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total-dxmure · 3 months

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ೃ࿔ "MARLEY AND ME" MASTERLIST

you’re a single mom just doing the best that she can to make ends meet. ellie can’t help but think that you're the kindest, most beautiful girl that she’s ever met. compared to taking care of a little girl that's in her terrible twos, coming to terms with the fact that you’re a lesbian is a walk in the park. awkward first encounters, ellie’s broken gay-dar, and her overwhelming urge to take care of the care-giver. . . the road to domesticity is a long one, but it’s well worth the pining that it takes to get there.

total word count: 17.1k

✮ chapter one- ellie somehow manages to embarrass herself a total of four times in front of the prettiest girl she has ever seen in her life. the upside is that you don't seem to mind. you don't seem put off by the fact that she's a total loser and she sees no issue that you're a young mother. the only thing that is proving to be quite the problem is her lack of a gay-dar. ellie has no clue whether or not you're interested in women. . . and she's far too shy to come out and ask straight away.

✮ chapter two- ellie had all but given up on the idea of ever seeing the beautiful stranger again. she had your number saved in her phone but had been too terrified to reach out to you. rejection is a bitch. it's a miracle when you run into ellie at the grocery store. . . or just dumb luck. you land yourself an explanation for her lack of communication and she lands herself a date. . . or so she hopes. she still hasn't gotten that gay-dar fixed yet.

✮ chapter three- who knew a broken screen door could somehow be the best wingman you could have ever asked for? seven stitches and an urgent care visit later, the two of you find yourselves well and truly aquatinted with one another. (smut warning)

✮ chapter four- you aren't the only person in your household that is absolutely besotted. your daughter has taken quite the shine to ellie as well, and you couldn't be happier. though the two of you haven't put a label on things, you're starting to believe that the two of you don't really need to ask the dreaded "what are we" question. you and marley are ellie's girls. . . and she hopes it always stays that way.

✮ chapter five- to be continued. . .

ೃ࿔ fic “soundtrack”

poison tree - grouper

grace - jeff buckley

locket - crumb

crazy for you - slowdive

clementine - elliott smith

when you sleep - my bloody valentine

luna (moon of claiming) - cemeteries

into you - glare

undenied - portishead

drifting - night tapes

be my angel - mazzy star

take care - beach house

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marley-manson · 3 months

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the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

#mash #this was dumb but writing it was somehow cathartic for me lol #i should've done this with frank and hawkeye as foils wrt subverting masculinity bc i think that would've been much easier #but i got caught up in this honestly. it's incredibly fun to write this kind of shit #maybe i'll post a round 2 sometime #marley on mash #ship ht #mash gs #and like... it's a little bit parodic but also sincere to an extent lol. this is absolutely one way of reading all the freudian #undercurrents in the show. it's definitely silly to contrast trapper and the military to make a point about how the show depicts #masculinity especially for like 1800 words lmao but it's a very fun angle #trapper mash #hawkeye mash #long post

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biolizardboils · 1 year

Audio

seriously, please support your local library!

Songs used:

Tubthumping by Chumbawamba

Library Card by Michael Yarmush from Arthur and The First Almost Real Not Live CD (or Tape)

YouTube link // SoundCloud link

#arthur #pbs kids #marc brown #arthur read #having fun isn't hard when you've got a library card #library card #library card song #tubthumping #chumbawamba #mashups #mashup #jams #me talking #oh yeah ziggy marley's in there too!#my mashups

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fictionadventurer · 5 months

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What was the point of Scrooge's trip with the Ghost of Christmas Yet to Come? On a structural level, it makes sense--three is the fairy tale number, and you can't visit the past and present without also including the future--but on a character level, it doesn't quite seem necessary. Showing a man that he'll die alone, unloved, and unmourned seems like the strategy you take as the last-ditch effort to convince a guy that he needs to change his ways. But that situation doesn't apply to Scrooge. He started softening immediately after he first arrived in his past. By the time he finished with the Ghost of Christmas Present, he was fully onboard with the need to reform, so the Ghost's vision of his future seems like unnecessary cruelty. Why show him all this when he was already planning to change his ways?

A few things come to mind. One is that this vision of the future wouldn't have affected Scrooge unless he had already changed his ways. A cold, hard businessman could have seen his lonely death as just the way of the world, might have viewed the people who stole the clothes from his corpse as just people doing what's practical in this world. He needed to relearn the value of the intangibles--human connection, respect for others--to see the true horror of the lonely death and the vultures who defiled the dead man.

But why the horror? Can't he reform without being threatened with doom? It's possible--but it's also possible such a reform would be temporary. After all, Scrooge started as a friendly, loving young man, but retreated into himself and his business out of fear of poverty and fear of the way the world looks down upon poor people. Even if a reformed Scrooge started on a course of Christmas charity, there was always a chance that the enthusiasm would fade, and the worldly fears would start creeping back in. The only way to beat those fears is to give him something to fear that's even worse than poverty. He needs to see the horrible end that his selfish ways would lead to, so he won't be tempted to slide back into them.

There's also the fact that seeing his death makes him ecstatically happy to find that he's alive after the Ghost is gone. Had Scrooge been spared the vision of his future, he might have been happy to find himself on Christmas Day, but his joy would have been nowhere near the manic glee he experiences after coming back from the future. Now, he doesn't just get a new start--he gets a second chance. Coming back from his own grave makes him mindful of his death, but it also makes him hyperaware of the fact that he's still alive. He isn't in the ground yet. He still has time to do good and make connections with others so he doesn't die alone.

Seeing the past reminded him of the innocence he'd lost. Seeing the present reminded him of the people whose lives he was missing out on. Seeing the future reminded him that death is waiting, so it's important to live virtuously while we can. All three are important because all three brought him outside of himself and taught him to value the wider world, just in time to live through another Christmas Day.

#a christmas carol #charles dickens #once again i've ponderously worked my way to the explicitly stated moral of the story #but i had to work my way there because stave 4 left me unsettled #had i been scrooge that trip probably would have squashed any desire i had to reform #the ghost *doesn't say* whether or not the future can be changed #what if this is just proof he's doomed no matter what so why bother changing?#fortunately scrooge was much better than i was about logic #namely: no reason to show him this future if it *can't* be changed #the point of these ghosts is to save him from marley's fate #plus we did have the ghost of christmas present's implications that future shadows can be changed #it's kind of interesting when you step back from familiar stories that just go this way because it's how they're supposed to go #and really dig into 'wait a minute. why did it go like this?'#it usually winds up with me figuring out that the writer knew what they were doing #but it's also nice to see the scaffolding that got us to the story

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partycatty · 22 days

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kenshi takahashi > we should know better

warnings: smut :3 sneaky link type shit, possible ooc kenshi bc i know he's reserved but i couldn't get this idea out of my head

notes: i need him so BAYD. hot take, kenshi's hotter than johnny but johnny has a more appealing personality LOL

[ masterlist ]

• kenshi knew better, he knew so much better than to indulge in the sweet little vice you were.

• he was quiet, you were quieter. kung lao and raiden had each other and fengjian, johnny had his fans, and kenshi had a corrupt family ensnared in dangerous practices. for the most part, he was on his own... and for the first time in a long time, there was someone who knew what that was like.

• kenshi expected to think low of the other chosen earthrealmers, not too worried about the competition given his skills and history. but you... you had some bite to you, and kenshi would often find himself aching to the thought of your strength and resilience.

• with a trained ear and shielded eyes courtesy of his forearm, kenshi would slowly pump at his cock in the late hours, drool collecting in his mouth at the thought of you milking him or all he's worth with your soft, plump lips.

• that, or stretching your needy cunt so wide and slapping the tears away from your plush, rosy cheeks. low grunts slipped from his throat as he painted his palm, pathetically wishing to fill you with his cum and thrust it back into your pussy.

• nothing ever undid him like you before, had him so winded by the curves of your body that he'd start to fall behind on training or arrive at odd times from the loss of sleep. upon confrontation, he'd give a gruff rumble about sleeping in or any other pathetic excuse he could muster up with the stoicism he had left.

• just who the hell did you think you were? you had no right to distract kenshi the way you do, but it's not even like you're trying. he wants, no, needs to feel you, maybe then he'll be satiated and clear-headed.

• the day came where you hinted at your shared desires, throwing a flirty comment his way when you were out of earshot from the others. one knowing glance and the sway of your hips was all it took to have kenshi stand in your doorway, tongue heavy in his mouth as he awaits plunging it into your core. he can't find the words to express it, so he instead stands there and hopes you understand the shared intentions.

• you're at each other like animals, clawing away the orange robes and kissing so harshly your lips are properly wet when you pull away for air.

• as much as kenshi wants to take his time, his cock practically aches so hard it hurts in his pants, and grinding it against you isn't getting him where he needs to be.

• he's shy about his carnal desire, too afraid to make eye contact so he puts his palm pressing into your back to force an arch, sometimes even holding your head onto the sheets as he drills into you from behind. the way your ass bounces against his hips leaves him nearly cross-eyed, pleasing him beyond what he could do to himself.

• these become common occurrences, kenshi lumbering in your doorway with a heavy look about him. odd hours of the night became your favorite because you knew it was another night of so many orgasms you'd tunnel vision.

• you're absolutely addictive, making his jaw clench and arms cross tight against his body when he side-eyes you during training. if one of the boys even thinks about drawing your private attention, you're swept off into the gardens where you'll be fucked to tears, pussy molded perfectly to his cock and his cock only.

• it was the only time he'd ever call you his. he wouldn't be physically affectionate, not much anyway. he'd sleep through the night but disappear before morning, whether to avoid suspicion or avoid confrontation you couldn't decipher.

• as good as the dick was, you didn't want a situationship, you wanted more. kenshi was nearly impossible to read at times, scowling your way as if he wasn't tongue-fucking you the night prior. you want to ask him what his deal is, what you two are, but his presence is quite intimidating otherwise.

• liu kang speaks of the tournament, the thing that brought everyone here in the first place. as you exchange glances with the boys, you finally land on kenshi, brows knitted in concern. what was to come of you two ate away at you, and there was an underlying fear that once the tournament was over, you'd return home and he'd go back to japan. the so-called meaningless sex would claw away at you forever as you'd dream about what could've been.

• your mouth feels sewn shut, as much as you want to ask all the questions burning away at you, but kenshi just stares ahead, expression never faltering.

• he couldn't look at you, he couldn't bring himself to face the idea of losing you... but he didn't quite know how to escape the situation he built. would you even accept him for who he really is beyond the sex? was it really meaningless? kenshi wasn't sure if he wanted the answer.

#mortal kombat #mortal kombat x reader #mortal kombat smut #kenshi takahashi smut #kenshi takahashi x reader #kenshi takahashi #is it obvious i watched brokeback mountain today #because that inspired me #marley writes ☆

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