#we see them girl

[faithinlouisfuture]

shaking crying throwing up 🧿🧿 (x)

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[egophiliac]

everyone out of the way, this is the only thing I'm going to be thinking about from now on.

(okay, there is one more thing)

[butchlifeguard]

we need to destroy the idea that girls should wear makeup. normalize bare faces on prom queens and flower girls and cheerleaders. no products at all instead of '7 product simple makeup routine.' no more 10 step skincare and regular facials and dermablading and gua sha just to be comfortable with yr natural face. i want to see eye bags on the funny librarian and acne on the swim coach and wrinkles on all our adult role models. i want to see a 16 year old girl that has never tried putting on eyeshadow. i want to see a 7 year old girl who doesn't have to go out and buy powder for her dance recital. i want to see trans women and girls everywhere to never have to wear makeup, regardless of how well they 'pass.' no more 'contouring to look masc' either. a post-beauty industry world is possible

reblogs are on but if you bring up the stage makeup point that i have addressed three times yr blocked on sight ☹️

[edwardsdeathcabcd]

i've said it before but it will forever and always make me insane that jacob's ending is to join the cullens for the sake of bella not having to give anything up. they find out jake will be immortal & tied to renesmee forever, so bella gets to smile & say "my family is finally complete! ^-^" but jake already HAS a family. he has a father and 2 sisters. quil, embry, seth and sam are like his brothers. jacob and leah were planning to run away together. he's always been welcome in emily's home, sue has been a family friend since before his birth. bella abandons her mortality by choice because she feels no connection to the people around her, but jacob has really strong bonds. it's clear that every character we meet in la push is like family to him, he's an active member of the community. jake would've graduated high school and been a mechanic, would've grown into a young man. a good friend, a fun uncle, a present son. he's set up to have such a rich life. and he's just magically compelled to give that up. beyond his control, he loses sight of everything, because his high school crush's baby is now the singular most important thing to him. he's perpetually 18 with his perpetually 18 year old girlfriend, running around vancouver or alaska or wherever with the girl who friendzoned him at 16 & her in-laws (who were antagonistic to him for months). and i'm just supposed to say omg yay now he doesn't have to let go of bella! everyone is happy! it's complete madness

[poorly-drawn-mdzs]

Ghouls night out

[First] Prev <–-> Next

[chloesimaginationthings]

Woah.... may i request more tape girl.... and also phone dude.... and tape girl....... and tape girl..... and tape girl.......

I just gotta draw phone guy next and we’ll have the full set

[naturecalls111]

[userarmand]

[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.

[homielander]

i'm sorry but hotd positing that all women are innately cautious and peaceful and compassionate while men are rash warmongers is not a feminist win! i could see the value in everyone being hesitant to go to war at the onset of the story because it intensifies the tragedy of this house tearing itself apart, but at this stage, rhaenyra has as much reason for bloodlust (if not more) as the men on the show. it's pretty heavily implied that the shock of her usurpation killed her daughter, aemond killed lucerys, and one of aegon's kingsguard snuck into her quarters with the intent to assassinate her. most importantly, she has felt entitled to the throne since she was named heir as a child. she should be incensed! rhaenyra's inaction in the season 1 finale due to a sudden aversion to violence was already stretching believability -- this is the same woman who expressed nothing beyond mild shock at vaemond's beheading, who plotted with daemon to have an innocent man killed to facilitate laenor's escape while declaring that the realm should fear her. to have rhaenyra insist on peace at this point in the story, when war is already well underway, is incredibly irrational.

this problem is not limited to rhaenyra. alicent ordered larys to kill mysaria's network of spies and any suspected traitors in the red keep, presumably without any due process, and neither of these decisions was depicted with the gravity they deserved for a character who was once horrified by any bloodshed. meanwhile, aegon had a few extra ratcatchers executed, and not only was the direction sufficiently ominous, but we also got a lengthy monologue from otto about how it would spell his doom. it is probably pointless to bring up rhaenys because she is written less like a believable human being and more like a mouthpiece for the writers to assert whatever political opinion they believe is correct in a given episode -- but she did very much kill dozens if not hundreds of smallfolk last season. she did do that and very clearly did not care. why is she an advocate against war? for both alicent and rhaenys, there is a strange dissonance where their actions are at odds with their attitudes about opposing large-scale war for the good of the realm. i'm not saying this dissonance cannot exist, but it should at least be acknowledged.

helaena raising concerns about the losses suffered by the smallfolk might have worked in isolation, but for it to accompany everything above is exhausting. can none of these women be allowed to feel for themselves?

[himemeiya]

Oh yes, they both reached for the gun... [x/x]

[turtleblogatlast]

Something about this kind of swimming getup for characters always immediately gives me transmasc vibes. Blue swim trunks and a tank top? Sorry man my brain already connected the dots. The vibes are there, and they’re not leaving.

[leahaart]

Let👏🏻them👏🏻do👏🏻drag👏🏻

[acecroft]

DINA MEYER as Detective Allison Kerry in Saw III (2006)

[brofightiscancelled]

request from @hanaybuns to translate these pages from i believe "Matsuno Family Dependents Gallery"? sorry i didnt know how to approach the typesetting for this lol

all the quotes the boys are saying are from s1 episodes (right -> left):

oso 1 2 3

karamatsu 1 2 3

choromatsu 1 2 3

ichimatsu 1 2 3 (warning: ichimatsu incident)

jyushimatsu 1 2 3

todomatsu 1 2 3