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#broad-leaved
vshwee6v3gd · 1 year
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Naked guy Pierce bangs Hot Tbabes asshole Vide couilles Marie Busty Stepmom Danielle Derek Gets Fucked By Stepson's Black Friends Comendo a Rabuda Branquinha Com Uma Buceta Gostosa Chubby blonde amateur milf gets dicked down in bed Sexy BBW sends her Bathroom nude Cute periscope girl playing Milf India Summer lesbian sex with teen Gianna Dior Gay twinks and emos with big cocks xxx Alex hops on to take a rail Hot Brunette Becky Bandini Pounding Session BTS
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jillraggett · 7 days
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Plant of the Day
Sunday 21 April 2024
In this community garden in Dunkeld, Scotland, the Muscari latifolium (broad-leaved grape hyacinth) was creating a display. This perennial has a single leaf to each bulb, with deep blue-black flowers, topped by a crown of pale sterile flowers.
Jill Raggett
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pookie
+bonus:
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uncanny-tranny · 7 months
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If you treat trans men* like we always have access not only to being seen and treated as men, but also treated like cis men, and thus, do not need to be included in any discussion whatsoever because we apparently already "have it all", you're frankly not going to treat trans men* well. So often, people assume that as a political group, trans men* have it better when, frankly, cishet patriarchy wants us just as dead as any other trans person. Treating trans men* who bring this up like we're "asking too much" and are just whining about problems you don't think matter as much is cruelty, and is, in fact, transphobic.
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Vincent Price and Gene Tierney - Leave Her To Heaven (1945)
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fallout-lou-begas · 8 months
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okay so here's the thing for all of my non-wrestling followers.
if you want to understand why i've been posting so much about CM Punk and MJF and how it's over and we'll never get it again and i can still hear you saying you will never break the chain never break the chain, then. then. you have to understand. here's how to understand. here's the path i took to understanding it myself.
this. this is a very excellent forty-five minute documentary that covers the entirety of the feud between CM Punk and Maxwell Jacob Friedman. it is art. the feud itself is art. it's one of the best things ever done. it's about a very sick, sad, desperate, angry child who grew up to lash out against everything that's ever tried to love him before it could hurt him first, because his childhood hero was the one thing that he could count on but that hero walked out on him--and what happens when he meets that hero again. yes it's extraordinarily psychosexual and homoerotic. of course it is. it's wrestling.
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but then. then you have to understand that some time after the events of the feud covered in that documentary, this happened
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(MJF appeared to go completely off the rails during a live taping, insulting everything and everybody including his own boss while begging to be fired, before his microphone got cut off, and after this he basically wasn't seen again)
and then some time after that, this happened
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(Punk defeated Jon Moxley to become the AEW world champion, only to be immediately confronted by a suddenly returning MJF, who had won the rights to a championship match with a masked identity earlier that night)
and then immediately after that, this happened
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(CM Punk, while his tricep was torn from his match, shit-talked multiple people in the company while sitting directly next to his boss during the post-event media scrum, resulting in a legitimate backstage fight and several suspensions for all involved, and after that Punk was stripped of the championship and basically wasn't seen again, but it least it gave us the iconic line "i'm old, i'm hurt, and i'm tired, and i work with fucking children")
and then some time after that, this happened
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(MJF became the new AEW world champion by also defeating Jon Moxley, who had become champion again after Punk's suspension and injury)
and then some time after that, this happened
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(the premiere of a new weekly wrestling show on Saturdays, AEW Collision, which was created with CM Punk as a centerpiece and premiered with his 'second coming' and an angry, triumphant promo in which he claims he has something in a red bag that is rightfully his: it's not in the video, but as he leaves, he glares into the camera and asks: "what's in the bag, Max?")
and then some time after that, this happened
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(Punk reveals that his red bag does indeed contain the "real" world championship, which he claims is his because no one has taken it from him by pinfall or submission)
and as that's all going on, this is happening
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(MJF is becoming best friends with Adam Cole, another hero from his past, in a way that is playing out like the most wholesome alternative possible to the sick and twisted fixation he had on Punk, while (suspiciously?) not acknowledging Punk's return actions literally at all)
and so as you can see we were perfectly, and i do mean perfectly positioned, for a second CM Punk and MJF feud in which the roles are reversed, where Punk is the vengeful and obsessive one and MJF is the good guy on the upswing completely oblivious to the other guy's one-sided obsession, or something like that, or anything. and after Punk did two title defenses of his "real" world championship, we just may have been right about to see it. so you have to understand. and once you understand that, then you'll understand what it means to understand that we'll never get it now. that it's actually completely over. that he's gone again. and you will understand why this feels so bad.
fuck!
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princemick · 1 year
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Mick for mercedes
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subsequentibis · 2 months
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the fisherman might get a canon design + story stuff that'll contradict this in dredge but i started making up a backstory for him in my head while playing so i'm making a design to go with it. guy who died and came back wrong and also fish, and is gay and weird for the collector
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roobylavender · 1 year
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this is a general point but one thing i find to be really frustrating from non-talia fans is the automatic condescension and assumption of unintelligence as if talia fans are idiots who believe morrison is the only writer who has ever been racist to her and like we don't dwell on the issues in her writing across history wholesale because we tend to know it like the back of our hand. obv morrison is the most prevalent writer in talia discourse bc their work has been the most damning for her. there's no erasing what they did to her character bc dc will never erase damian's existence nor will they ever be willing to change his origins to account for her original characterization bc he's the more popular character by miles
but that's not to say that these discussions about other racist stereotypes and misogyny attributed to her portrayals from other writers aren't prevalent within talia fan circles. the above post is only one example of the assumptions made about her fans (although it's a common accusation) but i honestly find it quite laughable bc any talia fan who is dedicated to understanding her history and maintaining her character integrity is well aware that dixon's work on her in the 90s and early 00s is nothing short of terrible. it is her most prominent dragon lady portrayal prior to morrison's and you would be hard pressed to find a talia fan who actually enjoys any of those portrayals or believes they did her character any service. the thing op and so many others seem to ignore is that writers from tower of babel and onward more or less forgot about these arcs or talia's part in them bc her impact was so inconsequential. there's not even a hint of the talia who was power hungry to be her father's heir or sexually assaulted by bane in the portrayals written by waid and early 00s superman comics (although you can obv argue about whether ignorance of her trauma from the bane arc was a good thing). so ofc we don't complain about it as much bc it didn't have any long lasting effects on her character (unless you want to count her portrayal in the dark knight rises, but i think even that was egregious enough for the most wormbrained fans to recognize it was a disservice to her)
and i am always incredibly fascinated by the number of people who like to dress up the o'neil era the way op did bc it's an immediate tell for who's actually read her comics and who hasn't. there's certainly things to be said about the al ghuls and the fu manchu stereotypes o'neil and adams drew from to create the daddy-daughter duo, but no one who criticizes their holistic portrayals here ever seems to actually understand the nature of their crimes in this era or that this is perhaps the most tame ra's has ever been before writers in the 80s and 90s took his ecofascism to new heights. the ra's of the 70s is highly suspicious and wealthy and entitled, but most of his crimes are so vague and far flung they can't even be categorized as anything concrete. half the time he's fighting for control over the league more than he is actually making strides in ecofascism, which is what writers like mike w. barr more specifically dedicated themselves to portraying. it's also notable that one of the last stories o'neil wrote for the al ghuls in this era featured ra's and bruce cooperating to save the entire planet from a deadly chemical. ra's was an ecofascist at origins but very few people seem to understand or care that he was built with standards for himself and didn't believe in mass murdering humanity despite all of its crimes against the earth. that's a nuance that writers seem to have lost over the years and obv the every day batman fan isn't going to care about them lol
even beyond the ra's portrayal though it's interesting how talia gets tied so closely into his alleged "crimes" from this era bc unless her father is under threat or imprisoned talia doesn't play much of an active role in his criminal plotting at all. if anything that's a criticism talia fans have of o'neil's work bc while she's portrayed to be incredibly intelligent and possessive of a unique concept of loyalty, her role during this era doesn't really go beyond the bounds of henchwoman or on some occasions bystander. but the highlight of these portrayals is that in the rare moments that she is an active player, it's always to do the right thing and protect an innocent. talia is very staunchly anti murder and only inclined towards the act when people she cares about are threatened (like in her very first portrayal where she shot darrk to protect bruce, and even then, you can tell that murder wasn't her intent, and the man may have survived had he not fallen onto the train tracks; there is also her almost-murder of a man in daughter of the demon when she believes he's killed ra's, but once bruce tells her ra's is actually alive she relents. you can criticize her for that still if you're inclined to but the notable thing about it is that talia is not driven to murder as a prerogative unless extremes present themselves). o'neil explicitly designates her as a pacifist who is only chained to ra's out of a slavish devotion which other writers obv build on in later decades to help her ultimately evolve out of the role. but all too often non-talia fans take the bond girl ambience and surface matter of these stories to designate her as an entitled, heartless war criminal bc that's already the way they have of her from modern work, projected back onto work from the past. there's no room to see the nuances in her writing in earlier comics bc her future has already damned her
this is personally why i think paying attention to writers when building a concept of character history is so impt. swaths of issues get jumbled together to act as one conglomerate on a character but there's a plethora of nuances and shifts in tone and portrayal to notice when the work of different writers is distinguished from each other and analyzed. and that holds esp true for non-white characters whose trajectory can shift so suddenly bc of the biases of a writer
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hunterbunter3000 · 1 year
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Sweetheart listening to TRAVIS SCOTT?? TRANCE??? not me imagining her in that white hair era moment with her headphones on singing-
“SHe’s LickIn DowN On My CheST”
*Probably price never whip his head so hard*
“IF YOURE MY HO I CALL YOU SEXY YEAAAHH”
THE BOYS WOULD LIKE NOOOOOO BUT LOWKEY ENJOYING HER THAT WOULD BE SO FUNNY SEEETHEART RAP CONNOISSEUR🫣😳🥵🥶
AHAHWHAHA FUCKING RAP CONNOISSEUR IS SO FUNNY
White hair Era Sweetheart is so different to regular Sweetheart omg
Like White Hair Era (W.H.E) Sweetheart I feel like is a damn man eater or something 💀💀 more bold, using her dark feminine ways more, and just confident to the MAX
She even changed her music flow cause of W.H.E (BLAME @missroro FOR THIS SHE PUT W.H.E IN MOTION BLESS HER HEART🫣)
And omg hearing her rap would be a highlight cause they've never heard her say these words before??? AND PRICE-- would get a show, babes
He would be wide eyed but never leaving Sweetheart's dancing figure. The white hair swishing like silk on her back, her hand movements. He's enjoying himself.
She sees him and coughs, kinda embarrassed that he was watching. He chuckles, blowing thick smoke out from the cigar Sweetheart gifted him. "Don't stop on my account, Sweetheart. Just enjoying the view."
(WHAT DO YOU M E A N BY THAT SIR-- WHY AM I GIVING MYSELF A HEART ATTACK)
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a-lil-perspective · 2 years
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Hunter literally throws him on the ground and I. Can’t stop watching this.
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watchmakermori · 8 months
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rereading The Bedlam Stacks: my feelings six years on
until recently, I'd only read The Bedlam Stacks the once - back on release, within the span of a few days. I'd enjoyed it at the time, though not nearly as much as my beloved Watchmaker, so I thought it was time to go back to it and see how my feelings on it have changed.
back in 2017, I recall enjoying the first third of the book a lot, finding the middle section a bit slow, and thinking that the ending was a bit sudden. Having reread it again, my thoughts are similar in some respects - I still think that the pacing is strongest at the beginning, and hits a sluggish section once Merrick gets to Bedlam. My feelings on the ending are complicated, because part of me thinks that it's missing something, but part of me thinks it has the best conclusion of any Pulley book so far.
Bedlam is a difficult book for me to critique. There is so much that I love about it, so many isolated scenes and concepts that stick with me, and the prose is fresher and more beautiful than I remembered. The scene where Raphael turns to stone for 70 years is so beautifully, horrifyingly handled. The markayuq are a haunting, fascinatingly original concept. Merrick and Raphael, while hitting a lot of the classic Pulley duo tropes, stand out in many other ways - the fact that their romance is only implied, and left somewhat ambiguous, is actually a novelty against the context of her other works. They also feel more...mirrored than other Pulley pairings? Most of her romances seem to thrive on difference. Differences in class, in race, in intellectual standing, in physical strength. And obviously Raphael and Merrick have some of that, but they're also markedly similar in a lot of ways. Even though Merrick doesn't have Raphael's strength, he does have the memory of being a much stronger and healthier man. Both characters have a past of physical violence, and they are both shown to be capable of it in the narrative itself, as with when Raphael shoots the passing traveller and Merrick strangles Martel to death.
Their relationship to disability is also similarly mirrored, because both of them are haunted by old versions of themselves. Raphael is watching himself turn into a markayuq, feeling himself lose time and mobility, knowing that his transformation is impending and inevitable. Merrick also knows that he will never again be the man he was before his leg injury; he has to adjust to it, to work around it and accept that it has changed him. The acceptance of inevitability is a really interesting theme in Bedlam, which feeds all the way through Merrick and Raphael's central friendship. They don't really get the best of anything - they meet under bad circumstances, for less than a month, and they will never have enough time together due to Raphael's condition and a thousand other factors. But that doesn't mean that their friendship isn't worth something, that it isn't immensely precious.
So there's a great deal that I love about Bedlam on a thematic level, but I do think that the actual plotting of the book is quite weak overall. There are lots of isolated scenes that I love, but the connecting tissue is somewhat thin. The middle of the book involves a lot of waiting - waiting for the snow to clear, waiting for Clem to return, waiting for Raphael to tell Merrick the truth and take him beyond the salt line. Merrick does not have a great deal of intentional impact on the narrative, so it does often feel like you're sitting around waiting for the plot to come to him.
That's not to say that the plot needed to be bolder or bigger. It didn't need to focus more on the search for quinine. Honestly, I don't think high-stakes drama is one of Pulley's strengths - her forte is small interpersonal conflicts between select units of characters. In Watchmaker, the conflict and stakes don't really come from the lurking bomb threat or the police investigation - it's about Thaniel struggling with his own desires over the impulse to do the 'right' thing. Grace represents a more conventional path for him - a wife, a house, a future with children, and the money to look after his sister and nephews. But Mori is who he actually wants. And those warring desires come into greater and greater conflict as the story moves from beginning to middle to end. Thaniel's goals are not static.
But in Bedlam, there isn't that same sense of escalating tension and raising stakes. Merrick has his reservations about Raphael and whether he is dangerous, but ultimately, those reservations don't really change the decisions he makes. So much of what happens feels like it was always going to happen, which means that a lot of the tension feels somewhat...inorganic. Intangible. There isn't even the threat of discovery for most of the book, because Raphael knows exactly why Merrick is in Bedlam and Merrick makes no attempt to hide the truth. He keeps quiet about the threat of the army, but even if Raphael had discovered it sooner, it doesn't feel like it would've materially impacted how the story played out.
So it's a hard book for me to articulate my feelings on. The themes and concepts and characters and isolated scenes are excellent, but the story feels - just slightly - like it is less than the sum of its parts. At times, it seems more like a series of episodic events than a narrative, even if those episodic events are still deeply enjoyable.
But the ending is immensely powerful. The melancholy and the joy of it. The simple devotion of Merrick being there when Raphael wakes, 20 years later, with a cup of coffee - which was what Merrick had gone to make when Raphael first went into stasis. It is simultaneously an act of mundanity, and also an act of incredible loyalty and dedication - and love often does shine brightest in those small moments of devotion.
A while ago, I was lamenting that Pulley only ever gives us happy, cosy endings rather than something more tragic and bittersweet, but I don't think I was actually accurate on that. The conclusion of Bedlam is desperately sad, for all its loveliness. Because while Raphael and Merrick are reunited, we can't know how long they will have together. The story denies us that knowledge, that closure, by ending just as Raphael laughs.
I'm so glad I reread it. It is a bit of an odd fish next to all of Pulley's other works, and that makes me appreciate it much more with retrospect. This reread also reminded me, on a more general level, of everything I love about Pulley's writing - the sublime weirdness and the quirky characters and the nonchalance with which she handles speculative elements. For all her flaws as a writer, nobody is doing it like her, and I truly cannot wait for The Mars House.
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jillraggett · 8 months
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Plant of the Day
Friday 15 September 2023
Outside the Stamford Library, Lincolnshire, was this container which included the evergreen Ilex aquifolium 'Argentea Marginata' (broad-leaved silver holly). This female holly has white-margined, dark green leaves and masses of bright red berries in autumn through to winter. It's particularly suitable for urban or coastal sites since it copes well with pollution and salt-laden air.
Jill Raggett
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living-ironically · 5 months
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not to be vulnerable on dash tonight but
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beware-of-kat · 2 months
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I want comfort but I’ll bite the hand that tries to soothe me
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Vincent Price - Leave Her To Heaven (1945)
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