#gs thoughts

[lazylinepaintergigi]

The whole idea that is glorified on here about people only wanting others to be 'violently obsessed' with them wipes me out. Yes because that sounds totally healthy and not toxic at all 😊

[wolfiery]

The taste in the mouths of the starving crowds Oh, pulling at the leaves, pulling off to me In feet first the savage dust Don't leave me be, leave me be

[marley-manson]

Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

[emry-stars-art]

Hi, i just want to stop by to tell you how much I love your art and even more your Royal au

I hope this is in no way an offence but I found this post https://www.tumblr.com/gatorparade/721685064988131328 and immediately thought of you and His Highness Prince Andrew.

I wondered if on a walk Andrew stopped to freshen up and Abram, in keeping watch, found himself observing him from afar and what thoughts he might have, not so much at the Prince’s splendid figure but how much he manages to convey a calmness to him that he never had, a kind of serenity that radiates, that he can read in Andrew’s eyes when they finally meet.

Feel free to ignore this if it doesn't inspire you, I love everything you post regardless, you cannot know how much your blog brightens my days ✨

Okay im FINALLY HERE

I wish I could have done this more justice but this is what I got, I love the idea of Nathaniel/Abram first seeing the little bits of humanity and vulnerability (only the barest bits but it’s much more than the Moriyamas ever gave) from Prince Andrew and like. It jumpstarts the idea that Palmetto is really and truly different than Evermore or something TT

anyway the linked post [here] is first off gorgeous (it’s an oc if I remember, pls go give the artist some love if you can we appreciate ocs in this house) and second I LOVED THE VISION. Im sliding a little writing snippet under the cut so thank you for the ask :DD

Find the royal au masterpost here 💕

The prince said he just wanted to acclimate Nathaniel. His short, matter-of-fact way of speaking was still unfamiliar - he sounded as if he was being transparent, but Nathaniel knew better than to take royalty at their word.

It wasn’t as if he had the choice to refuse.

He accompanied the prince on his ride of the outer courtyard. There wasn’t much for Nathaniel to do; unfortunate, because he couldn’t distract himself with real work. The prince was bringing him deep into the untamed grounds, through thick trees and bushes. Secluded and private. Still, Nathaniel said nothing.

After countless minutes of what should have been easy silence, they reached a creek. The prince guided his horse to a stop and considered something, lost in thought until Nathaniel had dismounted and approached. It took more effort than normal to remove his glove.

Nathaniel’s hand moving into his space seemed to jog the prince. He blinked, took a heavier breath, and held a little too tightly as he always did to slide from the saddle.

Despite Nathaniel’s every anxiety, he brushed right by without a word. Nathaniel watched dumbly as the prince shook his hair free of its tie, combing it out and kneeling at the creek bed. He splashed his face with water and ran some over his scalp to combat the midday heat.

He didn’t seem to be watching his back. He wasn’t hesitant or afraid for Nathaniel to see him in a state like this. Easy, casual. Even now Nathaniel was playing the possibilities in his head. All the ways the prince could be harmed in that moment. How easy it was for Nathaniel to see it and know the royal family wasn’t as infallible and godlike as they claimed.

But, then - the Minyards had never claimed godhood. Though the water made the prince’s hair sparkle.

Prince Andrew didn’t think himself as far above Nathaniel as Nathaniel had assumed.

The prince straightened then, turning a look on Nathaniel as he retied his hair.

“You seem rather heat stressed,” he said flatly. “Are you certain you don’t need some water?”

Nathaniel was certainly stressed. Just maybe not from the heat. He hesitated before gesturing aimlessly with the reins he held, one horse in each hand. He’d gotten too distracted to tie them anywhere.

The prince met him at his own horse’s head, taking both reins without a word.

“Go,” he said. Nathaniel forced his mouth closed when he found he couldn’t speak, and the prince gave him another unimpressed look. “That’s an order, Nathaniel.”

So Nathaniel let go and stepped back, still hesitant to let the prince hold his horse when it should only have ever been the other way around. But the prince had already turned his attention to GS, stroking the white blaze of his nose with as blank an expression as ever. Nathaniel wondered briefly if the prince’s face ever changed as he went to obey.

(Also thank you for your other kind asks AM, I cherish them and you 🥰)

[pain-to-my-auchocolat]

”what if i told you I’m a mastermind” - Carlos Alcaraz, probably

[ariaster]

Wuthering Heights - Emily Brontë // After Abel - Dante Émile // A Primer For The Small Weird Loves - Richard Siken // The Unabridged Journals of Sylvia Plath - Sylvia Plath

[javelinbk]

Following on from loveistoshare’s poll …

[ihatethisapp-gs]

T_T

[jtl-fics]

Words cannot express how tempted I am to write a side piece to FF that details GS’ POV from finding out her grandson got stabbed to the reveal.

I want to show her full commitment to the bit. Getting Paul to assist her, listening in as Andrew and Neil talked in the car, her thoughts regarding all of this, Wymack having texted her exactly where she needed to go beforehand, her going up to the receptionist and pretending she doesn’t know English to sell the bit further, the stroke of luck that is dear sweet Nicholas, Squeezing the SHIT out of Wymack’s hand so he doesn’t rat her out because he KNOWS she’s speaks English, and the realization that is “Aw shit, they’re good kids Sara and you’ve already lied to this extent already. Time for the Smith family tradition of ‘COMMIT.’”

[doe-prince]

Given Grimjav’s thoughts about Runi and what you said about how the rest of the mouth would handle her I can just imagine them all gathered around Runi going “Beautiful cinnamon roll too good for this world, too pure” xD

I think they'd be more like "this lady has a mission, move outta the way". I bet they like her more than Nero.

[sukugo]

moment of gratefulness that sukugo is not a super popular ship 😔🙌

[justkillingthyme]

I should be more insane about Clark again

[emry-stars-art]

Massarati was a courting gift to andrew from abram after he realized they were courting one another

My face reading this omggggggg

(Gonna put this up top instead of at the end; find the royal au writing masterpost here 💕)

So this is the 4800 words of fluff; @jtl-fics was bouncing a LOT of ideas with me about it and everything was so sweet 😭🥰 you can read it here! :D or continue on this post for the sparknotes version from Abram's pov (minus the picnic date tho 👀), and let’s showcase my inexperience with horses ✨

THIS IS GREAT I done got myself a little by making Maserati a rescue case… like Abram’s probably right about what happened to her though I didn’t fully decide on it (I’m also making up everything about horse breeds in this universe thank youuu). He’s out one day for whatever reason and comes across this horse in no pasture that’s tall, clearly made for working, but it’s far too skinny. A little skiddish, but not enough that Abram can’t approach after a while of trying. It’s a familiar breed under the dirt and malnutrition.

He doesn’t even bother seeing where it might have come from. He fashions a makeshift lasso/bridle thing from rope and takes a few hours calming the horse enough to bring it back with him to the castle, leaving it in one of the smaller/less used stables with plenty of food and water before going to find Day or someone else that might be able to help. She doesn’t look impressive at first, obviously. But with lots of help and lots of time from Abram taken in secret to the stables, she slowly starts to get better. She gains weight, she gets readjusted to people, she lets him take care of her coat and hair.

At some point, Andrew insists once again on keeping Abram nearby when Abram is having a worse night than usual. Panicking easily, generally unwell. (Andrew is also wondering why Abram is suddenly spending so much time away, why he won’t tell Andrew where he’s been or what he’s doing. It’s completely in his right to do it, so Andrew never forces the issue, but it’s such an obvious switch from his normal behavior. Right when Andrew thought he could start leaning into the courting, it feels like Abram is pulling away and it hurts a little. He gets worried.) Abram can’t sleep, and Andrew won’t sleep until Abram does, so they lay on his bed with Andrew resting against Abram’s lap, relaxing or reading or tracing scars with his fingertips. It’s a long while before Abram asks, unprompted, “Did you ever have an ideal horse?”

Andrew gives him a look.

“I mean… a dream horse. Maybe when you were little, something you always wanted.”

Andrew makes a small noise. “I think most kids do.”

“Right. So did you?”

It takes more convincing than that, lots of Abram assuring Andrew that it’s not stupid, he’s just curious. He’ll tell Andrew his next. And finally Andrew tells Abram of when he was young, living with the Spears, and would fantasize about being anywhere else. He’d take a horse as black as night so no one would see him when he ran away, a horse that was strong and fast enough to take him wherever he wanted to go. He used to imagine it would carry two, so he could take his governess with him, but that was before she left. It was all child’s play, anyway. It didn’t matter now. (Abram’s horse wasn’t so detailed, but he said if he had to pick a coat color, he was very happy with the blue roan he was given.)

So the next time Abram goes to the stable he looks at her, sees how well she’s bulking up, sees again how much larger she is than the Friesians he’s used to from Evermore. She looks even stronger than those already capable horses. When she’s healthy she can certainly carry two riders and more besides, and her endurance is like the horse equivalent of his own. Her coat is getting shiny again, sleek like black oil.

When she’s healthy and ready, Abram trains her. He again has help, of course - there are people who’s jobs it is to take care of and train the castle’s horses and it isn’t him - but she has an undeniable soft spot for Abram. They get her used to being fully decked out in nice tack and equipment and whatever else. Abram holds her steady to get shoed. The veterinarians/au equivalent make sure she stays healthy and the stable master grows more impressed with her every day. She’s not your average horse, he tells Abram. She’s smart. There’s real intelligence in those eyes.

Abram could not be happier.

By the time the twins’ birthday comes around she is ready to go. Abram spends the morning before his work begins making sure she is as sparkling as he can get her, all ready for her favorite stable hand to take her to the main stables later while Abram attends the prince at the festivities. The stable hand is going to put her in her new tack, too, the beautiful white set Abram spent a good chunk of coin to have commissioned. The horse is perfectly well mannered around people now, though only Abram and a handful others can ride her. Abram only plans his evening because he knows she lets anyone ride alongside him - if Abram deems them worthy, the horse won’t protest. It isn’t trust he ever takes lightly. He’s pretty certain she’ll end up allowing Andrew every privilege she allows Abram. He is so excited and so, so nervous for that night. She’s as perfect as she could possibly be, but Andrew has gotten Abram so many wonderful gifts. This is the first time Abram has returned the favor with such intention. Hopefully it’s good enough. (She is.)

Oh also in case you’re wondering. Andrew only needs a new horse because his beloved GS was finally retired, GS is old and now gets to spend the rest of his days in nice pastures where Andrew feeds him lots of treats 💕 every like is one sugar cube gods bless

[cazluvsu]

the jays are celtics for life

[sharkjumpers]

somewhere in a crowd

[sleepless-in-starbucks]

ways i thought persona5 would start: not like that??????