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y'all, it was always going to end this way. from the moment mark scout told mark s. about reintegration, it was always going to end this way. mark scout literally looked mark s. in the eyes and said "we're going to have a life, and it's going to my life. we're going to live in my house with my wife and have the life i want. and you're going to like it because you're an extension of me." he didn't see mark s. as a person and that, in the end, was his greatest downfall.

mark s. did what mark scout asked. he fought his way to the elevator and he ran ms. casey to the stairs so she could be gemma again in the outside world. he saved the poor, tortured, woman trapped in lumon's basement because that was the right thing to do. but then, when faced with a choice between dying forever or turning around to try and somehow have a life of his own? with the woman he loves? of course he turned around.

this doesn't have anything to do with which ship is better or what was the most logical thing to do or even what mark and helly are going to do now. the point is mark s. stood there at the door, at the literal precipice of death, and said "i want to live. i want to live. i want to live." and come on, wouldn't you do the same?

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out of everything that just happened i think mpreg kier was probably the craziest

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lumon's department sizes are so funny. "how many people do we need to refine some super important data?" uhhhh four i guess. at most. "what about the company marching band?" fuck ur so right. we need a company marching band with like fifty people. this is of prime importance to the lumon mission.

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but of course mark s feels nothing for gemma that’s what he was born to do

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I hate that SEPTember OCTOber NOVember and DECember aren’t the 7th, 8th, 9th, and 10th months.

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the whole severance process and its subsequent success being manufactured from and built upon the labour and suffering of two women. one a child who designed severance to cope with the reality of the world she was forced into, and one being a woman of colour who was kidnapped and turned into a toy to be used at the whims of a white man. and you all wanted to know why ms huang is a child. well here is your answer. a teenage girl of colour currently under the same scholarship as cobel happily and matter-of-factly carrying out the subjugation of people who only exist because of what lumon exploited out of people like her. lumon having entire institutions dedicated to the continued indoctrination of vulnerable children. lumon systematically ensuring any amount of class or race consciousness or solidarity between their subjects is impossible by having them carry out each other's exploitation on their behalf. the innies just being a new rung at the bottom of the ladder whom the disenfranchised and marginalised can feel empowerment in stepping over. and ms huang is just the next in a long, long line of victims

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I hate when ppl take my isolation negatively like can I chill

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Ever since I was a little girl I’ve loved information

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step 1: get sexy

step 2: let no one hit

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Hi friend! I read your mafia au with the triple frontier boys when it was a fanfic, and I would love for my friend to be able to read it. Is your book out and available?

Yes! You can buy it on Amazon (Cardinal Sins by Charlotte House) or it's free through Kindle Unlimited!

I'll actually be offering the ebook next Tuesday for 99 cents for 24 hours if you don't have KU.

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The fact that Everything Everywhere All at Once has the main character see that if she hadn’t gone to America with the man that would be her husband she would’ve lived a glamorous life of fame and fortune and her husband would’ve gone off and gotten very rich on his own rather than living together in an apartment over a laundromat struggling with finances every day and where so many movies would’ve framed that choice to go off together as a mistake, shown their alternative lives as some sort of “see? It wasn’t worth it” and had them “escape” to that “better” universe in the end, it instead all culminates in the line “Just so you know, in another life, I would’ve been really glad to just do laundry and taxes with you” changed my wholeass life

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“Lolita isn’t a perverse young girl. She’s a poor child who has been debauched and whose senses never stir under the caresses of the foul Humbert Humbert, whom she asks once, ‘how long did [he] think we were going to live in stuffy cabins, doing filthy things together…?’ But to reply to your question: no, its success doesn’t annoy me, I am not like Conan Doyle, who out of snobbery or simple stupidity preferred to be known as the author of “The Great Boer War,” which he thought superior to his Sherlock Holmes. It is equally interesting to dwell, as journalists say, on the problem of the inept degradation that the character of the nymphet Lolita, whom I invented in 1955, has undergone in the mind of the broad public. Not only has the perversity of this poor child been grotesquely exaggerated, but her physical appearance, her age, everything has been transformed by the illustrations in foreign publications. Girls of eighteen or more, sidewalk kittens, cheap models, or simple long-legged criminals, are baptized “nymphets” or “Lolitas” in news stories in magazines in Italy, France, Germany, etc; and the covers of translations, Turkish or Arab, reach the height of ineptitude when they feature a young woman with opulent contours and a blonde mane imagined by boobies who have never read my book. In reality Lolita is a little girl of twelve, whereas Humbert Humbert is a mature man, and it’s the abyss between his age and that of the little girl that produces the vacuum, the vertigo, the seduction of mortal danger. Secondly, it’s the imagination of the sad satyr that makes a magic creature of this little American schoolgirl, as banal and normal in her way as the poet manqué Humbert is in his. Outside the maniacal gaze of Humbert there is no nymphet. Lolita the nymphet exists only through the obsession that destroys Humbert. Herein an essential aspect of a unique book that has been betrayed by a factitious popularity.”

— Vladimir Nabokov (tr. Brian Boyd), Apostrophes (1975)

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Kiki Smith: 'Constellation' (1996)

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reblog to cast level 5 spell: everyone who reads this gets a full night sleep