#for the good juice

[juicinmyjams]

okay okay I saw this post by @goggles-mcgee and it got me thinking about Steve and baking some more but like, pre-season 4.

Dustin always shows up to Hellfire with these absolutely delicious smelling baked goods for him and Lucas and Mike.

Now, Eddie and the rest of Hellfire havent had any yet because they aren't going to bully freshmen into giving away their clearly homemade treats. And Eddie's never really had homemade cookies or brownies or cupcakes, only the stuff from the store (i.e those sugar cookies that dissolve when they get wet, still bomb, but like, you know). So when Dustin finally brings enough to share and passes them around, Eddie goes to mow through his and takes one bite and nearly cries from how good it is. He didn't know cookies could taste like this.

Dustin definitely notices and starts bringing in enough to share every time. And Eddie, of course, is all about it. He's never had this much of a range of baked goods in his life.

And, he assumes, since Dustin is bringing them in tins, that it's his mom doing the baking. So after a few weeks of Dustin bringing in more stuff, Eddie loudly proclaims that he's in love with Dustin's mother, and that if they ever meet, he's proposing on sight.

The kids laugh so hard, way harder than they should at that kind of joke.

[chubbychiquita]

bloated

[quillyfied]

There being two movies now in the Benoit Blanc world, and both movies sharing some recognizable tropes and archetypes to build its flavor, there’s a specific type of character that I’m struck by, particularly as a white woman, in both Knives Out and Glass Onion:

The Sympathetic White Woman.

In KO it’s Meg. In GO it’s Whiskey. They both bond with the (WOC, very important to emphasize) protagonist by being less crappy to her than the rest of the cast, and both signal to the audience that they’re trustworthy as far as the protagonist goes. They tell the protagonist that they’re on her side. They try to be supportive. They’re sympathetic to the audience.

Then comes the moment when the Sympathetic White Woman’s security is threatened.

(Brief added interruption to just say: please dig through the notes and replies on this baby for some additional excellent thoughts from other people, including the very important distinction that Marta is a white Latina and not a woman of color (my mistake thank you for the corrections), and more thoughts on Whiskey’s actual/additional betrayal moments!)

For Meg, it’s her mom telling her she has to drop out of school if they don’t get the inheritance money. For Whiskey, it’s Duke dying. In both cases, the protagonist reaches out—Marta tells Meg she won’t let that happen, she’ll support Meg with whatever money she needs; Helen tries to soothe a hysteric Whiskey by telling her she doesn’t need Duke and he deserved what he got (not realizing Duke is dead, of course). It’s a slightly different moment in each movie, but the basic framework is the same: the woman of color protagonist reaches back to the Sympathetic White Woman, and notably, reaches DOWN, offering the support the Sympathetic White Woman offered earlier.

Only…the Sympathetic White Woman was never intending to be the one the protagonist had to reach down to. So she snaps. Meg tells her family about Marta’s mother and they use it to threaten her. Whiskey latches onto the belief that Helen killed Duke and tries to kill her with a spear gun in what she thinks is self-defense. The Sympathetic White Woman Heel-Turn.

Meg and Whiskey both also sort of try to make amends after their Heel-Turn moments, but…the trust is already broken. The protagonist knows better now. The Sympathetic White Woman is not to be trusted.

Why this sticks out to me personally is the very obvious callout that feminists of color have been making about white feminists for literal decades: that white feminism lacks any true support or compassion for non-white people, that it’s empty promises of support and when the chips are down, white feminism upholds whiteness over feminism in an act to protect itself. And whiteness…is a damn difficult thing to even see when you’re white and raised in an overwhelmingly white community, let alone begin to pick apart and unlearn. It’s reactionary, how Meg and Whiskey turn on Marta and Helen to protect themselves.

It would make Meg incredibly vulnerable to support Marta fully, the way she promised to back when she thought she had the resources for it, but Marta is that vulnerable every day just existing as a Latina woman in America. Whiskey’s Heel-Turn moment is a little more immediate trauma based, but when looking for someone to blame, she doesn’t hesitate to blame Andi (Helen), scrapping together the few pieces of information she has—Andi hates all of the Disruptors, Andi got screwed over by them, Andi fought with Duke just minutes before he died, Andi was in their shared room tearing it apart when Whiskey came in distraught. She’s looking for an outlet. There’s Helen red-handed and in view. Boom. Whiskey grabs the spear gun instead of talking it out with the person she admitted just hours ago to feeling sympathy for.

Growing up white and steeped in whiteness causes defensive reactions when that whiteness is brought up, or, god forbid, challenged. It’s a knee-jerk thing for people who haven’t begun to deconstruct it for themselves; even for people who have, to see just how far and deep in American society that reaches is troubling. Humbling. Enraging. The Sympathetic White Woman archetype is, to me, a warning to not let whiteness overrule sense and morals. To be smart about it. And, crucially, to check myself for condescension, especially when interacting with non-white folks in any capacity.

(Also why the presence of Benoit Blanc is so important. He is also sympathetic, he also offers his own support, but crucially, he just uses his whiteness to clear a path for the WOC protagonist to take her place and do what she needs to do. He doesn’t speak over her, he doesn’t turn on her, he just listens, and presents the truth for her to do with it what she will. Or, in one case, hands her highly volatile crystal hydrogen for when she’s really ready to tear the Murderer’s crap down.)

[kala-mies]

Heaven is calling, Peter!

[wizardfvcker]

do you guys see my vision

[houseswife]

appreciation for the sheer melancholic fondness in wilson’s gaze at house during what he knows is the last normal interaction they’ll ever have; during the final comparatively trivial rant in which they don’t both have to pretend the world isn’t collapsing beneath their feet

[lotus-pear]

reminder that dazai loves you no matter what you're like ladies

[hajihiko]

Don't be mad over dumb internet things. Or, if it's inevitable, share it with someone unconcerned and then laugh about it later

[humhowellujah]

i'm drunk off two lavender martinis what the fuck do you MEAN dan and phil went on a step by step recreation of their japan trip as a part of a HONEYMOON episode for their sims. be so fr rn be so serious please. dan howell you have 4 minutes to respond . phil, keep it up babygirl. lavender martini recipe in the tags

[oatmilck]

idk who needs to hear this but your life needs to be curated to you whenever possible fr. you have to live for you!! find your own mismatched, haphazard, lovely little joys & stop worrying about everyone else.

[somecunttookmyurl]

if you want actual like on god for real actually exist you can see the papyri/tablets very incredibly cute egyptian letters absolutely go read translations of the amarna letters between king amenhotep III and his absolute bestest best friend in the whole wide world king tushratta of mitanni

[3na-exe]

17776 designs !

[mrs-trophy-wife]

[lemonemlyn]

Please, pay attention to your Papa☺️

[bklily]

Harveston was a very fun event (that I really wanted to post about before lmao life got in the way)

I never expected this wacky group of individuals to have such a fun dynamic but then again, such is the nature of TWST innit

[coco-oats]

Feeling very pink academia, private school girl, studyspo, hot nerdy girl, signature jewelry, early mornings, clean girly rn