#should've-beens should've-dones

[hyperfixation-tangentopia]

I think part of why I love doing edits so much is I forget about them. I forget about the process, I forget about the thoughts of what I might've done instead or whatever, I can just forget all that. The process is isolated to the process and the result the result, while still having the positive feelings of the progress fun, if that makes sense.

With drawing and writing, looking at it again isn't to enjoy it, it's to edit or catch mistakes or just because I liked it so how can I do it again. The process is entertwined with the result.

Also, I can't edit my edits after I post them. For the sake of laptop space, I delete them and just keep the Mp4 files. There's nothing to change, so I can't stress about it. It's nice. I think editing helps my writing and helps me feel better about it in the long run, but I was able to absorb my own work without worrying about making it better in the past and that's why I enjoyed it more.

And drawing is a middle ground, except my perfectionist comes through mostly in the process, so I worry less about sharing it honestly.

Anyway. Just some midnight ramblings.

[introspectivememories]

was it casual when i sat in your lap in public? was it casual when i said "recently my heart is crying because you're leaving"? was it casual when we decided how your last name would fit with mine? ("yuki tsunoda-gasly" / "no tsunoda, only gasly" / "yuki gasly?") was it casual when we sang adele's "someone like you" together at your going away party? was it casual when i knew it was you just by touching your ass? was it casual when i knew it was you by smell alone? was it casual when "will you miss me?" / "for 2-3 minutes maybe" / "i'll take that. even if it's just 2-3 minutes, i'll take that"? was it casual when that bus was completely empty and we still sat right next to each other, all the way in the back? was it casual when i picked you up multiple times so you could dunk a basketball? was it casual when i begged to come over to your house multiple time and then you finally let me and we cooked fried rice together? was it casual when we played christmas twister together and i said "your big eggplant is touching my ass"? was it casual when we were pressed up against each other on a scooter going two miles per hour? was it casual when-

[beepborpdoodledorp]

maybe that's why they started beefing

[galacticleechart]

This was way too much fun too draw... Enjoy Tom Paris holding up one of the warp 10 salamander babies

[thomas-the-goat-of-satan]

seventeen year old creature-boy Light Yagami, who is Totally Interested In Women And Definitely Not A Serial Killer, looks at porn magazines (porn magazines is generous; he's looking at scantily clad women, really) in the privacy of his own room and is so supremely weird about it that L, the man that has been Intently Observing Him Through Hidden Cameras, sees him doing it and goes, "oh. something is wrong." meanwhile, Light is internally monologuing himself into a frenzy. "ha!! take THAT. what're you gonna do now, L!? I look SO normal!!" but he doesn't. he never has. he never will. he's just used to everybody around him being too distracted by his artfully styled bangs and extensive collection of soft knitwear to notice his incredibly off-putting demeanor. he is So used to it, in fact, that he doesn't quite grasp that someone might find the image of him lounging around on his stomach and kicking his feet in the air while he stares at breasts to be. a little different. maybe even. disingenuous. oh no. shock and horror, shock and horror.

[why-the-heck-not]

me, a responsible being, working on the coding project as I should vs. me, a dysfunctional shithead, getting distracted by reading about brains (once aGAIN damnit (it's my favorite "I need to study my field but bc I should do that it's an impossible unthinkable feat now, so I'm reading about something else to fool my brain I'm still being productive"-topic))

[eccentricmya]

The Valar's mistake did not lie in seeing a possibility of good in Melkor. Rather, their mistake lay in not seeing the equal possibility of him remaining evil.

[repressedgaymer]

don't worry jurgen, i saw ur "i love george" pin!!!!

day 3 of the beatles drawtober, the prompt was Hamburg (don't look at the date :p)

[veatomis]

Anders tarot cards: Act 1, Romance, Act 3

[cheekylittlepupp]

The way he says "Please~" and "cheeky little pup" is just....yeah.

I'll fling myself off the face of the earth istg.

[gotchibam]

Heyo! I'm still currently working on my backlog but I also have upcoming rent to pay this week so I'm opening another batch of comms!

This time I'll be doing pokemon / pkmn OCs in the style of Pokemon Cafe Mix :)

So it would look something like this:

Only opening 10 slots for now! I'll try streaming the process for them as well if I can ^^

Slots are available thru ko-fi here: https://ko-fi.com/c/0451254ff4

Thank you sm!! 💛💛💛

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[cassmouse]

Finally finishing S2E2 of HotD and watching Otto realise in real time that Rhaenyra should've been queen after all while talking to Aegon is absolute TV gold

[vynnyal]

Turns out Sunlit Trail isn't quite done just yet, so after all that they just send you to a dead end 😂

[gingermintpepper]

Recently, I've been thinking a lot about lineage curses.

The line of Ouranos is infested with curses - generational malice that's sunk its claws in deep and cannot be cleansed. I think of it as a curse of love - an affliction that is something like a paternal equivalent to postpartum depression - the men of the line of Ouranos were, for a time, unable to bond with their children. Ouranos himself adored his wife but despised his children from the moment they were born. It was disgust perhaps. Or maybe plain fear. Or maybe there was no reason but a deep wrongfulness that he could only attribute to the birth of his new children. But he hated them and his hatred bred hatred. His hatred bred Kronos.

Kronos oddly, is the spitting image of his father. Why he would so exactly resemble the father he despised, who knows, but he married a goddess of the earth - the mirror image of his mother - he loved his wife and his people - the mirror image of his father - and, like that father, all his kindness and good sense died the moment he became a father. What was it about Ouranos' blood that made Kronos mimic even the method of torment? To lock his children away in the dark, cold emptiness of his stomach. To feed them the same doubts and fears that his brothers were fed as babes? What anguish paranoia must be to turn the Golden King into a shaking, spitting beast.

That, then, is the fate written deep in the blood of Zeus. Great king, destined to be overthrown by his children. Great king, doomed to live in fear of the son that would rend him limb from limb and scatter his sex to the ravens. Ah, but what is Zeus if not an enigma. That strange child fed on goat's manna and raised by his mother - is that the difference? That Zeus alone was showered in the hopes and dreams of his mother - that his father was nothing but a target to kill, an opponent for him to conquer. Is that why his curse of love mutated not to encompass his children but his lovers? What other name is there for he who eats his wife to gain her wisdom? What other name but cursed is he who pursues the stars until she becomes dead ground? And when he has a child who is his spitting image, dark eyed and blood-heeled, what can he do but hate?

(Zeus, at least, battles the demons in his blood on his own. Maybe that is the mother in him. Maybe that is why he swallowed Metis while she was still rich with their child. Maybe swallowing a mother restored that missing paternal hole all his father's line had simply been made without. Maybe that's what he tells himself when he looks upon his children and knows he's made things different for them, no matter how much he dreams of keeping them locked in a cool, dark place, pretty in display cases just for him. Maybe that's just his father in him.)

[dykedvonte]

Can you talk about trans!Curly a little bit more? I'm curios if you have any headcanons and the like

-💀

It's just such a thing in my mind because it adds a truthful sadness and differing aspect to mouthwashing.

If Curly was trans it adds the horror of the horribly selfish thought he could have easily been in Anya's situation. It could've been him but it wasn't and he so conflicted on the pit it put in his stomach that brings and the shameful relief it wasn't. In this scenario he is friends with Jimmy for a long time still. Jimmy likely knew him pretransition. Maybe he gave Curly weird looks then, maybe they never stopped after, maybe they seemed meaner. They are guys now, bros, both of them are. He doesn't really have to worry what those looks mean anymore, Jimmy just has that face with him sometimes. It's recontextualizing a lot of things for him that he was in denial about or too ashamed to admit. How naive he was being and how he let that get another person hurt.

Specifically with Anya, it's he knows the dread and fear she's feeling. He can understand it because he had to live with it for a good portion of his life, he knows it cause he still does, just in a slightly different way. It makes him think of all the times he's been alone with Jimmy, all the times he's been way more drunk off his ass and not remember the night, Jimmy was always with him the next day. Makes him think of the comments he would laugh off both because that's what guys do but because that part of being a girl says to laugh so Jimmy doesn't do something. It's the selfish realization that he was never safe and he's uncertain now too. Mad at himself for forgeting that feeling, espcially since for a long time he would've been considered the only woman on a crew (with all that implies) for a long time.

He should've taken those blinders off, step back into that position for just a moment and it's so much more painful that Anya likely came to him because he should've gotten it. Those thoughts don't leave his mind after the crash when he's in an even more vulnerable position than she was...