#fuck i'm too far gone

[be-a-cute-scientist]

.

[deoidesign]

when your main characters start dating after years of writing so they finally get to be like this

[nellasbookplanet]

I know that after Downfall the perspective of 'the gods are a FAMILY' has permeated fandom on both sides of the kill-all-gods argument, but frankly that isn't all they are and acting as if it's suddenly their only motivation flattens both them as characters and the narrative they (and bells hells) are in.

The Wildmother and The Raven Queen didn't 'let' Lolth get away with nabbing Opal and killing Cyrus because she’s their sister. Come on man, we've already seen that the primes are plenty capable of opposing and fighting their siblings on the side of mortals (is the calamity a joke to you??). I'm not saying the primes aren’t capable of picking the lives of their betrayer siblings over mortals (downfall showed as much) but that's not what the situation with Opal and Lolth was about in the slightest.

They let Lolth 'get away with it' not because she’s family, but because this is the very rare instance of them not only having the same goal, but of them actively fighting for their lives. As far as we know that has only happened once before on Exandria, and that time they also entered a truce to defend themselves. The vast majority of the time, the primes picking their siblings over mortals won’t happen because mortals can’t actually threaten the gods (normally), making the 'they're family argument' a moot point. The primes won’t necessarily agree with Lolth's methods, but they won’t go throwing away both hers and their own champions in a meaningless struggle when they need all their strength to stop the fucking apocalypse.

[gods-perfect-idiots]

❤️💛

[k2ulhu]

hulu was doing live coverage of the election until 2:00am, at which point my power randomly went out and when I reopened the hulu app on my tv the election coverage was replaced with

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[dukeofthomas]

jason thinks he should be dead (sometimes he thinks he IS dead), he's just what crawled out of jason todd's grave but he IS jason todd why cant you see that im still the same person. but im not who i used to be and you have to accept i'm different now but i'm still the same bc i'm still your son and your brother and your friend but i'm not 15 anymore (but i am i never grew up i'm still stuck in that warehouse watching the seconds count down the joker is still laughing and i'm still in pain and broken and bloody and beaten and the warehouse is everything and i'm 15 i'm 15 i'm 15) i'm an adult now i'm not a sweet lil daddy's kid anymore i've grown up (i haven't. do you remember when i played with legoes? when we went to football matches togetehr? when you drove me to school and called me chum and smiled at me gently and put your hand around my shoulder and squeezed? i loved you.) when you look at me all you see is who i used to be, you don't see ME, you just see who i used to be and i can never measure up to that, i can never be as good or kind or gentle or loving as the ghost of me that lives in your brain, but when i look in the mirror my eyes are dead like a fish's and my corpse is still in the ground and i'm not breathing because my insides are decayed and gone but i'm still standing here like a zombie, like a bad dream, like a fraction of who i used to be because i'm dead and i'm 15 and i never grew up but i'm somehow still an adult and how dare you not see me for who i am because i'm still the same but i'm still different but aren't i your son? am i at least still your son? you took me in and you loved me and you cared for me and you were my father my god my everything? i'm still your son. i'm still your son. i'm still your son.

Do you love me? Can you prove you love me? Can you prove i meant anything and can you prove my death was real?

(I love you. Please say it back.)

[scarletv0id]

That moment when you made the mistake of Googling "blonde Will Wood" out of mild curiosity to see more photos with his hair dyed that way, only to find the most insane bottom of the barrel iceberg type shit.

Bisexual goth what?

[alaiis]

The far right scored 40% in France for the European elections. We're the second country with the most seats. And many other countries have the far right leading too. This is a catastrophe.

Because of tonight's results, President Macron decided to dissolve French Parliament. We're called to vote again in 21 days. The left is scattered and all parties have suffered an incredible defeat today. The only result of these new elections will be to give majority to the far right in the French Parliament too. We'll have a neo-capitalist president governing with a far right prime minister.

I don't know why he chose to dissolve. Like the entirety of the left, I hate Macron. He's been conducting the cruelest class warfare and the bourgeoisie received several victories thanks to him. But I still prefer his majority to a far right majority. He called himself the shield against the far right. It was already hypocrisy and I've been saying for a long time his policies were just giving power to the fascists. Now he's literally doing it.

[deerest-deer]

it's 3 am and i'm over here going absolutely insane over assad getting nervous while answering questions about the looks™ between armand and daniel in dubai

and some of those looks are actually love and some of them are "what's for lunch?" - assad about the looks™ <3

[outlying-hyppocrate]

well. did you fucking miss me.

[punkrogue]

some fucking idiot: when we say "magneto was right" we're saying he's right about society and shit not supporting his terrorist actions

me: don't lump in with your cowardly ass i'm in full throated support of his terrorism. sentinels, purifiers, the mardies etc are all real and exist and want mutants dead and literally no one gives a single shit. they'd rather pass the mutant registration act and make "scaly lives matter" jokes on twitter then help stop the genocide of mutants. it's a good thing actually he's blowing shit up and he should do more of it actually.

[seokmattchuus]

Matthew could totally make it as a motherfucker who just reads books on streams

[meownotgood]

guys........ between what's happening in the chainsaw man manga and the leaked info for arcane s2 I just saw.... my blorbos are in fucking peril... my mind is an absolute mess and I have the overwhelming urge to sit on the ground and rock back and forth

[akuma-tenshi]

i was thinking about how teenagers often look like grown-ass adults in fiction (and are often played by adults in live-action work) and i realised ithaqua kinda has the opposite issue. at least imo.

look at this baby-faced motherfucker. look at him. i don't know how much time passes between this and his whole going insane thing but i know it's not much considering the fact that he's seen later looking pretty much exactly the same shortly before becoming a hunter.

he looks slightly older but still very young in this shot. it may be just the angle or his expression but he still does look like a teenager.

and he looks slightly older here too, which again i believe is the expression because again—

HE LOOKS LIKE A FUCKING BABY IN THE NEXT SHOT

like. a deeply haunted and traumatised baby but a baby nonetheless. by "baby" i mean "mid to late teens" because that's very much a baby when compared to the rest of the cast (plus i'm just calling him a baby bc it's funny). the point of this is that he looks very young when seen without his mask.

even in his concept art, he looks young. he's tall and lanky as hell, sure, but he still has a serious case of babyface.

LOOK AT HIM!!! when he's not doing that face on the far left of the close-up, he looks like a teenager. he looks Baby. and you're telling me he's a grown adult?? i think it's the size of his eyes plus the small smile and the wavy hair, but just in general he looks very young imo.

this isn't a dig at people who headcanon / portray him as older!! i know canonically he's a young adult (i'd imagine early to mid twenties?? that's where i always imagine "young adult" falling) and i'm very much in the minority here lmao. but i will always see this fucked up lil mama's boy as no older than nineteen tbh

sorry i love talking about him so much i've been writing him lately and he's so much fun once you get into his troubled little head

[crystalkitty1220]

Man I wonder where the leader of the fear realm could've gone, it's alMOST LIKE NEVIN HAS AN