my father was a tailor. in leeds. as was his father. and his father’s father. time was, if a man on the avendale road asked where he could find the finest clothes in northern england, he was pointed towards the shop of a man named rackham. THEN: the men who sell wool decided they would rather not compete with the men who sell cotton. and as the men who sell wool have the ears of the men who make laws, an embargo is enacted to increase profits. and calico disappears. and my father’s business - that he inherited from his father... and his father’s father - begins to wither and die. and my father suffers the compound shame of financial failure seen by the eyes of his son, and descended into drink. i’d sit beside him as a boy at the sunday services as he shouted at the pastor. at the altar. at anyone who would listen, really, about the injustice of it all. and i’d put his arm over my shoulder as the insults began, and i’d carry him out of the church GOD THE INSULTS. at his funeral, our neighbors were kind enough to whisper them instead of call them out loud. SO. i set to work, determined to rebuild what had been taken away; i was thirteen years old, but i was determined! until a man arrived at my door claiming to hold debts belonging to my father, debts accumulated as my father drank, debts he claimed that now belonged to me, debts i could not possibly have hoped to repay. debts over which that man would have seen me imprisoned... imprisoned in a place where the debts would only have been discharged through hard labor. hard labor at no wages, working at - wait for it - the production. of textiles. “you people. incapable of accepting the world as it is.” says the man to whom the world handed everything. if no anne, if no rescue, if this is defeat for me, then know this: you and i were neck-in-neck in this race, right til the end. BUT JESUS DID I MAKE UP A LOT OF GROUND TO CATCH YOU.
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Hate ppl being like well at least there’s *edgy show with queer characters* *show with super conventionally attractive, young leads* or *show with both* like… not the fucking point?
I don’t need all art I connect with to be cutting-edge or ‘cool.’ I’m an artist that does a lot of horror/‘edgy’ work outside of this fandom space. This shows earnestness and whimsy and how little it cared about being ‘cool’ has been a breath of fresh air for me. In the sea of media that is banking on existing IP or bleak social commentary and true crime… this truly was original and interesting. Like. True height of queer media golden age. A warm light that doesn’t need to peak through a million layers of irony. Sigh
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can you imagine how obsessed we'd all be with renegade nell if we'd gotten it back during the robin hood bbc/merlin bbc days
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every episode junmo is like so WHAT if i nearly die for gicheul !!! it’s for the job !!! my brother in christ your job is to bring him down not to show him your eternal devotion and readiness for carnage all for his name and sake i think we lost the plot a little but you do whatever and get that body count going for you i am sure the police force you actually work for will be super thrilled to find out you constantly mow down anything in your path to the point of accidental man-slaughter because someone looked at gicheul funnily and you lose your shit when that happens
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sort of annoying thing about female characters in prestige shows written mainly by men is that like the screenwriters can cruise by writing 10% of what they know is misogyny and acknowledge is bad, 10% unintended misogyny bc theyre men in show business and theres this 80% thats nebulous bc it can go either way.
but my god you will have to pussyfoot around talking abt it, bc its impossible to be like 'I dislike this plotline bc it thinks the portrayal of accurate misogyny is by itself a commentary on it, if we are being charitable and presuming it IS portrayal and not unintended' bc then somebody will dickride that man into the sunset like 'UGGHHHHHH reading comprehension much 🙄 that (ambiguous) misogyny was the whole point'
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hold the phone hoooooooooold the phone i just saw someone on the dash say that there’s a theory that logan died while kerry was giving him head in the airplane bathroom which absolutely cannot CANNOT be true but also did make me scream laugh out loud
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I know this can be contentious (and even just mentioning this kind of analysis as a serious one makes a lot of people who don't understand what literary analysis is very angry) but I actually think it's pretty cool that people can draw both transfeminine and transmasculine reads of Jesse from hit TV show Jesse out of the text of the show. Something something shared experiences something something solidarity. You get the idea
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I know I'm just preaching to the choir here, but this article from Vanity Fair on the guests at their party really pisses me off:
"Danny DeVito from It's Always Sunny in Philadelphia, one of the longest-running shows on television. Other guests in attendance included...Charlie Day"
Right, Charlie Day, as in, one of the creators, executive producers, writers, and lead actors of said longest-running show on television. Why is he othered when the article directly names his show and co-star? Why is Sunny an accomplishment when it's tied to Danny DeVito but not worth the breath when it's connected to Charlie (or Glenn, or Rob)?
I get the show is never going to be appreciated by those who vote for these kinds of awards, I know RCG get that, but come-fucking-on with this shit. You're going to bolster the fact that a prestigious star attended your party by citing a contingent achievement the show he's on has, but you're going to shove one of the creators of that show into the 'other' category in the same fucking paragraph?
What's the point of that, other than to lessen (R)C(G)'s connection to the accomplishment that you can claim prestigious actor Danny DeVito is apart of? Keep them unknown, keep them nobodies not worthy of highlighting in your article. We have evidence Rob and Glenn were at that party, don't we? Not even named at all, not even an "other".
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