#why cant i be a girl man.

[sand-jam]

karlof cuz hes like one of my favs

[robinmage]

one thing i really appreciate about jinshi's character is how he has NEVER once actually had any intention of succeeding the throne. every time the idea is brought up he immediately detests it. so hes giving maomao as much as he possibly can, even though maomao has many qualms about it due to their difference in social status, but jinshi DOESNT CARE because hes NEVER cared about or wanted the status of crown prince! its been nothing but a burden to him! from his perspective the ONLY thing keeping the two of them apart are outside influences. he has no doubt within himself-- hes horribly down bad, in fact. but unfortunately his stupid JOB is getting in the way of him skipping off into the sunset with his favourite little cat

[two-entire-bits]

I have a confession. I do not care for the soc boys. I'm sure they have very interesting character traits and lore the actors and fandom have come up with and that is so fun and great and I know none of it and I am perfectly content with that. Shout out to all my mutuals who love the soc boys I hope you are having fun with your Ken dolls but I will not be joining you. keep slaying.

[gromitgirl2003]

Y’all have no idea how much i simp for this man seriously he’s so fucking cute I can’t 🤭💖💖💖

[all-thingz-me]

He’d give the best hugs😭🖤

[udkmehahaha]

i can imagine will byers trying to subtly be more feminine and subtly pick up feminine habits so mike will see him as a girl and love him back.

[lum164]

*doodles during a style crisis*

[shortnotsweet]

QUIET ON THE OLD FRONTIER (excerpt from THE THRILLING AND NOT AT ALL REPETITIVE ADVENTURES OF CAPTAIN MAN AND KID DANGER: “A CHRONOLOGY OF ENTIRELY TRUE AND HEROIC EVENTS COINCIDING WITH THE END OF HISTORY”) [1] [2] [3] [4]

Well, you know how it goes down in Hollywood: the sun never sinks on the West Coast, and no one can ever die for real.

[ Henry’s expression is frozen, part acceptance, part trepidation. A stallion stands in the forefront of the second panel, backlit by the stretch of desert and a yellow sun. The horse’s front leg is dotted with red; below, Ray is mid-grin with his arms outstretched, hands cut out of frame. The horse, mid-motion, flees toward the horizon. It won’t make it. ]

“I just can’t quit you,” is the kind of thing he would say, big hands outstretched to clasp the back of his neck or to fit over Henry’s windpipe like a noose. It’d be a bit, with a Southern drawl and eyes not quite meeting his, but there would be just enough substance that Henry could pause and think, Well. Maybe you should.

Somewhere underneath that ego is a person capable of letting go, of cutting their losses. Henry’s seen the Old Westerns in their grainy film and open desert, and knows the kind of look good men get in their eye when their horse buckles. It’s the same guarded expression he wore when Drex came barreling back in, looking like Henry might in a few years time—angry, bitter, and stuck in the same place after all those years. Drex came back on his own, but still holding the old reins. Maybe that’s a difference between Ray and the good man; when Henry breaks his leg, he gets benched and pulled from the field. He’ll be back out again the moment his femur mends because he won’t see the break for the escape it could be. A fracture is never just a fracture, and a boy is never just a boy.

A horse with a bum leg gets taken into the field. It can’t return because it never leaves. Oh, well. It was a good beast, a good ride while it lasted.

PANEL NOTES:

The first chapter of the fic “bite your tongue” by ao3 user irregularsatanist (slavishtrust) motivated this significantly, although this is not explicitly lifted. I am obsessed with their mind! Every time I read and reread, my fingers get the itch to storyboard. Much to say, and more to come, surely. (I’m actually being so, so, so serious, the levity of their work is what incepted me into this hyperfixation and every version of the characters I have in my head is inadvertently colored by the blueprint of trauma, codependency, and exploitation in the aftermath of young adulthood that their continuity of portrayal has lain out. I’m not kidding I’m being so real about this rn)

Something about the Wild West motif is just really, really compelling to me: empty space, inherent isolation, man in nature, evocative of incoming change sweeping into the country and devastating those that lived before and in the now and yet still feeling stagnant in the hugeness of the land, and the kind of vulnerability that the wilderness digs out of you. There is no difference between the civilized and the uncivilized here. I don’t think I’m super subtle about it.

There is an anonymous mark on Henry’s neck in the top panel. It could be blood, a bruise, dirt or dust, inflicted or coincidental, etc.

Three instances of hands, or hands in omission: Ray’s hand gripping Henry, the implication of his hands extended outward/upward, and the hand holding the gun in the bottom right panel. In the former and latter, they are highlighted with yellow lines.

Henry does not reach back for Ray, but he doesn’t retreat, either.

Henry and Ray’s respective paneling colors differ.

The horse represents freedom & captivity, cyclical tenancies, dehumanization, and escape into the natural.

Here, Henry may even identify with the gun itself. Ray’s hand over his face + neck mirrors the grip over the firearm, and the line where flesh meets object (or, in this case, Henry) is highlighted by the same line work.

The horse envisioned is a wild one that was groomed into captivity and subsequently domesticated. In most ‘horse’ narratives, the struggle culminates in the question of freedom—or return to nature—as opposed to the human need to keep. By allowing a creature of nature, which was not born into civilization but rather introduced into it, to return to its motherland is a humanist act and therefore a rejection of corporate or urban conformity. The horse exists as an objectified commodity, one to be used or paraded. To relinquish the horse demonstrates more than love, arguably something more important: respect. To respect nature is to relinquish the grip of expansion.

I feel like this is the moment when Henry returns and they both reunite with one another after a period of time. Ray’s expression, while still ambiguous, is much easier to parse than Henry’s. Henry, of course, considers himself the defective horse, and weighs the three possible routes: escape (back) into the wild, to be taken into a field and shot (real Old Yeller style), or to be ridden again. Each carries their own merit and implication of autonomy.

The reality of each unfolding is still dependent on Ray: if he lets him go, if he decides Henry must be discarded, if he utilizes him still—or, if he is defective at all.

Ray’s problem isn’t that he’ll be tempted to shoot the horse, but instead that he wouldn’t. The good man takes the creature out of its misery if he can’t heal, house, and release it. This guy would rather have a bloody horse in his house until the end of time than admit he shouldn’t have had it in the first place. From Ray’s perspective, the reunion is best characterized as the return of the prodigal son. To Henry, this is more of an ego death in slow motion.

Ego Death: “The disappearance of an individual’s sense of self, or the removal of one’s perception of oneself as an entity separate from one’s social or physical environment.” (Britannica)

Prodigal Son: “…a man or boy who has left his family in order to do something that the family disapprove of and has now returned home feeling sorry for what he has done.” (Cambridge Dictionary)

The chapter title, “QUIET ON THE OLD FRONTIER” is a reference to All Quiet on the Western Front, the English title of Erich Maria Remarque’s 1929 novel about the traumatic aftermath of World War I. The term, “all quiet on the Western Front” is a colloquialism referring to a lack of progress, or stagnation. “Front” is interchanged with “frontier”, Americanizing the phrase to refer to the Old West and settlement. California, on the Western Coast of the U.S., is assumed to be in close proximity with the location of the narrative.

Of course, “I just can’t quit you” is the iconic dialogue between cowboys Jack and Ennis in Brokeback Mountain (2005), the epitome of the modern Western movie (based on a novel of the same name). Here, the context is not exactly the same, but still (uncomfortably) adjacent. Sometimes, quitting is good. It can help you grow up big and strong.

[pzyii]

Basically every single character has commented on Cristina being a robot or inhuman or emotionless and such .

So many of them think she doesn't. Love.

But it's so ridiculous because, love interest wise, she's the only one actually loving the other person.

The greatest thing any of her love interests did to her. The only thing that was made with genuine love for her.

Was Burke leaving her.

At the altar, in the dress.

[casperth3ghost]

guys how do you explain to your friends who have suffered for months hearing u yap about one specific character that youre losing intrest in said character

[moeblob]

I'm on an OC kick and also super indecisive so I spun a wheel (thank you for choosing for me, RNG).

Ricardo is a body guard and is bffs with Marlo. Ricardo's current job is watching after a celebrity's daughter who the public doesn't know even exists. She's just a teenage girl vibing with her mom and getting texts and calls from her dad (who loves her a whole lot and keeps her out of the spotlight very purposefully) and has this bodyguard and his weird friend. Marlo is just vibing with his best friend.

(Also Marlo would absolutely laugh if he heard Ricardo say "someone called me eye candy and it wasn't you and now I think you should call me that")

[3416]

why do i feel like crying every time i get on facebook like why is a man posting abt how he's going to start selling peanut butter fudge bc his wife just got diagnosed with cancer and they could use the extra money abt to make me cry like... our healthcare is so fucked up bro i cant

[nintbros]

god fucking dammit when do I get to start estrogen I can't with the dysphoria anymore

[yanderespamton78]

when a regretevator headcanon pisses you off so much that you become a feminist