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chaptertwo-thepacnw · 4 months
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adult viewing only
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evaempress · 3 months
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follow me for more
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ahappydnp · 28 days
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having thoughts about dnp saying the reason they wanted to write tabinof in the first place was to commemorate the era and give fans something to look back on and remember when they're older & how they consistently talked about the tatinof/tabinof era like it was an ending (or at least the end of their "peak")
the idea that in 2015!! they were preparing for their audience and community and their popularity to go away eventually so they wanted to create a physical reminder that "once upon a time there were these two guys called dan and phil who met each other on the internet who created this entire world"
it's like they were assuming the world of dan and phil and this community would be another trend and that their audience would lose interest in over time, especially after they'd just hit this massive peak. except it wasn't and we didn't
thinking about how that was almost 10 years ago and we're still here
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likealittleheartbeat · 3 months
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I try to generally be constructive and engaged with the show I love on here, so on this day, I’ll just say that one of the most thematically important aspects for me from the original ATLA is Aang’s emotional core of real shame for running away when he was hurt by the monk’s decision to send him away. People who feel the kind of deep-seated shame that Aang feels from this decision can understand how that kind of all-encompassing shame is not built around a simple failure or a lie they tell themselves; it’s constructed from real misbehaviors and transgressions of their own sense of ethics—lashing out, telling lies, attempting to hurt others intentionally—that then have consequences (abuses, abandonments, or deaths) which seem to far exceed their expectations or even basic logic.
The combination of the misbehavior with exaggerated existential punishments (along with a lack of support and amend-making in the immediate wake of the events) is what transforms a sense of guilt (I fucked up) into shame (I am a forever fuck-up). Then shame, that sense of being a secret monster ‘no matter what I do or how good everyone thinks I am,’ invites all the avoidance strategies (Aang puts on big smiles, makes lots of jokes, constantly tries to make everyone happy, hops from town to town without building deeper connections). One doesn’t want to acknowledge one’s true feelings or let others in to see those feelings and experiences because it’s too painful to face the grief at the same time that you have to look at yourself for being responsible—even when you recognize it wasn’t totally your fault. It’s just that if you had just been good, less emotional, less human, then maybe the world wouldn’t be so messed up. Of course, in a zen view of things, the world will always be messed up in the same way it will always be beautiful. These are constant facts that always coexist in balance, and this is the truth that Aang learns and that undergirds the whole series.
So I always loved that Aang ran away. It was his sin and his salvation. And it becomes this constant tension for the series—he gets hurt in Bato of the Water Tribe and starts to run away from Katara and Sokka, he runs away to the Guru in the Crossroads of Destiny and his best friend is attacked, he and the gaang retreat after the Day of the Black Sun failure, he runs away to meditation in Sozin’s Comet when everyone wants him preparing for war. Aang’s reluctance to be a hero and the attachments and petulance for which he gets criticized are what metamorphasize to become his most noble attributes. They allow him to empathize with others shame and, ultimately, wield the kind of compassion that can deconstruct the power and perfectionism of imperialism.
So yes, Aang ran away from his temple 100 years ago. It wasn’t the mentally healthy choice. It wasn’t the ethical choice. It wasn’t the wise choice. It was human and emotional and shameful and real. Aang is a better character for it. ATLA is a better show because of it. And we are better people when we understand these kind of tragic emotional experiences that people are trying so hard to grow through.
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turtleblogatlast · 1 month
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The fact that Leo can go literally anywhere on earth to be alone with his thoughts at a single moment’s notice is something that shakes around in my head all the time. Like, portals and teleportation are amazing and convenient abilities both in and out of battle, but they could also so easily be used to run away as well.
I don’t think Leo ever would, at least not most of the time. He loves his family too much, and is too dependent on their love and attention to cut himself off so suddenly like that, but it’s a very real possibility nonetheless.
It’s a good thing Leo’s overall temper is more on the mild side and he prefers going to his room or something to complete solitude, because it really is dangerous for a kid to have the ability to isolate themselves like that at their fingertips.
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omgbeautifulboobs2 · 2 months
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Rina Ortega
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evaempress · 2 months
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How's the view from there?
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ameliamillsxx · 5 months
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Cutie with a phat 🥧
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aphrodidadotcom · 5 days
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Rank my boobs in your top 10
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sarawilde2023 · 2 months
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Follow me for more hot and sexy contents
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lucyjoylust · 3 months
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Care to follow me?
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heyitsmirasblog · 2 months
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Follow me for more spicier content ➡️➡️ MIRABEL'S PAGE
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thedreadvampy · 2 years
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every time something from Neil Gaiman's tumblr crosses my dash I'm so concerned about the people writing and to him like. why have you outsourced your imagination to this man? asking shit like 'what does Morpheus sound like in this scene' or 'what does this dialogue mean' or 'what's the backstory to this moment' like BABES. THIS IS WHAT BARTHES WAS TALKING ABOUT. YOU'RE MEANT TO MAKE THESE DECISIONS YOURSELVES THAT'S WHAT MAKES ALL ART A COLLABORATIVE CREATION OF MEANING. if the author wanted something to be explicit in the text they can make it explicit in the text and if it's not explicit in the text YOU CAN MAKE IT UP.
what really gets me is I 100% prommy these kids regularly use 'death of the author' to mean 'i can enjoy works by problematic creators' which 1) yes I agree you can and should (using some discretion re who it profits and what's replicated in the work) but 2) THAT'S NOT WHAT IT MEANS LITERALLY WHAT IT MEANS IS. NEIL GAIMAN'S POST HOC OPINION ON SANDMAN OR GOOD OMENS IS A NO MORE LEGITIMATE FACT ABOUT THE TEXT THAN ANYONE ELSE'S INTERPRETATION. the text has left his control it belongs to the reader now, you get to decide and debate what it means.
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monsterhighlovurr · 8 days
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Deathzazz was half a beautifully written analysis about how adult abuse survivors often find themselves trapped in similar abusive relationships as adults if they are unable to resolve their trauma and tend to still idolize both their abusers and the people similar to their abusers. The other half was hot garbage and easily the worst shit in the show.
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regarding common tropes about ganon's writing in fics, I am kind of always taken aback a little anytime ganondorf uses degrading sexist terms in fics and such. Because to me, even his most evil interpretations would probably have no reason to have negative associations with women who have sex a lot, unless he picked it up from elsewhere (like there's some room for it to be interesting psychologically speaking if that's directly addressed, but it never is). I'm not sure why the gerudos would ever cultivate these kind of misogynistic ideas in their own culture, or why Ganondorf would spontaneously decide to form any essentialist ideas he may potentially develop on the basis of promiscuity, of all things. And, if he would pick that up from Hyrule... why would he, why this, and how does that map out with him remaining proudly gerudo in most iterations if he sees any non-married woman getting funky in a negative way?
it's kind of a very small thing, but it does kind of beckons a lot of questions regarding worldbuilding and psychology and it tends to take me out of fics a little, because it's always kind of assumed and never investigated
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occhichebaciano · 4 days
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💦 Come play with me💦
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