#flawless chapters

[bakudekublogblog]

kacchan there is actually a way you and izuku can be together forever i have this crazy inventive solution for you it's called a marriage license

[ofmermaidstories]

i love my hero so much. 😭 i love that the heroes before deku and co are imperfect, did things imperfectly, sometimes made things worse… but tried their best to help those kids grow and do better. 😭😭 i love them. I LOVE THEM ALL. i love this stupid shonen series LMAOOO. i wanna rip it apart with my TEEEETHHHH.

[defiledtomb]

making big strides now that I'm not crippled by pain and wanting to shout it from the rooftops but somehow feeling awful about it because I'm not doing it fast enough. #livelaughlove

[philhoffman]

I just stumbled on an article by film professor Caetlin Benson-Allott called "The Queer Fat of Philip Seymour Hoffman," originally published in the book Millennial Masculinity: Men in Contemporary American Cinema and it is FASCINATING. Here's an excerpt that lays out her basic thesis:

In these films, the actor manipulates his physical breadth and weight as well as his gestural scale to draw the viewer’s attention to how compulsory heterosexuality marginalizes certain lives and bodies. These physical techniques help Hoffman visually exceed the fat male stereotypes of his early career, stereotypes that coded his body as immoderate, less than masculine, and thus most suited for minor roles, comedic turns, and pathetic losers. In such cases, fat male stereotypes rely on stock meanings attached to the actor’s stockier build. Hoffman transcends these roles with nuances of movement and deft exploitations of gesture and in so doing illuminates the process through which overweight male bodies are made unintelligible by a filmic culture that denigrates fat genders even among the gender and sexual alterities that it occasionally exploits.

Hoffman’s physical acting exemplifies the gendered as well as sexual potential of gesture and performance, for he uses his corpulence to visually refuse the traditional masculine-feminine gender binary and dramatize orientations and physical expressions of the body otherwise excluded from heteronormative American cinema... In each [film], he offers another version of what has remained a pale, overweight male body... As James Lipton notes, these relentlessly physical performances suggest that “Philip Seymour Hoffman may be the archetypal sex symbol of our time” in that he gestures toward new approaches to representation for marginalized sexualities and genders.

She goes into a deeper analysis of PSH's roles in Twister, Boogie Nights, and Mission: Impossible III, mentioning a few other performances throughout and focusing on how he used his body to challenge cinema's traditional ideas about fat male bodies and sexuality.

On his role as Dusty in Twister:

Hoffman must still perform the invisibility traditionally associated with fat bodies on-screen or risk violating Twister’s already tenuous verisimilitude. The genius of Hoffman’s performance is that he manages to do both by exploiting the cultural unintelligibility of obesity; he uses the spectator’s own tendency to dismiss fat men to camouflage Dusty’s narrative centrality. Because Hoffman is the only overweight actor in this film, his girth emphasizes Dusty’s position as the film’s fool, which helps disguise his formulaic responsibilities. Hoffman’s weight opens up a dramatic tradition through which he can exacerbate his character’s hedonistic qualities and conceal his intelligence and manipulative capacity. By making his body both overly visible and easily overlooked, Hoffman obscures Dusty’s generic necessity.

On Scotty J in Boogie Nights:

Hoffman orients Scotty’s physical expression of his sexuality around his belly. Because Scotty is written as inarticulate and suffering from unspeakable desires, Hoffman uses his body, specifically his largest and perhaps least mentionable feature, to communicate Scotty’s unmentionable orientation. Hoffman thus borrows a technique from gay male fat pornography and “displaces erotic pleasures [or their symbolic representation] from the genitals and disperses it to other parts of the body, thereby reconfiguring what can count as a pleasurable body.”

On Mission: Impossible III:

In contrast with Tom Cruise’s strong jaw and hard muscles, Hoffman’s relaxed flesh becomes a manifestation of his confidence; Hunt is tense, but Davian is at ease. This lack of visible affect exempts Davian from the tradition of fat villains whose bodies incarnate their overabundance of desire, appetite, or greed. His smooth contours and the reflection of light off the broad planes of his golden skin allow Davian to transcend associations of his body with appetite as he refuses to show interest in Hunt’s interrogation or subsequent threats to his mortality. Hoffman’s elimination of gesture thus helps Davian become a new kind of fat villain, one whose body suggests a lack of interest in the physical world rather than an excess thereof.

Pleaseee seek out this article if you have any interest in Phil's work and physicality—it's one of the most detailed and intriguing pieces I've ever read on him and I'd loveeee to talk about it, the good and the bad. You can download the PDF for free on academia.edu but if anyone has a problem getting it... just DM me lol. Wrapping this up with one excerpt from the conclusion bc I know Phil has taught ME a lot about "being in one's body," as the author says, so I love seeing that in print:

Hoffman’s body offers a new vision of male embodiment outside compulsory heterosexuality, an alternative use of the flesh we might even consider queer. Kathleen LeBesco has observed that the queer and fat liberation movements share many similar projects, but watching Philip Seymour Hoffman suggests that in some cases fat is queer... [Hoffman's] movements propose a new way of being in one’s body, for even within the highly structured heterosexual order of Hollywood cinema, Hoffman helps us envision the body outside normalizing gender strictures.

[mrghostrat]

im reading flawless and the gasp i just gasped at the end of the 3rd chapter broooooo-

MMMM nothing quite so delicious as a back to back live react.

[skania]

[hermanunworthy]

the costumes from ch11 of the avenger!!!

(+ glammed up normal serving cunt AND vengeance. slaying in both senses of the word)

[castielsharp]

I just watched heroes:rising for the first time and I am so incredibly normal about bkdk

[sskk-manifesto]

♡

[completeoveranalysis]

[16]

IT’S WHAT SHE DESERVES!

Also Yuuko reinforcing what I was just saying about her, deliberately pointing out to Kohane the good things that can come out of her gift, showing her how it can help her forge a better future. I don’t think we have ever seen Yuuko ever been so consistently kind and caring and genuinely helpful to any of her customers, and it’s practically everything I could ever want. 

SEE SEE SEE SHE HAS A NEW FAMILY TO HANG OUT WITH AND ASK FOR HELP, AND ARE HAPPY TO HELP HER

This really IS everything I could have hoped for. I was genuinely scared for a while that Kohane’s arc was going to end in tragedy, BUT NOPE HERE WE GO, Kohane does the hardest thing she could and collapses her life around her in an attempt to help herself and her mother finally actually be happy - and she is immediately met with a new family holding out their hands and smiling and offering to help her whenever she needs it. 

AND IT’S MORE THAN SHE’S EVER HAD IN HER LIFE. IT’S WHAT SHE DESERVES.

AHHHHHHHHHHHHHH AND KOHANE WANTS TO BE PART OF IT ALL, AND ASKS TO HELP AS WELL, AND THEY IMMEDIATELY ACCEPT HER IN

AHHHHHHHHHHHHHHHHH

[wetcatspellcaster]

Ok you def dont have to answer this if its spoiler-y, but im dying to know what condition you think the underground room for rose is in; is it covered in dust because he made it and then couldnt bring himself to visit it after, or is it spotless and kept up because visits it when missing her and holds out hope she could return at anytime....? 👀

Hey anon! Thank you for your ask!

So the answer to this one isn't spoiler-y, nor is it perhaps as spicy as you were hoping. The entire upper floor of the dungeon, with it's new aesthetic, is a lie wilfully held in place by a lot of enchantment/illusion magic (Rose didn't cast Detect Magic, the whole floor would've lit up). In order to keep up that facade of sterile perfection and keep the shadow of Cazador at bay, there is a lot of magic at work to keep that entire place clean, spotless, and seemingly un-cursed. So the room is by definition spotless.

But in answer to your question... the bedsheets were freshly changed? :-)

[stuff-diary]

IT'S SO GOOD, THEY DID THIS FOR ME. AND THE ALBUM IS AMAZING!!!

[waywardsalt]

anyways if you like linebeck as a silly pathetic wet meow meow dilf then go and watch tiger & bunny

[akaneverse]

That moment when a princess comes across a queen and they work on maximizing their joint slay

[cocolacola]

i think i vibe with the original manga print's pacing a little more than the new version because it's like... hellsing organization getting their asses handed to them for an entire volume, and then a chapter of heinkel and yumie pulling off looney-tunes-ass stunts and somehow their plan working flawlessly every time

[gatoraid]

Cover reveal for Shiomi Chil’s 愛ってやつを教えてくれよ tanko coming out Sept 30!!!