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#man city woman
soccersoccer · 3 months
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Ice cold Chloe Kelly
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nitpickrider · 1 year
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They all love hearing Gotham stories. If only because Bruce gets so exasperated telling the silly ones while always trying to sound super serious about it.
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thefishdeath · 1 month
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Never feel more masc then the times I try to look fem
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dollypopup · 4 months
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sorry, still on this soapbox but
we have really, REALLY done Colin a disservice in this fandom. we spent so long viewing him primarily as a Love Interest and not as a Character. But when we see and analyze him as a character, so many of his actions make sense, and it becomes almost ridiculous, the dynamics we've imposed on this couple (yes, I'm talking about the 'Colin fucked up and needs to prove himself to Penelope' narrative) when there's so much more nuance and beauty to their pairing than we give them credit for
we as the audience focus so much on Penelope's perspective in their relationship, of course, because we have so much of her perspective in the show, and so our frustrations with Colin stem from that, but we get more insight into him than Penelope does. The 'I would never court her' scene that we've been livid over for years is considerably softened when we actually look at Colin as a character, and the circumstances around his actions.
Colin spends season 2 SAD. He is straight up not okay. We leave Colin in Season 1 freshly heartbroken and running away to Greece to heal. In Season 2, we meet him again, considerably more somber. Colin doesn't participate in the dances. He even says 'I'm just a spectator'. Colin talks about how he started a conversation with himself, tried to understand what he wants and how he feels. Colin offers Benedict shroom tea, and for a moment, JUST A MOMENT, we see the facade slip. His mask cracks. 'Are you quite alright, brother?' and then it's gone. Then he's cheerful again. Calm Colin. Nice Colin.
Colin who is okay.
But Colin is *not* okay. Colin completely isolates himself from women. Colin doesn't flirt, doesn't entertain female attention. Colin is heartbroken, trying to be better. But he views Penelope as a friend, a sacred relationship, a worthwhile relationship, and he can't bear to lose her. To him, Penelope is arguably his closest friendship. His best friend. And in an entire town full of people who don't listen to him, he thinks Penelope does. Unlike the typical dynamic of the ton, in which men are ONLY speaking to women by viewing them as potential sexual partners, Colin views Penelope as a whole person. She doesn't just exist as a romantic option to him, but as a vital connection in his life. That's why the 'I am a woman' 'You are. . .Pen' is so important to view as an act of love- Penelope is NOT just a woman as the ton sees her, good for marriage prospects and little else, Penelope is a complete person. Yes, she's a woman, but more importantly, she's PEN. She's a full human being. And he values her as such. We cannot say the same for the grand majority of men in his society. Tell me any other male-female friendships like that in the ton where that level of respect is given?
But for Penelope, it's hurtful, because she WANTS to be seen as a romantic option in his eyes. That's a fair feeling, though we as an audience should recognize that it can be both upsetting to Pen, and also deeply beautiful as a sentiment. Because of Penelope's hopes of Colin as a romantic prospect, she does not see that he is hurting. Because of our connection as a fandom to Penelope, we do not see it, either. But he *is* hurting. In all of Season 2 he's hurting. That's why he throws himself into the Jack mess. He wants, NEEDS a distraction. He wants to find a place in his world, his society. Honestly? He needs a win. He has spent the last year losing and losing and losing. Who can blame him for being sick of it? His engagement blows up, he finds out his family pays no attention to him, that no one cares about his agency, and he's publicly humiliated. If he invests, if he makes money, he might make more male connections. Might run in more important circles. Like his brothers do. Might prove himself. But Colin isn't friends with the men of the ton. We don't see ANY evidence that he has strong friendships with any of them. Because he isn't like them.
He is 22 years old. Treated like a child in his own family. When he talks about his travels, no one listens. Everyone dismisses him. 'Remarkable, yes, in the sense that I have many remarks about it'. Colin is invisible. He is trying to slot himself in his community, but he does not fit neatly into it. He connects with Will, a man outside his community, and Penelope, a woman also outside his community, because *Colin* exists outside his community. He's the foolish boy who fell headfirst for a woman who lied to him. He's the 'green' baby walking in his older brother's footsteps and unable to fill them. He doesn't behave the way other men of the ton do. He doesn't talk like other men of the ton do. Hell, he *apologizes* to women. We have men NOW in the MODERN ERA who don't even apologize to women.
His own *mother* doesn't even notice he was dating someone for several months in season 1. Colin is a pretty, empty ghost wandering around Mayfair, and so of course he's thrown into a locker room conversation with a bunch of guys who have never once seen a woman as a person, and doesn't relate to them. Colin's not joking and having fun with these men. We very purposefully do not see his reaction after he delivers the 'I would never court her' line.
Colin is uncomfortable around them, but he needs their help to make it up to Will, someone who was kind to him and who he looks up to. He has the mask on so firmly in that scene, it's physically obvious to see. If you compare his reactions around Penelope to his reactions around Fife, it's stark. With Penelope he's open, his eyes are soft, his expression is curious and kind, his shoulders are relaxed. Around Fife he's closed off, eyes hard, muscles tense. Who can blame him? He's acting. He's acting just like he's acting around Jack.
When we look at Colin as a whole character, we get insight into his actions and they make SENSE. The things he say that hurt Penelope are things that are actually defending her- Colin saying he wouldn't court her to those men in particular, is an act of caring. He is defending her in that scene. When a debutante is only good for being 'wed, bed, and bred' in their eyes, Colin saying no, that Penelope is worth more than that, that his connection to her isn't forged on wanting to fuck her, or exploit her, or treat her as a sexual object, is radical. Because anything else, ANYTHING else that he says that isn't an outright denial, puts Penelope in danger. He can't let them believe that the woman he cherishes so deeply he cannot even ENTERTAIN the idea of not talking to her is out here being ruined by his hands.
And when we see it that way, we see that, in reality, of all the men in the series, Colin is the one who has been kindest to his love interest. Colin is the one who has defended her, the one who has stuck his neck out for her, the one who has cared for her with absolutely no expectations of sex or romance in return.
Colin's relationship to Penelope is beautiful, and sure, she can be upset that it isn't in the exact shape she wants it to be, but I think if she takes a step back and looks at it more objectively, if WE take a step back and look at it more objectively, Colin has only ever gone into it with a big, earnest heart. Not PERFECTLY, of course, he isn't perfect, but with the best intentions, and with as much honesty as he can.
And I don't know why we don't celebrate him more for it
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dynamic-power · 7 months
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Gallavich discover farmers markets when they move to the Westside.
Ian has been trying to make sure they're eating healthy, and how can it get healthier than fresh fruits and veg? So when he sees a few stands teeming with produce and people, he drags Mickey with him.
The first time, they only purchase fruits and vegetables and bypass most of the other stands. They go back the next week. And then they go back again.
By the fourth time, they have added fresh local flowers to their weekly purchases. Mickey refuses to admit he likes having them on their dinner table, but eventually he's the one picking out the bouquet.
On their sixth trip, Ian gets distracted by a local soap maker. He spends nearly 20 minutes picking out a scent that he likes. Or rather, that he thinks he'll like on Mickey. When he finds Mickey again, his husband is munching on a bag of homemade jerky.
Ian loses count after that.
They try honeycomb for the first time and buy honey from the local beekeeper. They sample artisan cheese and jams and jellies, and they listen politely to a candle maker as she excitedly explains her process for the fourth week in a row. Ian aquires a taste for tea thanks to the blends made by a middle-aged man who pays far too much attention to his daily horoscopes. They make sure to stop by a bakery stand every time to buy fresh pastries and bread.
Mickey often lingers at a stall run by a man who does leather and woodwork, and Ian places a special order with him for Mickey's birthday; a matching belt and wallet.
By far, their favorite vendors are an old woman and her grandson who sell beanies, scarves, and the like. The old woman is nice enough, if a little forgetful, but it's the grandson, who is their age, that they become friends with. He did time for armed robbery and learned to knit while he was locked up. "I did it 'cause I remembered Nan doing it when I was a kid." Now, it's his business. And his grandma enjoys the excuse to spend time with her grandson.
By the time winter comes around, they've each got a matching hat, scarf, and glove set, there are four varieties of tea besides Mickey's favorite coffee, and they've even purchased a couple candles.
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artist-issues · 3 months
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How many times do we have to say:
Create characters with strength of virtue, not strength of skills.
I just finished A Tale of Two Cities with the character Lucie Manette, who "does" nothing but love the people around her and extend compassion toward everyone within her sphere of influence. She makes no "choices" that contemporary audiences would award the stupid badge of "giving her agency" to. She doesn't make a speech that saves Charles Darnay's life. She doesn't lead the victims of the French Revolution into a counter-revolt. She doesn't fight off the soldiers that come to take her husband, or beat up Madame Defarge when she threatens her child, or even come up with the escape plan to flee Paris.
She makes none of those kinds of choices. (You know who does? Madame Defarge. But the compare-contrast between those two can wait till another day.)
But she makes these kinds of choices:
She'll give her honest testimony in a trial for a potential traitor to the crown, and demonstrate her compassion and grief for a near-stranger, wearing that vulnerability on her sleeve in front of a huge court of people clamoring for blood.
She'll be compassionate toward Sydney Carton, even though he's rude, careless, and brings a bad attitude into her happy home.
She'll spend the energy of her life making that home happy.
She'll stand for two hours in any weather on the bloody streets of the French Revolution so her husband might have a chance of glimpsing her and getting some comfort from the prison window.
She'll trust the older men in her life when they ask her to.
She'll allow an old woman to care for her and go everywhere she goes, and treat her like a child, as long as it makes the old woman in question happy.
And what, WHAT is the consequence of these kinds of decisions, choices, that some ignorant people call "passive?"
That old woman is allowed to love Lucie Manette so much that she defeats the villainess in the climax of the story, holding Madame Defarge back from getting revenge with sheer strength that comes directly from that love.
Her father is allowed to draw strength from the fact that Lucie believes she can depend on him--because she chooses to let her father take the lead and do the work of saving her husband, Dr. Manette is fully "recalled to life;" he doesn't have to identify as a traumatized, mentally unstable victim anymore, because Lucie is treating him like he can be the hero.
Her husband does see her in the street, and does draw strength from that--just that--instead of losing his mind the way her father, starved for a glimpse of his loved ones, did during his own imprisonment.
Lucie's home is so full of the love and kindness that she fills it with that not only does her father return to remembering who he is after his long imprisonment--but Mr. Lorry, a bachelor with no family, can feel at home with a full life, there. Miss Pross, whose family abandoned and bankrupt her, has a home with a full life, there. Charles Darnay, whose life of riches and pleasure as a Marquis was empty, has a home with a full life, there. In Lucie's home, because she spends her life making it the kind of home others can find rest in.
Sydney Carton, a man whose whole life has been characterized by a LACK of "care" for himself or anyone else, suddenly cares about Lucie. When he thought it was impossible to. And he doesn't care about her because she's pretty. Her beauty was just a source of bitterness for him--one more pleasure he could've had but can't. Until he "saw her with her father," and saw her strength of virtue, of pity, of compassion, of self-sacrificial love--then he felt that she "kindled me, a heap of ashes, into fire." He started caring about life again, where it was associated with her, because she brought to life every good thing. Just by being a woman of good virtue. And we know what that inspiration led him to.
Without Lucie's strength of virtue, and the decisions that naturally came from that, none of the "active" choices other characters made would have happened. Sydney would not have been redeemed. Darnay would not have been saved. Her father never would've been recalled to life. Miss Pross and Mr. Lorry would've had no light or love in their lives. Even Jerry would've had no occasion to learn from his mistakes and resolve to stop abusing his family.
A character like Dickens' Golden Thread, who does what a woman should do, inspires the choices other characters make. That makes her more powerful, in her own way, than the heroes and any decisions they make. Because she's the cause. She's the inspiration. She's the representation of everything good, right, precious, worth fighting for.
Lucie Manette's not the only character like this. Cinderella. The original Disney Jasmine. The original Disney Ariel. Lady Galadriel. Jane Eyre. Amy March.
"Behind every great man is a great woman," indeed! Absolutely! Bravo!
Hang on! Hang on to those kinds of characters. Those a real "strong female" characters. The muses, the inspirations, the reminders of The Greater Good. The people who make fighting the dragons worth it at all. Who cares about fighting the dragon? That's not so great, without her.
Don't forget those kinds of characters! Reading Dickens just makes me desperate for our generation to keep up the reminder: make characters that the next ten generations can learn from: strength of virtue is much more important than silly little strength of skill.
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realbeefman · 5 months
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some of y’all clearly don't understand what it's like to avert your eyes when your friend starts changing in front of you and your heart starts pounding in your chest and you could say something, SHOULD say something, tell her to change her clothes in a different room and admit to this freakish attraction that you know she doesn't feel, ruin the friendship by coloring every moment of casual intimacy with the knowledge that you are a pervert who wants more, that you are a threat. you don’t say anything. and you look up and watch the pale expanse of her lower back from the corner of your eye as she pulls on a white blouse, and something lurches in your stomach and you laugh at the joke she just told even though you weren’t really listening to the set-up. later on you will feel sick and guilty and cry alone in a bed that feels empty, but for just a moment, you are laughing with a beautiful girl who loves you, and it doesn’t matter if it’s wrong
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aboutzatanna · 1 month
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One thing that rarely gets mentioned in stories is that Zatanna is quasi immortal or at the very least long lived.
She is a Homo Magi. In Secret Origins #27, Doctor Mist mentions that Homo Magi can live for up to 4 centuries. Some like Doctor Mist and Madame Xanadu found ways to extend their life span way past that.
Some comics like Catwoman Lonely City have shown Zatanna aging normally; either the writer wasn't aware or she somehow lost her longevity over the years. Anything is possible.
But imagine it's the year 2425 and Zatanna, Superman, Wonder Woman, Martian Manhunter, Plastic Man, Madame Xanadu and Phantom Stranger are all hanging out together and sharing old war stories.
Source in question:
Secret Origins Vol 2 #27: (bottom right panel):
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yourgirlcassy · 4 months
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broken heart 😣💔
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hamartia-grander · 7 months
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Re2 remake would've been way better if Claire and Leon switched places
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rockybloo · 26 days
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Going to go take my daily nap but a thought to leave y'all with is Sweetheart and Bitterbat, in their civilian disguises, riding one of those fancy ferris wheels where they have a whole little pod to themselves and whatever happens happens
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juminsfakecat · 4 months
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ji changwook as a pathetic heart of gold ex-boyfriend and shin hyesun as a goofy optimistic female lead going through a hard time? can’t believe there was a show made for just ME
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rennybu · 1 year
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meme re-draw for when Adra got asked on a date by a very sweet faun named Scilla btw. And it went great
(Adra is played by @boss-saarebas, and Scilla belongs to our dm @jawsandbones)
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interstate35south · 4 months
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most unrealistic part of tiger & bunny was that barnaby was so popular with women. that is a homosexual if i’ve EVER seen one
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soranatus · 4 months
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umilily · 22 days
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waking up from a poorly timed nap to my friend once more making the worst possible life choices
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