#i will marry you anne

[dustykneed]

Hello! Random whipper snipper! Share a WIP of your work!

ooh, with pleasure. six the musical araleyn fanart? in the year 2k24? more likely than you think xDD

i realize this looks finished, but technically i'm still deciding whether to add a background or not lol. still, for the sake of sharing a proper WIP, here's a line or two from an araleyn brainworm WIP that i started reworking yesterday (mild tw for religious guilt and period-typical internalized homophobia from aragon's pov):

She remembers sharing her bed with Anne at Henry's behest, remembers the nights of tossing and turning and trying not to think about Anne asleep next to her-- remembers waking up to dark hair spilling across her pillow and the press of blood-warm bosoms against her own, softer than sin, as hot as the Devil, remembers lying still as death, mouthing prayers into the heat of Anne's neck like an act of penance.

[frivolette]

I lost my heart for a few days to a young girl, but she disappointed me on my finding that she took no interest in Anne Boleyn. 

Thomas Hardy, The Life and Work of Thomas Hardy

[hooked-on-elvis]

𝗜 𝗪𝗜𝗟𝗟 𝗡𝗘𝗩𝗘𝗥-𝗘𝗩𝗘𝗥 𝗪𝗔𝗧𝗖𝗛 "𝗖𝗛𝗔𝗡𝗚𝗘 𝗢𝗙 𝗛𝗔𝗕𝗜𝗧" 𝗧𝗛𝗘 𝗦𝗔𝗠𝗘 𝗪𝗔𝗬... It's not really anything from our business but Elvis' personal life is very, very entertaining - plus, knowing those things fans can always choose to live vicariously through the King's enormous list of love affairs.

From The News Examiner by author Trina Young — whom I love, btw... she really does an incredible job researching on Elvis' life and career — watch the video above on Elvis' romances on set of Change Of Habit (1969). Below, an excerpt from a book mentioned there:

While on set, Elvis and Mary, during breaks would "lie on a big blanket out in sunshine of the park, surrounded by extras and other actors, making out like teenagers. I don't mean affectionate pecks on the lips either. I'm talking about arms wrapped around each other during lip-locks that lasted fifteen minutes or half an hour. No one else on the set paid any attention to this behavior." From reporter Ann Moses' memoir book, released in 2017, "MEOW! My Groovy Life with Tiger Beat's Teen Idols":

Can you even look at these pictures the same way now?

PERSONAL COMMENT: Man, Mary Tyler Moore AND Jane Elliot? Seriously? Elvis had no shame at all, if that is true. Well, he certainly didn't - just thinking about the fact that he was married and had a tiny little baby at the time - but which actor or musician does? Very few. I always see things like this from a perspective of real life... If people in real life cheat all the time then how could we expect that stunning people, with money and fame and all the temptations surrounding them 24/7, don't do it? I mean, it doesn't make things right but it's not something only Elvis and Mary did - and at least concerning E we all know his wife cheated on him too, at given point - so we can drop the judgmental comments on marital status here because that's old news.

What shocks me is the suspicion he was having a thing with two of his co-stars from the same movie. Okay, supposedly it wasn't at the exact same time - apparently Mary was "inaccessible", according to Jane Elliot, so Elvis and Mary didn't get along very well compared to his relationship with other actors that worked on COH, and for that we can suppose she and Jane weren't actually friends either. Trina supposes his romance with Mary was very short-lived... and then (or prior to him and Mary happening) him and Jane happened. At least E (supposedly) wasn't having a thing with two girls who were friends with each other, behind their backs and at the same time but still... co-workers! Surreal. To me this is shocking. I always believed Mary when she said she didn't have a thing with E... Jane I had my suspicious but it's still not confirmed as far as I know. But now that I learn Mary was (apparently) lying, from a reliable source, eye-witness, adding this to the rumors (some gossip from the director based on situational "proof") that E and Jane had an affair during the making of COH... this got even funnier (to be kind).

I personally believe Ann Moses when she shares many, many years later what she saw between E and Mary in 1969 - and based on pictures I also believe him and Jane had a thing going on at the same period. I'm not judging any of them here. Even if it was all true, we don't know the real situation (how that happened, why it happened, the mood between the actors…) Still, c'mon, isn't that weird to imagine that Jane might could've seen Elvis and Mary and afterwards (or at the same time, who knows?) she got together with him even so? In other situation, isn't that weird to imagine, on the worst case scenario, that E got together with Jane and then he moved on to Mary right on Jane's face? Now, they were all grown-ups, all of them knew what they were getting themselves into (hopefully). I'm just sharing my thoughts, not for a sec intending to create any kind of morality shame on those people. Just like everything about Elvis, his love life is something we have fun (?) speculating about. Anyhow, one thing is true... ELVIS AND MARY TYLER MOORE DID HAVE A THING GOING ON IN 1969.

Oh, and about Mary saying Elvis said he slept with all of his co-stars except one, meaning it was her? I've read somewhere that Marlyn Mason said the same thing. I guess she was really the only one. Okay, making out and "getting into bed with each other" are two different things but still... things point more to Marlyn being the one than Mary. Again, who knows?

[fishyvamp]

Related to this

Reader who rambles about history the moment Trapper asks about the moon landing. You sitting on his chest as you enthusiastically talking about the space race and while yes he finds it fascinating, but there are words you're using that he knows nothing of. So he just staring at you with the lovesick eyes watching the way your body bounces as you enthusiastically describing the entire world holding their breath sitting around their TVs, he knew about those thanks to The Onryo and Hillbilly though he still remembered freaking out about it then. You just going on standing up on the bed quoting the iconic moon landing quote, "one small step for man, one giant leap for mankind."

"do humans live on the moon in your time?" Trapper asks with a big grin, it sounds so cool and to have humans finally able to travel to and from the heavens. Surely they did more then that. Your face dropping as you admit that in your time they had only done that once, but they are hard at work trying to get to Mars... Or at least corporations are. NASA's budget has been cut a lot, but hey you can explain the lesbian space crime incident and that some billionaire launched one of his cars into space just because he could. So that's something...

[ablatheringblatherskite]

So... I have found something on YouTube. But let's try not to get this too crazily noticed, eh? We don't want it getting taken down!

Credit goes to the uploader! All I did was share the links here LOL

Also there's a lot of videos of One Day More, the last song, on YouTube!! So you can just look for that yourselves, although I will give you ONE link

[bethanydelleman]

Jane Austen Charted #3

Wentworth’s Persuasion Graphed

X Axis: Time

Y Axis: Emotion Level

Possible Emotions: Agony, Hope, and Half Agony, Half Hope

[arkhammaid]

If you even do write ur girl max fic I humbly put Daniel forward as a love interest because the mutual obsession they have with each other is already veering towards romance and they both deserve it

about this ask

hmm so the thing is. i totally see the maxiel thing working out in the early days, but the moment daniel leaves red bull? yeah, that would turn nasty real quick. and i honestly don't know if they could ever fix it because may becomes a world champion while daniel is stuck at the backfield, he would have some issues and max would have issues with daniel having those issues

i just feel like,,, maxiel is max having her first real crush on someone and daniel basking in that attention. it could work, it could have worked, but only if daniel got his shit together which he didn't. also, i feel like daniel would become bitter when max becomes closer with lando and later charles, and max doesn't understand why he's being a bitch

so instead of just talking, there would be a lot of resentment between them and even IF they finally clear it, i feel like max just... dunno. rather have her single and slaying and serving cunt lmao

[sieglinde-freud]

started another file and got two really terrible pairs of siblings. arent they pretty :)

BONUS I MARRIED ONE OF EM I LOVE U FOREVER PINKNIGO 🫶🩷

[booasaur]

The Nevers (2021) - 1x07

[arsenicflame]

i need anne bonny to be terrible btw (affectionate)

[dustykneed]

what if i drew myself stress relief musical sapphics.... what then....

can you tell i've been. hmmm. stressed this week LMAO (anyways if you recognise these pairs like that's awesome and you're so cool genuinely! but this is so self indulgent who am i kidding xDD)

[talesofsymphoniac]

Jo March from Little Women (2019) makes me feel aromantic feelings: a manifesto

Okay, basics out of the way-- Jo lives in a time where she is expected to get married and explicitly expresses that she likely never will and has no desire to.

Her character explores ideas about family and growing up and the idea that the past/childhood can't be clung to-- as Beth puts it, "It's like the tide going out. It goes out slowly, but it can't be stopped." In context, she's specifically talking about her impending death, but it's not too much of a stretch to apply it to Jo's sense that "childhood is over," a sentiment that she expresses at Meg's wedding.

Marriage is something that seems to weigh heavily on Jo's mind throughout the movie-- not only is she shown to be supremely disinterested in it for herself, but she also expresses multiple times that she also dreads the marriage of her sisters, viewing it as having them "stolen away" from her. Multiple times in the movie, when she expresses this sentiment, the response she gets is that she will understand when she falls in love, herself. It goes without saying that that is something aromantic people are told a lot-- that they will understand when they meet the right person-- but what resonates with me about this is something else: in these scenes, Jo is expressing her distress, but those who care about her have no way to understand the source of her distress, and no real way to comfort her, because in the framework of their society, there are very few respectable alternatives to marriage.

To me, the scene that highlights this most strongly is the scene where Jo tries to talk Meg out of her marriage. The quote that gets remembered from this scene is Meg's line, "just because my dreams are different than yours doesn't mean they're unimportant." Which is true, and a deeply powerful thing for Meg to get to say, especially given that she's marrying a poor man for love after she's had it impressed on her that she needed to marry well to care for her family.

But that line is heartbreaking from Jo's point of view. Because while she is certainly being a bit of a dick about her sister's future husband, this scene is a last-ditch effort to explain to her family that she feels abandoned and lost. To me, it kind of parallels Laurie's confession later-- Jo wants, more than anything, to stay with her sisters, and she knows that it's not a possibility the way she wants it to be. In the last moment, she confesses this, knowing what Meg's answer will be, knowing that Meg loves her but that they see their futures differently and there is no way around that.

Meg refuses her, explicitly saying that what she wants is to build her life with her new husband. And that's right for her to say, and I very much doubt Jo expected her to say anything else. But Meg says "childhood was going to end eventually. And what a happy end," oblivious to the fact that for Jo, it isn't a happy end at all, and furthermore there is no clear happy ending in sight for her.

I think there is a lot to be said about the fear of losing one's childhood and having to step into adulthood. But I really think there is more going on than that, here. When Laurie confesses to Jo, she tells him that she doesn't think she will ever marry. But she knows that her sisters will, and that Laurie will. It's not just that childhood is ending; it's that as a child, the roles that society expects of her are those of a sister, daughter, and friend, and these are roles she takes on naturally and happily. But for her, stepping into adulthood means new social roles that she can't fill.

She spells this out very clearly when Laurie confesses to her. She can't see herself as a wife, or as a mistress of the house, or in love with Laurie the way a wife should be. Laurie points out that Jo has avoided dealing with his feelings for her for years, and I think the reason for this is the same reason she dreaded Meg's wedding. To Jo, marriage is the reason she loses Meg and Amy, and it is also the reason she can't maintain her position as Laurie's closest companion.

I know that some people probably read Jo's letter to Laurie agreeing to marry him as a feelings realization, or else her settling for a husband that she likes, if not loves, but given her speech about feeling lonely, I read it more as Jo's realizing that if she wants to keep the role she has in Laurie's life, the only way to do it would be to become his wife, or else someone else will. In other words, even though Jo explicitly loathes the idea of marriage, the only way she can see to maintain the closeness that she wants is through marriage.

Laurie says of course she will marry-- she loves too deeply not to. Her mother says that just because she wants to be loved by Laurie isn't the same thing as her loving him. These comments, to me, combine to represent a hurtful trap that nonromantic people are often hit with: Jo is both "too loving" not to eventually find someone she wants to marry, but also, the love she has for Laurie is "not loving enough," since she doesn't want to marry him.

Of course, Jo does get her happy ending adulthood in the form of the school she starts up, with her family ultimately remaining close to her, as well as her own marriage which may or may not have been a fabrication for her publisher. When the world doesn't provide a path for her to follow, she's able to make her own, and of course I think that speaks to all women, straight or otherwise. But those particular elements will always ring a very strong aromantic/asexual bell for me, and I just wanted to talk about that for a while, thanks for reading all this bye.

[grlfriends]

ok I do understand that Japanese terms that make rounds around anime communities do go through a process of being given new meanings most of the time but also. I don't think the ppl who don't know Japanese don't interact with Japanese ppl and don't interact with Japanese culture outside of anime are using the Japanese definition of some terms bc they care but rather bc it makes them sound less worse

[wolftozier]

jace :( jace I don't feel good :(

[vilonnie-arts]

more hakama ann because brainrot is forever I guess

[ID: A digital drawing of Ann Takamaki from Persona 5 Tactica. Ann is wearing her samurai outfit and her hair hangs loose in front of her face. She is crouching down with her sword held out in front of her. Her teeth are bared, exposing fangs, and her eyes are wide and furious. There is a shadow over her face. In the background, she has slashed through a lineless portrait of herself in the bride outfit. End ID]

[bethanydelleman]

The best (worst) part of The Tenant of Wildfell Hall is that Arthur isn’t hiding his red flags. They are right there. Helen’s aunt can see them clearly, but Helen wants to save him and she’s charmed by him and she just casually walks right by every flag.

He’s toying with my feelings by flirting with someone else? I want him back.

He held me against my will and kissed me? My fault for drawing his picture.

He took my drawings without permission and then is angry at me for it? It was my fault and now he’ll hate me.

He’s severely in debt? It was his father’s fault for being so miserly.

He came to church and mocked my dearly held beliefs? It’s... fine.

He drinks and parties way too much? It’s just his bad friends, he’ll stop hanging out with them once he marries... right? He’ll settle down once he marries someone he really loves.

He uh... dragged his friend back into addiction for shits and giggles? Well I didn’t enjoy hearing about that but I’m telling you he’s going to change and I’m already pretty far into this engagement now...

Because Helen thinks she will fix him, or that love with fix him, despite her aunt telling her that it is a horrible idea and that she should choose someone else. But Helen is 18 and in love.

It’s the same feeling as a woman walking alone in the woods during a horror movie, when you want to scream at the TV for them to turn back. 

And you suddenly know what it’s like to experience every parent’s worst nightmare: watching a child you love walk straight into an abusive relationship no matter what you do. We are all Helen’s aunt and we cannot save her.

And then like that parent, we have to watch the consequences without being able to help, because it takes Helen so very long to finally, finally reach out for help.

And then we learn how extremely hard it is for a financially dependent spouse with a child to escape from a relationship like this. How do you get money, where do you go? Will anyone in your family actually help you? Yes, laws have changed, but this book remains so relevant because these situations still happen every day. How to get away, how to conceal your location, how a person lives in fear that no one will believe that you have been abused because you can’t show them scars...

Anne Brontë just takes us on the most harrowing journey imaginable and it is terrible and traumatic and so important.