#too much - or never enough

[ozymandien]

chef with a silver earring

[brainrotcharacters]

the easy grip on the knife. the leg over the seat. the hand over the other seat. the sassy "come get it" move. you know the bitch is smiling behind that mask even as he said the line.

[cosmicredcadet]

"Why is all aspec representation in media AROACE rep?" and is the aroace rep in the room with us right now?

[reineydraws]

i dont have a caption for you lol i'll let shanks's heart eyes speak for themselves 🫶

(source)

[buttercupshands]

(Forgot to post again)

A birthday present for a friend :)

[xxplastic-cubexx]

Marvel's Squirrel Girl: The Unbeatable Radio Show! | All of Erik Lehnsherr's Call-In's

Episodes featured: The Fate of My Universe The Sinister Six Are No More Who Would Win In A Fight? Unbeatable

Full Podcast Playlist (Spotify)

Credits below:

Written by: Ryan North

Directed by: Giovanna Sardelli

Voice Cast: Milana Vayntrub - Squirrel Girl/Doreen Green Crystal Lucas Perry - Nancy Whitehead Leo Sheng - Koi Boi/Ken Shiga Davied Morales - Chipmunk Hunk/Tomas Lara-Perez Erica Schroeder - Tippy T. Squirrel Rob Nagle - Erik Lehnsherr

Key Art: "Squirrel Girl Infinity Comic (2022)" by Derek Charm - Doreen, Nancy, Ken, Tomas, Tippy "Magneto (2023)" by Todd Nauck - Erik

[yourlocalabomination]

Tick Tock, Teddy-Bear.

[sexy-sapphic-sorcerer]

Holmes and Watson / Tristan and Isolde

BBC Radio 4's Sherlock Holmes, The Devil's Foot (radio drama transcript) /// Granada's The Memoirs of Sherlock Holmes, The Red Circle /// Metafictional Monday: Tristan und Isolde, @teaformrholmes /// Brayton Polka, LIEBESTOD: On Love and Death in Wagner's "Tristan und Isolde", p. 246 /// The Private Life of Sherlock Holmes, Vincent Starrett /// BBC Radio 4's Sherlock Holmes, The Devil's Foot (radio drama transcript)

[akkivee]

they've been potentially changing a lot with the shadow manga, but since maria's final words to shadow were how she loves him and amy's conversation with shadow in the joypolis collab was about how he is loved, i like to think sonic team is still hinting at amy's ability to touch his heart lol

[poorly-drawn-mdzs]

All cards on the table.

[First] Prev <–-> Next

[chickenchirps27]

hello denizens of tumblr i come with humble offerings

they wish to romance you

[swampybogg]

[knivesandteeth]

Do you ever think about how Bashir saw every example of his exceptionalism as a reminder that his bodily autonomy was violated and his mind altered against his will, unable to truly excel if he wanted as this could be used against him but also constantly pressured by his parents and himself Be The Best™ or else what was it all for?

Do you ever think how this dynamic relates to him being an Arab man and how many POC have to work twice as hard to be recognised and still have their achievements devalued in the fragile face of white supremacy?

Do you think about how the ultimate fear of genetic augmentation is eugenics and the elimination of traits seen as undesirable under neurotypical str8 white supremacy? And the view of those who are unaltered as lower? And yet Bashir, a goofy, twinky, Autistic MOC who shows these traits very clearly, is seen as one of the only functional, successful augments? How instead of cold, inhuman amorality associated with augments (as Garak accuses him of) Bashir's morality is so so human - every line he skirts and boundary he crosses a desperate attempt to save lives and connect with other people? How he views himself as lower than everyone because of these augmentations and views any accolades as bittersweet, a reminder of the boy Jules who he feels he murdered to live?

Do you ever think about how Bashir constantly lives with the blinding, consuming fire of Kahn noonien-singh above him, unaware he is the gentle shadow at his feet?

Do you ever think about the emotional rollercoaster of Julian Bashir and want to give him a hug?

Or do you only think of yourself?

[buttdumplin]

going to look at houses with one of the boys because yall need a bigger one with more rooms now that ale and rudy have officially joined the polycule and the agent is really working the kids angle for "you and your... husband?" and ofc it's johnny who goes with you and he's feeding into it by only referring to them as "the boys" that by the time you've settled on a house and you get the agent to do one last viewing so they can all come see, her head fucking explodes first when she sees "the boys" and again after they all take their turns giving you and johnny your initial smooches, and the smile on johnny's face tells you this couldn't have played out as perfectly even in his dreams

[licorishh]

no way she's alive ?? yea those mental health breaks because social media makes people suck are wild huh

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are somehow infinitely gentle still; Style's kisses contain a purpose that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.