#if I also want to convey this message

[teasiswriter]

I dunno how else to express this, soooo

Reblog if you want your moots to know you are A-OKAY with being @ in anything (even if it doesn’t seem super relevant to them)

[a-scary-lack-of-common-sense]

Me trying not to rip my hair out while looking for an alternative way to start a sentence with 'but' without using 'however' for the 1829473949 time in a single paragraph, even though it literally doesn't matter because it's not like I'm writing a professional english essay

[batartshikns]

sigh. redrew thy trans chuuya practcing unsafe binding(which was heavily inspired by @/carrotkicks). reminder kids, NEVER do this. And never wear your binder for more than 8 hours!

(uncensored ver. under cut)

[moonviewer]

"I will keep going forward, no matter how hopeless it might seem."

(please do not repost my art and just leave a link to it if you'd like to share instead, thank you!)

[357magnum]

okay story time about the crazy grown ass woman from when i was a teen that would dump her hcs about otis csa from his dad and try to get me to tell her sex hcs about spotis cause it "helped her stress" and harass me for fanart

back when i just turned 16 there was this bitch who found me cause id post otis art on insta. grown ass adult woman btw. and she started to dm me and beg me for detailed hcs about sex (cause at 16 i was an obnoxious kinnie about spaulding and she shipped spotis) which in retrospect was extremely weird but that wasnt the fucked up part. she had like 10 different fics, some going over 40k words, where shed have entire chapters describing otis as a kid getting brutally raped by his dad. she was also super obsessed with otis having an ED and hip problems from where his dad broke his hips from raping him so much as a kid (keep all this in mind for when you read the screenshots). shed dm me randomly outta the blue while i was in class for my GED telling me her otis csa ptsd hcs. that was the shit that made me so disturbed. all of this was unprompted. and at 16 i was going through a lot with being homeless and my dad going to prison for dv so i was just letting her yap in my dms bc these things dont trigger me but it sure was fucking weird.

flash forward to about 2 years ago and she tried to ask jack for the otis bio pics and he was like hey....wait....aint you the cunt who used to fantasize child rape in my man's dms when he was a vulnerable teen and she deleted all her fics like they never existed. crazy shit.

screenshot dump just so yall can see how....strange this chick was:

^ this one isnt too bad its just so random. source? what the hell are you on about? why are you fantasizing about the irl man bill moseley with your weird ED fetish?

^ her randomly bringing up otis getting raped as a kid. again. as she always did. left the first part in just so you can see how she'd just shove it into every convo.

^ the first screenshot is showing how shed fucking interrogate me to give her descriptions of her weird fetish. also she wouldn't stfu about woobifying otis for it. love how you can essentially see me being like Why Are You Thinking About This So Much

^ this is just a general cringe screenshot cause im like yeah they used to rob places and kill people together of course cutter's dug a bullet or two out of otis before and vice versa. and shes like Fuck.....if otis went to the hospital.......how was my 16yo ass less cringe and more logical than this grown woman

^ i actually clearly remember i was ghosting her during this time period because of school and also just. i didnt wanna keep having her bring up kid rape about my man every 4 messages. and here she is doing it again unprompted.

^ ANOTHER UNPROMPTED OTIS RAPE HC !!! LET HIS HOLE REST GIRL GODDAMN.

^ im talking about my surgeries and this bitch just pops off with "otis hates sucking his dad off" i remember the whiplash this gave me and its been 6 damn years. it still takes me off guard every time i remember.

^ to end this on a lighter note cause this always makes me laugh. ma'am do you even remember who youre talking about

[cosmicswritings]

while megatron is a natural carrier and has carried many times in his life, starscream isn't, has never carried and it's not something he can naturally do, even though he wants to do it. in a lot of my aus, esp my tfp aus, the two of them run into a lot of trouble when they get together regarding starscream and carrying. it's weird to him because seekers don't ever carry, they are great sires- he's carried with seekers before during the war and even a bit after. And like all seekers, megatron just realizes starscream can't carry naturally, but it's still a desire of his and while megatron has only ever carried, he doesn't mind siring for starscream just because of how close they are. or at least, attempting to. starscream has to get a lot of procedures done to do it, many failed and unsuccessful. It's a first for siring for megatron too but he wants to do it with starscream.

the point of this little fic and running au of mine is that, while starscream has so many difficulties carrying, megatron is there for him. with every failed procedure and how depressed starscream is, he tells starscream about his own experiences to make him feel better. starscream eventually asks about it, how it feels, what it's like, emergence, etc. and when things don't work for starscream the first few times, megatron is always there to encourage him, and he convinces starscream not to give up.

eventually, things do work out and starscream is able to carry multiple times, but starscream enjoys hearing a lot about megatron's experiences. Starscream also listens carefully to what Megatron says about his past. He had many relationships where he was happy with his partners, and he carried and he and those sparklings are in close contact, but there are some more somber stories, where Megatron's sparklings were taken away from him when he was in the mines, where he was only used as property to produce more miners and he's lost those sparklings. Or where shortly after he had his sparklings, his partners took them from him no trusting him to be a good carrier (during the war)

Obviously, Starscream takes it upon himself to track down megatron's missing children, the ones he's lost contact with, the ones he doesn't know, etc. This isn't something unique to my tfp stories, where this au started. In most of my fics, Starscream goes looking for all the children taken from Megatron while he was carrying.

But the gist of this is that, Starscream has a lot of issues and difficulties with carrying because seekers aren't built for it, but megatron is always there to help him and make him feel like less of a failure and also help him after his emergances, because it's incredibly difficult for starscream.

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...].

— Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry", Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture

[taegularities]

get you someone who

[milfbrainrot]

i need to rewatch more earth 2 so i can write the crazey alien sex i was too busy thinking about julia/devon to consider

[agustdiv1ne]

i almost gave ttn!mc mommy issues but decided not to in fear of it being too much. i spared all of u.

[proteuus]

comes to your house to talk about management theory and my ex boyfriend for two hours straight

[hurtcomforted]

i have no idea what this movie is but he looks like such a mess (affectionate) in every photo i see from it

CHRIS EVANS on the set of "Materialists"

[actual-corpse]

PSA

Graphic design is the art of putting words and (sometimes) pictures together in a way that conveys information in a succinct and visually appealing way.

[xeneric-shrooms]

I've started watching some strange movie from 1997 and I have no fucking idea what is going on, I am not going to search up anything

[jane-asmo]

Why I think Caitlyn didn’t ask Vi for forgiveness

(Thank 'anons' for your messages. I’ll try to respond to you through this text: )

The importance of Caitlyn’s “I know”

A key moment in Caitlyn’s character narrative is her “I know”—both its content and delivery.

The content: When Caitlyn says, “I know,” it doesn’t just mean “You’re right.” It means, “I’ve taken the time to think about this.” And thinking is what Caitlyn does best. Her “I know” conveys that she has already had this conversation with herself, over and over in her head. She’s thought about it constantly, she’s already told herself these things, and she’s already blamed herself for them.

The delivery: She screams it with violence, and we can see this represented by the boat falling apart. It’s not just that she has thought about it; it’s tormenting her. Her “I know” is incredibly powerful because it’s filled with suffering.

To me, this is as valid as an apology because asking for forgiveness is outward-facing—focused on the other person. "Asking for forgiveness" says, “Whether I’ve forgiven myself or not, whether I feel guilty or not, it’s on you to decide to forgive me.”

But here, Caitlyn’s “I know” is inward-facing. It means, “I’m not asking you to forgive me because I can’t even forgive myself.”

She knows everything you’re saying, and it torments her.

This is followed by:

"I didn’t even have time to think before they hauled her off."

This line is so telling. Everything about Caitlyn is tied to thinking and reflection.

Being a sniper means aiming and shooting. Aiming is the equivalent of thinking, and shooting is the equivalent of speaking. Everything Caitlyn does is deliberate and thought through.

This is why some people dislike her: as I’ve said before, unlike other characters, Caitlyn’s actions can’t be forgiven easily because she doesn’t do anything by accident.

Then we get to:

"We can’t erase our mistakes. None of us."

Caitlyn speak in “we.”

In the prison scene with Jinx:

"No amount of good deeds can undo our crimes."

This scene mirrors the rage she felt when she threw the boat. In this moment, she’s speaking to Jinx, but also to herself.

Caitlyn and Jinx are paralleled so many times throughout the show. Caitlyn quickly realized that, in some ways, she had become like Jinx. And so, in order to forgive Jinx, she would first have to forgive herself.

At this point in the episode, the person Caitlyn hates the most is herself.

But she no longer has the "energy" to hate, neither Jinx nor herself.

Energy comes from fuel. What she perceives as a lack of strength to keep fighting is simply the fact that the fuel that powered her hatred has disappeared. And when you stop feeding a fire, it eventually dies out. She has no energy left; she has no fuel to sustain her hatred.

It's a particular way of saying, I don’t hate you anymore, and I don’t want to hate myself anymore either, because in the end, that hatred corrupts us/everything .

In her own unique way, Jinx also says, I didn’t know your mother was there, even if it wouldn’t have changed anything. And this too is a strange way of taking a step toward the other.

We have two brilliant and intelligent women who express their emotions in unconventional ways. ----------

There’s also a whole analysis that could be done about her concept of justice and rules, "but I don’t have the energy" to dive into that here. Still, it would only lead back to the fact that Caitlyn doesn’t see herself as the right person to free Jinx (and therefore to forgive her) because she believes she herself is beyond forgiveness.

[kurzler]

in my opinion, many modern greek retellings/stories inspired by greek mythology don't fail because they're inaccurate. they fail because they have nothing new to say.

i don't mind changes to the original myths, as long as they make sense and they have a narrative purpose! i understand that making changes is sometimes necessary to convey a certain narrative, especially to modern audiences.

is epic the musical mythologically accurate? hell no! but the changes serve to tell a specific story and to convey a certain message. also, epic the musical is self aware about its "inaccuracies". and the music just bangs.

is hadestown accurate? no! does it make the change that I always dread, removing the kidnapping from the hades/persephone myth? yeah. but hadestown is barely about them, and it uses greek mythology as a "narrative frame" to tell a certain story. it has a point. it has a message.

what are stories like lore olympus trying to say? what is the messagge of the hundredth persephone/hades retelling? what are we supposed to take from them? "don't listen to your mother she's a bitch"? "mothers are irrational and you should forsake her for a man"? very feminist.

why are we still doing the medusa "feminist" retellings? it's BEEN done. too many times. and they're ALL the same. it's a worse crime than being bad: they are boring.

i'm tired of retellings that are just "what if this very famous story was THE OPPOSITE and the protagonist was an ASSHOLE the whole time and the villain was MISUNDERSTOOD and the real VICTIM" okay but why. why would that be the case. what's the point of the story you want to tell. or do you just want to use shock value.

of course, i dislike retellings that are so different from the myth that they go AGAINST the spirit/message of the original, because in that case what's even the point of retelling the myth? just tell an original story. but i would take stabbed poseidon and capitalist hades any day over the same basic story of medusa being a girlboss or demeter being bad because of... reasons?

tl;dr: stop being unoriginal and tell a good story. or at least an entertaining one. i beg you