ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.
another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!
farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.
but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.
but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.
but the important thing is this.
farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.
farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.
the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.
as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.
but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.
and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.
to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).
to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.
and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?
but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.
the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.
so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.
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nsfw boyfriend!obito head canons
content warnings: size difference, breeding kink (it’s an uchiha, duh), consensual filming, solo masturbation, blowjobs, penetration, afab!reader.
Boyfriend!Obito who loves to film your sessions so he can, “watch them when he misses you”. But really just watches them when you’re not around. He’s obsessed with your body, watching how your cunt tries to take his fat dick. Doesn’t matter how much he preps you, he still has to bully it in.
Boyfriend!Obito who still gets shy rewatching your little movies because you’re screaming out his name with each rough pound of his hips against your ass. He’s sure any of his neighbors could hear, but something in the way you whine out for more short circuits his brain. Whatever his baby wants.
Boyfriend!Obito who loves fucking in missionary because he’s addicted to seeing his head push through your folds as he fucks his cum deep into your cervix, each ram only making you more delirious and drunk on dick. Has the biggest breeding kink that he only found out about when you started dating because he hated pulling out.
Boyfriend!Obito who films you sucking his cock with your pretty lips even when he drops the camera cause it feels too good. Moans loud n proud cause it’s his girl making him feel good. Loves when your shiny lips kiss his flushed tip, makes him feel all special. Deep throating his unreal girth will end up with a ring on your finger if you’re not careful.
Boyfriend!Obito who likes when you rough him up a bit. Scratching at his chest, pulling at his hair, saying he’s a pervert. Praise him, make him feel like he belongs to you in body and soul. You’ll receive it back tenfold. He gets rougher with you when he’s confident in himself.
Boyfriend!Obito who jacks off all the time just cause he can’t handle how worked up you make him. Finishes in heavy thick loads, and there’s lots of it… You walked in on him twisting his wrist at the same speed you were in the video he was replaying before you ask, “need help with that baby?” He’ll try his best to wait for you, he really does. Just gets really embarrassed asking if he can fuck you, poor thing.
Boyfriend!Obito who is truly a romantic at heart. He doesn’t get to cum until you do. Truly an oral fixation freak. Loves to eat you out till you scream and loves to have his dick sucked till he’s shooting blanks and twitching in your hands. Would propose 69 very sheepishly, just wants to make you moan around his cock.
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Dogstock are typical of what are often deemed the ‘evil’ races in many other fantasy works. They were created by some higher force to be slaves, they are carnivorous by nature, they resemble animals other than human in dentition and build. They growl and bite and walk behind.
The Uhasr (a dogstock culture) are descendants of such slave-infantry that was abandoned when the empire that used them to capture the steppes decided the land wasn’t so profitable after all, and more pressing matters drew their attention elsewhere. Like tools left spent on the ground, the unneeded, excess dogstock were left to survive on their own in Hochkiskuph. The native peoples, of course, did not welcome them any more, or see them any less as oppressors when the hand released the lead. To the Hochkiskuph peoples, the Uhasr are a predatory ghost, an echo that consumes them even in absentia. To the Uhasr, one human is much like another, differing in number and equipment, but never in essence. Uhasr are a species of wild animal with a human face. Humans are prey on two legs. Humans smoke and poison uncovered dens on principle, Uhasr abduct and consume men and women and children all the same.
A common trend I have noticed in media which aims to humanize monsters, is that it often relies on passivity. Humanity is contingent upon kindness. The monster that is A Person only so long as they are a harmless thing at heart, something which can be understood and befriended. Their violence is reluctant, their hearts noble. Grace is a concession to the dominated. Only the toothless beast, declawed and pinioned and caged, is one which has earned its personhood. The ontological enemy supersedes the ontological man.
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like sorry but if ur actually seeing an increase in students using chatgpt 2 write essays 4 ur class why is ur first thought "oh they're being lazy" & not "have i structured this class in a way that makes this student feel the need to rely on chatgpt?" especially bc the majority of college students are overwhelmed taking multiple classes working part-time jobs caring for family dealing with health issues etc etc like there are soooo many reasons a student might decide to use chatgpt that are not just "laziness"!! consider:
the student didn't have time to complete the assignment without chatgpt -> have you created an environment where students can ask for extensions without judgment? do you only give out extensions for "emergencies" or "valid reasons" (<- subjective measure)? if so, why? what purpose do these strict deadlines serve? [think about how this overlaps with students who may have "had time" but were overwhelmed for other reasons; what kind of environment have you created for these students, and does it best serve their learning?]
the student didn't feel they had the ability to write an essay of good enough quality to receive a good grade without chatgpt -> how are you grading students' work? what grading scales have you utilized that made this person feel as though they're incapable of succeeding? do those grading scales prevent them from succeeding? if so, why? what educational resources did they or did they not have access to before entering your class? how might that change considerations about how you grade? [think about how this overlaps with students completing coursework that is not in their first language and whether your grading standards are truly equitable for these students]
the student didn't feel that they could understand the material and therefore couldn't complete the assignment -> again, have you created an environment where this student can come to you for help? how are you presenting and explaining material? what opportunities have you provided for students to seek out additional resources and support with understanding? is this assignment and its correlated grading scale designed to accommodate a variety of skill levels, or is it designed with "the best student" in mind?
the student actually just doesn't care about this class and doesn't want to do the work -> why don't they care about this class? what other classes or work are they prioritizing, and why? to what extent are you willing to accommodate students who simply will never view your class as a priority, but need to complete it to earn a degree--and how is that need tied structurally to a university that serves primarily as a class barrier? what role do you play in that university structure, and is it a role you want to play?
at the end of the day if your goal is 2 prioritize student learning that means being flexible & adapting your grading scales, assignment structures, class policies, etc. to accommodate students at their level of learning for their own purposes. like if the choice is between having a student get a zero on an assignment for "cheating" versus working with that student to create an alternative assignment which they can complete & which engages them with the course material on a level they can manage then to me it seems like a pretty clear choice between "no learning" and "some learning."
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