#I swear I'm crying

[beif0ngs]

C'mon heart, beat loudly again! 💓

[dejasquietplace]

philautia

[unkandily]

Chip trying so desperately to comfort his friends and not knowing how. Like. He built an entire arena from wood and it to took him all night just because he wanted Gillion to forgive him. Jay is stunned and crying and he immediately tries to distract her because he doesn't know what to do when it's not lighthearted. Giving Lizzie, who he hasn't seen in a literal decade, hotdogs, because she used to like these and she probably still does, right? He built an entire pirate themed room for Ollie, because he's Chip and he would kill and die for the ones he loves but doesn't know how to show it.

[inkskinned]

one of the things about being an educator is that you hear what parents want their kids to be able to do a lot. they want their kid to be an astronaut or a ballerina or a politician. they want them to get off that damn phone. be better about socializing. stop spending so much time indoors. learn to control their own temper. to just "fucking listen", which means to be obedient.

one of the things i learned in my pedagogy classes is that it's almost always easier to roleplay how you want someone to act. it's almost always easier to explain why a rule exists, rather than simply setting the rule and demanding adherence.

i want my kids to be kind. i want them to ask me what book they should read next, and i want to read that book with them so we can discuss it. i want my kid to be able to tell me hey that hurt my feelings without worrying i'll punish them. i want my kid to be proud of small things and come running up to me to tell me about them. i want them to say "nah, i get why this rule exists, but i get to hate it" and know that i don't need them to be grateful-for-the-roof-overhead while washing the dishes. i want them to teach me things. i want them to say - this isn't safe. i'm calling my mom and getting out of this. i want them to hear me apologize when i do fuck up; and i want them to want to come home.

the other day a parent was telling me she didn't understand why her kid "just got so angry." this woman had flown off the handle at me.

my dad - traditional catholic that he is - resents my sentiment of "gentle parenting". he says they'll grow up spoiled, horrible, pretentious. granola, he spits.

i am going to be kind to them. i am going to set the example, i think. and whatever they choose become in the meantime - i'm going to love them for it.

[livrere-green]

the fact that charles was so gentle and sincere with his answer to edwin's confession is something I could never forget... because that's what love is about, right?

love is in the way charles could never hurt edwin on purpose, is in the way he protects him, in the way he knows when edwin needs to be seen; love is in the choice of every one of his words, in the way he knows that being honest is the only right answer.

there's still forever waiting for them, there's still forever waiting for charles to figure it out, to discover if he loves edwin in a romantic way too, and it doesn't matter if is not romantic in the end, because that it's just a side of the love they share.

i think is so important not to overlook something like that, not to let that pending romance overshadow the fact that they already love each other in every other way.

because in the end, we are talking about two boys that have experienced excruciating pain, that have seen horrifying things during all their existences, and in spite of it, or maybe because of it, are capable of loving each other in a way that's so pure and strong and relentless...

reducing the importance of it to a reciprocated romantic love seems so simplistic and inconsiderate to me.

[juju-or-anya]

It's hard not to find irony in the criticisms directed towards Eloise Bridgerton and the elevation of Penelope Featherington as a more genuine and hardworking figure in contrast with Eloise's supposed privileged circumstances and her discourse on feminism. Indeed, some voices have pointed out Eloise's feminism as something white and privileged, and while this is not without merit, it's akin to rediscovering what others have already noticed, akin to Christopher Columbus "discovering" America.

Understanding the context in which "Bridgerton" unfolds is essential. The series is set in Regency England, between 1813 and 1825. This historical period is marked by a highly stratified and conservative society, where women, especially those of the upper class, were relegated to traditional roles and lacked basic legal rights. In this context, any discussion of feminism must consider the unique limitations and challenges of the time.

It is true that Eloise Bridgerton, being part of a respected family in English nobility, embodies many of the characteristics associated with the white and privileged feminism of the time. However, this should not diminish the value of her role in advancing feminist ideas in her historical context. It is thanks to women like Eloise, who challenged social expectations and dared to question the status quo, that doors were opened for future, more inclusive feminist movements.

On the other hand, when analyzing Penelope Featherington's role in contrast with Eloise Bridgerton's, intriguing nuances worthy of a more detailed critical exploration are revealed. Although both come from upper-class families, Penelope's experiences differ significantly from Eloise's. In the society depicted in "Bridgerton," Penelope is portrayed as a more marginal figure, overshadowed by the prominence and glamour of the Bridgerton family. She is often seen in the background, struggling to find her place in a world where her social status does not put her at the center of attention.

Throughout the series, Penelope exhibits a distressing lack of empathy and solidarity towards other women. Instead of fostering unity and support among her peers, her writings are propelled by feelings of envy, resentment, and desires for revenge. Striking examples of this include her actions to publicly reveal Marina Thompson's pregnancy, intending to undermine her relationship with Colin Bridgerton, or defaming individuals such as Daphne, Edwina, and Kate Sharma, often with no apparent reason other than personal gain.

Penelope's behavior as Lady Whistledown sheds light on her complex nature and motivations. While it may represent an attempt to find her voice in a world dominated by more powerful figures, it also reveals a tendency towards manipulation and selfishness. Ultimately, her role as the mysterious chronicler is more than just a quest for identity; it is a reflection of the moral and ethical complexities underlying the society of "Bridgerton."

In summary, asserting that Penelope is more feminist and hardworking than Eloise due to her role as Lady Whistledown is, at best, simplistic and, at worst, deeply misleading. Both women, while privileged in their own right, have chosen different paths in life and have faced their own challenges. However, the narrative of Penelope as a morally superior and more genuinely hardworking figure should be questioned in light of her actions and motivations, which often reveal a lack of integrity and empathy towards her peers.

It's important to note that when Theo confronts Eloise, questioning her understanding of the real world and her privileged position, Eloise doesn't reject this criticism but uses it as a catalyst to seek greater understanding. Recognizing the validity of Theo's observation, Eloise actively seeks to broaden her horizons. She engages in conversations with Theo and John, seeking to break free from the bubble of privilege in which she has lived so far.

On the other hand, Penelope takes a different stance towards her own privileged position. Instead of acknowledging her situation and seeking to understand the realities of those less privileged, Penelope vehemently denies any suggestion that she also benefits from the system. Rather than accepting her position of privilege, she portrays herself as a victim, despite her actions suggesting otherwise. Ultimately, this divergence in attitudes between Eloise and Penelope highlights the complexity of individual perceptions of privilege and personal responsibility in an unequal world.

PS: The comment: "Penelope saved Eloise by writing that she hung out with radicals, she doesn't know what it's like to be grateful" is shit. Whose fucking fault is it that the Queen is on a crusade with torches and pitchforks, looking for blood and a rolling head? From Penelope because she doesn't know when to keep her hand still and stop writing, if it weren't for Penelope, the queen wouldn't think that Eloise is Lady Whistledown, Penelope wasn't looking to help Eloise, she was looking to save her skin.

[demigods-posts]

whatever you do. don't think about how percy and annabeth held the sky. and both of them earned grey streaks. that likely lasted for a couple of years. so during the year before the prophecy. when percy and annabeth weren't on speaking terms. one look in the mirror was enough to remind them what could be if they had time.

[nemesyaaa]

the plot of obx actually ^^

[seldompathic]

Anatomy is a nightmare, the struggle never ends

the fog is HERE

[rillils]

🌸 post-catws stucky + hug

The first tendril of want shocks him like a splash of ice-cold water poured down his spine.

Bucky doesn’t know at first – doesn’t know what, doesn’t know how. But the want is there, curled up in his chest: small, and starving, like some trembling newborn thing whose first taste of life is hunger, crying to be fed and soothed.

There’s a half-remembered feeling in the back of his mind, something he reaches for when the want aches sharp and spark-bright inside him. The word for it is short and sweet in Bucky’s mouth, so gentle it barely touches his tongue at all, all throat and soft palate: ‘hug’.

It’s a simple concept. Two arms go around one body – that’s all it takes. One step, and there it is: a hug. And Bucky imagines it vividly: his own mismatched arms around Steve, and Steve’s arms folding around him, like a circle – the shape of the infinite, of timeless things like the two of them. A line that should end, but constantly finds one more beginning instead.

He tries to see it, Steve’s broad chest brushing against his as their bodies meet, the swell of Steve’s arms enveloping him, Steve’s big palms splayed wide against his back, touching him. Gentle. Like Steve’s eyes on him are gentle; like the clasp of his hand on Bucky’s shoulder is gentle, always. So gentle, perhaps, that Bucky would hardly even feel the hug around him.

But he would take it, gentle or no. Because the truth, where it lies in the empty pit of his stomach, is that he starves for it, day after day, the want pulsing inside him with every beat of his heart. He just doesn’t know how to ask for it.

So Steve does the asking for him.

His hair is ruffled, limned with copper and wisps of gold in the late afternoon light, and his hands are unsure, nervous. But his eyes. His eyes take Bucky in, searching, urgent – and for a moment, Bucky is sure that Steve, too, must have been starving for this.

“Can I hug you?” he says, and the word sounds especially sweet when it’s Steve pronouncing it. When there’s a ‘you’ attached to it, and that one syllable becomes two, joined seamlessly together, and the new word rolls smooth and honeyed down the curl of Steve’s tongue, hug you, hug you, hug you. “Would that be okay?”

Bucky wets his lips. ‘Yes,’ he means to say, but the word that slips out of his mouth in a rasp instead says, “Please.”

So Steve gathers him close, two arms and one body and his nose buried in Bucky’s dark mop of hair, and he carves a snug space out of himself to make room for Bucky right there, his hands fisted in the back of Bucky’s shirt, their chests pressed so tight together that his heartbeat pounds behind Bucky’s ribs.

It’s not a passing touch, the fluttering echo of a hug Bucky feared he might barely feel. It’s persistent. It’s desperate. It’s a hungry little thing, a creature to be fed tenderly, steadily, so it’ll grow and live, and live.

He wraps his own arms around Steve, and grasps at him just as fiercely as his want commands, a wet exhale shuddering out of his lips to land in the crook of Steve’s neck.

He was wrong, he realizes now, framed in Steve’s embrace like a timeless work of art. He was missing a step.

A hug is a simple concept: two arms go around one body, and they hold on.

[shotmrmiller]

blue collar simon is such an asshole to inspector/contractor's secretary and it's cuz he's desperate to get in your pants and i'm gonna talk about it

[mickules]

Are you gonna tell me

I fully failed to queue all those artfight posts?

So I’ve just been SILENT for like a whole month again???

ouuughhh I'm perfectly normal about this.

[yallemagne]

Mina every time she experiences a negative emotion: “I almost cried, which is quite unnatural for me. I’ve never cried a day in my life. Not even as a baby. That’s how “not like hysterical women” I am.”

Jonathan every time he experiences an emotion: “Woke up today, realized I was still living, and found no reaction more reasonable and appealing than sinking to the floor in loud agony and staying there until someone came to drag me from my wallowing. After that, I went to the post office.”

[bluecoolr]

The real reason Bo doesn’t use the gas station bathroom.

He never emotionally recovered.

[onetouchparadise]

Logan and his other dad Jenson 😭🫶

[akitalockwood]

Empire kids are here to kick ass