#how to be wealthy

[businessgregory]

Steps on How to be Very Wealthy

How to be Wealthy This is how to be wealthy. First, you must have a wealthy mindset. With a wealthy mindset, money will flow and attract to you. You have to have a having mindset and disposition too. You have to keep at your goals, craft and finances. You should invest, save a bit, watch your money, focus on how much you make and where it goes. Having a Wealthy Mindset You must focus and…

[jellyaibo]

closed species are so funny like what if i just make a design . will you fucking stop me? ooooOOoooo ill make a primagen oooOOoO THE PENCIL IS ON MY PAAAAPER OOOOoooOoOOo

[bixels]

The idea that uni protesters are "elitist ivy-league rich kids larping as revolutionaries" on Twitter and Reddit and even here is so fucking funny to me if you actually know anything about the student bodies at these unis. Take it from someone who's going to one of the biggest private unis in the US, 80% of the peers I know are either from the suburbs or an apartment somewhere in America, children of immigrants, or here on a student visa. I've heard about one-percenter students, but I've never met one in person. Like, don't get me wrong, the institution as a whole is still very privileged and white. I've talked with friends and classmates about feeling weird or dissonant being here and coming from such a different background. But in my art program, I see BIPOC, disabled, queer, lower-income students and faculty trying to deconstruct and tear that down and make space every day. So to take a cursory glance at a crowd of student protesters in coalitions that are led by BIPOC & 1st/2nd-gen immigrant students and HQ'd in ethnic housings and student organizations and say, "ah. children of the elite." Get real.

[katierosefun]

pyramid game is such a perfect little drama for the sapphics because you've got a whole demented psychological thriller going on about high school girls creating a whole fake social class system that results because one bored little princess bitch thought it'd be funny, and you've got all these dynamics that can only be boiled down to some kind of love story because like. ye lim and eun jeong's dynamic? the princess idol and her athlete bodyguard. soo ji and ja eun's dynamic? the cold mastermind and the compassionate heart. even whatever da yeon and seol ha have got going on? typical hitter and loyal dog dynamic. the list can go on.

[bettsfic]

okay so i saw The Bikeriders today and i knew i wouldn't be normal about this movie and even though my expectations were impossibly high it exceeded them. i was happy for it to just be a cool movie for the sake of being a cool movie, toxic masculinity ultraviolence whatever, and it was but with Jodie Comer's character narrating about what fucking idiots all these macho biker dudes are. it's like if a woman narrated Fight Club while constantly pointing out how stupid Fight Club is

also, most of it was filmed near where i live and it was so exciting seeing places i recognized! it's been all over the news for weeks

things i loved about it:

protective older woman/loose cannon younger man

lowkey romantic stalking

a relationship suspiciously close to a throuple, by which i mean protective older woman goes to war against possessive older man, re: their mutual intense love for loose cannon younger man. and that's not even subtext that's just text

hot sadboy who doesn’t talk much and is so cool he doesn’t know how cool he is

british people doing midwestern accents

NO PLOT, god bless. just stuff happening and a lot of gay tension building

accurate portrayals of the aftermath of the vietnam war

accurate portrayals of mid-century small-town life

accurate portrayals of men being fucking pathetic

things i did not love about it:

for the love of god please wear a helmet

idk man it's just a whole-ass movie about how vietnam changed the very definition of masculinity, and that awkward era between wwii and vietnam when guys were rebellious for the aesthetic, rebel without a cause shit, twinks in leather jackets manhood. the movie even points that out, like they're so against rules but then they make all these rules for their silly little biker gang because they're bored. and then allll these vets come home from a war nobody wanted and they're actually rebelling, full anti-establishment, and there's just no more honor anymore because everybody's broken. which is all to say, somebody please come into my ask and be insane about this movie with me.

anyway i'm seeing it again tomorrow and i have already started an ot3 fic goodbye

[snackugaki]

[a-loose-collection-of-ants]

A true and 100% historically accurate account of Hamilton's first meeting with Andre

+ Bonus Lafayette

[maybe-boys-do-love]

Ride (Chotun Puttipong) is just an anonymous delivery driver. His helmet, his headlessness, even his name all alienate him from any personal identity. He is simply the labor he provides and nothing more. When Tarnsai (Jennie Panhan) cares enough to appreciate his work (that he would drive late in the rain when others weren't willing) and offer him a cup of coffee (a gesture that has more personal meaning rather than just the money he's earned) he removes his helmet to reveal a face, a real human being, that Tarnsai can form a connection with.

People often misunderstand Marxism as anti-labor, when it's chief concern is actually the dehumanization of the people who are laboring. Peaceful Property is so profoundly interested in remembering the human lives of forgotten laborers. They had struggles and loved ones and dreams and faces. They dreamed of better lives, of homes they could go to when all the work was done. But it's not just the ghosts. Look at how the team had to investigate through pages of renters' names to find Tarnsai because the landlord had no relationship to the tenets. Marxist alienation is about the loneliness everyone can feel when we're limited to these empty commodified relationships.

[vigilskeep]

a couple fairly spoiler-free notes, in no particular order, on neve gallus in her short story, the streets of minrathous, in tevinter nights

the story is by brianne battye, who wrote cullen for dai. we don’t have confirmation yet on who wrote neve for veilguard, but battye isn’t spoken for. lucanis’ writer didn’t write his tevinter nights story, but emmrich’s writer did write the one emmrich appears in. could go either way

it’s written in first-person, and there’s a lot of neve’s apparent sharp, no-nonsense personality in the blunt, fast-paced writing style. she’s got a fair few sarcastic retorts in the classic way of a private eye, but she’s also capable of holding them back when the situation calls for it. she’s a very archetypical detective in a lot of ways, working on her own, answering to no-one, and relying on street contacts for information

neve’s narration briefly refers to the herald as “the “glorious” inquisitor”, with those quotation marks on glorious. while she’s clearly opposed to the venatori and all they stand for, she might not exactly see the inquisition and our previous hero with rose-tinted glasses

she can summon mist for stealth purposes. she can’t truly stop serious bleeding from a deadly injury, but she can numb pain from it and later manages a smaller one of her own: “i’m not a healer, but i can patch up a wound well enough. i slowed the blood flow, tore off the sleeve of my blouse, and wrapped the wound as best i could.” she can hold people in place with air or pin them with ice. she can create ice crystals in the air and throw them. she can slow the air around someone as they move to throw off their momentum. she can blast someone off their feet with a gust of wind. she can use a frost slick to topple people. she’s not bad in a straight up fistfight

a rich man is not the usual crowd she takes jobs from, and she lives in a very different part of town to his manor, instead renting a room from a “third-rate bookseller”. at a house belonging to an ancient mage lineage, she says, “my family has more templars than mages. i’m sure that says a lot about me. the point is, i’m not from an old family and i felt as at home in [a wealthy mage’s house] as jahvis looked.”

neve finds tevinter’s templars, who in the story mostly fulfil the role of a police force, a “usual annoyance” in her life. she used to take jobs assisting them, but avoids it now she can get other work on her own, even though the templars pay better. she says that this is not because they have too many rules for her, though she does repeatedly express irritation at those, but because there are some templars who really do want to “try”, yet “too many times out of ten, it’s the wrong coin in the right hands that makes [them] stop”

she wants to go home and sleep for basically the entire story, but she repeatedly ignores it because far more than that, she wants to finish anything she starts and find closure to a mystery, even if she’s no longer being employed by anyone and she’s being actively told to keep out of it from now on. she goes out of her way for no reward to bring that closure, as much as she can find, to the person who is no longer employing her

fried fish from a specific market stall—“salty, piping hot, and perfect as always”—is a very regular favourite of hers, with the gruff stall owner convinced she’d starve otherwise. she seems somewhat more distressed by losing her fish dinner than when she witnessed a murder

her prosthetic leg is especially survivable because it’s dwarven crafted

[batshaped]

i never know what tadano is talking about

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[businessgregory]

Wealth is a mindset.

Wealth is a mindset.

If you are in the state of wealth or in the state of having or having more than you are in an abundant and Wealthy mindset. If you keep the mindset of abundance and wealth and always keep a having disposition and give to yourself and others things that benefit then you will be wealthy. Stick with the positive and beneficial things that help yourself and others and give that to yourself and others…

[notbecauseofvictories]

though, lingering over that last post....I wonder how easily this trips into horror story? I mean, in this world where there are child-producing marriages and then sisterhoods/brotherhoods for the rest, this obviously allows the family to keep a stranglehold on their collective assets and wealth. Therefore, I bet that family is an even more tightly-locked cage for those born into it.

Oh, you thought that if you could just escape marriage you'd be free, didn't you? You thought you could join the local order and letter manuscripts or tend goats or say prayers over the dying---but no. No, that's for other people's sons and daughters. You have no escape. You will serve your family forever, whether you will or no. You marry who they tell you to and live in your family's third-nicest castle your whole life; you can have as many lovers and bastards as you want, you can earn coin all on your own, if you can, but it will come to naught in the end. You will be cursed with absolute surety of where you fall: res nullius.

As it was and ever shall be, amen.

[noomyguts]

Since the show has already shaken the books timeline and events up so much I'd love if they could walk Armand back from the multi million dollar tech bro he's sort of starting as, no more private jets, no more private islands please

I know he becomes a millionaire in queen of the damned to buy himself and Daniel luxury things/experiences/the island, but I feel like we are already starting the story here when we get introduced to him in the show, except it's a sort of mock version of the life he has with Daniel in Queen of the Damned.

The show presents an alternate history from the book that has Louis and Armand stay together after Paris, Armand and Daniels first meeting be at Daniel and Louis interview in 1973, Armand erases Daniels memories of him, Armand doesn't turn Daniel in the 80s, and Daniel ages 50 more years.

Instead of being in a relationship with Daniel, Armand has remained in his relationship with Louis in a very twisted parallel.

Instead of building a house on an island filled with cherished memories with Daniel, he built a concrete box in Dubai filled with loaded memorabilia to match his life with louis. They're surrounded by wealth and luxury, but it comes across cold and hollow.

Assume without Devi's Minion plotline from the 70s-80s happening (as far as we know), Armand would have had to adapt to the modern world, without Daniel, alongside Louis instead.

His hobbies he loved sharing with Daniel (from the book) are either absent altogether in season 1-2 or get reflected in a empty way with louis in Dubai. His interest in art, fashion, Interior decorating, technology are all very muted from the eccentric, eclectic, hyperfixations we know Armand from the books to have had.

SO in the next seasons I hope we see Armand post divorce, depression era 2, hoping around from hoarder apartment to hoarder apartment, I want filthy kitchens, wild outfits, books and movies scattered everywhere, tanks on every surface, cables wires and computers, every game system ever??

except instead of his interest being a source of happiness for him like in the book, they should make it a little self destructive.

I want him to spiral into his interest, I want him so out of his mind with self bought distractions he can't keep up with hiring staff anymore, he's unstable, he's on his own, he's on the city bus like everyone else, and trying not to think about how he's tanked his life.

I think that'd be interesting. A way to take his character from the book and twist it a little to match his current situation in the show.

Like Daniel is already a vampire now, he doesn't need to be sugar baby spoiled/swept off his feet by Armand in order to like him, Armand needs to be humbled even further, and once the false persona Armand built with Louis fades, Daniel will like him all the more for it, and possibly be the one to help him out of that low place.

[imissthembutitwasntadisaster]

The problem with a lot of period dramas is that I literally grew up in a more convoluted class system than they depict so I can hardly take them seriously whenever the working classes come up.

[nobledragonflying]

I just want to say that I love Esther Finch and she is a great villain but she is sooooooo sinister. I don't think enough people realize how terrible she truly is beacuse we mostly see her as a somewhat campy villain. Which she is but she is also so much more.

To start with she goes after Becky Aspen, a little black girl, and, well, Becky is a very vulnerable person because of it. The police and even other (white) people will be less likely to look for her because she is black. I wouldn't be surprised that the police did very little to look into her disappearance. And Esther isn't a stupid woman, she most likely went after Becky because she uses the systemic issues in place that make it easier for her to go after vulnerable girls, such as Becky Aspen.

Not to mention that the police wouldn't have gone after her anyways because she is friendly with them and they are friendly with her. She talks to them like a friend and the police treat her like one. And it's easy for Esther to do because she is a wealthy white woman, why would she be the cause of such a horrible tragedy? She is trust worthy and our friend so of course this wealthy white woman is not the kidnapper/killer. Because she is a wealthy white woman.

More under the cut

The police also show their incompetence/bias in the show by dismissing Crystal and Niko during the Lighthouse Leapers, because they are 1) outsiders in this town 2) are renting at Jenny's so they must be poor 3) not at school so they must be high/on drugs and 4) woman of color, while not mentioned, is something that most likely played a factor in the cops decision to not believe them.

The cop also immediately runs into Esther, who further turns the cop against Crystal and Niko. Esther takes advantage of her position in society, especially to those who are beneath her, to have power and control over them.

And the police will not side with her victims because it is her words over theirs and her word carries far more weight than those of her victims.

After all, Esther Finch is such a poor wealthy white woman and she is so sinister because it reflects our reality of how we (western) society view wealthy white woman.