#cancer attack

[wraithofmorhogg]

[offscreendeath]

[pbpsbff]

i like the idea of peter functioning like a service dog on accident because of his senses like. him and tony are just chilling one day and all of a sudden he's like wtf r u ok??? and tony is like ???? and then it turns out he's having a heart attack

[arrenlebanen777]

☾ASTRO OBSERVATIONS/ANIME EDITION ☽

https://open.spotify.com/intl-es/track/5t139ZsNjflRbmZoyFmEwE?si=e3accdf4c4724679 I made this post listening to this! ☾People with too powerful Mars can manifest like a double-edged sword. The immense internal pressure to achieve success can generate fear of failure and inaction, which often leads to procrastination. Additionally, the excess of this energy without a proper outlet can sometimes be overwhelming, potentially leading to frustration and depression.

☾I've seen that women who have lots of Venusian and Saturnian energy in their charts usually emanate an energy and physique quite similar to that of Makima from Chainsaw Man (Very bossy, sensual, cold, with a dark aura).

☾And the men I've seen with heavy Saturn and Mars influence in their charts express a very similar energy to Kishibe from Chainsaw Man over time (Cold, serious, dominants, competent, sexy).

☾And people who have lot's of Aries and Lilith influence in their charts are very similar to Garou from One Punch Man on personality and energetically (Aggressive, impulsive, arrogant, individualists, with a lot of energy).

☾People who have a very strong (painful) Chiron mixed with powerful placements have an energy quite similar to that of Yuta Okkotsu from JJK (Shy, lots of potential, brave, sensitive, nervous).

☾I have seen that women who have heavy influence of Virgo, Cancer and Scorpio in their chart are very similar to Princess Mononoke (Intense, emotionally defensive, protective, emphatic but very critical).

☾I've seen people who are Aquarius dominant with Scorpio influence tend to be similar to Kusakabe from JJK (Serious, detached, very analytical, easily irritated, strong, get the ick easily).

☾Once i met a girl who had Mars in almost exact conjunction with Pluto and Lilith, and she looked too much like Toga from Boku no Hero, energetically and physically.

☾Men with too much earth in their charts are quite similar to Saitama from One Punch Man (stable, stoics, slow, ambitious, detached, very grounded).

☾Lilith on hard aspect to ascendant/Mars dominant men can emanate this kind of energy when they like you (Toji from JJK).

☾Too much mercurial and scorpionic energy in a chart can operate like this (Plus with some heavy Saturn influence) like Light from Death Note (Very cautious, serious, experts manipulators, grounded but usually their overthinking is reality).

☾Once i met a woman who was Pisces Sun with Aries Mars in 8th house and she was identical to Nobara from JJK (Very dreamy, raw sex appeal, magnetic, very energetic, brute, and funny).

Thats it for today!

[july-19th-club]

if baru fisher agonist cormorant had just squandered her potential and quit being a savant and instead adopted a shawn spencerian attitude and told everyone she had a psychic vision of the destruction of falcrest and that it could only be achieved by sneakenomics then multiple ashen sea cultures wouldve gotten on board immediately and she wouldn't have had to do all that other stuff

[the-combine-kisser]

“Happy birthday Barney Calhoun-“ “oh it’s Barneys birthday-“ no it isn’t. It’s just the day blueshift came out. His real birthday is June 28th. He’s a fucking cancer. Get it right.

[localdorkincombatboots]

Please Help My Family

Between handling my mils affairs after her death, rent going up another $200, my mother losing her job, and my bf's medical problems continuing to get worse and his job taking days away from him, we desperately need help.

Where our rent has gotten so high + my mother losing her job which also provided her housing, we're hoping to be able to use her vacation payout to buy the cheapest possible mobile home we've been able to find. It's in such bad shape that it'll probably take a month to fix everything but this appears to be the only way for us to set things up in a way that we won't have to worry as bad about money later on, esp considering lot rent there is 1/4 of the price of our current rent.

We're still behind on all of our current bills due to everthing that has been happening plus more recent events including my bf having another heart attack and his tumors growing to the point of a couple of them metastizing.

Please we desperately need help to catch back up on our current bills and to afford the materials needed to fix the floor in the trailer so that we can move there and not have nearly as many bills to worry about.

PayPal: crackerjaxx7@gmail.com

Venmo: jayep7

Cashapp: jayep7

If you can't send anything, please rebog this so hopefully someone who can help might see this.

[thepastisalreadywritten]

Just over a decade ago, the late novelist Hilary Mantel (6 July 1952 – 22 September 2022) delivered a lecture to an event at the London Review of Books and triggered national outrage.

In the course of a talk on “Royal Bodies,” which ranged widely across royal women from Anne Boleyn to Marie Antoinette and Princess Diana, she had made what many perceived as disparaging remarks about Kate Middleton, then the Duchess of Cambridge.

The Duchess, she said, appeared to have been “designed by a committee and built by craftsmen, with a perfect plastic smile and the spindles of her limbs hand-turned and gloss-varnished."

Indeed, Mantel said, Kate “seems to have been selected for her role of princess because she was irreproachable: as painfully thin as anyone could wish, without quirks, without oddities, without the risk of the emergence of character.”

At this, the newspapers were soon in uproar.

The prime minister David Cameron called the comments “completely misguided and completely wrong” and the Labour leader Ed Miliband agreed they were “pretty offensive.”

Mantel doggedly refused to back down, saying that her remarks had been twisted out of context, and that she was in fact writing with sympathy about the perceptions that are forcefully projected on to royal women, the cage in which they are held to be goggled at.

That was true but also perhaps not the entire truth, for there was still a perceptible trace of authorial vinegar in the portrait:

Which of us would be happy to learn, even in sympathy, that we were held at low risk for “the emergence of character”?

Royals are public as well as private figures, of course, and authors are free to hang intellectual ideas on them to try out, as designers do with clothes.

Yet while much of the lecture was sharply perceptive, I didn’t agree with the portrait of Kate.

That word “selected” had rendered her passive, when in fact her behaviour thus far had suggested both an active intelligence and an unusual degree of self-discipline.

The context of her entry into “The Firm” was different from that of other royal brides.

Unlike Diana, who had barely emerged from the fractured chrysalis of her troubled aristocratic family when she first met the much older, more worldly Prince Charles, Kate was a contemporary of Prince William’s at the University of St Andrews.

Her family background, which appeared warm and supportive, was comfortably middle-class.

She seemed generally cheerful and unruffled, even when the press was at the barbed peak of its “Waity Katie” hysteria, trying to goad Prince William into a proposal or abandonment.

After the wedding, in her approach to royal duties, she clearly took the role she had inherited with marriage seriously.

The royal whose attitude her own most resembled was the late Queen Elizabeth II, who had long understood the essential nature of the job:

To turn up to public events looking the part, intuit precisely what was needed — gravitas, fun, consolation or reassurance — and deliver it while keeping one’s personal emotions on the back burner.

This is what a monarchy demands, and the ability to act as an impeccable interpreter of the public mood, year after year, is a particular and testing art.

A few have a natural aptitude for it, but most of us do not, and would quickly find its scrutiny and restrictions intolerable.

Grace under consistent pressure is an admirable quality.

Were a ballet dancer to execute a string of flawless performances, or a pilot to conduct numerous flights without incident, it would not be deemed evidence of an absence of character: quite the opposite.

Yet in Kate — especially for those who increasingly conduct their lives online — serene self-possession seems to drive a proportion of onlookers insane: what lurks behind it, what dark secret is waiting to destroy it, how best might it be disrupted?

The uncomfortable truth is that what many people deeply crave in a young and beautiful royal wife and mother is not competence, but crack-up.

The increasingly bizarre treatment of Kate, or the idea of Kate, is connected to the most dominant phenomenon of our age: a cultural prioritising of drama over duty.

The supply of drama has spilled beyond the confines of the novel, theatre, cinema, or television to become a commodity on which our public figures are judged.

When Mantel spoke of Kate’s apparent absence of emerging “character,” she was assessing her primarily through the hungry eyes of a novelist.

In books, central female characters often generate dramatic tension by chafing against their circumstances, by the intensifying dazzle of their discontents, something that Kate refused to transmit.

In contrast, Mantel described Diana as a “carrier of myth”: Diana, publicly trapped in the disappointments of her marriage, certainly carried more plot twists than any author had a right to expect.

Unfortunately for her, the final one was her shockingly premature death.

Set against this artistic conception of “character” — distinctive qualities or flaws that, one way or another, deliver drama — is the societal judgement “of good character,” meaning someone who is broadly reliable and respected in relation to their behaviour to others.

In recent years, the electorate, in line with Neil Postman’s warning in his 1985 book, Amusing Ourselves To Death, has proved increasingly ready to select the former over the latter, even to the marked detriment of our civic health.

The former prime minister Boris Johnson instinctively understood it as his job not to deliver the detail of workable policy but to satisfy the public’s appetite for story:

“People live by narrative,” he once told UnHerd’s Tom McTague.

In the US, Donald Trump — that relentless generator of low mockery and high fury — is now running for a second term as president, after his first one ended in his supporters storming the Capitol building.

Men are often permitted to survive the frantic generation of drama: it is everyone around them who suffers.

Yet women — in art and life — have a greater tendency to be destroyed by it.

There is no strutting female equivalent of the male “hellraiser,” but rather a woman who, soaked in the crocodile tears of the tabloids, is tragically “causing concern” among friends.

Art and its audiences have always relished the restless struggle and disintegration of female characters who are, or become, unmoored from the harbour of marriage and children.

Flaubert’s Emma Bovary — her imagination inflamed by reading novels — is bored with her marriage and disenchanted with motherhood.

She seeks solace in affairs and excessive spending, the consequences of which hasten her suicide.

Zola’s Nana, a courtesan who ruthlessly captivates Parisian society, has her beguiling face eaten away by smallpox.

Janis Joplin and Amy Winehouse, immolated on their blazing talent, are hung posthumously high in the musical hall of fame, next to Sylvia Plath in the poetry section and Marilyn Monroe in cinema.

In Jean Rhys’s Good Morning, Midnight, a middle-aged English woman called Sasha Jansen, mourning an unhappy marriage and a dead child, finds herself in Paris, a vulnerable drifter seeking solace from stray men.

Rhys herself, who died at 88 after a precarious but surprisingly long life, had much in common with her literary creations.

As the writer and editor Diana Athill crisply put it:

“Jean was absolutely incapable of living, life was just hopelessly beyond her.

When she was young, she floated from man to man in a hopeless way… by the time she was old, she floated from kind woman to kind woman.”

In Rhys’s latter years — hard-drinking, irascible and impoverished — Athill and a small group of female friends formed what they called “The Jean Rhys Committee,” which met regularly to ask “what should we do next?”

Rhys’s claim to such loyalty, I suppose, was the weight of her literary talent, her ability to exert an odd kind of fascination, and the fortunate soft-heartedness of her friends.

The dramatic collided with the dutiful and was kept alive by it.

From what I can see, the Princess of Wales exists at the opposite end of the feminine spectrum from Jean Rhys.

Pinned firmly in place by her royal obligations, her wealth, her marriage, and three children, she belongs to the realm of the respectable and dutiful rather than the erratic and dramatic.

She is not a “character” in the artistic sense, nor does she desire to be, but both a survivor and upholder of an institution:

Hers is the territory of the prompt thank-you note, the kept promise, the commitment to public service, the uncomplicated pleasure in children, the stoic endurance of difficult times in the hope that better ones will come along soon.

The public senses an emotional solidity in her, and it is partly why she is held in broad esteem.

In this age of insistent self-definition, duty to others might be an unfashionable concept, but it is nonetheless one that keeps families and institutions from chaos and collapse.

With the advent of the internet, however, anyone with a keyboard can become a form of author, with the freedom to insert a toxic form of drama into real-life situations.

What was extraordinary, during the Princess of Wales’s recent health problems, is how speedily and carelessly such speculations overrode the bounds of decency.

It was already known that she had undergone major abdominal surgery and was taking time to recover.

And yet — egged on by the participation of silly celebrities and malicious US comedians — conspiracy theories about cosmetic surgery and affairs and nervous breakdowns spread like knotweed.

According to social-media researchers, these were also vigorously introduced and amplified by fake accounts set up on Twitter and TikTok, some associated with Russia-linked disinformation eager to spread the termites of mistrust and doubt in Western institutions.

Only the Princess of Wales’s revelation of cancer, which carries a testing drama all its own, served to shut up the majority of them.

Unlike these callous gossips, Mantel recognised her own complicity in dehumanising royalty.

Upon encountering the late Queen, the novelist said: “I passed my eyes over her as a cannibal views his dinner, my gaze sharp enough to pick the meat off her bones.”

The Queen looked back at her, she said, briefly hurt. Mantel warned of the way in which “cheerful curiosity can easily become cruelty” precisely as it has done in recent weeks.

Her talk concluded with a prescient instruction for those who comprehend monarchy mainly as a source of entertainment: “I’m asking us to back off and not be brutes.”

In the midst of treatment and recovery, the most hitherto stable of royal women could be forgiven a keen sense of injustice:

Her job description, it seems, must now include the ability to weather the online public’s fits of brutish mania for drama.

With its contempt for duty, and its savage appetite for story, it is hungry to chew up far more than just the Princess of Wales.

NOTE: Additional photos have been included in this article.

[bodhrancomedy]

I keep seeing posts on Reddit and TikTok about people recounting their small rodent pet’s horrifying deaths and all I have to say is what the fuck is wrong with you.

[brainrotcharacters]

I think I finally know why this shot was a religious awakening for me

more in tags because you fuckers seem to enjoy that

[swagging-back-to]

it should be a cut and dry case if you go to a restaurant and get glutened by them. and by case i mean criminal. not just suing for damages and distress.

[jenthebug]

Had my surgical consult.

No concrete answers yet! Probably getting a double mastectomy with reconstruction. Waiting on an appointment to meet with plastic surgery to finalize that and set a date.

No more imaging. Can’t do breast imaging if you don’t have real breasts.

No more cancer. Dr. Surgeon was careful to say that this may not extend my lifespan, but she also said that if my cancer grew, they’d immediately yeet me into surgery to get rid of it.

She gave me the choice between a lumpectomy, mastectomy, and double mastectomy. My choice is the double.

Unless plastics says it’s a really bad idea, I’ll be getting boobs big enough to fill out women’s large/XL shirts! No more dad bod for me!

But…ugh. This is gonna be a Big Surgery, followed by another one for the reconstruction. I don’t like surgery. And I’d like to know exactly when these will be happening so I can plan my summer.

[swinging-stars-from-satellites]

I am so intensely scared that I feel nauseous, pray for me

[anti-cosmofangirl]

Betrayus and Pac from @ribbondee's "Twisted Fate" AU!

[nando161mando]

These people are cancer. These people shouldn't be talked with or engaged with at all.

[trickstarbrave]

Ppl are giving Halsey shit for siccing their fans on a critic but i read that article and I think they could do worse tbh