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#and that does not seem to exist :(
whaliiwatching · 4 months
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jeopardy romantic <3
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terrornothorror · 2 months
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you met me at a very strange time in my life
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elftwink · 8 months
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to preface this post i am anti-advertising i think we should explode the entire industry but it's sooo funny when you people make posts like "and they don't even work!!" like. sorry to be the bearer of bad news but yes they do. that's why we have to put up with so many despite everyone hating them and thinking its annoying. because they actually work really well and make a shit load of money
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steveyockey · 1 year
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Once you start looking, you see queer presentism everywhere. It pops up when politicians espouse our “unprecedented” ability to love who we love, and when recent book bans are said to “roll back the clock” on LGBTQ+ rights, implying that clocks tick continually toward progress. It manifests in Oscar Wilde hagiography, which elevates him to the status of singular queer martyr and extrapolates an epochal paradigm from his 1895 trials. It seeps into our everyday speech, in our references to “forbidden love” and our use of the term “Victorian” to imply prudish homophobia. It both stems from and structures the editorial projects that publishers pursue, giving rise to catalogues like the NYRB Classics, where the oldest work tagged LGBTQ+ is Colette’s The Pure and the Impure (1932) — as if nothing queer was written before.
The truth is that there’s a world of queer writing that predates Colette, volumes of manuscript and books that aren’t so much products of historical suppression as they are suppressed by today’s “it’s gotten better” mindset. This is convenient for a culture industry in search of the sui generis and always eager to pat itself on the back for its own enlightenment. But the almost total neglect, outside the academy, of the queer literary archive is a shame, and not only because it propagates factual errors. In limiting our horizons for understanding how our predecessors lived, loved, and wrote, we end up narrowing our own vistas. When we apply the repressive hypothesis, we’re actually repressing ourselves.
Colton Valentine, “Against Queer Presentism​ | How the Book World Neglects the Archive,” The Drift, October 25, 2022.
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uncanny-tranny · 5 months
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Trans dude whose favourite NFL team are the Packers
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idkaguyorsomething · 6 months
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a support group for people with “unconventional” daemons. jeff with his flounder he has to carry everywhere in a huge tank. lois with her poison dart frog everyone is afraid to touch. sam with their elephant that’s the reason they can never go higher than two stories in most buildings.
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skitskatdacat63 · 11 days
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"it was good fun! Surprisingly competitive I would say!"
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beanghostprincess · 7 months
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zoro's brain: luffy, swords, kuina, booze, sleep, luffy, swords, kuina, booze, sleep, luffy, swords, kuina, booze, sleep, where the fuck am i at? luffy, swords, kuina, booze, sleep, luffy, swords, kuina, booze, i swear this is the right direction, sleep, luffy, swords, kuina, booze, sleep, luffy, swords, kuina, booze, stupid crew they got lost again without me, sleep, luffy, swords, kuina, booze, sleep, luffy, swords, kuina, booze, sl-
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ouagh Wallee.... so so happy he's a seventies boy. peak fashion
bonus:
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nightmarist · 8 months
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I didnt notice until I went back to scour dialogue, but when Cazador scolds Astarion for slouching, Astarion actually straightens his posture.
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sapchats · 1 month
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dream continuing to hold on to the concept of privacy in a day and age where it seems like everyone is doing everything they can to ignore it and instead post every aspect of their life online for the entertainment of other people and/or short-term twitter clout is why i respect him not only as a content creator but also just as a person in general and i'll always have so much more respect for him over everyone else engaging in petty high school esque twitter brainrot for likes and views
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yardsards · 28 days
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so marcille's succubus totally looked like that general from daltian clan right
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I've seen people argue that "well it makes sense that Remnant has no prejudice or discrimination since they constantly face a threat to their very existence! It would be counter-productive."
And each time I can't help but feel dumbfounded when people say that - like, sweet summer child, have you LOOKED at our very real world?
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mossiestpiglet · 28 days
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God im getting so emotional about how close Kyoya is with his guard team… they are so affectionate towards him and they get him so well and he relies on them and is open around them in a way he fundamentally isn’t around basically any other characters, in some ways not even the host club.
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beaft · 1 month
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battled my boiling hatred of timothee chalamet in order to watch "wonka" because i was curious to see if it was secretly good (it wasn't). it did, however, make me wonder: does the whole "you can achieve anything if you just ~follow your dreams!~" message leaves me cold because i'm simply a bitter and scrooge-like individual? or is it because every movie that uses it seems to do so in the most hollow, disneyfied, superficial way possible?
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missingexaltation · 2 years
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How Eddie wins over Mr Harrington (by barely trying)
(in ten simple-ish steps)
Basically, how I imagine Steve's dad to be. I kind of think they have more in common than they don't, and maybe his son being queer is the *kick* that he needs to be a better human being (just like Nancy was for Steve).
Richard Harrington unexpectedly comes home from a business trip to find his son in flagrante delicto on his couch with an immediately antagonistic young man, (Edward, he later discovers), he waits in the kitchen, seething with disappointment and rage. Steven takes his things and leaves without a word, leaving the Munson boy to very purposefully throw Steven's house key at Richard's feet, keeping eye contact as he does so. The disrespect is blinding, and that night Richard drowns his anger in whiskey.
Days later his son comes home to collect his remaining belongings, supported by the Munson boy and his uncle. Wayne Munson is a enigma; on the one hand, clearly a soft liberal, but also a no-nonsense, sensible veteran with family values. Edward doesn't acknowledge Richard at all, too focused on guarding Steven from him. He watches his son cry like a child in the backseat, half listens as Wayne encourages him to keep in contact, and inwardly flinches when he sees Edward glare at him through the car window. He's not sure why his chest aches. Steven chose this path, he tells himself. Steven chose this.
Richard returns again to Hawkins, some weeks later, detouring past the store his son works in. He finds himself parked opposite, watching as Steven dances childishly with a female colleague through the shop windows. He's smiling and laughing and Richard's chest aches again. The passenger door opens and that boy gets in without permission. 'Stevie doesn't need you', he says, bold as brass in leather and covered in tattoos and chains, 'but he'll forgive you if you ask'. It hurts, and the only way Richard can breathe again is to invite them both to dinner later in the week. The subtle relief on Edward's face is immediate, and Richard hates himself a little less, though he's not sure why. He spends the drive home wondering at what point his son's life became unknowable.
Dinner starts awkwardly. Steven barely speaks, but Edward refuses to be quiet. He's a vocal young man, argumentative and strangely principled. They have polar opposite opinions on politics, and while Edward's not shy about his opinions, Richard is more than his equal on the topic. It's the sort of conversation Richard enjoys, trading viewpoints and internalising their differences. The evening ends on a warmer note as both Steven and Edward shake his hand as they leave. Formal. It's only a few steps to the car, but he notes that the boys hold hands nonetheless, as his wife tightly holds his. Middle ground, he thinks. They're not condoning the relationship of course, but accepting it for now. There's time for Steven to come to his senses.
Richard next meets Edward when he has to visit Thatcher's. His driver side tyre has a slow puncture, and although Edward's working on another customer's car he swaps with a colleague so he can see what the issue is. A simple 'he's Stevie's dad' gets him a family discount, and Edward changes the tyre himself when it's deemed too damaged to repair. As he works, Richard learns through his unending monologue that this job is temporary, as Edward's internship at the tattoo parlour doesn't pay, and won't for at least another year, that he needs the money now, as he and Steven are saving for their own place. Richard's immediate instinct is to give them the money himself, but knows it wouldn't be accepted. He takes comfort that Steven's in good hands at least. The Munsons seem to be a practical, friendly people.
Weeks later, when he's back in Hawkins again, he bumps into Edwards uncle, who's insistent on getting coffee and clearing the air. Richard guiltily confesses he's not comfortable with the idea of his son being one of them, that he's not sure he ever will be. Wayne simply points out that at least he's trying, and to keep trying. Apparently Edward's father didn't even do that much. Richard later relays the encounter to his wife, of how overtly proud Wayne is of Edward (my Eddie, he'd said). Richard's not felt proud of Steven for a few years now, only infuriated that he's intent on throwing his life away, but Wayne had plenty of happy stories of him too. As parents, they feel equally guilty and spend the evening drinking and reminiscing on Steven's childhood. It feels like they're reminding themselves of their son more with every day that passes.
He's still in town on the following Tuesday evening, and decides to take Wayne up on his offer and visit the bar that he recommended. He discovers that Edward's a talented musician. Even if it's far too aggressive and loud for Richard's own tastes, there's dedication, commitment and passion in each of the boys on the stage. He remembers his own music idols, how passionately they preached against the war in Vietnam, and he wonders when exactly it was that he stopped noticing the injustices of the world, when it was that his business suits became a comfort instead. He's quickly cornered by Wayne, Jim Hopper and David Jones ('my son's on the drums', he says, proudly). But they're all proud of their boys, he adds, and equally appalled by their music tastes. He goes on to say that the parents take it in turns to keep an eye on the boys each week, after what happened earlier in the year. Richard's in utter shock after hearing that there was a murderer on the loose not long ago, and plans to stay in town more after hearing that both boys were involved. He's clearly out of place and out of touch, but they're kind enough to not mention it. He buys the drinks for the remainder of the night, as penance. He has nothing else to offer, but hopes that's enough to start. His son could have died.
As is habit now, when he's in town, Richard drives past the video store to glimpse his son through the window. Further down the street he catches Edward balancing takeaway coffees whilst trying to open the door to the tattoo parlour. It takes moments to pull over and offer his assistance, and it hurts when Edward is surprised by the gesture. Richard's invited into the shop, and although Edward's busy, 'of course he has time for his father in law'. The phrase knocks him emotionally off balance, but Edward doesn't notice, simply updating him on their house hunt, and inviting them to the house warming, pending Stevie's approval. He shakes Edward's hand when he leaves, and when he turns back to his car, notices Steven quietly watching him from the window of his store. He waves, and after a moment his son waves back. He's alive, and there's hope, at least.
He and Kathleen invite the boys and Wayne over for dinner. He sees Steven smiling in the car as they arrive, and although it's faded by the time Richard opens the door, it returns tenfold when he shakes Edward's hand and greets him with 'hello son'. Richard's still very much uncomfortable (especially with how 'hands on' Edward seems to be) and if he finds himself in the kitchen knocking back a few more drinks than usual then it's his own business. It's worth it at the end of the night, when Steven invites them to their housewarming, and actually seems to want them there. He feels Wayne's approval through their goodbye handshake, and it makes him feel as though he's on the right path.
Jim Hopper lets them in through the front door. It's a small house, clean and characterless, and full of people Richard doesn't know. In the yard, Steven's at the grill with some other boys his age, and Edward is in the middle of the lawn, spinning a curly-haired teenager around like he weighs nothing. They look happy. Settled. Edward spots them first, waves them over and starts introducing them to the other adults. Steven brings them drinks, is beaming behind his sunglasses. (He can't remember the last time Steven smiled at him.) Hours later, when they leave, Edward shakes his hand and thanks them for coming (for trying, but that's unspoken), and Steven hugs him for the first time in so, so long, burying his head in Richard's shoulder like he used to as a child. Kathleen cries on the drive home, and he's not much better, but they're happy tears. He's a slow learner, Kathy too, but they're learning.
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