#like my guy ?????

[marzipanandminutiae]

me, telling a family anecdote: -so my grandmother was an interior decorator in the 1940s and 1950s, back when even that was a male-dominated field- like cooking or sewing, since, you know, it's fine for women to do as housewives or at lower levels, but heaven forbid we make decent money at it -and she-

male housemate: hmm :) I don't think that's true actually :)

me:

me: [experiencing the ancestral exhaustion of This Fucking Man(TM)]

[the-abyss-of-fandoms]

Me calling Solomon to take me back home to my boyfriends who all REMEMBER and LOVE ME and my husband Diavolo:

[galaxythreads]

oh and another thing! what was the point of having Loki develop friendships so that way he could "have a meaningful relationship for the first time in his life" when Thor was RIGHT THERE the whole time???

The movie saga:

The series, for some reason:

[oookaline]

I just wanna dip my toes back on how in the same sentence trump boasted how he went to finance school and shit but then proceeded to show little to outright no understanding and outright denial on how his tarrifs would affect consumers

[spop-romanticizes-abuse]

spop fans: catra didn't do anything wrong, shadow weaver abused and manipulated her!

also spop fans, when shadow weaver manipulates glimmer: omg glimmer is such a bitch, why is she siding with adora's abuser

(it's also interesting how the only time c//a fans admit that adora was also abused is when they want to hate on glimmer)

[sbd-laytall]

Smallville | 5.19 | "Mercy"

[obimaulartfire]

My friends do NOT find it as funny as I do that Disney wants to cancel Dave Filoni's Mandoverse movie because Ahsoka did poorly.

But I think it's hilarious. Like "oh your show about your blorbo was poorly written, we are revoking your Mando Privileges" LIKE jsdhfgkasjf the INSULT!!!!

[ratonahat]

It the meeeemeeee

Fun fact, the G I mainly draw is the tv version of him

Random headcannon:

Bc the guy literally gets himself either kidnapped or almost killed in every other episode (rip my dude 💀), I think the chipped ear is a suitable addition

[fandomfairyuniverse]

Okay dude you’re already kind of creepy but standing at the foot of a young child’s bed and saying “when the time is right we’ll be together” is. So unsettling.

[bulldog-butch]

absolutely bonkers to me when someone will message two, three, four times without response on an app without reply and not lose spirit

[bookwyrminspiration]

I’ll never get over how Kihrin’s solution to the complex assortment of problems and people at play was to kill himself twice

[ivefallenfordemonsandicantgetup]

*We fell on Satan?????*

This is funny if we're assuming we're a sheep like in the comic. It's horrible if we're assuming we're in human form. And even worse when I picture it with my middle age male dad bodied MC, Jack. My Female MC is less problematic. But Jack would break him.

Either way, poor babe.

[reviilo]

that one person in twitter complaining abt mutant mayhem making too much pop culture references would not survive tmnt 2012

[freckledsweetpea]

what's the deal with men in porn wearing only ankle socks?

[crowleysshittyglasses]

Happy pride month guys my male parrot is trying to incubate a wooden bead but can’t get it to fit under his little body

[teas-of-trin]

“Sharp Objects uses the mystery around the story of dead girls to dive deeply into the psychology of motherhood, and the entrapment of female characters in cycles of violence and their own traumatic family history—a history that repeats itself again and again in persistent yet futile attempts to resolve the childhood trauma perpetuated by the malevolent mother.”

“In Sharp Objects Flynn situates violence by and against women against the trauma and dysfunctionality of a matriarchal family.”

“There are two parallel stories of dead girls in the novel, the killing of… Natalie and Ann… [and] the mysterious death of Marian, Adora’s daughter….This meeting point between violence, trauma, and the female body points to a larger discourse that delineates the missing/dead female narrative and underlines a common culture “of the atrocity exhibition, in which people wear their damage like badges of identity, or fashion accessories.””

“Flynn also twists the dead girl victim narrative often found in crime fiction by shedding light on her complex female characters who often cross the line from victimhood to transgression and criminality. Sharp Objectsthus paints dark and disagreeable images of the mother as well as her daughters, who are both victims and perpetrators of violence.”

“Adora’s diary entry after Marian died shows this intense obsession with her daughter and death itself: “Marian is dead. I couldn’t stop. I’ve lost twelve pounds and am skin and bones. Everyone’s been incredible kind.”…In contrast, Camille recalls her mother’s neglect and coldness towards her, which seemingly shaped her upbringing and her mental state…Adora’s open admission of hate towards her own child can be viewed in light of the mother’s mental state and the broken mother-daughter relationship.”

“Camille is shown to suffer from a severe trauma after repressing a lot of painful memories from her childhood, especially the trauma of losing her sister Marian at the hand of their mother. The narrative illustrates the failure of processing her trauma; Camille is painted by her past and her pain is literally painted on her body…Camille embodies words literally and the words on her body become her main narrative, a vehicle for whatever attempts to escape language and expression—her trauma.”

“Adora needs to be at the center of her daughter’s lives and assume control over them to the point of suffocation and death. She seeks attention and love from her daughters but she takes loving and caring for her children to the extreme. What Camille describes as her mother’s “voraciousness about children” is not separate form the violence and control that she exhibits.”

“While Camille rebels, Amma plays along with her mother, she lets her mother give her the medication that makes her sick yet she also revels in the attention she is given.”

“Throughout the story Camille is presented as a puzzle; she is full of conflicting feelings towards her mother, her family, and even the whole town. She refuses to end up like her sister Marian, another “dead girl”, and turns her pain, anger, and frustration towards her mother inwards. Her body is a full canvas of her traumatic past, while it also speaks to the present…”

“Adora is “a girl-woman who occupies an ambiguous space between appearances of innocence and expressions”, while Amma oscillates between the roles of a child victim and a ruthless killer.”

“The sexualization of the child exposes the dysfunctional family and the harm that Amma suffers under her mother’s hand, but it also reveals the doubling in her personality. The two faces of Amma—a child and an oversexualized girl—disclose the fissure in her psyche and the trauma that lies behind her dissociative behavior. It is the trauma of being a victim of her mother’s constant manipulation, which is soon translated into violence.”

“…the temporal fluidity in Flynn’s story shows how the female characters navigate their reality. The story moves smoothly between the past and present, which creates more tension around the murder mystery of the two dead girls, and at the same time underlines the trauma and the complex family history of the female characters. She demystifies and resolves the mystery of the murders and brings attention to the conflicting facets of femininity, victimhood, and power.”

“…in presenting “a lineage of disturbed women,” Sharp Objects focuses on femininity in a display that reveals a tension between public “performance” and “private deviance.” Femininity in the novel is closely related to criminality and monstrosity…Although Adora’s daughters are victims of their mother’s MBP…the novel also suggests that there is a mirroring between the mother and her daughters. Flynn establishes Amma as a “monstrous double of the mother,” as both Amma and Adora killed girls, while Amma herself is the product of her mother’s abusive upbringing. This complicates the demarcation lines between victimhood and criminality on the one hand, and victimhood and agency on the other.”

“Through a family full of dysfunction and destruction, Flynn brings to the fore the origin of female monstrosity and dissects the inner workings of femininity and motherhood in this narrative. The story reveals generational hatred and damage in the family structure.”

-From Monstrous Mothers and Dead Girls in Gillian Flynn’s Sharp Objects and Gone Girl by Maysaa Jaber [Part 2]