#even the point)

[beaft]

do genuinely find it fascinating how indeed.com is like the biggest job-hunting website out there and yet manages to be profoundly useless in every possible way

[mobydyke]

we need 15-20 episode seasons again these limited series have the worst pacing in the world and none of the character decisions hold any weight

[crookedtines]

I finally took the time to photograph my vintage dip pen nib collection, and I need to share with you all how wonderful and diverse their designs are.

These two are my favorite. Just look at them! One of them is named Gorille and the other Mephisto, but to me they're little pumpkins.

And of course you gotta love the Pinocchio nib. You get to write with the nose of a tiny guy! Just not something you get to do anymore.

[zytes]

this manatee looks like it’s in a skyrim loading screen

[starbuck]

i say i like tragedies and everyone’s all like ‘why do you like sad stories? are you depressed?’ and never ‘how was the catharsis? was the catharsis fun?’

[blaithnne]

Live Mel reaction

[biggest-gaudiest-patronuses]

historical drama/sitcom where two gay best friends (woman and man) get lavender married--and proceed to spend the Fancy European Honeymoon their parents paid for acting as each other's wingman

[lemongogo]

dont forget what happened to icarus

[millificent]

Every Nico Di Angelo fan focusing more on the background of the episode than the actual plot

[throesofincreasingwonder]

"A story doesn't need a theme in order to be good" I'm only saying this once but a theme isn't some secret coded message an author weaves into a piece so that your English teacher can talk about Death or Family. A theme is a summary of an idea in the work. If the story is "Susan went grocery shopping and saw a weird bird" then it might have themes like 'birds don't belong in grocery stores' or 'nature is interesting and worth paying attention to' or 'small things can be worth hearing about.' Those could be the themes of the work. It doesn't matter if the author intended them or not, because reading is collaborative and the text gets its meaning from the reader (this is what "death of the author" means).

Every work has themes in it, and not just the ones your teachers made you read in high school. Stories that are bad or clearly not intended to have deep messages still have themes. It is inherent in being a story. All stories have themes, even if those themes are shallow, because stories are sentences connected together for the purpose of expressing ideas, and ideas are all that themes are.

[littlemizzlinguistics]

Studying linguistics is actually so wonderful because when you explain youth slang to older professors, instead of complaining about how "your generation can't speak right/ you're butchering the language" they light up and go “really? That’s so wonderful! What an innovative construction! Isn't language wonderful?"

[beaft]

it is legit bizarre to me how hard video game creators and film directors and showrunners try to pretend that fat people don't exist. can you think of the last time you saw a fat person in a lead role? god forbid a fat woman? i can walk down the street or go into a shop or restaurant and see fat people everywhere but then i switch on the tv and suddenly it's like a glimpse into an alternate universe where no one has a bmi over 24. insidious and weird

[tearlessrain]

please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

[satanicdollx]

they should invent friends that do not live so fucking far

[castielfucks]

theres actually no rules to transitioning and youre allowed to want contradictory things for your transition. it's fine if you only want some of the changes that come with hrt and take preventative measures for the rest (like wanting bottom growth but not body hair or vice versa). you can want to have vagina AND a dick. you can be a woman and want top surgery, or wear a packer. you can be a man and want to have a pussy. you can change your transition goals one or a million times or not have any goals at all and just take things as they come or as they feel right.

there are no rules.

[laughingcatwrites]

As a reminder that good exists out there, a coworker recently confessed to me that he found out his child is questioning their identity (kid's gender redacted for this post). The kid is keeping it from him, so he can't say anything to them or show that he knows, but he's doing his best to get mentally prepared and educated so that he'll be ready whenever his kid does feel comfortable enough come to him.

For context, this guy is a big, bulky middle aged dude who loves sports and typical outdoor "manly" activities. As his coworker and friend, I know he's a kind and sweet teddy bear of a person, but his kid probably views him as a stern, authoritarian figure, the way most teenagers view their parents. His family lives in a conservative area, so I'm sure between that, their dad's looks and interests, and the fact that their dad is a Figure of Authority, the kid is worried that they won't be accepted.

But you know what? When he found out about his kid, the first thing he did was reach out to his closest queer friend and ask for resources for parents of questioning children. His biggest fears are that his kid will be bullied or discriminated against and won't feel comfortable enough to be themself. His second action was to find himself a mentor in another parent who went the same situation (kid coming out in a conservative town). The other person is preparing him for some of the struggles his kid may face and the fights he may need to take on as a parent to make sure his kid is safe and treated well.

Something I want to emphasize for people focused on language as the primary method of allyship is that when we spoke, he used some outdated terms and thoughts about gender and sexuality. That does not make him bad. These were the terms and thinking used about questioning teenagers when he was growing up and he never needed to learn more current ones. But now that he does have that need, he's throwing himself in head first because that's his kid and he's darn well going to make sure that his kid feels welcomed and has a safe place to be themselves even if they never come out to him.