#and i do it in less then. a second

[atalana]

the curse of adhd:

i will remember with absolute clarity, when the thought strikes me that i have a text to send someone, that this is the fourth time in three days i've attempted to send this specific text

i will forget, in the time it takes me to pick up my phone, that i picked it up intending to send a text

[mochasucculent]

Was looking at refs and since Viktor has two different leg braces I was wondering, do we think he wears them simultaneously?? The refs don't perfectly line up perspective-wise so it's hard to tell but parts of the one he wears during the Hexcore scenes look like they could maybe line up with the brace that he wears over his clothes, but also some parts really don't and look like they'd be super uncomfy. Also HOW does he take these on and off. Experts weigh in

[flowersforthemachines]

Note: those were ripped directly from the game files, as they aren't included in the OST. You can also listen to them in this playlist on PinkyJulien's Youtube channel or in this playlist by Slow Walkthroughs.

My DAVG Extracted Audio Masterlist

[stellarspecter]

@pscentral event 20: antagonists ↳ THE LORDS IN BLACK in NERDY PRUDES MUST DIE

[wuthering-tempest]

dads and the pet they didnt want

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

------------

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[gracefolds]

Ngl I’m curious as to how many fans of HDG would, if given the opportunity, sell out all of humanity to the Affini, and how long would they take to make that decision.

[snarkspawn]

they're thinking about davrin's shoulders

[notwithoutafight]

max & daniel + eye contact

[frogatz]

we are alooone, no one to blaaame

[queen-lucy-the-valiant]

on this re read ive noticed that edmund has more of an awareness of magic than the other pevensies. in pc its him who first realizes that its magic thats pulling at them in the train station and then in voyage its him who recognizes the magic of the painting. and now i have this head canon of ed studying magic during the golden age and being a sort of like lay sorcerer. not that he would do any big spells or anything because the memory of the witch was too recent both for him and for the other narnians. but he did enough or studied enough to be able to recognize what magic feels like

or if you want the more heartache version. ed is the only one of the pevensies that has had magic worked on him. with the enchanted turkish delight. so he knows what it feels like and is quick to recognize it because of that.

[buckingham-ashtray]

The Adventures of Sherlock Holmes and Dr. Watson (1983), SO4E02, “The Treasures of Agra” (part 2)

I know ppl have posted this scene over and over before but I just.

[casscainmainly]

What I find interesting about Cass and ballet in Tynion's Detective Comics (2016) is not so much the communication or artistic expression aspect, but what it means for Cass' relationships to women.

From the beginning, Cass + ballet is heavily tied to her relationships with women. In Batman & Robin: Eternal #7, she first watches the ballet with Harper Row:

Ballet isn't just about "understand[ing] everything" (as Harper says), but about the physical and emotional connection Cass forges with Harper in this moment. The way their hands grasp onto each other symbolises the potential for ballet to form women-to-women bonds. Since this is N52, Cass' relationships with Babs and Steph have been sadly obliterated, so this is her very first connection to another woman.

Then, in Detective Comics #950, we meet Christine Montclair:

Christine is a ballerina who has been "handed" a key to the main stage by "the late Elaine Torsky," and who hopes to hand "that key to another young girl." Ballet becomes linked with a feminine legacy, one tied to "know[ing] exactly who she wants to become." The ideas of a female legacy and coming into one's identity strongly echo Cass' relationship to the Batgirl mantle, and the importance of female relationships to Cass' sense of self.

Ballet is, also, a storytelling medium - Tynion emphasises the importance of storytelling through #955's scene between Christine and Cass, where Christine reads her a story. She mentions that her mom used to read this to her. This is clearly an allusion to Shiva (since this arc is about Shiva), but more broadly this scene points to matrilineal connection through stories, something that Babs and Cass actually do in DC First: Batgirl/Joker. In that issue, Babs tells the story of her first encounter with Joker, which inspires Cass to do the same. Cass' mimicry - something she also does with Christine, copying her movements in the ballet school - showcase her desire for connection with other women.

(The book is also written by Carolyn Wu-San, another connection between women, stories, and family.)

And it's this connection to women that allows Cass to say her name, harkening back to Babs giving her her name in NML. This scene is also funny to me because Tynion created Orphan but he's aware the name is not something Cass actually likes - if anything, 'Orphan' feels like a punishment Cass imposed upon herself (especially in this arc, which doesn't reference that Orphan came from her dad).

It's just interesting that ballet and storytelling are mediums in which Cass finds an expression of herself, but it's not because of the communicative aspect - she never actually performs in front of anyone. Instead, it's the feminine community and legacy that allows Cass to discover herself beyond Orphan.

All this to say it's a shame Cass couldn't be Batgirl here because I really like the parallel of female legacy between ballet and Batgirl, but it gets lost without acknowledging Batgirl (2000) and DC First: Batgirl/Joker. But conceptually, Cass and ballet is about so much more than her 'communicating' via dance, and the role women and stories play in her love for ballet should be acknowledged more.

[my-darling-boy]

You know you’re cooked when you stumble upon a video of a man dressed as as a classic butler pretending to comfort you and you’re ready to send it to your pal for a laugh but he starts telling you everything is alright and you immediately burst into tears like

[degenerateshinji]

li tianxi in my more painterly style + lu guang inplick colour study !!

[chebyshevptera]

“actually jay didn’t make the bounty fly it was his dad” respectfully whatever plant you’re smoking i think you need to stop