accuse me of incompetence in front of my brother," Robin huffs, not stepping closer and keeping one hand on his hip, "I did."

"You-"

"Okay, how about you calm down?" Danny interjects, and John is positive this is the first time he's heard the boy say anything other than 'thank you'. He turns to the fae, facing him, and, oh, Jesus, those are not human eyes. Or teeth. Or face. Holy fuck how do Bats live with this, it's like uncanny valley but hundreds times worse.

"If I tell you I use it for easier access, will you leave it be?" The fae tilts his head again, and this time it is not in confusion, but in the eerie manner of how all very much not human beings do it. Constantine swallows, but doesn't back down.

"Access to what, if you don't mind me asking?"

"Transportation," Danny provides. This does not explain shit and he knows it. Red Robin groans and rolls his eyes.

"We use it to summon Danny if we need him. It's faster than calling or texting."

Constantine freezes.

These fucking kids. Are using the fae debts. To summon him. Because they don't like texting.

Do they know that they can literally ask a fae to destroy a small country to fulfill a debt like that? It's not just a small favor, it's a gratitude. Fae take their gratitude very seriously. They value it. A lot.

Actually, you know what, no. John is not going to be explaining that part to them because God knows the batkids are all batshit crazy and this is an opportunity he is not willing to give them.

So he just nods stiffly, turns around, and heads to the zeta tube.

"Thank you for caring about my family," he hears a voice behind him, full of mischief and joy. Constantine feels the weight of the newly acquired debt, or better call it a favor, bind itself to his soul, and, great, he now has the power to part the sea like Moses, but only once.

He needs a drink. No, correction, he needs a whole bar to himself.

Wait, that's an idea.

"Get me a bottle of good bourbon, and we're even," he throws around his shoulder, stepping into a zeta tube.

When he steps out of it, there's an unlabeled bottle in his hand. John sighs and opens it, foregoing the glass or cup and drinking straight from the neck.

...It's good bourbon.

Inspired by @blackfoxsposts

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[prettybean]

WHAT THEY WOULD SAY DURING SEX (COD +18)

* I have a soft spot for Keegan, im sorry

ENGLISH IS NOT MY FIRST LANGUAGE

Ghost

“I know it's big”

“arch your back, just like that”

“Did you want this? Say it"

“Stick out your tongue or I won't give you anything”

“Such a whore, now you don't act like a brat in front of everyone anymore, huh?”

“Are you listening? open your fucking legs"

“Good girl, let everyone hear how much you love having my cock inside”

“An angel who wants to be fucked by me, how pathetic”

Soap

“Where’s my innocent girl?”

“Show me how much you want it”

“Fuck, you're so cute when you struggle to stay still”

"Use your words"

“Get on your fucking knees”

“You’re sucking it so good, baby, can you take it down your throat?"

“Do you want me to cum here? You want it? Do you want me to fill that pretty mouth?”

“You're all dirty, come here”

Price

“Look at you, always trying to flirt with the higher ranking ones”

“Lie down on my desk”

“You're so wet, did you need a spanking to make you behave?”

“Cum. Now."

“You're still so needy, even though I just fucked you”

“Look how much you came, you wet my uniform”

“Call me sir or I will have to punish you again”

“I fuck you harder, so you will show me some respect”

Gaz

“You belong to me, am I clear?”

“You acted like a brat, now you pay the consequences”

“You’re so pretty you are when you moan for me”

"I love you so much"

“You can give me another one, pretty girl”

“Be good for me, cum on my cock”

“Do you like it, sugar?”

“Don't lie, your wet pussy is begging for mercy”

Alejandro

“I knew you would be good while I was at work”

“Did you touch yourself?”

“You're so cute, keep begging me”

“This pussy is so good, mi amor”

“That’s it, legs around my face, just like that”

“Fuck, I had no idea you were so sensitive”

“Do you like my tongue?”

“Don't look at me like that or I won't stop eating your pussy”

Graves

“Keep riding me, don't you dare stop”

“Do you feel it? Do you feel how good my cock fills you?”

“You like being on top of me, don’t you?”

“I just said a word and you're already bouncing on my cock”

"What did you say? I can't understand with all those moans"

“Good, just like that”

“I told you not to tease me in front of Shadows”

“I know you were just being a brat because you want to get fucked.”

König

"Do not run away"

“God, you're so small I could break you”

"It's big? huh?”

“You can't even take my cock properly, look at you”

“Don't cry, I only put on the tip”

“You're so tight, I might go crazy”

“Stop moving, you have to take it all”

“I don't give a fuck if it doesn't fit, take my cock like a good whore”

* He tends to switch to speaking only in German when he loses control

Keegan

“My eyes are up here”

“You do what I say, if I want you to cum, you cum, whore”

“I noticed how you looked at those recruits, you wanted their dicks too, huh?“

“What's the matter, are you shy now?”

“Do you like being fucked like a whore? This is what you deserve."

"You do not talk anymore? You won't get anything if you don't tell me what you want."

“This is my girl, always greedy for my cum”

"You want to come? Then start counting”

—

pt 2