#the last one. she takes her own life

[anthromimicry]

jandy nelson, i'll give you the sun | jean anouilh tr, by lewis galantière | @soulinkpoetry | trista mateer, the dogs i have kissed | the bible

[godblooded]

sometimes it’s just… ‘oh had so much fun on vacation!’ ‘went to a cool concert!’ ‘had a fun day out with my friends!’ cool??? don’t remember what the fuck that’s like since i’m constantly the one forced to be in charge of everything ever.

[archduke-enver-gortash]

mmm essay about sally and kid gort in the tags (cw for child abuse, mentions of suicide, animal cruelty and a murder attempt. i always hope i don’t have to say this but just in case: i don’t excuse or condone any of her or gort’s behaviour at all.) this is literally not even touching upon everything i have to say because i hit the fucking tag limit lmao. NOBODY READ IT’S BAD BRAINSTORMING I JUST NEEDED TO GET IT OUT SOMEHOW

[thelastsaiyanprincess]

the anger is now turning into resentment

[carefulfears]

Explain what you said on Twitter

assuming that you're talking about when i said that imo the conversations around "scully, you're making this personal" aren't aligned with the intent/impact of the scene (actually i think what i said was that the scene is very serious but y'all never talk about what's serious about it so you loop back around to being unserious) and tbh i can do a post on my own feelings about the scene sometime when i'm feeling more with it if y'all want but i just meant that people bitch about that line every single day talking about how it's hypocritical and how infuriating it is and how much you hate mulder in s6 etc etc but i literally never see anyone even think about like...the actual meaning of the scene and implications of the line and the context and where they're each coming from. it's all just a very shallow and reactionary discussion in my experience

(i ended up talking more in the tags lol i never shut up in the tags)

[kavehater]

Chappel Roan saying she’s sad she’s demisexual and then there’s me being aroace as a whole like don’t you think I’m even more sad 😭

[mothgoddesss]

“Yes, I am your Elder, and your Karmic servant. But we’ve also reached beyond those at this point. As it was, as it is, and as it will be ... your Mother and I will guide you towards when you begin your own legacy beyond this existence - every step of the way.  I promise.

This year, I am filled with resolve to up my game as an artist and a person.  I want to experiment with different methods of rendering, create more background work, and just overall share more of my paracosm because there is still ... SO MUCH. that I have yet to share with everyone!

I wouldn’t have been filled with this much resolve if it weren’t for all of my followers and friends over on InstaSky, many of them being on here, too. Regardless if you come from InstaSky or have just now learned of my existence, thank you all so much for your love and support!!

[ialwaysknewyouwerepunk]

.

[selfinflictedgunshotwound]

not my online friend trying to have the "not all zionists" conversation with me rn

[wonder-worker]

Anne de Pisseleu had exercised a form of power that was intrinsically extra-institutional and dependent entirely of the king’s favor; her role was clearly understood by political insiders. Criticism took the form of conventional hostility to the role of women in power, yet in the king’s lifetime had to be circumspect and oblique. However, she lived more than half her life after the death of the king whose love had given her power and wealth. In this, she weathered the storm of disgrace remarkably effectively, carved for herself a new role and ended her life a moderately wealthy woman whose assets became a matter for ferocious competition among her relatives.

-David Potter, "The Life and After-Life of a Royal Mistress: Anne de Pisseleu, Duchess of Étampes"

[love-songs-for-emma]

i was on zillow today, fantasizing about being able to live somewhere, when i came across the listing for my childhood home. it wasn't active/being sold, but it was on there with some pics of the interior. and my GOD. THEY MADE HER UGLY. THEY TOOK HER RUSTIC PUSSY OUT. WHAT THE FUCK

[unoisveimved-un-proffesional]

My gender complex goes back 3 generations and through two queer women and their family trauma, I feel like I know what I'm talking about. We know a thing or two because we've seen a thing or two.

[this-should-do]

venting dont mind me xp ✌

[blujayonthewing]

myrkul: hi I'm an unambiguously evil death god of cruelty and suffering who has never had anything to do with you until right this moment, would you like to align yourself with me in exchange for the power to win this midtier combat you're already in the middle of winning and no other clear benefits whatsoever

eachthighern: um hey hi it's me your current patron, you know, the good god of protection and light who has only ever given you unwavering strength and hope and support through all your darkest hours and also extraordinarily powerful magic powers and the ability to heal? I am still here and have never stopped being here and I love you very specifically and personally? remember?

the warlock: hmm..... hmmmmmmm

[daisyachain]

there’s one version of an f/m/m triangle that crops up so often I’m surprised there isn’t at least a tvtropes/vernacular name for it. Miyokichi/Kiku/Shin. Molly/Fitz/Fool. Asuka/Shinji/Kaworu. Futaba/Taichi/Touma. not-really-but-you-could-shove-it-in-here Luthien/Beren/Finrod. Utena/Touga/Saionji is a twisted spun-on-its-head version of it. Specifically comprising:

masculine male character A: either is the protagonist or a character on to which male viewers can project.

female character B: a secondary character and A’s official love interest, often kept apart from A by story/circumstance/gender roles. Shows some resentment of the trials she’s put through by the story in being A’s lover such as being shoved to the side, cut out of his life, or put in danger.

less masculine male character C: another major character, A’s devoted sidekick, feminine and/or conspicuously cold toward women or sexuality, somewhat ill-used by A but not resentful about it, as a contrast to B.

The dynamic is used pretty equally by female and male creators, though probably with different purposes. Outside the story, there’s a clear explanation for how the roles are divided: men are main, women are peripheral. Obviously the female love interest has to be on the margins of the story. Obviously the male main character has to have an ally in-story who can bounce dialogue back. Any human person has to have a best friend (for men, has to be male) and a lover (for men, has to be female). The major character male bestie and the minor character female gf is the minimum character dynamic you need to sustain the main character as a believable construction.

Except within the story, the dynamic begs far too many questions. On B’s part: her other half and love interest uses her for sex once every few chapters and dumps her to go off on another plot-relevant adventure. She’s kept in the dark, talked down to, pushed away, and distrusted. Her place at her sweetie’s side is occupied by Some Dude and no matter how much she puts into their relationship, she’s always going to be a prize for after the mission. Why does she stay with him? What could possibly attract her about this bestubbled grunt machine whose passion for the sword outmatches anything she’s given him?

On C’s part: he gets used as an emotional support crutch, designed to service his best friend’s every need at the expense of his own goals or story. He’s a housewife, he’s a domestic, he does every thankless story task with a smile because he has to provide the exposition/set up the plot/set the plan in action that carries the main male character to victory. He doesn’t have a love interest of his own, meanwhile the most important person in his life is obsessed with a woman he barely speaks to. Why should he care so much about someone who only takes? Why is he committed to this one-way friendship? What does he think of taking the backseat, providing support, submerging his own will for the sake of a person instead of an ideology?

On A’s part: if he’s a red-blooded heterosexual male character who pursues a woman as is acceptable, why does he dig himself so deep in with his designated ally? Through dialogue and because he has to in order to show the audience, he exposes his heart and soul to C and keeps him in his pocket for as long as we are watching, so why then does he cast him aside so easily? He invests the most time and energy into his relationship with C, cultivating love and loyalty there, but he draws the line so firmly in the sand that the audience is sure he’ll never, ever step aside for one minute to follow the friend. Why does he choose a man for his emotional battery? Why doesn’t he communicate with his supposed partner? Why does he choose to use B and C for sex and solace respectively, and why don’t they ever mix?

The gender dynamics wrap around to simple: women aren’t up to being equal partners to a cool guy, so you need a male wife to do everything for you and appreciate the protagonist’s sick abilities. romance with a man is perverse and impossible, so you need a female love interest to prove that the protagonist isn’t gay and fulfil the audience’s needs. But in-between all of that you could ask some interesting questions of the spoke character, A, the male protagonist whose actions are taken as normal. the question being: bro. what’s wrong with you

[harleybarbarahandler]

im literally in love with the little cackle that harley does every so often in birds of prey… like it’s the cutest most unhinged laugh and it’s adorable