#how is that even physically possible

[agentcaboose]

⚠️ DEADPOOL SPOILERS ⚠️

deadpool hitting people in the face with a skull twice?? close enough welcome back agent texas

[spookyspeks]

Does anyone else feel like physically disabled people aren't allowed to identify with the very common and understandable thing of "nobody wants to work"

Like. "Nobody wants to work but if you're disabled you have to want to work or you must be faking. This thing everyone else feels isn't supposed to apply to you"

[wistfulwatcher]

HACKS | 4.10 Heaven

[vaggieslefteye]

HUSK, Hotel Bartender & Concierge | 1x04 - Masquerade

"Oh, I FORGOT — you're the wise-old bartender who's seen it all! Get the fuck over yourself and pour me a real drink."

[consultingfujoshi]

everyone else is giving their take on this so I feel as if I should too. I am angry about burt and irving now having two almost-kisses and them still finding a reason for them to never close that gap. like, yea it makes narrative sense that neither of those scenes contained a kiss, it's compelling even, if I view it objectively I actually love that because I care deeply about these characters and want them to be written realistically and with nuance.

but I am not gonna sit here and pretend that I'm fine with how this compares to the straight couples that have had so much more this season. if burt and irving's story existed in a bubble where markhelly and all the rest didn't serve as points of comparison I don't think I'd be half as upset at the way this ended. I'd be able to appreciate the impact of their being unable to kiss TWICE now in different universes because of forces outside of their control without looking across at every. single. other. couple. who are all straight. and going. why do they get that and we don't. why is it only the gay couple that have to be written "realistically" where they're still not ready to kiss. why can allowances and indulgences be made for dramatic effect for EVERYONE except them. I don't know if it's intentional homophobia, or queerbait, or if they're really just that squeamish about the idea of two old men kissing each other, but the double standard is there no matter the motivation behind it. and when you combine that with irving's innie being effectively killed off four episodes into the second season, and now his outie potentially written out of the show too, all I'm saying is it becomes hard to give them the benefit of the doubt.

we're all aware john turturro may not return for another season and that's why they felt the need to wrap up irving's two storylines somehow so they weren't left on a loose end should he decide not to come back, and I get that, and I'm glad there was some sense of finality to it, but then why not allow us just this one thing. just one moment of indulgence. because it might actually be our, and their, last chance. would it have killed them to just let them kiss this one time if there was a chance we'd never see them again, a chance they'd never see each other again. the truth is, no, it wouldn't have been hard at all. but they still made the decision to withhold that. because they can't allow us or them even the most basic kindness whilst handing the straight couples everything on a silver platter.

I'm not gonna get into the pacing issues of their relationship this season, how we jumped from them shyly asking each other out on another date to burt carrying out the hit on irving, how there feels like a missing scene in between those two events, because that relates to a wider problem with the structure of the show itself that is beyond the scope of this criticism. but i think it's telling that rather than giving us that extra time with them, they took a whole episode away from our main cast where even cobel got to kiss a one off male character that we will never hear from or see of again, and the supposed flagship romance of season 1 can't even get that. at what point am I allowed to call that thing in the corner that looks, acts, and talks like a duck a fucking duck?

if it sounds like I'm bitter, and jealous, it's because I am. because whether or not the double standard is intentional or not, it's still there. and I really did think a show that was able to present such special, compelling, meaningful queer characters would be a little more self aware about the message they're sending. and it fucking sucks that this has become just another show where I have to swallow my frustration and accept that they're not writing this for me. I and my fellow queer audience will never be the priority. even now we are still begging for scraps

[onelongsound]

Yusuke: 120%

Detail and source after the cut...

[white-weasel]

Thinking a lot about the implications that Bernard’s parents are/were physically abusive towards him… makes me ill

[mblue-art]

BAD SANSUARY // [29] glow for owl-bones's event !

pov u attacked the little error doll he gave u w/ sooo many smoochies and he felt all of it

alt. vers. under the cut !

[transingthoseformers]

A pwp gave me ideas again😔

I've been thinking about if the DJD didn't kill (some) traitors but "rehabilitated" them.

This has horrifying consequences, as in a way the two processes look very, very similar with the DJD involved

[palettehao]

I wish I could draw because the image of Erik geling Charlie's hair into spikes just popped into my head and there's nothing I can do about it

[beware-of-you-98]

i know, i know, jj is so fucking strong and she perseveres despite everything she’s gone through, i know, but fucking hell my heart is breaking over and over for her

the far away look in her eyes

the constant fidgeting to keep herself present

the way she only has the bare minimum amount of skin showing, even to where she’s covering her hands

my heart hurts for her so much and she’s forcing herself to deal with all of this alone

[broken-clover]

Deeply deeply attached to the idea of Potemkin and Dizzy being friends and an unreasonably large portion of that is the thought that she's basically one of the few things he would be able to hug and not immediately reduce to paste

[kanakori]

this is the tamest scene in the whole script and its more erotic than any fic ive read of them

[nexus-nebulae]

watching a video and someone went like "she died because she 'lost the will to live'. if she had died from an ACTUAL MENTAL ILLNESS that would be fine, but instead she just 'lost the will to live'" like 1- what do you think depression is. 2- this is why focusing on the label rather than the actual state of existence will always be ableist and harmful. not everyone is given the language for that shit

[zukkaoru]

ohhh you guys are reading bsd without suspending your disbelief. you guys are expecting to get a clear cut perfectly understandable scientific explanation for something that can't actually happen in the real world, and then you're upset when you don't get it. you're forgetting that bsd has always had fantastical elements in it and it is not meant to be a 1:1 replication of Our World. you don't have to know and understand every single scientific concept being talked about in the recent chapters; you just have to be able to get the general idea and realize that this isn't the real world, so it won't make sense by the standards of our reality. then maybe you can stop whining about how nonsensical all the dialogue is and start appreciating the story itself

[jon-sedai]

Something rubbed against his leg beneath the table. Jon saw red eyes staring up at him. “Hungry again?” he asked. There was still half a honeyed chicken in the center of the table. Jon reached out to tear off a leg, then had a better idea. He knifed the bird whole and let the carcass slide to the floor between his legs. Ghost ripped into it in savage silence. His brothers and sisters had not been permitted to bring their wolves to the banquet, but there were more curs than Jon could count at this end of the hall, and no one had said a word about his pup. He told himself he was fortunate in that too. His eyes stung. Jon rubbed at them savagely, cursing the smoke. He swallowed another gulp of wine and watched his direwolf devour the chicken. Dogs moved between the tables, trailing after the serving girls. One of them, a black mongrel bitch with long yellow eyes, caught a scent of the chicken. She stopped and edged under the bench to get a share. Jon watched the confrontation. The bitch growled low in her throat and moved closer. Ghost looked up, silent, and fixed the dog with those hot red eyes. The bitch snapped an angry challenge. She was three times the size of the direwolf pup. Ghost did not move. He stood over his prize and opened his mouth, baring his fangs. The bitch tensed, barked again, then thought better of this fight. She turned and slunk away, with one last defiant snap to save her pride. Ghost went back to his meal. Jon grinned and reached under the table to ruffle the shaggy white fur. The direwolf looked up at him, nipped gently at his hand, then went back to eating.

Jon I, AGOT

It's interesting that GRRM would dedicate several paragraphs to a seemingly unimportant exchange between a boy, his wolf, and an unfriendly third party. But there's just something about this passage that has continued to nag at me for years since I first read it because, considering how heavy handed GRRM was with the foreshadowing in AGOT, this feels important.

Jon is sitting at table full of squires - aka would be knights. We don't really know who they are or what families they belong to, but it's safe to assume that they come from a certain level of privilege; this is considering the fact that it cannot be financially easy to be a squire. And these boys already have a slew of tales detailing all their previous knightly exploits regarding "battle and bedding and the hunt" which suggests that they have some capital. So you have boys who will soon be men. And they will, presumably, become men of some power.

These lads eat their fill of the chicken until only half remains, which Jon then gives to Ghost. The direwolf's name is not so important here but what he represents is. Throughout the series, we're told that Ghost is reminiscent of the weirwood trees (because of his red eyes and white fur). He's stated to be of and from the Old Gods and since he's a personification of the weirwoods, he might as well be one of them. It's almost as if Jon is presenting whatever is left on the table to the Old Gods (Ghost). He lets them devour his offerings while he silently watches. And the motif of watching is so interesting here because it's kind of like Jon takes on a stewardship role - to watch over land/people/etc. He oversees Ghost eating the chicken, so he's overseeing whatever has been given to the Old Gods. This is not new imagery to his arc. As a brother of the Night's Watch and eventually its leader, we have several instances where he leads people to adopting the Old Gods in some fashion. In ADWD, several recruits swear their vows to the Old Gods while he watches on as their Lord Commander. The Old Gods are also primarily of the North and we're told that Jon has more of the north in him than his brothers; interesting that this also includes Bran. So perhaps whatever is being offered to the Old Gods relates to the North.

We must also note that Jon initially thinks to give only a small portion, a leg, before pivoting and providing the entire thing. It feels to me a bit like the process of carving up a kingdom or something similar. The lords (represented by the squires) take what they want and leave aside what they don't; or perhaps they have eaten to their fill and can take no more. Then when his time comes, Jon first considers a small piece of land/group of people before eventually absorbing all of whatever is left behind. The concept of carving up a kingdom rings harder considering that we have several callbacks to the ideals of kingship in this chapter. Robert, Jaime, Tyrion, and even Mance though we don't know it yet, all play into this. And then there's the aspect of Jon letting the chicken slip between his legs which evokes birth/fatherhood, a very curious choice when GRRM could've just had Jon place the chicken on the floor. So land/people are carved up and Jon then uses whatever is left to birth his own type of kingdom. And this kingdom is one for the Old Gods.

This also touches on something that has been quite prevalent throughout Jon's arc. It's the concept of accepting the "others" or "those left over" who live apart from the accepted social norms. Arya (a tomboy), Sam (a gender non-confirming boy), the Night's Watch (criminals, extra sons, and men who have no future left or place to go), and even the wildlings are all examples of this. And Jon takes on a leadership/paternal role to every single one of them. He looks after them as a leader would/should. Sometimes, in the case of Arya and the wildlings, he's equated to a king. He's a steward/shepherd/king. There's messianic undertones to this:

Come unto me, all you who are heavy laden, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. For my yoke is easy and my burden is light." (Matthew 11:28-30).

If you're familiar with Judeo-Christian tradition, you'll know that Jesus is often personified as one who spent the majority his time among the outcasts. The idea is that he came to save them too and that anew kingdom (or new earth depending on your translation) would spring up after the end of the world where he would forever rule as king; which presents the idea of a final king after the earthly ones are done away with. Now GRRM isn't so heavy handed with Christian allusions as other authors out there, but he does have a Catholic background and Jon is so overtly a Jesus figure. And in Revelation, Jesus is king and god at the very end....

One last thing: the mention of the mongrel who challenges Jon has always been rather interesting but confusing to me. A mongrel doesn't really relate to one specific type of dog. But it's interesting that Jon notes several roaming about where he is. They follow the serving girls who carry the food to be offered. Mongrels are used to describe antagonist/villainous groups in ASOIAF. Sometimes, they're used to describe slavers in Essos. But what's interesting is that most of the time, they're used to describe Euron's Ironborn especially in Victorian's POV. So I don't think the mongrel who challenges Ghost is a supernatural threat of death (i.e., the Others) but rather a human one. They represent those who are called to the scene once the lords have finished playing their games. It almost feels like a feast for (carrion) crows....

But it doesn't really matter because this mongrel isn't much of a challenge for Ghost. Though the mongrel is much larger, the direwolf is able to fend her off very effortlessly. Given that "mongrel" is used to describe Ironborn raiders, could this exchange between Ghost and the mongrel point to reavers or sea raiders who rise and fail challenge Jon kingdom? There is a historical King Jon Stark who did this....

When sea raiders landed in the east, Jon drove them out and built a castle, the Wolf's Den, at the mouth of the White Knife, so as to be able to defend the mouth of the river.[1][2] His son, Rickard, followed him on the throne and annexed the Neck to the north.

ref.

So this might shed some light not only on Jon's already published arc, but also on what we can expect in the future. We have some foreshadowing through Jon's ADWD dream that he will not only rise with the dawn (thereby live through the Long Night), but will be in a position to lead people (wildings in that chapter) to a new peace after a hard fought war. Also remember that the wildlings, rather enthusiastically, swear oaths to him as if swearing oaths to their king. In this instance, the supernatural (a dream of the war for the dawn) is followed by the natural/human. So perhaps this particular passage (and Jon's dream) can be used to predict that Jon comes out on top, and quite effortlessly too, as a leader. And he becomes a leader who rules by association with the Old Gods; or rules a kingdom for them.

To end, I think it's of note that this passage immediately precedes Jon's conversation with Benjen where he voices his desire to go out on his own - the hero's call to action. This is the adventure that's going to kickstart his growth as a man, warrior and most importantly, a leader. So it looks like before we even began, GRRM telegraphed how it would all end in just three short paragraphs.