this moment will never fail to make me feral bc he gave up!!! till, the boy who rebels even when all it does is get him hurt, the one who burns as brightly as the stars in the sky, the flame that lasted for almost two decades finally gave up!!! he snuffed out!! he closed him eyes and stopped fighting!! do you understand how devastating that is??
especially to ivan who idolizes and adores him for it?? who has only ever known till for his never-ending love and will that never falters? to see the man he loves broken down like this—a hurt that extends far beyond that of the physical body but to his soul— must’ve been terrible
and you can see it
ivan’s crumpling too. his mental state is on the verge of snapping too. his shoulders are dropped and his eyes are bloodshot.
till’s given up and ivan can see it and as his hands tighten around the other’s neck, a voice whispers what if you don’t let go?
because that’s what till wants right? he isn’t going to win against luka like this. he wants to die and no matter what ivan does, it’s not going to change that. so why not kill him?
that way they can die together.
wouldn’t that be wonderful?
ivan has always had a great potential for darkness and he holds it back most of the time, rarely ever letting it come to the surface. it wouldn’t be far off to assume this was one of those moments, where emotions are high and last minute regrets and wishes are surging forth—it isn’t far off to think there was a small part of him that was seriously contemplating throwing away his decision to sacrifice himself alone.
but then he gets shot in the chest, through the lungs, and the pain snaps him out of it. because this is it. this is the end. and he remembers why he’s doing this.
he remembers his desire to save till despite how foolish as it may be, how hypocritical it may be. the light reappears in his eyes and it’s ivan in love again. it’s ivan swelling with pure love, looking at till for last time.
it’s ivan doing the one thing he’s never been able to do:
it’s ivan letting go
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it just sucks because nothing is ever fucking made for you, and if it is made for you like 75% of the time it gets chopped into little pieces by every person alive because this is the one thing you have, so it has to prove itself to you.
like, a thing can't just be for women. men need to assign it to women. women have to experience "must" or "should" before their hobbies and passions - women are allowed to do silly, passive things like tuck our ankles and titter behind a fan, or something. women are allowed to, they are welcomed to. like the world is a house and we are supposed to be in the kitchen and now we are being given the divine right to enter the living room if we bring chips
because when it becomes for you, or about you, that is when the thing is vile. you should/must wear makeup so you can appear beautiful to men. once you wear makeup for yourself, or because you yourself enjoy putting it on, then you are no longer doing the right thing. there is a reason men hate certain fashion trends. there is a reason men hate things like the pumpkin spice latte - because it's not about them. you are buying it because it is good for you. they degrade your passions and interests. there is a reason women-led fields are largely seen as being "not a real" profession. when you are a good cook, that is because you can provide for him. close your eyes. you're not going to be a chef, be honest. that is a man making food for himself.
bras are made so breasts will be appealing to men. they are rarely about comfort or support. you have given up entirely on the idea of pockets. young girls have to worry about a shorter inseam on their shorts. a girl on instagram gets her septum pierced, and men in the comments are rabid about it - i just want to rip it out of her face. she'd be beautiful without it.
and fucking everything is for them. even the media that is "for you" is for them, eventually. remember "my little pony"? remember how hard it is to convince any executive to believe that little girls are worth selling to? in the media that is for you, you see little ways that you still need to make it accessible for them - the man is always powerful, smart, masculine. he is a man's man. the media usually forgives him. it usually says okay, some men are awful, but hey! gotta love 'em. because if you don't hold their hands and say "this is literally just a story about my lived reality", they shit their pants about it. they demand you put them into the media that's for you.
these are people who are so used to glutting themselves on the world. they are used to having every corner and every dollar and every place of leadership. so you say can i please have one slice of cake, just for myself, please, holy shit. and they fucking weep about it. they say you're being unfair, because some of their one-thousand-slices aren't beautiful, and your singular cake slice doesn't have their name on it. and aren't you being rude by not offering to share?
and honestly. fucking - yeah, man. you were kind of surprised, because the cake is a little basic (you bake at home, you're way past this stuff). but holy shit, it was nice just to be offered cake in the first place. you're used to having to starve. you're used to getting nothing, but going to the party anyway, because you're expected (professionally) to show up. you liked that it is a simple cake, and that it is warm, and mostly: you like that there is, for once, a cake-for-you.
in the real world, outside of metaphor, it feels like fucking being slapped. barbie didn't even say anything particularly unusual; it literally just made factually evident points. there are less women in leadership than men. we can look at that fact objectively. that is a real thing that is happening. and the movie is aware that it has to defend itself! that it has to spend like half an hour just turning to the camera and saying: i know this is hard for you to understand, but this is a real thing that women experience.
it's just - this is that one kid on the playground who thinks its allowed to hog all the toys. he builds this hoard that nobody else is allowed to even look at, or he'll get aggressive. everyone's a little scared of him, so they let it slide, because his daddy gave him the golden touch. he hates when people cry and thinks bullying is cool. he writes boys only! on a big sign and makes all his friends take "alpha male" classes.
and then girls pick up barbies, because there was nothing left for them. and in the void they've been given, with their scraps: they make long, spiraling narratives about how barbie is actually descended from snakes and has given her righteous followers magical (if concerning) powers and can speak 32 languages (2 of which are animal related) and has big plans for infrastructure (beginning with the local interstate). and the boy comes over, and he has a huge fit about how the girls aren't "including" him. he wants to know why the girls aren't making the story about ken.
"we didn't like your story." the girls blink at him. they point to his war stories and the gi joes and the millions of male-led narratives and how still in the modern day men get two-thirds of the speaking roles in movies and they point to men making mediocre shows that don't get lambasted and they point to men encouraging toxic masculinity and they point to men everywhere, men and men and men. and they say: "how is this our fault? you had ken."
"no!" he is already back to screaming and stomping his feet and tearing at his hair and intentionally reminding them that men are holding back thinly concealed violence and he says: "if it's not for me, it's actually sexism."
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let trans men&mascs romanticize testosterone.
keep your “you’re not going to look like an anime boy or whatever, you’re just going to look like your dad” to yourself.
keep your “but what about the balding and the acne and the anger problems and the gross hair everywhere and the horrible painful bottom growth and and and” to yourself.
keep your “once you look like a man you will scare people and you can never stop thinking about that” to yourself.
keep your “testosterone is poison and don’t you dare even suggest that saying that might hurt you” to yourself.
we are not obligated to take on your fears and traumas around testosterone as our own, nor are we obligated to let them influence our relationship with it.
we are not obligated to sit here in a world that heavily restricts and constantly threatens our access to it and listen silently as you contribute to stigma around it.
we’re already tired of watching cis society as a whole try to rip it away from us; we don’t need fellow trans people and supposed allies giving credence to their cause.
for many of us testosterone is life-saving medicine, it’s liquid gold, it’s the nectar and ambrosia of the fucking gods.
is it so hard to just let us have that? to let us believe that and say it and celebrate it without being given a million reasons to question it? is that really too much to ask?
if you can find it in your heart to let other trans people romanticize their transitions, i promise you can let us do it to.
testosterone is a beautiful thing. it makes people hotter and even more importantly it makes them happier and anyone who wants it should be able to have it because it’s so life-changing and magical and wonderful and incredibly important to so many people who deserve the happiness it offers.
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pathologic but it's a lost 1920s german expressionist film [id under cut]
[id:
image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.
images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads:
'Pest', a film by Robert Wiene
Alfred Abel as Victor Kain
Ernst Busch as Grief
Lil Dagover as Katerina Saburova
Ernst Deutsch as the Bachelor
Carl de Vogt as Vlad the Younger
Marlene Dietrich as the Inquisitor
Willy Fritsch as Mark Immortell
Alexander Granach as Andrey and Peter Stamatin
Bernhard Goetzke as General Block
Dolly Haas as the Changeling
Ludwig Hartau as the Haruspex
Brigitte Helm as Anna Angel
Brigitte Horney as Maria Kaina
Emil Jannings as Big Vlad
Gerda Maurus as Yulia Lyuricheva
Lothar Menhert as Georgiy Kain
Asta Nielsen as Lara Ravel
Ossi Oswalda as Eva Yan
Fritz Rasp as Stanislas Rubin
Conrad Veidt as Alexander Saburov and Tragedian
Paul Wegener as Oyun
Gertrud Welcker as Aspity
image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).
image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.
end id.]
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In mdzs, when the public opinion started shifting and everyone turned on jgy it made me feel vindicated. Finally they're siding with me against the guy that keeps pissing me off. But that only lasted an instant. Slowly, progressively, I started going wait. Wait no hold on. Go back. I didn't mean it that way go back. Because they were saying about jgy the exact same bullshit they had been saying about wwx the entire novel. And suddenly it felt really off.
Then, during the flashbacks leading up to Nightless City, I kept thinking back on that thing wwx tells nhs in volume one, when nhs explains his family's solution to their haunted saber problem. "Well, that's hitting a bit close to the demonic cultivation path". Doesn't nhs refuse to swordfight as well? Is he even carrying a sword? How come he can get away with this (and wwx can't)?
Wwx and jgy have similar origins but were raised in different environments. They learned similar survival methods and tried to play by the rules up until they couldn't anymore. They had the two more prominent roles in winning the sunshot campaign, and yet everyone forgot about that the second they decided they were irredeemable. They met similar ends, fighting and protecting people they loved.
Nhs became the kind of person his brother would despise in trying to avenge him. He became like his brother's murderer. His survival method is also trying to make himself seem harmless, not with polite smiles or clever distractions but with tears. The only reason he didn't meet the same end as the other two is that he managed to stay out of the public's eye, and because his reputation was unstained from the beginning. Although I should note that he is Nie Mingjue's half-brother, which might hint at a more complicated heritage, more similar to that of the other two, than one would suspect at first glance. But whether that's the case or not, the point is that nobody would call nhs a bastard, and that means that people will overlook certain things he does that have condemned the other two to death.
That's what makes them such great narrative foils. In the end all three of them are cheating, but nhs had better cards to begin with.
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