#ohhh this fucks

[inkskinned]

she's singing in another room and my dog is asleep at my feet. my grandma asked me why i haven't found a man yet and i laughed. oh, you know. i like my house clean.

my girlfriend is also my man is also "my partner" if i'm in a professional setting. yesterday we went to a ren faire and a man mimed at me - you're together? and at my delighted nod, his baffled, you're gay? made me laugh. a woman with rainbow hair said i love the two of you together. you're both so beautiful it's absurd.

my dad introduced my partner as my "..... friend. or whatever" the other day. he knows we're dating. in the same way, i was never able to get my sister's husband to stop saying that's gay like it's 2008. he still uses the word fa***t, and my sister's defense of him has always been well, he's just kidding.

my lover and i dance to old music in a tiny kitchen. we judge new music together and take food critique very seriously. we watch love is blind before we fall asleep and agree that if they had a queer season, it would be bloody but also make for excellent tv. of fucking course queer people would know someone for only 2 weeks and agree to get married. what are you saying.

at a bar with friends, a man puts his hand on my wrist. got a boyfriend? and yes, i do have a boyfriend, she's amazing. i am texting her while i wander around a gas station named after geese. i am visiting a swing state for a wedding. in the candy aisle i overhear: she's actually like a lesbian it's disgusting. two teenage girls with packaged sandwiches in their hands, giggling. no literally, like. i'm not, like. okay with her being there while we're all, like, naked and changing.

my girlfriend and i tailgate, drink gin and cider out of cups. from the frat group beside us, a man corrects himself with one of his friends: bro, i mean, nonbinary entity, and it makes everyone around him laugh, myself included. he razzes his friend the same way i would have killed for at 19 years old - like nothing happened, he continues: you apply sunscreen like an alien. he does a little sassy (and fairly accurate) dance interpretation of the motion. his friend is laughing so hard they're crying.

i am lucky, i live in a safe neighborhood in a safe state. my masc passenger princess comes up from DC. i drive her for an hour to where all the leaves are a violent arrangement of color. we walk along the trails, letting autumn into our blood. in this part of the state, there's a lot of pickup trucks and trump signs. when we chastely kiss before getting into the car, i accidentally make eye contact with a woman holding her child's wrist. she looks disgusted. she looks fucking pissed.

two hours later my girl and i are eating dinner on a patio, soaking in the last warmth of new england sun before the chill of winter sets in. we are giggling and trying to talk through plastic vampire teeth. at another table, i see a young woman sit up straighter. i watch her watch us. she blushes and takes her partner's hand from across the table. shy, like the taste of evening has just become something deeper.

it's worth it for this moment, i think. my lover is still humming the same song she's been singing for four days straight and i don't want to kill her for it. her guitar is beside my bed. her toothbrush is in my bathroom. in a few moments i will make us lunch. we are lucky enough to have found each other. it is lucky enough to be in love.

[gingerswagfreckles]

It's insanely sad to read post after post of gentiles talking about how at least we all have each other and all we can do now is draw strength from our queer and leftist communities bc Jews literally cannot do this. Like you all completely and so utterly turned your backs on Jews this year and we have no one. Except other Jews. Who make up 2% of the American population. It's so great for you all that you can hold hands and sing Kumbaya but you made supporting Hamas and retweeting twitter funny men with literal terrorist hate symbols in their usernames normal. So no some of us cannot draw strength from the queer and leftist communities. Some of us just have to sit here and take it as you all reassure each other that none of this is your fault even though it so obviously is.

[fauvester]

something something seeing things through different eyes

[conswayo]

trapped in endings i dont want you to know

[boyloversxo]

[beloveds-embrace]

imagine john catching you making out nasty with one of the boys and they’re trying to pull away, already got an apology on the tip of their tongue.

but you swallow it down into your own mouth, keeping him close by the hook of his pants. and when they finally turn to face john, hes anything but pissed.

he’s aroused.

the way your boy will be so panicked, eyes wide and stumbling over his words as he tries hard to apologize to his captain for touching you, for kissing you all wet and filthy and why aren’t you panicking like he is-

but nope. you are leaning even closer, the soft flesh of your chest pressing against his and your fingers in the hoop of his pants, slowly trailing lower and lower even with john right there.

john who just stares on. john who keeps his calm, and you who giggles against his ear.

“don’t stop now, honey,” you coo, grin wicked as you kiss along his jaw, eyes on john. “my darling husband doesn’t mind. dare I say, he’d been waiting on it.”

[babyb1ues]

his banner currently has 21k likes and counting on twitter okay who the hell are you people….. no but for real the secret is literally sensuality … there’s a difference between sexiness and sensuality

this…. is sensuality—the act of directly involving the senses,, and you can see how they make a good showcase of that here… it’s like,, more personal and almost vulnerable. it’s about the sensory (!!!) pleasure

it’s sooo different from being shirtless and sexy,, just distinct areas if u will, different preferences

but to me it hits wayyy different

[blorbologist]

Vaxleth: cockblocked by the Matron of Raven's divine visions and the agony of a thousand years alone and the heavy responsibility on both their shoulders

Perc'ahlia: cockblocked by a grizzly bear

[c2-eh]

Carlos: You're doing amazing honey

Charles: No, say sweetie

Carlos: Sweetie

[namisweatheria]

I feel like we don't discuss Nami's relationship with gender enough. Her entire character is so deeply informed by being a girl in a male-dominated pirate world and it's so interesting and so worth talking about.

The background creepiness of Bad pirate crews, which are most of them, how they tend to not have any female crew members at all, how they beckon any pretty young woman around to come play with them and join them. It's real bad. It's also like, a totally 2 dimensional portrayal of evil that is reserved for the most background of background characters.

However I think their ubiquity says a lot about how piracy is meant to be perceived by the public in One Piece, and is one of the strongest indicators of how prevalent misogyny is in-world.

It's very normal in One Piece for regular island inhabitants to have never met a Different class of pirate in their life. There's no reason for them to withhold judgement that maybe these pirates won't be like every crew that attacked before, and to wait and judge them by their actions. I mean frankly that would be irrationally weak self-preservation.

There are people who live peacefully under the flags of Yonkos who protect them, and feel loyalty and gratitude to them for it, but that seems to only be thing with very big name pirates. The East Blue, being the weakest and least populated, has no such plethora of powerful people and resulting turf wars.

So. Nami. Is very clearly implied to have never met any Different pirates before. I'm thinking about what that means. About how every group of pirates she stole from were creepy, dangerous men. How she started going out stealing when she was still a young child. How she didn't have a mother anymore to guide her or comfort her. How Arlong would grab her chin inappropriately, talk about her as a "human female", as property, and god knows what else.

How all the men in Arlong's crew treated her patronizingly, pretending they're all friends, teasing her and playing at respect when really not a single one of them ever stuck up for her or hesitated to accuse her of betrayal. Who were always ready to kill her if she refused to cooperate. Who grabbed her and intimidated her when they felt like it.

That's what she had to come back to after a close call with stealing from other predatory men, instead of the relief of home there was a dark, cramped room filled with endless hours of misery and isolation and blood. Where any one of her captors could barge in and demand new maps, work faster, where did you go, you took too long again this time. Endless threats and incursions.

I'm thinking about that her fight scene in Alabasta, where she tumbles and rips off her cape and uses it to catch her enemy's spikes, before leaping to her feet and running out the back door, all in one moment. How it makes her enemy reconsider her and think, "so the girl's not a total novice at fighting after all." What that implies about her experiences as a young thief. The times she wasn't fast or clever enough and had to fight and claw her way out. Why she always carried a staff and a knife. Why she was the only one before Chopper who had any medical knowledge or experience.

You know she was stitching herself up. And the weapons, how do you think she learned to use those? If any of the Arlong Pirates helped her it wasn't out of kindness and it wasn't gentle.

Then I think about Nojiko, and Bellemere's memory, and the only softness in a hard life. How easily Nami connects to every young woman experiencing hardship that she meets. How completely she dismisses the struggles of men unless they mean something to her and are going through something terrible. The way that Nami only has sympathy for women and children is easily noticeable in-text, but it's also something confirmed in those words by the author. And it's clearly because of the life she lived, the men who had all the power and only abused it, who saw her as nothing but a girl to take advantage of, without anyone aside from her sister clearly knowing and caring about any of it.

Nami clearly isn't bitter, she doesn't think the world owes her recompense, on the contrary she knows she is far from the only person in the world to suffer the things she has suffered. She is endlessly reaching out and kind, but only to those that she isn't sure would get help without her. Certainly, before Luffy, Usopp, and Zoro, no man ever reached out a hand to her without an ulterior motive.

I think when she sees a girl in trouble, a girl biting her lip to hold in a scream of grief, a girl running in the woods away from a monster, a girl captured by pirates, she sees someone who no one is coming for. Who no one will stick up for. A person without allies in a world against her. Whether it's actually true in this case or not, she runs straight for that girl anyways every single time.

[inkskinned]

this is just my opinion but i think any good media needs obsession behind it. it needs passion, the kind of passion that's no longer "gentle scented candle" and is now "oh shit the house caught on fire". it needs a creator that's biting the floorboards and gnawing the story off their skin. creators are supposed to be wild animals. they are supposed to want to tell a story with the ferocity of eating a good stone fruit while standing over the sink. the same protective, strange instinct as being 7 and making mud potions in pink teacups: you gotta get weird with it.

good media needs unhinged, googling-at-midnight kind of energy. it needs "what kind of seams are invented on this planet" energy and "im just gonna trust the audience to roll with me about this" energy. it needs one person (at least) screaming into the void with so much drive and energy that it forces the story to be real.

sometimes people are baffled when fanfic has some stunning jaw-dropping tattoo-it-on-you lines. and i'm like - well, i don't go here, but that makes sense to me. of fucking course people who have this amount of passion are going to create something good. they moved from a place of genuine love and enjoyment.

so yeah, duh! saturday cartoons have banger lines. random street art is sometimes the most precious heart-wrenching shit you've ever seen. someone singing on tiktok ends up creating your next favorite song. youtubers are giving us 5 hours of carefully researched content. all of this is the impossible equation to latestage capitalism. like, you can't force something to be good. AI cannot make it good. no amount of focus-group testing or market research. what makes a story worth listening to is that someone cares so much about telling it - through dance, art, music, whatever it takes - that they are just a little unhinged about it.

one time my friend told me he stayed up all night researching how many ways there are to peel an orange. he wrote me a poem that made me cry on public transportation. the love came through it like pith, you know? the words all came apart in my hands. it tasted like breakfast.

[bunnyboy-juice]

NO MORE ASSOCIATING THINGS WITH FEMMES ONLY BECAUSE THEY ARE PINK!HYPERFEM FEMMES ARE GREAT AND I LOVE YOU CAMPY FEMMES WHO EMBODY PINK BUT ALSO JESUS CHRIST CAN YOU GUYS NOT GO MORE THAN ONE DAY W/O TRYING TO SHOEHORN FEMMES INTO BEING ONLY PINK UWU BABIES. I AM FEMME AS IN GRASS AS IN DIRT AS IN TREE BARK AS IN WEEDS SPROUTING THROUGH THE SIDEWALK CEMENT. FEMME AS IN GENDER NONCONFORMITY AS IN FUCK YOU MY FEMININITY IS WHAT *I* SAY IT IS. FEMME AS IN DEPTH AND DARKNESS AND WARMTH AND TERROR. FEMME AS IN CAVES. FEMME AS IN LIGHTNING. FEMME AS IN AN AMALGAMATION OF TRAITS THAT I HAVE DECIDED ARE FEMININE REGARDLESS OF WHAT SOCIETY SAYS. FUCK IS IT THAT HARD TO UNDERSTAND?!???

[coddda]

Light's relationship with his father is such a heartbreaking multi-faceted tragedy to me I hate it so so so much.

Soichiro loves his son so much, and while he's certainly not a perfect father I know that he cares deeply about Light. He wants to prove Light's innocence so badly but he can't let go of the underlying doubt that he might really be Kira and it gnaws at him. He does not know that from the very beginning he was being used by Light, whether it was to obtain information about the investigation, or to get to L, or to strengthen the foundations of his own lie that he wasn't Kira, this entire time he was simply another resource. He'll hang onto this doubt for years, even after L is dead, even if he doesn't express it in the latter half of the series, until he himself is on his deathbed, with what he believes to be undeniable proof that Light isn't Kira. (It's a lie, of course.) He dies happy, but it's on the foundations of blissful ignorance. His own son brought him here, brought him to the point where he had to sacrifice half of his own remaining life span, to his own death march, and was still trying to use him even now to kill someone else, but he doesn't know that. Soichiro said that what was evil was the power to kill others, and that whoever used it was cursed. Light was that cursed man, of course, and he tried to bring that curse onto Soichiro too by making him kill in his last moments. Soichiro was happy regardless, because he didn't know. He'll never know. (In the manga/anime at least. More on that later).

Light loves his father but it's not enough to turn him away from the terrible decisions he's made, if anything it only fuels them. His idea of "justice" is a twisted model of what he parroted from Soichiro, and he uses his father as another pawn (and a powerful one at that) in his plans. If he can prove that Kira is justice then perhaps his father will no longer call Kira, and therefore Light, evil, so he just needs to ensure that Kira becomes justice, right? It's Light's own actions that land his own father in the hospital for a stress-induced heart attack and yet he says only a few minutes later that he's the happiest he's ever been in his entire life. Even after Soichiro denounces Kira by calling him evil, even after he calls the Death Note's power evil, even after he unknowingly tells Light that he is cursed. When Soichiro dies Light is too deep in his own plans to actually properly process the fact that his own father is dying past what it means for his goals, but at the same time he still cares enough that after the fact he'll genuinely cry, only to brush it all away later. (Personally, I don't have a single doubt in my mind that Light's crying in that scene was genuine and I Will die on this hill). Soichiro had unknowingly denounced Light one last time just before his death, openly relieved that he "wasn't Kira after all", which also reveals that he has had doubts about Light this entire time, even after L died. By the time he's caught at the Yellow Box Warehouse Light will have denounced his father too, seeing him as someone who was made to be a fool, someone who was naive, even, too earnest for his own good. He won't realize that part of this description of his father might have applied to Light himself, back when this all started. Light takes after his father so much in so many ways already, so why not in this way too?

Ough. And honestly the other adaptations never miss out on this tragedy either, and I love them for that. (spoilers for the musical and 2006 live action movies I guess?)

In the musical we see Soichiro express his doubts and conflicts about who to believe, Light or L, if the son he raised really is a murderer, if everything he knows about him is just a lie. Like, there's an entire song about this, and you can tell how torn he is about it all, how badly he wants Light to be innocent but about how he also needs to face the truth no matter what it is, but at the end of it all he doesn't even get the answers he wants. At the end of the musical the only thing he finds is two corpses, Light's and L's, with no answers. No last words, no closure, only dead ends and a dead son and a grieving daughter. It's so awful I hate it here.

And the live action movie is fucking Insane. Like, wow. Okay. (Spoiler for the ending of Death Note The Last Name I guess) In the 2006 movies/novels Light writes Soichiro's name in the Death Note himself, and it's such an inconcievable move that it leaves even Misa shocked; Light tries to make Soichiro give him the Death Note for the last part of his plans, seeing his death as a "necessary sacrifice" (insert tangent essay about why I think 2006 live action movie Light is actually the most "coldhearted" Light Yagami, despite how infamous anime Light is). It doesn't work, and Soichiro does end up finding out that Light is Kira this time, and they have a confrontation, but he doesn't even sound truly hateful towards Light for it. He Never seems to outright hate Light for it, even after Light calls the whole confrontation a waste of time and instead tries to continue killing with the piece of the notebook in his watch, even after he tries to get Ryuk to kill everyone. When Ryuk inevitably writes Light's name and he collapses, Soichiro still reaches out for him and holds onto him as he's dying. Light literally dies in Soichiro's arms, still looking for the validation that he was right, that this wasn't all for nothing, that he was doing the good thing, trying to make Soichiro understand that he was trying to enact justice based on what he learned from him in the first place. Soichiro not only learns but sees for himself what his son has become, and Light dies in his arms leaving no closure for either of them. Soichiro will announce Light's death in L Change the WorLd on the news without saying his name, saying instead that it is only Kira who is dead, even though he and Light are one in the same. Sachiko and Sayu will never get to know the full truth about what happened to Light, instead Soichiro will lie and instead tell them: "Light was killed by Kira."

And then holy Shit the jdrama. If I write about it here this post is gonna literally double in length and also I don't really wanna spoil it but. Man. Man. If you watched it you know. Holy Shit dude I Cried.

It's the fact that, canonically, Soichiro will die oblivious to what Light has done, but even in the instances where he does find out, it doesn't make it any better, and it doesn't make him love Light any less, it just gives him more to grieve.

It's the fact that there isn't a single universe where Light doesn't use his father for his own gain, whether to gain information, or to try and control him with the Death Note, or make him write in the Death Note himself, and not a single time will he realize just how far he's strayed from Soichiro's ideals, and not a single time will he not forsake him for it by the end of the story.

It's the fact that, despite everything, Light will always refers to Soichiro as "dad/my dad" (informal) rather than "father/my father", even after he has been "denounced" (and this is true in every language that Death Note has been translated in, as far as I could find. Man, isn't that so cool! :) <- Through tears).

Anyways that's what I've been thinking of how's your guys' days going

[hotvintagepoll]

Trying to get more into old movies because of this blog (I only know about half of these people and feel like a poser) do you have good recommendations on where to start or is it just a situation where you watch stuff and find what you like as you go?

you are not a poser <3 i myself am just here for the hotties.

here is my quick and dirty list of fun films to start with if you're new to old movies. and of course if you like one of these, do try to find more stuff as you go! there's no bad way to try out old movies.

(this list is not official and is SUPER quick. i'm tagging for content warnings where I can, but if I forgot something let me know.)

"I want to watch something SILLY!"

The Court Jester (Danny Kaye, Angela Lansbury, Glynis Johns, Basil Rathbone)—everyone in this movie is hot. everyone is in fancy medieval dress, which makes them hotter. everyone here is very silly. You can stream this on Hoopla, last time i checked, so you might be able to stream it through your library!

Chitty-Chitty Bang-Bang (Dick Van Dyke, Sally Ann Howes, Lionel Jeffries, Gert Frobe)—some people hate this movie and to them I say What Is Wrong With You. dick van dyke is a hot absent minded inventor who lives in a windmill with his two adorable children, his gorgeous sheepdog, and a grandfather who is categorically useless. it feels like the two films mary poppins (1964) and willy wonka (1971) had a baby and that baby was born on roller skates singing an old broadway showtune. this one has been showing up in some odd places lately—I think you can catch it on Tubi or Hoopla? It's definitely around.

Seven Brides for Seven Brothers (Jane Powell, Julie Newmar, Howard Keel, Russ Tamblyn)—my problematic fave. everytime i watch this i change my mind whether it's a sexist pile of garbage or a feminist paean, and fellas, today we're on the feminist paean bandwagon!! jane powell's millie is truly the star of the movie, she is the hero she drives the plot the narrative is on her side, and besides all that there are seven very hot men dancing next to her and six beautiful ladies making me bisexual. (on Tubi last I checked.)

The Duke Is Tops (Lena Horne, Laurence Criner)—I get a huge kick out of watching Laurence Criner and Ralph Cooper swindle everybody while also trying to put on a show; there's just something silly and sincere here, plus you get a ~musical extravaganza~ at the end when all is right as rain again. Free on YouTube I think?

"I want to watch something DRAMATIC that may make me FEEL SOMETHING."

Witness for the Prosecution (Marlene Dietrich, Tyrone Power, Elsa Lanchester)—I love a campy twisty turny mystery, don't you? :) I'm not going to talk about this one much because it's better to go in blind, but if you like Agatha Christie stories you'll probably like this.

To Be Or Not To Be (Carole Lombard, Jack Benny)—always relevant, always makes me laugh, also makes me cry. this takes place in poland during wwii so big tw for nazi imagery and mentions. (don't worry. this movie fucking hates nazis.)

Seven Samurai (Toshiro Mifune)—this one is Great Cinema™™™™™™™™™™™ for a goddamned reason

"I want to watch some stuff with the scrungles in it!"

Mr. Washington Goes to Town (Mantan Moreland)—I've been checking out more of Mantan Moreland's stuff because every time I see him in something I think he's delightful, and I really enjoyed this silly-spooky comedy. Does this story have a brain cell? No. Are the special effects and goofy slapstick fun? Yes. This is a fun example of an all-Black cast in a film that was made for Black audiences, and is a striking counterpoint to the stereotypical representation Black actors were given in white-targeted films, showing the enormous amount of talent and artistry the racist studios missed out on by excluding these actors. This is not A Great Film™ but it's still A Fun Time,™ with a goofy Laurel and Hardy type vibe. (It's free on Youtube.)

The Red Shoes (Robert Helpmann, Leonide Massine, Marius Goring)—hey kid, you wanna watch something fucked up? This movie is so fucked up. It's about ballet, it's about art, it's about technicolor, it's about dance and toxic relationships and making theatre and nightmares and ambition and death. A lot of these recs tend on the silly side (because I tend on the silly side) but this one is actually Serious Film and will definitely help you chat up Martin Scorsese should you ever meet him. Big content warning if you can't handle dark themes right now—this movie's pretty dark, not in the gore way but in the Haunting Creepy Image way. (it's also free on Tubi and Kanopy most of the time.)

The Invisible Man (Claude Rains)—my favorite of the vintage horror flicks and a great introduction to Most Dunked On Hot Vintage Man of All Time, Claude Rains. (it helps that you barely ever see him!) Very very silly but the special effects are just plain fun. (I think this is on Internet Archive in full?)

"Can I just get more hot people please?"

Flower Drum Song (James Shigeta, Nancy Kwan, Miyoshi Umeki, Jack Soo)—there are so many unbelievably hot people in this movie which is somehow very good (thanks to its cast) and also incredibly, horrifically bad (thanks to its white team of writers, directors, and producers). on the one hand, it's a mostly Asian cast in a big budget, beautifully designed MGM style musical! there's dream sequences, lots of fun dancing, crooning Rogers & Hammerstein cabaret moments, and just charm galore. it is also freighted with so. many orientalist assumptions and stereotypes, absolutely ridiculous shit that the writers ABSOLUTELY should have known better about in the 60s and nonetheless carried into this. this is a hard one to recommend because I loved this cast, and I loved seeing them in a context beyond the usual stereotypical bit parts so many of them frequently were limited to—yet the movie itself perpetuates so many stereotypes on its own it can be a hard one to watch, and I totally understand if it does not work for most people. tl;dr watch for Shigeta, Kwan, Umeki, and the others, but content warnings galore for one (really bad) case of yellowface casting, orientalist tropes, extremely stereotypical character types, etc. (On Tubi/Kanopy last I checked.)

Charade (Cary Grant, Audrey Hepburn, James Coburn)—this movie feels like a Hitchcock movie except I had a ton of fun watching it, which I can't always say for a Hitch film. (I told you my taste was bad.) This one is free on YouTube and thank god because Audrey wears a lot of Givenchy, Cary Grant wears spectacles and keeps almost dying, it's very exciting and thrilling and funny and sexy. I don't think there are any content warnings but it's been a minute since I watched it. (I should go watch it right now.)

The Big Sleep (Humphrey Bogart, Lauren Bacall)—they're so hot askjdljhjghladkghjksahkhgslkahgshskjhgsalhgsahgjh. i like this one a lot :)

[this is NOT A FULL LIST of all the hot vintage movies to start with but it might give you some starting places! i banged this out as quick as I could at 2 am, so apologies that it's sloppy and not perfect.]

[clowncollegevaledictorian]

hey carla my love how the fuck did you know who the beast is