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#quick english
soriastrider · 2 months
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this has almost certainly been done before, but i think it's funny so i did it anyway
original:
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doodlefox2 · 2 months
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excuse me!
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peachssodapop · 8 months
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the mention of their different dialects and languages immediately had my enraptured
so here's a very quickly drawn comic based on I cannot seem to find a good german equivalent to silly
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milkbreadtoast · 7 months
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"The perfect orv dub/Kim Dokja voice doesnt exis-"
EXPLAIN THIS!!!!! (@voiceactorken on youtube!!!)
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therooknook · 6 months
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Oops! All Rook
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mphountitled · 3 months
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As a black English major, I know I could pull him
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ccircusclwn · 28 days
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hiii do you guys accept me as an intern. uh. im very socially awkward but im doin my job!!! ^_^ (im not im actually drawing)
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belle-keys · 4 months
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Saltburn: The Reign of British Bourgeois (Meta)
I recently had an interesting conversation with a close friend of mine who said, "I don't think Saltburn is really about class." She said she thought it was mainly about obsession, in the most individualist and interpersonal way possible. I naturally disagreed, and we argued about it for an hour. But I think the reason she didn't think it was really about class was because the film had a categorically anti-Marxist conclusion. That is, a very British conclusion. In many ways, Saltburn is a Thatcherite's wet dream. Let's discuss.
Saltburn isn’t an “Eat The Rich” narrative. It’s an “Absorb The Rich” narrative. I disagree that Saltburn is merely about an individual’s obsession with a particular guy or family. Saltburn is about the bourgeoisie’s obsession with the old English aristocracy.
Let’s establish the establishment: the modern English aristocracy whose family seats litter the shires. Saltburn aims to satirize the English Country House family drama, and then some. This is made evident when Felix informs Ollie that, whoa, the Evelyn Waugh himself based Brideshead Revisited and other works on Saltburn, on Felix’s family. The film, in my opinion, was kinda ballsy to go there and to do it so bluntly. So yeah, Saltburn wants to poke fun at the long-established English tradition of aristocratic family dramas such as Downton Abbey, Brideshead Revisited, Bridgerton, Poldark, Rebecca, etc. It’s no coincidence that the movie begins with an egregiously stereotypical sketch of Ollie struggling to fit in at Oxford, à la Charles Ryder. Felix Catton is Sebastian Flyte, and then some. And Ollie is obsessed with him, because look at him. Except… I believe Ollie’s obsession with Felix is less of an interpersonal homoerotic deranged clusterfuck than it is the bourgeois boy’s perennial fixation with the unreachable closed-door English aristocracy, the national pinnacle of inherited class and status in a nation founded on inherited class and status.
Saltburn, butler and all, is a perfect symbol of English aristocratic privilege (seconded by none other than Oxford, but the film didn’t care to explore the hierarchies present in British education and instead chose to focus on family in lieu of academia). Saltburn is grand, medieval, kitchy, isolated in the middle of whereverthefuckshire. One would think that Ollie was intending to infiltrate Saltburn to possess Felix, but I rather think he was intending to infiltrate Felix in order to possess Saltburn. To possess Saltburn is to possess the rank and place of the Catton’s in the world, to be the world. And Ollie doesn’t want to destroy the Cattons nearly as much as he wants to embody them.
I suppose Ollie’s need to absorb, to consume, to possess and to incarnate is obvious through his actions—drinking Felix’s semen in the bathtub, the period blood bit, the grave-fucking debacle. He worms his way through every aspect of the family members’ lives with the intent to become them, to suck them dry (see: “I’m a vampire”, how gothic). By the end when the Cattons are all dead, Ollie celebrates the privilege he has grasped, and in turn, the film applauds his feat rather than condemns him. Saltburn is a film that congratulates Ollie’s usurping of wealth and privilege, rooting for him from beginning to end. And the film never tries to interrogate itself and ask why Ollie is our hero. Ollie, who does not want to break the wheel as much as he wants to be in the room where it happens, even if that means destroying everyone else in his path. Ollie’s obsession, generally speaking, arises from the desire for status and rank rather than an inoccuous maniacal insanity. This is symbolized by his possession and control of Saltburn. If Saltburn were a gothic ghost story, then Ollie is our specter. And Saltburn is definitely rooting for the specter, full stop.
Britain is a nation of ranks and hierarchies, naturally averse to watering down pristine intergenerational blue blood with filthy postmodern capitalist dollars. “Stay in your place”, that is the Tory way. Even in a “modern, democratic” nation nonetheless governed by an antiquated Tory hegemony and quite opposed to both radicalism and revolution. Ollie, however, wants to be in the room where it happens in a world where only those who are born in that room ever get to enter it. It is why he faces this overwhelming yearning for Felix’s world and Saltburn’s beauty – it is, by default, off-limits to him no matter how hard he tries to reach it. In my opinion, Ollie’s fascination with Saltburn isn’t due to a homoerotic fixation on Felix. It’s due to an outsider’s bourgeois fixation on the romantic world of inherited English rank, status, and wealth. The romance of Saltburn, our need to romanticize the privileged upper class, is evident in the stunning cinematography and costuming. Farleigh is the first person in the family to notice Ollie’s insecurities and see it for what it is – he’s begging to be let in. Farleigh likewise takes the opportunity to constantly, antagonistically remind Ollie that Saltburn isn’t his world, that he will never fit in and will never be accepted as one of them: the tux will never perfectly fit. It is the tragedy of the almost-theres. So Ollie decides to just get rid of everyone in his way and prance about naked since the tux refuses to bloody fit.
It’s just so English, culturally speaking. To claw your way to the top to sit with the big boys rather than to criticize the system that bred the arduous, back-breaking, fatal climb in the first place. This is Tory meritocracy, founded on decades of policies to reduce taxes on properties such as Saltburn in Britain, to keep old peers in the Lords. Felix Catton is Sebastian Flyte is Margaret Thatcher. Thatcher who, despite brandishing her “common” background as a selling point during her political career, painstakingly perfected the Received Pronunciation of her Eton parliamentary peers and successfully died with the coveted title of Baroness added to her name. Thatcher, an Oxford scholarship kid like Ollie, who wormed her way into a title and country house and was yet forever plagued by her average, middle-class upbringing.
Ollie is obsessed with much more than a mere man. If Saltburn were a Marxist class story, truly dedicated to class critcism or subverting the English Country House drama, Ollie would have burned the whole damn place down. But Saltburn is rather a Tory class story about the insane lengths the British bouregoisie, obsessed with ascending class hierarchies and disillusioned by the lies of meritocracy, will go to possess the near-unpossessable ranks at the peak of English-textured privilege. The film is a performance in English upper-class tomfoolery and a celebration of its infiltration by the almost-theres.
And yet, the cycle perpetuates itself. Saltburn is ruled by a new lord. Nothing, really, has changed.
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sarah-yyy · 3 months
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Video
diy fan art liushapai流沙牌 by 霜茶好好喝
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doodlefox2 · 2 months
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ame "i want to eat ina's cookies" vs ina "hi i baked cookies"
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jfpstarchaser · 1 year
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James' in a hurry, running the corridors of the castle without much attention. He's terribly late to his class with McGonagall. His breathing is already a bit labored, he's been running quite a bit, the place he was and his class are on completely opposite sides of the castle.
And James forgot all about when he went there, but fuck if he's not remembering next time.
He bursts through the classroom's door, his wand thrown hastily somewhere in his backpack, alongside his books. His glasses are a little bit crooked from all the running, he sets them right and looks up to Minnie's stern gaze. He throws at her a little, sheepish grin. And her gaze softens just a little.
"I'm really sorry, Professor!" He says, and remembers the rest of his clothes, they're messy just like his hair. He tries to fix his tie, while putting his things on his seat next to Sirius. Sirius, who's looking at him like he's grown a second head, but amused all the same. It makes James frown a little, confused. Then, he hears Minnie's voice again, in the dead silent classroom:
"Mr. Potter, I was not aware of your resort into another House." She says, and looks pointedly to his tie, and James looks down with her. And— oh. It's a green tie. Slytherin tie. He can feel his face heating up the more she looks. He bites his lips and hears his classmates laugh a little, sees Sirius at his side laughing too, and he already knows he will never live it down.
"I—" James starts, but never finishes. There's another commotion on the classroom door he just came through, he looks up and it's him.
Regulus. He and his friends are standing at the door, James' red, Gryffindor's tie clutched tight in his hands. His face is also red, just like James' and his tie, and his beautiful curly hair is a mess. James can also see Barty, Evan, Pandora and Dorcas behind him. They're laughing just like everyone, and Evan gives Regulus a little push that makes him completely enter the room. He gets even more red.
"Excuse me, Professor. I came to get my— my tie." He stutters a little, and says it in a small voice. He's looking everywhere but James and Minnie. Regulus' blushing is already spreading down his pale neck, and James can't take his eyes off him. He's so bloody pretty, James thinks. There's a love bite escaping the collar of his uniform shirt, his top buttons still undone from where James' hands and mouth passed through earlier.
"May as well, Mr. Black. And make sure this will not happen again." Minnie says, waving her wand hand in James' direction. James, who hasn't moved since he saw Regulus again. He bites his bottom lip again, waiting as if rooted in his place for Regulus to come to him. And he does.
He brings his hands to James' tie— no, his tie—, and slides it off James' neck, and looks at him in the eyes, then. And he fixes James' shirt, smooths it down, buttons it up, and wraps James' tie on him correctly, instead of just throwing the red tie back to James, like he could've done. But no. He did it with the same care he does everything when it comes to James, like he needs to be careful or he'll ruin them. He already has, James thinks. Regulus does it naturally, quickly, presses his lips into a flat line and then he looks away. Oh. He seems to have done it unconsciously, James realizes.
James' blushes harder, if that's possible.
Then, Regulus takes a step back. Clears his throat, and looks at the Minnie, red like a strawberry, he bows politely.
"I apologize for interrupting your lesson, Professor. And yes, I shall make sure it won't happen again." He says in his posh, polite way. Even if he's embarrassed, he's still the most polite and composed boy he always is. And, Merlin, James loves him so much. Regulus wets his lips, looks up, clears his throat again and looks at James, eyes full of mischief. "We shall make sure it won't happen again, shall we not, James?"
Damn him. Only calling James his first name in public in a situation like this. It steals James' breath away. No, Regulus does. He wants everything from James, and James hands it over willingly.
"I— Yeah. Yeah, love. Whatever you say." James says back, still feeling inebriated by this boy. James' absolutely weak for the way his name rolls out of Regulus' bitten red lips. It's absolutely happening again. All of it. He just knows. And Regulus does, too. He smirks at James, even if his blush, that was going away, comes back brighter, acts like it's nothing, and looks away from James again.
James sighs. He wants him so much. All of him.
"Then, please excuse us, Professor. I'll be on the way to my own class. Apologies again." Regulus says, all polite again to Minnie, who nods at him, and then he's going for the door. He doesn't say anything else, even if he swats his hands at his laughing friends, who were waiting for him outside the classroom. He glances back to James once, and closes the door. James sighs again, quietly.
He's still looking at the door when he's startled by a voice that he knows all too well, coming from beside him.
"This is the most put-together your uniform has been all year, Prongs. Enjoying my little brother doing your tie now, are we?" Sirius drawls, very much like his brother likes to do and glares at James.
Fuck. Fuck.
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ahalliance · 4 months
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team pandas already incredible bc theyre all speaking and switching between spanish, french and english easily, thank you jesus i missed multiple language streams
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starswirly · 7 months
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Doodles!! Featuring…. A lot of Ink. Not complaining!
(Ink -> Comyet, Error -> Loverofpiggies, Nightmare -> Jokublog)
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im-getting-help · 2 months
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Farleigh is resting his head on Oliver's lap, cause he stayed up all night partying and now he's tired and his head hurts. His body barely fits inside the tiny armchair, long legs falling of the armrest.
They're in Ware's office, the professor is late. Oliver is reading, holding the very heavy looking book on top of Farleigh's head.
Farleigh moves, he turns and shifts, restlessly, he massages his forehead and whines. Oliver sighs.
Oliver doesn't really mind Fairleigh's whines, but the book isn't particularly interesting, so he leves the book beside him and observes. Farleigh's eyes are closed, he massages his temples slowly, brows knitted and lips parted, he groans quietly.
Oliver cups Farleigh's cheek with his right hand and softly rubs his thumb on his cheekbone. He feels Farleigh relax, his shoulders loosen up and his hands slowly fall from his temples to his chest.
Oliver caresses Farleigh's face, he lets his fingers travel, slow and delicate. Farleigh skin is soft, velvety. His thumb brushes over Farleigh's lower lip, the index follows the length of his nose, and then again cupping his cheek.
Farleigh falls asleep.
'Oliver, I'll be off campus tomorrow. My office is always available if you guys want to get together and discuss work. Please tell Farleigh for me. I'll see you both next class.'
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fulltimecatwitch · 4 months
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based on a lot of reactions in my tw tl after the release of Saltburn I think i can confirn this movie was specifically made for the traumatized english majors obsessed with gothic and queer novels
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