#just me going on a tangent

[faefaefaeriegarden]

Personally I feel like the ONLY way this could work is if they used the plot of an already existing game. And. You know they’re going to do OoT.

just makes me sad bc twilight has such a great standalone story and also, midna talks, so they wouldn’t need to have link talking the whole time, and also, the aesthetic, the music, the beasts, I justtttt

cmon Nintendo give us tp movie adaptation pls don’t multiverse us 😭

In all seriousness nobody knows what they’re going to do, and it will be different since LoZ is a fundamentally different series from sm, and I’m very biased towards tp. But just! Very anxious about what is going to happen with this movie 👀 at its core Zelda is just not something movie studios would be brave enough to do without messing with it

Sooooooo anyone wanna take bets on that new Zelda movie?

[trans-axolotl]

my gendered experience growing up as an intersex person was overwhelmingly defined by my responses and resistance to everything that got me labeled as a failure: failure to quickly get a gender assigned at birth, failure to go through a normal puberty and grow up into a woman, failure at meeting the standards for "complete womanhood" because of my intersex sex traits, and yet simultaneously failing to ever be acknowledged as a "real man" and being treated as a threat when I expressed I wanted to transition.

before i realized i was a man and came out as trans, the ways that girlhood was denied to me was very often humiliating and painful. locker rooms filled with other girls were a frequent source of shame. there were many big and small ways that i was told that my intersex body made me insufficient, incomplete, broken. i was forced onto estrogen, forced into shaving my body hair, and was constantly being told to change myself to better fit this mystical idea of a "normal woman." and even though I ultimately ended up becoming a man, the denial of girlhood was painful.

but i think that these things would have been even more difficult to navigate as an intersex girl if on top of everything I already said, i was having to cope with the denial of my girlhood while i was forced into boys locker rooms. if my doctors were forcing me onto testosterone hrt and refusing to even discuss estrogen, if all my legal paperwork had "M" on it and was a logistical nightmare to change, if every support group for my intersex variation labeled it as a "men's support group," if the LGBTQ community spaces i tried to join were misogynistic towards me often to the point of exile, if my self determination as an intersex girl was denied in most spaces of my life, and on and on and on. while listing all these things out i also don't want to make it seem like it's all about suffering and pain--so much of transition for me has been about joy in my self determination and how much it feels like a reclamation of autonomy to decide what I want my body and self to be like--i know this is an experience i share with so many of my trans intersex friends.

as an person who was AFAB, although there were many ways that trying to grow up as an intersex girl were a painful, logistical nightmare, many times and places that i was excluded from woman's spaces, etc. however, there was a simultaneous affirmation that i was right to strive for that in the first place. which is logic rooted in some fucked up compulsory dyadism, but also which would have made some things slightly easier or even possible at all if i had wanted to embrace being an intersex girl within this fucked up system.

pretty much every time i've seen people on tumblr talking about "afab transfems" in an intersex context, people seem happy to collapse these experiences and act like there's no meaningful distinction or point in distinguishing between different types of intersex embodiment. it seems incredibly extractive, to be perfectly honest with you--taking terms already used by a community to make meaning of their experiences and to expand and dilute that term enough that it means something pretty different than the original.

it's making me think about the concept of epistemic injustice, which is a term coined by Miranda Fricker to describe oppression related to knowledge, communication, and making meaning of the world. There's two subtypes of epistemic injustice: testimonial injustice and hermeneutical injustice. Testimonial injustice refers to the dynamic where marginalized people are labeled as not credible, excluded from conversations, and their testimony and knowledge is labeled as unreliable, even when they're the ones who are experts and have first hand experience of what people are talking about. (this is why i probably won't make this post rebloggable--i've noticed this pattern on tumblr many times where trans men speaking about transmisogyny get lots of notes and are given a lot of grace, where trans women are silenced, attacked for not having perfect wording, and otherwise delegitimized.)

the second type is called hermeneutical injustice. it describes how marginalized people are denied the right to make sense of the experiences in their own lives. this can look like preventing people from building community, terminology, a political understanding of themselves, and the interpretive resources needed to process how you live in the world.

this is a form of injustice that I think almost all intersex people are very familiar with--we are denied community and interpretive resources to the point that we're told we don't even exist, that intersex isn't a real word, and so many more examples that leave us isolated and with very few options for understanding what we're collectively experiencing. as an intersex person i really intimately understand how frustrating, confusing, and painful it is to not have words for your experiences, your identity, your life.

so it makes me really sad and pissed off when it seems like intersex people seem to be replicating this exact same type of epistemic injustice towards transfems and specifically towards intersex transfems. pretty much every time recently i see people talking about "afab transfems" they're doing so in a way that seems to deny that trans women even have the right to make sense of their own experiences in the world. there seems to be this mindset that these political frameworks, these interpretive resources that transfems have built up are just up for grabs for anyone. and then on top of that has come with it a lot of cruel, hateful language and direct attacks towards many intersex transfems who are facing so much harassment right now.

an important value to me is this idea of reciprocity as a foundation for solidarity. to me reciprocity means that we're prioritizing the ways we care for each other, we're thinking about how we can uplift each other, and we're watching out for extractive or exploitative patterns where one group is constantly expected to be in "solidarity" with another group without getting the same respect and care back toward them. i think that there could be so many ways that intersex people of all genders could share our overlapping experiences and actually be in true, meaningful solidarity with each other, but i barely ever actually see that happen on tumblr. and that pisses me off, because i do think that there's so much we have in common that we could celebrate and support each other with. i feel so much kinship with so, so many of my trans intersex friends, and ways where i see our lives converge. but i don't think that can happen in an environment where there's no acknowledgment of the ways that our experiences will sometimes (often) differ from each other, and the ways that we have unique needs.

another frustration i've had based on this most recent couple months of transmisogynistic intersex posting on tumblr is how intersex people have been mostly ignoring intersex community resources and devaluing the existing intersex terminology that people created to try to meet our needs. so much of what i've seen people describing on tumblr seems to really line up with the term ipsogender. Ipsogender is a term coined by an intersex sociologist Cary Gabriel Costello, and is used to describe intersex people whose gender matches the gender they were medically assigned at birth, but who might not feel like cis or trans fits them, might experience dysphoria, and who might feel like they've ended up transitioning medically or socially in some ways. this is a word that exists that an intersex person put time into coining because they wanted other intersex people to feel seen, embraced, and have ways of understanding themselves and communicating to others, and that's something that's super meaningful to me! and yet, i've rarely seen anyone reference it, and also seen multiple people making fun of it in other spaces online.

there's also intergender, which is another intersex specific gender term used to describe when your gender is inseparable from your intersex traits, and that your intersex identity is intertwined with your gender identity in some way. some people just identify as intergender, others use it as an adjective and exist as an intergender man or woman. intersex terminology like this is really important to me, especially because we're so often denied the right to make sense of our own experiences.

i think ultimately what i wanted to say with this post is just that when i think about intersex community, some of the most important values of intersex community for me are solidarity, care for each other, and affirming our right to define our own existence. and i don't think that can happen in a community where people are acting in extractive ways, harassing and attacking their fellow community members, and being dismissive of the realities of other intersex people's lives.

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[longingquiet]

thinking about daniel molloy absolutely mesmerised by the vecchio painting in a trip to louvre. he’s in his late 40s, a "romantic holiday". and he is unmoving in the paintings presence, drawn to the man kneeling on the right. a connection he cannot explain. his wife buys him a postcard with the art on, he uses it as a bookmark for months. there’s a smudge on it, damaged, where his fingers had caressed that ancient face far too often.

[dkettchen]

I do enjoy dressing her entirely in canon outfits/cuts and the occasional top she's borrowed from nami and being like ye canon!sanji sure does own a pair of 3/4 pants with ballerina loafers he sure did wear that before with his whole cishet man ass and we didn't bat a single eye at it

[introspectivememories]

street interviewer: what's your type?

tim who's just trying to get to work: i have a boyfriend

street interviewer: so what's your type then?

tim: my boyfriend

street interviewer: and what does he look like?

tim who will absolutely gatekeep bernard from the general public: he looks like my boyfriend

street interviewer: so what would you rate me out of 10?

tim: um i can't do that

street interviewer: can't rate me at all?

tim: i can't rate you at all

street interviewer finally realizing that this is going absolutely nowhere: what would you rate your boyfriend out of 10?

tim smiling stupidly: he broke my scale cause he's so beautiful

[todayisafridaynight]

[habken]

But it really is messed up that tenko never even had a chance. From the start he was doomed, and he was never going to be saved. All for one made sure until the very end that tenko was a pawn in his own story, how cruel is that

[frankiebirds]

what an incredibly normal and not at all autistic thing to say! (lying)

[mamawasatesttube]

it's like, i really do enjoy most of the bats as characters and i really do like a lot of their comics. but also i am sooooo tired of them being hailed as better than literally everyone else. both in fanon but also in comics (modern ones are esp egregious imo, like WHAT was that shit about batman and the joker being the most dangerous men on the planet. hi. have you heard of lanterns? speedsters? supers? actually if i keep listing groups who could kick batman's ass we'd be here all day). they're like kudzu. that shit needs to stay in its native environment (funky little neo-noir detective stories) and stop being an invasive species (putting down everyone else to make them seem cooler). put bruce wayne back into a murder mystery setting that isn't about saving the world but is about saving one person or one family that no one else would've saved right now or so help me god. the whole invasive species cross contamination thing is unhealthy for both him And the other ecosystems he keeps getting transplanted into. please. it's so dark in here

[seelestia]

Aughh the Aventurine x bodyguard reader food 😩😩🙏🙏I need a part 2

THE FOODDDD 🙏 i honestly didn't expect anyone to ask for a part 2... but i have to gauge how many people would be interested in it first. so dw, i'll keep it in mind! as for now – since we can consider the gambler & knight post as a meal somewhat, have a snack in the form of text messages! (i tried emulating his canon texting style, can u tell.)

[ note: messages were made using this site! the creator also has a kofi if u'd like to show some support ‹3 ]

⎯ exhibit A: his favorite employee

⎯ exhibit B: aftermath of a deal gone wrong

[jade-of-mourning]

finished (please reblog that one!)

don't know shit about this fandom but my friend showed me the youtube videos and i was like oooooo… i have no idea what kinger looks like.

anywho; sketches. will probably clean these up & color properly at some point bc jax got so stretched that he is approximately 3 pixels now. but until then i figured i'd just put it out here bc i have to do college instead of drawing now!

[valgeristik]

Ничего не останется от нас, Нам останемся, в лучшем случае, мы

hi. hello. listen to this song

i have so many thoughts about these two. oh my god. maybe i will write it out some day, but for now drawing it out will do

translation will be under the cut! knowing the words does add to the work so i do recommend reading it. or just enjoy the art <3

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heres the translation, color coded according to how i broke it up for the art. just in casies

first page:

Love is scarier than war

Love strikes more true than steel

second page:

More true, because of your own volition

third page:

You run towards all the winds

Let there be pain and eternal battle

Not atmospheric, not earthly

fourth page:

But definitely with you

caption:

There will be nothing left of us,

we will be left with, in the best case, ourselves

[mxrisacoulter]

[tiredandoptimistic]

I've been thinking a bit about Comrades In Arms, and I want to talk about bow Margaret's behavior towards Hawkeye once she thinks they're A Couple sheds a lot of light on how she views her place in romantic relationships.

Firstly there's the obvious thing that she's so focused on a potential serious relationship that it doesn't really occur to her to see things the way Hawkeye does (friends can have sex sometimes and don't need to make it weird afterwards). Margaret is no stranger to casual sex, but this blending of sex and a strong emotional bond with an absence of romance seems to throw her off. She and Hawkeye are good friends, they're clearly attracted to each other, why shouldn't he be her next great love? Sure, he's not the type of guy she ever pictured herself being with or even felt super interested in, but Frank and Donald were far closer to her tastes and they both turned out terribly.

Secondly, I think it's very important to note how completely her behavior and attitude change after she and Hawkeye have sex. Part of it is probably just her feeling genuinely optimistic about her love life for the first time in a while, blending with general exuberance over not dying in the shelling overnight; but I think a lot of it comes from her mentally shifting Hawkeye from a friend to a romantic partner. We see with Frank, Donald, and Scully that Margaret is more than willing to change herself to suit the needs of her lovers. I'd even go so far as to say that a lot of her arc is about learning to stand up for what she wants in a relationship, rather than just slipping into the submissive wife role.

I've talked about this in other posts, but I think it bears repeating that Margaret yearns for love and affection and since it's the early 1950s she believes that the only way to find that happiness is by conforming strictly to gender roles when it's expected of her. She's too feminine to be content as a full time soldier, too masculine to be content as a full time housewife. Rather than trusting that she can find a unique path that works for her, she lets herself change to fit the narrow view her society holds on gender. She likes Scully, Scully likes housewives, so she'll act like a housewife when she's with Scully because the alternative is being alone. Simply put, I'm not sure that Margaret really believes that anyone will truly love her for all that she is. Now of course this mindset is something she grows out of, and in that Scully episode she ends up telling him off and giving up on that relationship because it's not worth being with someone who would force her to keep changing and changing herself to fit his ideals. Still, she doesn't have that perfect partner who will love her in all her complexity.

Going back to the episode with Hawkeye, I find it fascinating that Margaret slides so cleanly into this supportive girlfriend role. She's immediately endlessly complementary to Hawkeye and acts like all his ideas are brilliant and all his jokes are hilarious, because that's how she thinks you get a man to stick around. The problem is, for all his issues with misogyny, Hawkeye doesn't actually want a doting yes-woman who agrees with everything he says. He's made uncomfortable by Margaret acting this way, because the real reason she's one of his best friends isn't because she's hot; it's because she's Margaret. He loves her for her genuine personality, which is why they're only really to fully click once Frank is gone and she's no longer dampening herself to fit with him.

Ironically, in trying to make herself more romantically palatable to Hawkeye, Margaret instead becomes totally unappealing. She's so completely unused to the idea that someone could be into her for her, she thinks that step one in a relationship is to embrace all of her most extreme femininity because she thinks that's the only type of woman who can be loved.

In the end, I'm really happy with the way Margaret and Hawkeye's relationship turns out. They have an extremely close friendship that isn't devoid of romance, but at the same time neither of them actually wants to be together as a couple. Margaret never needs to change herself for Hawkeye, and in fact the more she embraces her own convictions the more deeply he cares for her; but that doesn't mean that they're actually suited romantically. They fit into each other's lives in a different way, which is something Margaret isn't used to. I don't think she fully realized that she could have deep relationships with men other than a husband, so I truly adore seeing her open up to other members of the 4077th and building those bonds with Hawkeye, BJ, Charles, Klinger, and Colonel Potter. Putting up a tradwife facade only works in prolonging relationships that should never have lasted in the first place, and by the end of the war she's moved past that by learning how to love herself and building up a support system of people who embrace all of her contradictions.

[achingly-shy]

ALSO the end of the episode when jemma is telling fitz that he’s the real hero because he was beside her the whole damn time in the lab and was giving her hope when she had none and then she kisses his cheek and walks away and he sits there smiling and then that smile slowly turns into more of a thinking contemplating oh shit face AND THEN HE KNOWS HE NEVER GOT OVER IT HE NEVER GOT OVER HER