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#shut up i like notes
brookheimer · 1 year
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not sure why people don't seem to understand that shiv being the victim of misogyny and vitriol from all the men in her life can and does coexist with the fact that she is not a feminist liberal hero fighting to save democracy. why is it that we never afford her any nuance? she's either the only good person on the show and deserves to kill every man in a ten foot radius (twitter) or a uniquely evil cruel sociopath with no heart fueled entirely by spite (reddit). is it not just so much more interesting for her to be a fascism aiding and abetting character like the rest of them who also views herself as more progressive in spite of everything else about her and who undergoes horrific treatment at the hands of the men around her yet has no interest in undoing the system that allows them to do so, only in ruling it herself? shiv is not any better than the others nor is she any worse than them. there's no Evil Olympics here guys, nor should there be. snook said it herself in the after credits sequence -- shiv was just lucky that her interests aligned with her sympathies. who knows what she would've done had mencken been her best personal option? yes she cares infinitely more about politics than roman, yes she is still very much interested in maintaining the capitalist, fascist structure and even strengthening it, so long as it ends with her on top (which either way would be a win for liberal causes bc Woman). fascism isn't one-size-fits-all. it's not just mencken and trump. it's also mattson. it's also logan. it's also roman and shiv and kendall. that's... kind of one of the main points of succession? but even so, that does not negate the fact that as a woman it is so hard to watch some of the scenes with her and tom/roman/kendall -- of course that misogyny will resonate with female viewers, as it should!!! but that resonance needs to coexist with a deeper understanding of her character -- if you want to root for a bad bitch fighting against misogyny go watch, i don't know, captain marvel or whatever. what makes shiv interesting is that she's so so so much more than that -- she is the product, victim, and perpetrator of misogyny and fascism, two concepts so heavily intertwined they're virtually inextricable from each other. tl;dr it's one thing to be like my god someone give shiv a gun and it's another entirely to say, entirely seriously, that shiv is the Good Liberal Feminist One and the rest are all evil. like i absolutely adore shiv but i would honest to god find her so fucking boring if she were actually the person these tweets make her out to be i'm sorry
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cesiscribbles · 8 months
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Sketching my first Good Omens comic rn and here is a tiny sneak peak from the 3rd page~
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turtleblogatlast · 1 month
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Something I love about Leo is that, canonically, he IS capable of cooking, he’s just completely incapable of using a toaster. He’s banned from the kitchen not out of an inability to make edible food, but because being within six feet of a toaster causes the poor appliance to spontaneously combust.
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myersesque · 6 months
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i genuinely have so many emotions abt npmd, especially about max jägerman
he's such a tragic character!!! like yes max is the villain but he also Didn't Have To Be. one of the biggest issues w hatchetfield in-universe is how willing people are to take horrible things at face value - nobody thinks max can change because bad shit happens all the time in hatchetfield, nobody cares why this ONE kid is acting out. nobody looks for him when he disappears because people go missing all the time in hatchetfield, what's one more kid gonna do. even once they've found his body they barely mention him; richie gets more love and mourning and he was actively bullied by half his classmates. they care more about losing the big game than they do max's death.
and yes ok the repeated mention of them being 18 is 1) a joke abt slasher movie teens conveniently being Just Old Enough to sexualise and 2) a joke abt grace thinking that perfectly normal barely-flirtatious activities (like max offering to carry her books) are too scandalous and explicit for 18 year olds. but also like. he's a kid. 18 is an adult but also a kid, yknow? and he. literally thanks them for making fun of him because it's the nicest thing anybody's ever done for him. he takes it as an olive branch for friendship rather than the mockery it was meant to be. he's just a kid with a shitty life who's taking it out on people because nobody cares about him. he himself sings about how he knows he's gonna peak in highschool, so why not do whatever he wants now, since he'll amount to nothing later? and once he dies, his own friends sing about how much better their lives are without him.
yes obviously he's a bully and a villain, i'm not disputing that, but there's something so painful about seeing that glimmer of hope for redemption right before his death - that maybe he was wrong about them, that maybe his dad was wrong about him, that maybe they could be friends and he could have people who care about him and be somebody other than a mean jock - and then it's instantly snatched away from him, and all that's left is humiliation and misdirected rage. it's so fuckin sad.
or maybe that's just me. i dunno.
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creakysocks · 16 days
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Nick and Ellie hanging out
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ineffectualbookseller · 8 months
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The way Azirphale is underestimated and practically infantalized by heaven is so closely tied to his femininity and I think we should talk about it more because I just want to shout about how relatable the way he's treated in his workplace is as a woman working in a traditionally male field
It's in all the little niggling comments from your boss about personal things that hold no bearing on your work
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and the assumption that what you're doing must be simple if it was assigned to you
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your work is trivialized
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and you get these the placating smiles when you're told plans and proposals are rejected and passed over
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or when your complaints are dismissed
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and you get more of the same from upper management
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it all feels so frustrating and draining but you're at work so all you can do is take a breathe put on that mask and move on with your day
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It is all so deteimental to your emotional well being and textually, so much of this is tied to Aziraphale's softness, his gayness - his femininity
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The thing about working in an environment and gives you this feeling - of being simultaneously destrought watching your belief in yourself get chipped away but also just so irate becuase you know you don't deserve it - is how it builds. It sinks under your skin and feeds into this indignant dejection until you can have a moment of release - but Azirphale doesn't get to bitch about it over drinks with friends, he doesn't get a lunch break where he can go for a walk and listen to an angry scandi death metal playlist, he doesn't even get the chance to cry about it in the bathroom for 5 minutes before confronting it again
(And I talked a little bit about it in the tags of this beautiful photoset but this all comes into play whenever Crowley dismisses his plans or calls him an idiot. These are purely emotional reactions; I really don't think Crowley means much by it - he respects Aziraphale's opinion and genuinely thinks he's brilliant - but Crowley is so quick to use this terminology when Aziraphale is making a decision Crowley thinks is wrong and he doesn't know how much this hurts Aziraphale. Just like Aziraphale doesn't understand the true impact the Fall had on Crowley, Crowley doesn't understand the ways heaven has been tearing away at Aziraphale's self worth)
Aziraphale has been facing this constant drip of denigration since before the beginning of time and has never released the pressure valve. At this point, he's a bomb waiting to go off
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piratekane · 26 days
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(post-3x05 kacy scene)
Warm fingertips press down against the thin skin on the inside of her wrist, a melody she knows that she knows but can’t quite place in the early grey of the morning, the sun rising, muted, through the low clouds outside the window. She was asleep a minute ago and there’s a dream quickly fading away as her eyes open slowly and the room shifts into focus.
“Morning,” Kate whispers, still sunken in her pillow.
“G’morning.” Lucy pulls the words from the back of her throat like she’s pulling cotton from a cattail. “Time s’it?”
Kate doesn’t roll over to check her phone. “Early,” she guesses. “Too early for our day off.”
A day off. A present for her jungle excursion, courtesy of Tennant. A whole day to let her body come down from the high of being chased through thick vegetation with a life hanging delicately in her hands. Lucy lets her eyes close again and sinks back into her pillow. She goes back to focusing on Kate’s fingers looped carefully around the wrist between them. Tap, tap, taptap. Tap, tap. A song, then. One that she knows but can’t quite place.
“Is that Boot Scootin Boogie?”
Kate exhales a short laugh. “Taylor Swift.”
“Who else would it be?” Lucy feels the bed shift as Kate slides a little closer. She can feel the soft heat coming off Kate’s bare arms and wants to reach for it, pull it back over her, close her eyes and slip back into sleep for just a little bit longer.
It was a long day yesterday, her nerves pulled to their breaking point. When she stepped over the threshold to their apartment, the weight she had been working so hard to push off came crashing down on her. She doesn’t remember tasting the pizza Kate ordered, doesn’t remember picking Love is Blind on the TV or queuing up where they left off. She doesn’t remember brushing her teeth or turning out the light.
She does remember Kate’s body warm behind her on the couch, her own body pressed to Kate’s front as they sat wrapped up in each other. She remembers Kate’s arms and how they wrapped low around her waist in bed and held her tightly. She remembers soft lips to her bare shoulder and I love you against her skin as she let the exhaustion take over.
She remembers the Kate of it all, the steady and warm and loving presence she’s come to need like oxygen in her lungs. She remembers the overwhelming feeling of love—one she thought she’d never find in a million years.
“I could sleep another hundred hours,” she admits, eyes still closed.
She feels Kate’s smile against the back of her hand. “You can. We have nothing planned today.”
The thought is so tempting. She could pull Kate’s arms around her, drape them over her like the light comforter they’re sharing, and let herself sink back into sleep. It’s not too far off; she could reach for it and be asleep in moments.
But Kate is awake and tapping out a Taylor Swift song against her pulse point and that usually means banana pancakes and a Golden Girls marathon and pressing Kate against the counter edge and kissing her until either their lungs start to burn or the pancakes start to smoke. Lucy loves those mornings and the way Kate tastes like the bites of bananas she snuck before mixing them into the batter.
“Did I dream yesterday?”
“Only if we were having the same nightmare.” Kate’s free hand pushes back some of Lucy’s hair. “Otherwise, it was real.”
Lucy slides her foot forward, curling her ankle around Kate’s calf. “I thought so.” She opens one eye, studying Kate’s profile. She’s committed it to memory by now. “I feel like a truck ran me over.”
“It did,” Kate murmurs. “That very much happened.”
Lucy sighs. Yesterday wasn’t a dream. She can see it vividly in her mind and she closes her eyes against it again, trying to fill it with Kate—Kate so close and so warm.
“I’m not ready to talk yet,” she admits. She isn’t. She can’t. She’s still working through her family in her own mind; she can’t possibly put into words what they’re like and what they’ve done to her and to each other.
“We don’t have to talk.” Kate’s voice is soft and genuine and Lucy thinks again—again and again—how lucky she is. “We can just lay here. We don’t have to do anything at all.”
Lucy knows Kate isn’t lying. She knows Kate won’t push and she won’t prod and she’ll let Lucy set the pace for when and where and how. And it sounds perfect—a whole day in bed with Kate and their bodies pressed close together, hidden away from the world.
But someone told her to live her life yesterday. Someone who had the courage to throw theirs to the wind and start over from scratch. Someone who proved that there are still good people in the world who want to do what’s right for the sake of doing the right thing. And even if she can’t talk about it yet, even if she’s not ready to unlock the ugly parts of her past and lay them out on the table, she’s not going to lay in bed all day and let the world just pass her by.
“No.” She opens both eyes, staring deeply into Kate’s brown ones. “Let’s get up. We can make pancakes.”
“Banana or blueberry?”
“Both,” she says, feeling greedy and not caring. “And bacon. And toast. And—“
Kate laughs. “Okay. Remember we can only eat so much.”
“I can eat so much. I’m from—“
“Texas, yes.” Kate laughs again and leans in, kissing Lucy softly and pulling away too soon.
Lucy thinks about chasing her, pressing her deep into the mattress and not stopping until she has to come up for air. But she settles on letting Kate pull away and slide out of bed, pulling her hair up into a ponytail that exposes the long line of her neck. In her thin tank top and her soft shorts, no one has ever looked more beautiful than Kate does right now.
Lucy may be holding some things back, may be keeping some things close to the vest, but this? This she wants to scream from the rooftops. This she wants everyone to know. This she wants to tell Kate.
“I love you.”
Kate looks back over her shoulder, a smile on her face that threatens to break through the grey clouds outside their window. “I love you too.”
Live your life, Lucy Tara.
Lucy smiles as she gets up and stretches her arms above her head, feeling the tension break in her shoulders. She is going to live her life. She’s going to take every moment and hold it tightly in her hands. She’s going to love Kate with every part of her that’s capable of it and when she’s ready she’ll tell Kate everything she wants to know.
“Lucy?”
Lucy looks up. “Hmm?”
“I said, we can make toast too. If you want.”
She thinks about it for a moment before she smiles. “Life is too short to skip the toast.”
Kate rolls her eyes, pulling the sheet back up on the bed. “Where did you read that?”
“That’s a Lucy Tara quote, free of charge.” She winks when Kate laughs and scrubs her hair back off her neck into a bun. “There’s more where those came from, by the way.”
“Lucky me,” Kate grumbles, still smiling.
“Yeah,” Lucy says softly. “Lucky you.” She holds Kate’s eyes for a moment. “Lucky us.”
Kate’s smile slips into shy before she clears her throat and gives the neatly-made bed one last pat. “Lucky us,” she echoes. She slips out of the bedroom and heads towards the kitchen, humming something under her breath.
Lucy watches her walk away and thinks: this is a good life. This is a life worth living.
She follows Kate.
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genericpuff · 3 months
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vent post
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#and before anyone who hates my shit says “yeah because you ARE a loser way to have self awareness for once”#i promise you this would be me with or without the LO fandom LMAO#anxiety is a hell of a thing#and as much as i internally guilt myself into thinking it would be better if i just shut up and hid away forever#i also know that's the trauma speaking because the adults around me always told me to shut up#and even as an adult i still encounter people who talk over me and make me feel like i'm not allowed to be outspoken#but the pen is mightier than the sword and all those years i've spent being spoken over i've been honing my penmanship#i have fun talking about the things i talk about and i don't have any less right than anyone else to do it#i am cringe and i am free#self post#vent post#altho on another note i do wanna make time this week to go find new series to read#too many of my favorites have turned to shit and it's taken its toll#i KNOW there are better comics out there that are genuinely well made#i already have a few that i'm reading that i love but i need to balance out the good with the bad more lol#i just need to take the time to go find good stuff instead of pouring so much of my attention into the bullshit that doesn't deserve my tim#i think both things can be true#i can have a lot of fun dissecting and writing about series i don't like#while also nourishing myself with good works that restore my faith in this medium#“perfectly balanced as all things should be”
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aquickstart · 4 months
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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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ponury-grajek · 2 years
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I needed the comfort content with them, so I draw it myself
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zombvibes · 10 months
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People will try and shit on susie x noelle like this didn’t happen at the end of the ferris wheel scene???
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w4nderingdreamer · 10 months
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i think coming with terms that i'm like 99% sure i'm somewhere in the aromantic spectrum has made me accept and appreciate the platonic love and physical intimacy i've always felt/wanted to feel towards friends but like... i've always kinda shoo'd away those feelings because i was like "no i'm not supposed to hug my friends! what if they think i like them? what if they call me "gay""? (ugh i hate that too dw)
but now i'm like, hell yeah, i'm going to be the cutest, cuddly, huggy, kissy, dumbass no thoughts head empty only love on this earth (unless the fwen doesn't like that, that's valid too)
and there's no romantic and definitely not any sexual feeling on it! i just like people! i'm going to hug you! get cuddled!
i've always felt a nice warm feeling towards close friends that my brain was like "OMG YOU LOOOOVE THEM ROMANTICALY YOU'RE SUCH A WHORE (AFFECTIONATE)" (yes my brain canonically uses tone indicators) and i'm like no you fucking dumbass that's what friendship feels like
maybe someday i'll feel a slightly different feeling towards someone (maybe i'm demiromantic? idfk) but for now "hehe fwends nice" is good enough
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thedreadvampy · 1 year
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The thing is. Bad/gross food is rarely a DISH - when food is bad it's because it's been badly made, whether because of skills or available ingredients. but a dish p much only exists recognisably and has a name because someone likes at least one version of it.
which is to say. there isn't really a way of naming a dish, school of dishes or specific food culture and going EW ISN'T THIS DISH UNILATERALLY CONCEPTUALLY DISGUSTING without denigrating quite a lot of people.
like you don't have to like it in any form. but it's eaten and shared because it's good to a not insubstantial number of people when cooked right.
(and I don't really understand how you approach that with total incuriosity when it's a dish you haven't tried like. ARE rocky mountain oysters good? Maybe! I would very much eat some to find out!!!!)
this is actually something the British food poll did in a way the American ones I've seen haven't really - they described how the food they're imagining is, specifically, badly prepared (grey meat and veggies; unseasoned shepherd's pie). which is wildly tipping the scales by calling it British Food but. like. that is an on point definition of why that food is gross.
(this also applies to American chocolate, which like. Broad category but I think most of us understand this refers to low-cocoa high-sugar chocolate, probably with bucolic acid. so we are being invited to imagine Badly Made Chocolate not. the concept of chocolate)
personally I just think it's very rarely a good or funny idea to shittalk how gross any given food culture is. partly because food is important and culturally evocative for most people, partly because it's very...alienating? to be like WHO COULD EAT SUCH A THING? just because you wouldn't, and largely because to be frank it says more about you than about the food that you have so little imagination or curiosity that you can't imagine why a food might be enjoyable to folks who aren't you.
yes this includes jello salad, I would like to try it. ONCE. if it wasn't appealing to someone it wouldn't be so widespread.
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transfagfemme · 7 months
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Adventure time fans when you enjoyed the Fionna and Cake finale and don't want their miserable unnecessary nitpicky opinions on a silly happy cartoon ruining ur joy and love for the show:
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grimalkinmessor · 11 months
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If you're cold, they're cold. Take them home with u.
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inkskinned · 2 years
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one of the oddest arguments i've ever gotten into was like. i had agreed to give a dude a chance. we were on a first date. and he got. just. so mad. because i had told him i read about 2-5 books a week.
but he found out it was actually that i listen to 2-5 audiobooks. he was dead set on the idea - that's not reading, it's just listening. that i was lying, somehow, by implying i'd "read" the book.
language has a beautiful ability to adapt over time, particularly in the face of technology. when i "connect to the internet" i'm referencing the oldschool method of literally plugging into the internet - which i very rarely physically do. i roll down my window, which is a reference to the circular mechanical action it used to take. hell - the floppy disc remains our resolute save file icon. when i say i "ran to the store," nobody expects me to actually run - and what my version of running to the store looks like and your version are probably pretty different.
i told the guy, baffled: i look at things through glasses, that's still seeing. nobody complains i'm filtering the image.
he says: that's not the same and you know it.
i use audiobooks because i have adhd, and it makes it so i can actually focus. i am using it to help a medically diagnosed condition.
language also has a really cool ability: when we read something, our brains look at a word and make an image. when we hear a story, our brains hear a word and make an image. whether we hear it or read it - the word means the same thing, written or spoken. there is no quantifiable difference in the knowledge-encoding experience - i still happily hallucinate while i'm listening.
and i just kind of stared at him while he was telling me that "claiming" i had "actually read" a book that i had actually-listened-to was lying
and my only baffled response was like: "... are you gatekeeping the experience of... reading?"
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