#everything about this post is beautiful

[bisexualchaosdemon]

Along with this, geese also have a lack of regard for the government and a lust for crime.

Neil and Andrew are like geese. Loud and mean and violent but with undying adoration for their mate. I once knew this goose who very much did not like me but one day his goose wife decided I was chill and that she wanted to hang out with me. Goose husband, of course, did not want to be away from his goose wife because he followed her everywhere, and since his wife followed me everywhere that meant he had to deal with me but instead of attacking me like he used to he would just kinda goose mutter-hiss at me from a couple feet away because although he didn’t fuck with me his wife did so he agreed to let me metaphorically come clubbing with them for Halloween

Along with this, geese also have a lack of regard for the government and a lust for crime

[ot3]

like truly there is nothing more heartbreaking than watching game franchises go from 2d art that's filled to the brim with personality and near flawlessly executed to middling 3d models.

[forcefedthelies]

there is something very beautiful about the irresistible human desire to create

clowns like these will be on etsy very soon <3

UPDATE: etsy fucking banned me lol. currently selling these via cashapp within the united states only

UPDATE: I HAVE SOME PREMADE CLOWNS LISTED ON DEPOP UNDER @mishandmars

[stil-lindigo]

reverb in an empty hall.

prints (all proceeds go towards aid for Gaza)

[martyryo]

Swapshipping ☕

[hootyhoowoo]

A little 15 min doodle but first post of the year has to be Bingqiu!

[cordiallyfuturedwight]

seventeen months of kim seokjin messages for @jinstronaut

inspired by jin's monthly messages and em's daily gif series ♡

[backpackingspace]

Odysseus with his head in his wife's lap, happily not paying attention to anything, humming one of athenas song and carving something

Some random guy: your majesty----

Odysseus: not bothering to sit up: whatever my wife decided is fine.

[ewwww-what]

thinking about how difficult it must’ve been for Adaine to navigate her disorder without any support from any adults, and how jawbones reassurance (confusing and intense as it was) took an absolutely massive weight off of her back. Like sometimes just knowing that someone actually hears you is enough to make life easier.

[stardust-moth]

In order to fully understand why it was so hard for Mike to express how deeply he loves El, and why his speech at the end of season 4 was one of the biggest, most important moments for his entire character, we need to look at not just who Mike is as a person, but also everything that has happened since he met her.

Every single time he opens up his heart to her, something horrible happens to her or she's taken away from him almost immediately afterwards.

1x08; he's an awkward little ball of feelings that are way too big for a boy so young. He makes a nervous attempt at confessing and asking her out on a date; when he can't find words that she'll understand, swoops in for a kiss instead. She lights up immediately and smiles. It's a brief moment of hope and pure happiness. Maybe they can have some semblance of a normal life and be normal kids after this is all over.

Minutes later, all hell breaks loose-- they're almost shot, El pushes herself too far until she can barely move, she's almost taken away by the Bad Men, the Demogorgon appears, and she uses the very last of her strength to sacrifice herself to save him and their friends.

He has to watch helplessly as she disappears.

He spends a year caught between believing she's dead and hoping she's still out there somewhere (but if she is alive then why won't she talk to him anymore...?). Kept silent under threat by the lab, he can't confide in anyone or even acknowledge her existence, not with anyone except those involved... but everyone else is keen on moving on and pretending it never happened. He can find some solidarity in Will, at least, who is in a similar kind of emotional turmoil... but it's not the same and it's not enough.

2x9; he is finally reunited with El, and she runs into his arms like she missed him too. She tells him that all those nights he called out to her, she heard him; she was there reciprocating his feelings the whole time.

In a burst of emotions that he's been forced to suppress for an entire year, he lashes out at the reason they've been kept apart (Hopper), screaming and sobbing. It's a massive catharsis for him, and for once an adult is understanding enough to hold him and not punish him for it.

Minutes later, she is going to go headfirst into a pit of monsters, the place where Mike had just firsthand witnessed dozens of people (if not more) get ripped to shreds only hours earlier, and she is going to attempt to close the Gate-- a feat that he knows may take every ounce of her power, just like last time. He cries. He can't lose her again. She promises he won't, and before she can seal that promise with a kiss, they're pulled apart again.

He has to watch helplessly as she drives away.

3x1; all seems to be okay now. He and El are happily together, and he feels comfortable enough to be playful, romantic, and intimate with her. It's the most emotionally open we've ever seen Mike thus far.

For reasons he can't understand (bc there's no way Hopper explained himself beyond "I'm in charge so do as I say or else"), Hopper is angry about it and threatens to never allow him to see her again: the one thing he fears most.

He panics big time and fucks it up in the process by lying to her. During a frantic attempt to apologize while also abiding by Hopper's rules, he runs into her at the mall. He panics again-- if anyone finds her here, and knows that he was here too, it's all over, and Hopper surely won't hear reason. El dumps him cold on the spot, spurred on by Max and her rebellious attitude (and without any context of course). He isn't given much opportunity to respond. He knows he's in the wrong for lying to her, so what could he even say...?

He has to watch helplessly as she drives away.

It's a hard blow, and he retreats back into himself, unable to get any joy out of playing D&D (which he clearly hasn't lost interest in), back to the deadpan sarcasm and accidentally snapping a little too harshly at anyone whom he feels would take El's place.

3x6; no one seems to understand the danger El is putting herself in. Everyone is berating him for worrying about her safety. He's seen firsthand what these monsters do to people, he's seen firsthand how El pushes her abilities too far. No one is listening.

The words "I love her and I can't lose her again" burst out in his desperation, perhaps before he's even had a chance to realize how deep those feelings run, despite whatever protective walls he's tried to build around his heart to keep it from getting broken again.

Soon after, all hell breaks loose. El is nearly killed several times over, her leg is ripped open, she pushes herself so hard that she breaks herself and loses her powers completely. Her father is taken from her. She's shattered by all of this, and there's absolutely nothing he could do or say to make it better.

She tells him that when he admitted he loves her, she heard him, and indeed she loves him, too... But now she's leaving.

He has to watch helplessly as she drives away.

4x1; they've been apart for a few months, and write letters back and forth to each other. El's letters paint a picture of an ideal new life: she and the Byers family are doing well; she's starting school and it's going well; she's made new friends, she likes her new home, everything is going well. She seems to be thriving. She sounds happy, maybe even happier than she had been living in Hawkins. Maybe Max was right, maybe she's better off being her own person without him, and maybe the respectful thing to do is step back... It's a small insecurity that creeps up subconsciously. In his replies he holds back, afraid of clinging too hard.

Though there's little logic in it, he's afraid that if he tells her he loves her again, another disaster might strike and this lovely happy life she's finally found might get taken from her. After all, that's what always seems to happen when he does.

4x2; after months of waiting, they can finally see each other again. He wears her favorite colors, picks a handful of flowers for her, and falls happily back into step with how they used to be. Soon that same day, however, reality becomes clear and the facade crumbles. People he was told were her friends show up to torment and publicly humiliate her. She had been lying. She isn't happy here, she hasn't healed, she is right at the edge of a breaking point that he doesn't see coming at all. He can't believe she would lie to him, she's not the kind of person to lie... especially not about something like bullying, something that she was always so understanding about with him.

On that logicless subconscious level, he wonders if it's all his fault-- he should have known somehow, he should have been there for her. She protected him from his bullies, he should have protected her from hers. He tries to come to her rescue. She runs away from him.

He's helpless to save her, again.

4x3; after a night to process everything that happened-- and deciding that the betrayal he feels from her lying to him is nothing compared to the turmoil she must be going through right now-- Mike approaches her in the gentlest way possible, wanting to listen and trying to understand. El, however, isn't receptive at all to his attempts at reassurance. She is at an all-time low, she's given up. She believes she is unlovable, irredeemable, a monster, just a thing that doesn't even have those superhuman abilities to compensate anymore. Mike can't believe what he's hearing-- doesn't she know that she's always been so much more than her powers? She's always been so much more than what she lacks in quote-unquote "normalcy"... None of those things matter, they have absolutely no bearing on whether she's worthy of being loved, because he loves her, completely regardless of any of these things. He always has...

El starts flinging his restrained words back at him, the products of his insecurity and trauma-induced fear. That fear takes hold yet again, and he stumbles, afraid of saying too much or not enough, because surely both could result in pushing her away-- she's retreating, hearing none of it; nothing he tries to say consoles her.

Moments later, local police come knocking. She's taken away in cuffs, and she's so broken inside that she won't even look at him when he chases the police car down the street and promises he'll get her out somehow...

Once again, he has to watch helplessly as she drives away.

4x8/4x9; after days of driving through the heat and dryness of southwest desert, having narrowly escaped being shot at with military-grade assault rifles, witnessing the death of and burying a man whose last words were that El is in danger... After watching dozens of people get mowed down by a sniper in a helicopter, and watching that same helicopter be smashed into the ground in a ball of flames...

There she is. Just as powerful and beautiful and alive as she's ever been. When he runs to her and embraces her, she looks at him like she can't believe he's real. She's beaming a smile right from her soul and it's like all the insecurity and self-doubt that have plagued them both just vanish from existence now that they're in each other's arms again.

Like always, however, the universe comes crashing down soon after. Max is marked for a gruesome death and all of Hawkins is in danger. They're miles away and helpless, and the only possible way for El to save everyone is if she goes in alone. She's stronger than ever, but so is her foe. Once again, she descends to face all the demons of hell on her own, and Mike can't do anything.

She's losing. She's choking. She's dying. He's helpless.

He must be cursed. He must be. Being with her, loving her, allowing himself to admit he loves her, it always brings only pain and suffering and loss. His heart is so full that it's aching, it's bursting out of his chest, and he can't contain it any longer.

She's going to die and it's going to be all his fault, because he fell in love, and it's cursed her.

Just before it all crumbles into utter despair, the earnest support from his oldest and dearest friend-- one who's always shared and understood his feelings of helplessness-- sparks a light of hope in him: "You're the Heart." You're not helpless. You can save her.

The words that come spilling out of Mike's mouth are truer than any he's ever dared to speak before, and it's the most terrified he's ever been, but he has enough courage for this moment. Despite all of the fears that have been building, stifling, choking him to death for years-- fears that the light of his life will inevitably disappear again, and there's nothing he can do to stop it-- despite it all, he pours out his heart to her.

He loves her. He's always loved her. He loves everything she ever was, is, and could be. He can't imagine a world without her in it. She saved him, in every way a person can be saved. And he needs her to live. He believes in her.

And it works. It's music to her ears.

[gwendolynnderolo]

me every time the critical role ladies do anything:

[gingermintpepper]

One of my biggest pet peeves is the assumption that something has to be sad for it to be tragic.

I've always been a big believer of the 'Apollo has an awful love life'/'Apollo is plain unlucky with love' line of thinking but it does bother me that the general reasoning for that statement is given to the concept of 'Apollo is somehow undesireable and thus rejected' (Cassandra/Daphne/Marpessa) or 'his lovers die young and thus their love is unfulfilled' (Cyparissus/Hyacinthus/Coronis). I personally think that's a very unfortunate way of looking at things - not only because it neglects the many perfectly cordial entanglements and affairs Apollo has had, both mortal and divine - but because it presents a very shallow interpretation of the concepts of love and loss and how loss affects people.

Apollo can still grieve lovers that have a long, healthy life. The inherent tragedy of an immortal who knows his lovers and children will die and cannot stop it does not stop being tragic simply because those lovers and children live long, fulfilled lives. The inherent tragedy of loss does not stop being tragic simply because someone knows better than to mourn something that was always going to end.

What is tragic is not that Apollo loves and loses but that loss itself follows him. Apollo does not love with the distance of an immortal, he does not have affairs and then leaves never to listen to their prayers again. He does not have offspring and then abandon them to their trials only to appear when it is time to lead them to their destinies. He raises his young, he protects the mothers of his children, he blesses the households that have his favour and multiplies their flocks that they may never go hungry. He educates his sons, he adorns his daughters and even in wrath he is quick to come to his senses and regret the punishments he doles out.

Apollo loves. And like mortals, there will always be some part of him that wishes to protect the objects of his affections. Apollo, however, is also an emissary of Fate. He knows that the fate of all mortal things is death. He knows that to love a mortal is to accept that eventually he will have to bury them. There is no illusion of forever, there is no fantasy where he fights against the nature of living things and shields his beloveds from death. Apollo loves and because of that love, he also accepts.

And that, while beautiful, is also tragic.

[rynli]

me: I should write the one-shot that lives in my head about Harry applying for a job

brain: you will write a whole casefic about Harry realizing being a cop already killed him once, acab applies even to Kim, and he needs to quit if he wants to get better

[dykedvonte]

omg hi if it wouldn't be a bother i'd love if you could expand on your perspective on curly's character representing how patriarchy, rape culture, etc, negatively effect men?

I think Curly is there to represent the idealic person for the scenerior but in a lot of wrong place wrong time and a sort of deconstruction.

Curly’s enabling is never just the “He wouldn’t do that, he’s my friend, I know him.” type. Yes, he is not nearly as concerned as he should be with Jimmy’s behavior but he’s not completely blind to how he can be and is aware that Jimmy is just a guy who had it rough. He clearly is very keen on keeping Jimmy calm for the trip, very accommodating to all of them in a way that he honestly should be but can be used to explain away favoritism. If everyone can get away with a little something than it can then be extended to Jimmy. A big problem of Curly’s is he extends to much curtesy to everyone which a lot of people ignore to just focus on Jimmy and his relationship.

In specifics of rape culture, he’s the sad truth of people don’t immediately cut off the abuser. There is a lot of this in irl cases that can range from the inability to open the selfish not wanting to but here it’s because his relationship with the abuser is also not healthy/abusive, falling into the former with how confined they are despite how it can be seen as bros protecting bros due to how underplayed emotionally unhealthy relationships between men can be. His relationship with Jimmy is not just one of wanting to protect him from himself but keeping him docile, safe to bring around others. There is a tension in almost all of their private scenes where Curly is trying hard to make sure his words are understood and don’t set him off. It’s subtle but real and an aspect of RC that gets overlooked when it’s comes to men coming forward themselves or on behalf of others. The way they can’t directly oppose each other because their safety may be the least of their concerns. They know men and in this case he knows this man won’t target him but the others, especially Anya, case point: not wanting her to tell Jimmy alone.

There is an inherent intimidation that can also happen in male spaces we see Jimmy use due to the specific social condemnation effect he has with Curly. Even if he is a bad friend to Curly, he is a dear friend and a lot of apprehension with men on the side of Curly in RC comes from that social anxiety, that fear and the very real idea you or the person you were trying to help will be further retaliated against/isolated just like we see happen to an extreme in canon. We don’t know how much Curly and Jimmy interacted between the party and the crash. We can assume they didn’t at all or perhaps went on as normal, but we know something changed after the conversation with Anya both at night and in the cockpit.

I think the card being in the locker shows he was gonna make the complaint, taking her ID to get her numbers for the report as it isn’t there before hand. With the recent reblog of how complaints have to be filed, he was likely storing it, possibly it was close to a time he could send something if it was even possible. Though everything was inevitably too late.

Curly is the ideal man on paper in terms of a patriarchal system. In shape, handsome, the top of the pecking order, competent or otherwise on top of his perineal duties. The issue is he is deeply unhappy just as someone like Jimmy who reflects all the negatives. This should be what he wants but he’s realized it’s unfulfilling, boring and he’s given up too much of himself to get up a ladder he doesn’t even remember why he climbed in the first place. He is not keen on keeping that status, I am a contrarian in thinking he honestly didn’t care if the report when on his record, more so he was in shock it happened at all. Didn’t want to believe his friend actually did it and he of all people would have to be the one to turn him in for it. It’s selfish and it’s a personal thought but it’s real. It’s denial because even if you know it’s for justices sake, you grieve the friendship you had and the perceptions that were shattered. It’s not supposed to sound good or noble or kind because it isn’t, it’s human.

All together I think Curly represents a big way these systems negatively affect the men that everyone assume benefits. He’s unhappy with the power he has because it ties him to responsibilities that bring him no fulfillment, he also gets retaliated against by Jimmy because he was never immune and in a way was aware of it. He’s unequipped and nervous to handle such a delicate situation because it isn’t protocol, there’s no protocol. He followed the rules of all the concepts mentioned, trying to do the right and normal thing and it either left him with nothing to show for it or damned him and others in the end.

This is a shorter post than I would write but I just feel like I’ve tackled these aspects so much individually or in lumped together posts that unless it’s something specific I will just create run on tangents.

[burnyourtrains]

Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art Stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art stop stealing art

This means reposting without permission. Feeding into ai. Taking as your own. Not giving credit to the artist. Posting things that aren't yours in the first place. Etc.

This goes for fanart, original pieces from the artist, writing, gifsets - anything someone took the time to make.

Stop stealing art

[rafyki]

No I'm not exaggerating when I say that Jack and Joker is officially the best thai series for me, it really did give me everything I wanted and then some more