Often when trans women ask me when I'm performing next, and I tell them that it's a queer/trans event, they will tell me that they'd rather not go because they do not feel comfortable or safe in those spaces, that they have been dismissed or belittled at such events before. Even trans women who are dyke- or bisexual- identified often don't feel welcome or relevant in queer/trans spaces. And whenever a trans woman or ally points out aspects about the queer/ trans community that contribute to these feelings of irrelevancy and disrespect—such as the way our community coddles those who support trans-woman-exclusionist events or who make trans-misogynistic comments—we are described as being "divisive." This use of the word "divisive" is particularly telling, as it implies that "queer/trans" represents a uniform movement or community—a "oneness"—rather than an alliance where all voices are respected.
Julia Serano, Whipping Girl. Published 2007.
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A Persuasive Argument - dpxdc
"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."
"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.
"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.
"Precisely! What better time to talk to you all than when you're all actually here!"
"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.
"I'm afraid I've lured you here under false pretences, Tim."
"This is where I live."
"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"
"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"
"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."
"So? We don't need Jason, I've read the Sparknotes."
"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."
"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"
"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"
"No, no, please go back to that, because what the fu—"
"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"
"Oh, yeah, Mr. Wayne! Thanks!"
"Please, call me Bruce."
"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."
Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.
"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."
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a little divine appreciation
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God Gale is endgame for Mayhew, and Mayhew couldn't be more pleased 😌
their mutual wizard disease brought them to some pretty low lows, but hey, ignore the tragedy, they're gods now! first order of business is a little worshiping at the altar 😏
Here's the sketch, which I also like:
Got majorly inspired by these lovely photos, one of which I used as a pose reference.
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happy new years to everyone, but especially these two and their meddling dragons!
and a lil new years message is under the cut!
i wanna say thank you for the all the kindness i've received in the passing year from all of my beloved mutuals and followers. the fact that ya'll have stuck with me through all my fandom hopping and droughts in art uploads means a lot to me. it's been very encouraging to see how much people enjoy my work, along with all the sweet comments people leave in tags, and it really helps motivate me figure out how to do my art full-time. i have a lot i wanna do this year, ( like build my portfolio so i can finally pursue professional work, ) so i hope everyone will continue to support me going forward! 🥳✨
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I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
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How did anyone even manage to fight this guy, bro went around looking like a kicked puppy 24/7. I bet someone had a moral dilemma for about 5 seconds wondering if they are going to have to beat up the personification of a wet kitten (only to have said kitten kick their ass immediately after lol)
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