#trying to think of all the women

[kissingmilfs]

who do you guys think would step out of line and touch buttercup without wanda’s permission?

no men please <333

[demaparbat-hp]

Oh, Aang, you're really in it now...

This is Zu—I mean, Jian Li and Katara's second meeting in the Kyoshi Warriors AU. The first proper one, anyway.

Once they get through a minor difference of opinion or two (“I can carry my own basket!” “Never said you—” “I'm not weak!” “I didn't—” “Just because I'm a girl doesn't mean—” “Would you listen for once, woman?!” ) they'll become nearly inseparable.

For now Jian Li will carry Katara's basket all the way to the Kyoshi Warriors' dojo and, once there, they'll mercilessly tease Sokka when they see him in uniform.

[deepseasmetro]

something that the does it like women blog that ive found really interesting are the number of people who think "bad things happen to a woman" to mean "it does not like that woman". especially if the author or creator so happens to be a man

and i mean, like, in many cases that's true, especially when the bad things are excessive violence that other characters dont face, but i just find it interesting that for some select people there doesnt seem to be much thought beyond that. to them, if a man writes a woman who experiences violence or hardship, its misogynistic. i just find that interesting

[idiosyncraticrednebula]

The more "empowered" Disney tries to write their heroines as, the less interesting and charismatic they become, ironically.

[faggy--butch]

Trans men and women tend to get viewed as either disgusting male freaks or perfect feminine female goddesses based entirely on identity and vibes alone, forcing trans men to either detranstion to talk about the issues faced, or shut up and hate themselves and grovel at the feet of their "betters", and trans women are forced to preform the highest standards of femininity or be shunned and live in fear of being cast out and not being "woman enough" facing the constant need to prove themselves to avoid being seen as interlopers. these things are similar, these problems overlap, and yet people go on to pretend that one is the most victimized victim and the other is the "subjector and oppressor" (Interchangeable) and neither can truly understand the other. these ideas being perpetuated by others within and outside of these groups. It drives me up the wall that there are people pretending this helps anyone, that either benefits from the others oppression in anyway. Personally, from what I've seen a lot of it comes out as like gender insecurity, from the inside groups, which is pretty sad, but also extremely frustrating to be lashed out at for being unwilling to accept this gender essentialist false binary

[the-judicial-assistants-notebook]

not enough discussion about the gavins' complicated relationship with feminine-coded/beauty products, i don't think.

[fictionadventurer]

Maybe the problem with Christian fiction is that it's non-denominational. People are just "Christian", with no effort put into showing what practicing that religion looks like for them specifically. No indication that there are other Christians who could have different beliefs. No wrestling with differing ideas and the struggle of how one should live out their Christian faith. And that makes it unrealistic and unrelatable.

[toytulini]

listen im ace and im pro kink at pride and whatever, but the way some of yall are wording your posts in response to the backlash against it is uh. really taking me back to the ace shitcourse era.

yall know theres nothing wrong with being a "virgin", right? that its not inherently shameful to have not had sex, to never have sex, even if youre not ace, even if you do want to have sex someday, like, its fine that you haven't had sex?

maybe if your problem is that theyre trying to police your behavior and shame you for expressing your sexuality, you can say that? instead of resorting to "haha stupid virgin gets no bitches" like my god. do you not hear how fucking regressive that attitude is? i know, i know, youre "joking".

get a better joke

[butterflysonnets]

absolutely insane that mike literally p a n i c k e d when will was like "well what about us?" because will wasn't even really making things gay he was honest to god just inquiring about the state of their estranged friendship and wondering why mike didn't make time to talk to him when they're supposed to be best friends but MIKE was the one having an aneurysm like "🏳️‍🌈⁉️ W H AT!!"

“WE'RE FRIENDS” “i know mike” “WE'RE!!! F R I E N D S!!” “right so why don't you call me — ” “I HAVE A GIRLFRIEND” “… that in no way answers my question"

[rottingraisins]

it kinda sucks that you hc a canonically pansexual character as gay (clef)

i deliberated not answering this one bc i dont rlly mean to get into representation discourse or w/e during pride month of all things but i think the sentiment behind it is very fair so i feel bad ignoring it.

firstly, i think it needs to be said that clefs "canon" romantic orientation is very much just, whatevers funniest or most poignant for what youre trying to do with him. i understand the sentiment, there are characters in scp who are queer in a very specific and straightforward way where i'd also be upset if people erased that about them, but clef is not that guy. he is probably the single most contradictory character across the entire wiki, and everyones got a bit of their own take on him.

secondly, to defend my own take a little, i don't even really see clef as strictly homoromantic. i think when applying queer labels to fictional characters one tends to kind of treat them as these ontological, prescriptive truths, rather than how labels are used in real life, by the individual themselves to approximate their lived experience.

what i'm trying to say is i don't think clef the character, at least the version of him i'm most fond of, the fifty something year old reformed casual homophobe from resurrection and co, really knows what the term "pansexual" means, or "mlm", or "demiromantic", which are other words i'd use to describe him if i were using the prescriptive approach.

i think clefs relationship to romance is deeply complicated and not something he spends a lot of time really thinking about, and in practice, despite the theroretical breadth of his capacity to be attracted to other people, he's really only attracted to men, which is to say one particular man who also just so happens to be dead, so there's no point in really dwelling on it.

[dukeofthomas]

Do you see my vision

[lgbtlunaverse]

So I've been wondering about one particuar point on the "Jiang Cheng marriage recquirement" list and it's the one about low cultivation.

Now on its face, except for the "must be nice to jin ling" point, the whole thing just looks like the most standard list of "ideal wife characteristics under a patriarchal society." naturally beautiful, graceful and obedient, coming from a good family, voice not too loud, etc. This leads to either the interpretation that jiang cheng really wants that (doubt dot png) or just... put all the most stereotypical things on a list even though that's not what he really wants.

In that context "cultivation must not be too high" sounds like a typical "men are scared of women who are smarter/stronger" thing. you know, the dudes who feel 'intimidated' when their wife or girlfriend makes more money than them.

...Except wasn't Yanli openly mocked for her low cultivation? Like, wasn't one of the reasons Jin Zixuan was such an ass to her initially because he shallowly assumed her lower cultivation made her an unworthy marriage candidate? Jin Guangshan may hate women who can read but society overal doesn't give the impression that high cultivation in women is seen as something undesirable. I mean... a wife that never looks like she's over 20 even as she starts aging? yeah I have no problem believing a misogynistic society is okay with high cultivation.

So if it's not there just to fit the stereotypical standard of an ideal wife...

Jiang Cheng, are you just describing your sister?

LIke?? Every single point on this list applies to Yanli. All of them. I don't mean this in a freudian incest-y way but in a "jiang cheng are you so unaware of what you want in a partner you just took the only woman you've had an unambiguously good relationship with and hoped no one would notice???" way. Does he know the difference in what you should like about your sister and what you should like in a spouse? Is he even aware he's doing this? Jiang Cheng answer meeeee.

[obscenicon]

arasol is YURI aka WOMEN IN LOVE it is not "straight yuri" it is not "het yuri" it is not "yuri to me your honor" it is honest to god transgender lesbian kissing. you fucking cowards

[canisalbus]

you say machete has to be closeted then why's he always wearing them little heels

Maybe he thinks he's a tiny bit nicer looking in them.

[mamawasatesttube]

i just think that if you can learn to distinguish dick, jason, and tim robins, you can learn to distinguish mae, linda, and kara supergirls. and if you insist otherwise then you just hate women i guess :/

[wavesoutbeingtossed]

I know you don't like discussing the muses but i love your takes and perspectives and i had to ask you about this. after listening to ttpd, did you have the impression that she really loved matty more than any of her exes/previous relationships?. And listening to the whole album as a whole would you call it the ''matty album'' or do you think there are more prominent themes in there than their period together?. (hope this doesn't bother you, feel free to delete if you don't feel like answering it)

hey anon! You're right, I don't really like to get into the muses as I don't really think there's anything to add to the conversation at this point, and ultimately I don't think it matters.

That being said, and with the caveat that I am not Taylor and I do not know Taylor so I cannot speak to her thoughts and can only make relatively educated guesses based on being an avid consumer of her work and a student of the human condition (lol), no I do not think Taylor loved Matty more than anyone else. I think there was maybe a brief period in the thick of things where she *thought* she did because she was not thinking clearly and was in full-on denial, but to me the message that is loud and clear in the album (and more or less explicitly stated in the epilogue) is that it was not any kind of real love affair. It was certainly infatuation and lust and the promise of something more, and there may have been some love as well, but he was in no way the love of her life by any measure.

I would call it a "Matty album" insofar as they're about events in which he was present, sure. But I feel it much more as a Taylor album, if that makes sense, even though I know that's a cop out because every album is to a degree. I can't explain it well, but I don't see TTPD as a Matty (or Joe) album in the way that I would maybe say Red is a "Jake" album or 1989 may be a "Harry" album or even Lover being a "Joe" album whatever, because even if they don't figure in all the songs, that kind of heartbreak permeates so much of the material.

The thing about TTPD and the Matty situation is that the Matty situation is really a Joe situation (which in some ways is actually partially a Jake situation). I always say I hate treating Taylor like a character so I hate speaking about her and her work in this way, but you don't get the Matty situation without the Joe situation precipitating it. It's @taylortruther's now-infamous donut vs. hole analogy. The reason Taylor makes the choices she does with Matty is directly tied to what happened with Joe that made her feel she needed to. Which is not to say Taylor isn't responsible for her own actions or doesn't have agency in her own life, but I mean it in that the situation in which she found herself with Joe, and the pain it caused, is what made the alternative so comforting and perhaps even necessary in her mind. It's why it makes it so hard to "paternity test" the album, because the stories are inherently intertwined and you don't get the former without the latter.

The major "theme" of the album to me is the loss of a very specific, very personal dream, and the way in which she lost it, and the way in which grieving that loss drove her to make the choices she did. We're all talking very delicately about it because it's a sensitive topic, but it's late on Friday and few people are going to see this, so I'm going to say it: it's the give you my wild, give you a child of it all. The yearning she expresses both overtly and sub-textually for having a family in the album is palpable in a very iykyk kind of way, and it's the realization that those plans are not going to come to fruition in the way she had once imagined that drives a lot of the pain she experiences, and makes her jump at the chance to find that again with someone else.

I started a draft post about the theme of womanhood and motherhood on TTPD three months ago that I never finished because I ran out of time and ran out of steam, but it was the most striking thing to me on the album, not because I didn't know that she wanted those things because that's been obvious for years (definitely since Lover, and again, peace put it all on the table), but because the vulnerability she expressed about it on the album is incredibly moving, and it's so generous of her to trust listeners with those feelings and experiences.

Again, it's the thirtysomething of it all.

She is in relationship A which she at one point believes is forever, one which she at one point believes is going to lead to marriage and children. She is so committed to that dream that she either ignores or tries to fix serious issues that may otherwise lead others to think the two people in the relationship are incompatible, both because she loves the person deeply and because she feels that this is meant to be the way she achieves that dream. She gives it her everything, and it still dies a slow, painful, onerous death, and she feels like it may take her along with it. The dream of getting married and presumably having a family gets taken off the table: how we don't know and will likely never know because that is private between the parties involved. All that matters in the context of the album is that those plans never come to fruition and never would.

Then you have relationship B, an old flame who knows just enough buttons to push both to trigger and to flatter. A person who she presumably trusts with very sensitive, personal information as her life slowly crumbles, and this person is telling her all the things she wants to hear because he knows about what is happening in relationship A because she's told him. Person in relationship B doesn't get an "in" with her and sell her this dream unless what happens in relationship A precedes it. It's not a grand love affair for the ages, it's not a mutual decision on building their own dream together. It's Person B learning about what is happening with Person A and saying "I can do that!" even if he can't or doesn't. The dream he sells her is a rental car; it's not his own, he's just borrowing it from someone else and selling it back to her.

And the reason she falls for it is because it is what she aches for the most in her personal life, and she is grappling with it disintegrating, so she (unfortunately for her) falls for the easy way out, and in turn sells herself a story about how this must be fated, and this must be meant to be, because this person wants all the same things she does and she didn't even have to bargain for it! Well, yes, because she fed him the dream in the first place. (Like a mark falling for a sleeper cell spy.) It's too good to be true because it isn't true. IMO Person B doesn't come running out of the gate with the marriage/baby/dream life promises unless he knows that is what she most desires. But what's left unsaid out of all of it is that: those dreams were her dreams because they were her dreams with Person A. It was a whole life they had together, and a whole life they had planned for in some fashion, and a whole life that has to be dismantled in the aftermath.

So all this to say, yes, on the surface, Matty is a "main character" on the album, but truly he's a side character to Taylor as the narrator and person experiencing it and Joe as the ghost bit-player-who-haunts-every-scene. (Again, I hate referring to real people as characters, it gives me the absolute ick, but in this case it's the only way to answer the question.) I jokingly call it the Matty album for shorthand or when I want to say something out of pocket, but really, it's a disservice to the album to say that because it's not a muse album as in it's about the romance (like, say, Red often is), it's about a soul-crushing heartbreak that goes beyond it. The romance is the symptom, not the cause.

The loss of youth is tied in with all this: she's not 22 anymore. She isn't even 32 anymore. She had a very specific idea of what her life was going to look like at this point and had planned for that life, and it goes up in smoke. But again, to bring the womanhood into it all: there is, unfortunately, a deadline for these things. You're with someone for over half a decade you think is going to be your life partner and father of your children and and then he's not. You spent half a decade building this relationship for it to crumble, but now you're in your mid-30s and you don't necessarily have another half-decade to build that trust and faith in someone else before being ready to start a family. And maybe you're scared that anyone else who may become your partner will need that much time to build that trust and faith, because that's kind of all you've ever know in relationships. But lo and behold, someone comes into your life you once had feelings for and maybe now do again and is offering you everything you want and thought you'd have by this point in your life right now. It feels like an elixir that as we find out is actually poison.

That youth is not just the chance for motherhood, but it's also the hopes and idealism and belief in the future that often gradually erodes as we age. But for Taylor as well, it's also tied into the trauma of what she went through particularly in 2016, which kicks off a lot of things on the album as well (her retreat, her relationship with Joe, the pivoting in her career, etc.). That event caused a pretty clear before/after in her life (like a few other events, I suspect), and another major theme in the album is her finally grappling with the full weight of that. They're all different branches of the same tree of the story of TTPD and her life.

I could talk about this stuff forever, but I'm going to stop here because it's long enough and I should save stuff for one of the dozens of drafts I have half-baked lol. But this is just something I needed to get off my chest perhaps.