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wonder-worker · 2 months

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Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

#historicwomendaily #margaret of anjou #my post #henry vi #yeah I don't necessarily agree with Laynesmith's interpretation (that it was essentially Marian with an emphasis on shared sovereignty)#which she herself says is 'admittedly very speculative'#as this book points out that interpretation tips the balance too far on the other side and has a somewhat selective reading #It's also important to remember that this interpretation was not really reflected across wider Lancastrian propaganda at the time #which isn't really talked about - let alone emphasized - as much by historians but remained focused on the King #For example: look at the pro-Lancastrian poem 'The Ship of State' which hails Henry VI as a 'noble shyp made of good tree'#and emphasizes how he was widely supported and defended by many great Lancastrian lords and the crown prince #but not Margaret who was entirely absent #also look at the book 'Knyghthode and Bataile' (presented to Henry) and Fortescue's various pro-Lancastrian texts in the 1460s #even the recording of that Yorkist trial which was iirc reported in the 1459 attainder #all of these were entirely conventional and highlighted the presence and importance of the King. Margaret was not emphasized.#so either the Lancastrians were impossibly inconsistent about what message they actually wanted to convey about the role of their own queen #or the Coventry pageants were not actually meant to emphasize Margaret in the lieu of Laynesmith's interpretation #and would not have been viewed in such a manner by contemporaries #I think we should also keep in mind that we don't really know what Henry VI's condition was like at the time of MoA's entry to Coventry #we know he had been injured in St. Albans and had only just recovered from his second illness #this is especially important to consider since we know he had also arrived at Coventry before Margaret but much more discreetly #and was not welcomed by any pageants that we know of. This is VERY unusual and can be best explained if we consider the fact that he #may have simply not been in the right state (be it physical or state of mind) for it at the time #in which case the pageants for Margaret should be viewed as more of a improvisation/cover-up/temporary measure to bolster prestige #or Henry may have deliberately taken a more discreet role to emphasize the position of his heir - especially important after the long wait #imo I think Kipling's interpretation (ie: that they addressed Margaret but really referenced the prince & heir) makes a lot more sense:#'Coventry [...] regarded Margaret's entry as a kind of triumph-by-proxy: the Queen entered the city but Coventry received its Prince'#though I think he tends to view Margaret as more of a cipher (and has a very questionable view of Henry VI) which I also don't agree with.#The pageants very much DID focus on and reference her but they most prominently emphasized her 'motherhood and duties as queen'#ie: I think Kipling and Laynesmith tip too far on opposite sides and I think this interpretation takes the most realistic middle ground

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pynkhues · 10 months

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I don’t know if you’ve seen the cut lines from the S4 script yet (where Stewy references some semi-ominous sounding games he remembers from when he and Kendall were growing up like Punch-Chess and Dinners for Winners) but this kind of made me think back on the games throughline (motif?) with Logan. We get to see how insane Boar on the Floor was in real time and we’ve gotten a pretty good sense throughout the series that Logan has a penchant for framing violence through the lens of games (not dishonestly might I add – I think there’s a reasonable read of Logan whereby he himself doesn’t view his games as a means for violence at all but just as tools or in some cases, truly just games).

Recently I’ve seen some discussion that kind of lumps together games the kids played (Bitey, Dog Pound) with Logan’s games (Boar on the Floor, Dinners for Winners) and that struck me as kind of odd. Rightly or wrongly, I’ve been mentally distinguishing between the games the siblings play with each other as different from the games Logan concocts. It might just be me, but Bitey and Dog Pound read to me as within the realm of reasonable kids games (noting that a ton of kids play kind of insane games lol). I also just feel like the power structure is…different when it’s just the siblings? Does that make sense? Whereas when Logan invests games for his kids, there’s something more…uneven and off-kilter about it to me. Idk – do you think they’re all part of the same motif or that there’s some level of distinction? Maybe I just to think about it more haha – I guess this is a super long round-about way of asking: how do you view the use of games (“games”?) within the context of the show?

Oh, yeah, I totally agree that the games the kids play with each other are very different from the games that Logan concocts, anon, but I’m not surprised to hear that people consider them in the same sort of discourse. After all, the games that the kids play with each other, now that they’re all adults, are viewed through the prism of the power dynamics in the current family unit.

In other words, even games that are on paper the sort that any kid plays (Dog Pound being a good example – my five and seven year old nephews actually play a pretty similar game at the moment called Puppy and Person, although I think their game involves more patting and cuddling than Roman and Kendall’s probably did, haha), because we’re encountering it with Kendall and Roman in their late-thirties and through the lens of undealt with sibling resentments and adult competition, they can be mistaken for the same sorts of games that Logan played / still plays with the kids.

In that sense, I think the clearest point of distinction is the fact that Logan is never really a player in the games, he’s the overseer of them – the judge, jury and executioner – and we’ve seen that twice. The first time with the baseball game in the pilot, and the second, of course, with Boar on the Floor. Interestingly, the only time we’ve actually seen him participate in a game as a player was in I Went Shopping in the Thanksgiving episode back in S1, and well, we all know how that ended.

Games are integral to the show, and it’s interesting because I don’t think they have any one particular meaning. I think the writers like them as a shorthand to convey certain themes and relationship dynamics, I think they’re an efficient and compelling way to move plot forwards, and I think the writers like to use them to trojan horse the history of abuse within the Roy family, which is exactly what that new excerpt from the script of 4.04 demonstrates.

Critically though, I also think they’re significant thematically in depicting both childhood and masculinity, and I think that’s really where the distinction comes in when it comes to the games the kids play together (yes, even Dog Pound, as much as that game [and Kendall] wants to pretend to be about masculinity, I personally don't think it is at all), and the ones Logan does.

So, let’s talk about childhood.

Games are integral to childhood, there’s no getting around that. Games are what teach children social skills and curiosity, strategy and the ability to both win and to lose, which is, of course, also the skill to enjoy success and sometimes embrace failure too. One of my current jobs is in a company that does play-based theatre for children, with a special focus on traumatised children, so I could talk a lot about this and the evidence behind it, and how crucial games are in empowering children and helping them develop agency away from the family unit, but that’s kind of where this story stops, because while games should help children to grow into playful, empathetic and inquisitive adults, the Roy children do not play games with outsiders.

The Roy children have lived in a completely insular world – a playground their father has built them, as Marcia so aptly put it – and so these games don’t evolve. Instead, these games like Bitey and Dog Pound and even Kendall’s LEGO become manifestations of current anxieties, insecurities and resentments, and an encapsulation of Shiv, Roman and Kendall’s arrested development.

(Maybe interestingly, I consider Connor slightly less arrested than his little siblings, and I do think a part of that is from his parentification, but also a proxy result of effectively having been raised in those formative childhood years as an only child, especially if he was, as Alan Ruck has said, about fifteen when Kendall was born).

Of course, Logan encourages this.

Logan’s inability to face his own mortality or seal off his own legacy requires him to keep his children, well, children. He needs them under his thumb, sure, but he also, I think, needs to keep them young so that he can feel young. Needs the promise of his own future reflected in the length of their own, and his frequent infantilisation of all four of them is a part of what keeps them regressed and reading meaning into games they played and places they lived when they were too young to know any better.

Let’s talk about masculinity.

Funnily enough, I actually talked a little about this in the context of Tom and Greg back when s3 was airing here, but a few years ago, I read Anna Krien’s Night Games which is one of my favourite non-fiction books of the last decade.

The book itself is about masculinity, sport and sexual assault, in particular patterns of gang rape by teams in Australian football and cricket, but she goes a lot broader in terms of games and male intimacy, and in particular how team sports give men a sense of community which, as a result of toxic masculinity, is generally reinforced by ‘othering’ outsiders of the team / environment, whether that be players on the opposite team, perceived interlopers, women, or even members of their own team who don’t participate in the right way with the group.

I don’t know if any of the writers would’ve read Night Games (it’s an Australian sports journalism book after all, haha), but I think they do understand deeply the way masculinity operates in these circles and the ways games of any sort can be utilised as a shorthand to exert power and solidify connection. Boar on the Floor is, of course, the clearest example of this, where Logan utilises the context of the game to dig out his betrayers, and while the first round has everyone as an unwilling participant, once a smaller group of 'others' are picked in Tom, Greg and Karl, the safety of being on the right team makes everyone becomes complicit in the second round.

This is something Logan’s a master of and what he does routinely with his children in general, but also in the rules of the games Stewy talks about in the 4.04 script. Those games are about the othering of a person and the increased intimacy of the rest of the team. If Dinners for Winners has the loser acting like the help, the winners are the rest of the family celebrating their renewed bond as, well, winners.

I don’t think the kids are immune from this in their own behaviour. In fact, I think the biggest examples we see of the kids engaging in this particular type of game play is in Roman’s treatment of the child during the baseball game in the pilot (and I actually am reading the scripts [albeit very slowly, haha] at the moment and read 2.01 last night and was pretty fascinated to discover that the boy’s father is one of the landscapers at The Summer Palace), and in the sequence throwing back to Kendall’s bachelor party with the tattooing of the homeless man’s head with Kendall’s initials.

These aren’t complete games, and interestingly they don’t create the same sense of shared compliance and group intimacy in the way Logan’s games do – no one’s fully on board with Roman’s behaviour, and Roman betrays the group bond in terms of Kendall’s bachelor party by telling Gerri and trying to use it against Kendall – but I view that as more a reflection of Roman and Kendall’s failures in masculinity and authority than in anything else.

It’s that failure there though which, in many ways, further separates the games Logan plays with them to the games they play together. Roman and Kendall continue to fail to imitate their father in his particular brand of games, because Logan knows how to divide and conquer, which they simply don't.

That also though is a direct contrast to the games the kids play together, because those games, whether they be Bitey or Monopoly or even Dog Pound, those games are about shared connection. After all, Kendall wasn't the one who sent Roman away, Kendall was just playing a game with his brother, no matter what they both have inferred in it over time.

#i can't speak to the nanny game shiv and roman played either yet because i'm not up to that in the scripts #but i would say that's potentially another example of the kids playing at logan's types of games #because it involves the othering of a person i.e. the nannies #but then again it also could be a reflection of the insularity of the children?#idk!#i'll have to read it in context #thanks for the ask sorry this took a minute #hbo succession #succession meta #kendall roy #roman roy #shiv roy #logan roy #welcome to my ama

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bunamine · 1 month

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<3 New Art Slotz Open!! <3

i'm gunna open up sum slotz for art like deez ~

~ 20 dawl-hairz ~ ✨

leave a reply or dm me ~ if interested ~ oo~ & if u leave a ~10 tip, i'll add flat colors for you!! 💖

#furrycore #open commissions #art commissions #art comms open #artist comms #comms open #my art #sparklefur #sparkledog #scemo #scenecore #emo #goth #you're also welcome to check out my carrd!#i have moar info about other commissions i'm down to do there!#the art examples are a bit outdated on the site.. but i guess if you're following me here #you're familiar wiff my recent stuff~#rawring 20s #rawring twenties

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riversonfire · 1 year

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ᴛᴏᴘ 10 sᴏɴɢs ᴏғ 2022 ⤷03. "Pose" —KINO

Loving you Beautiful just the way you are Stay with me Stay forever within my eyes

#hyunggu #kino #ptg #pentagon #uninet #gifs by riversonfire #top 10 of 2022!#I was lucky that I became a kino/ptg stan a month before this dropped 💖#he's just so very impressive to me and so very talented and this song is a perfect example of why #the only thing about this that was disappointing was that it wasn't an actual album (i.e. with a photobook poster and other inclusions)#I'd have really liked an actual album with multiple songs and a photobook with nothing but his pretty face and probably his art 🥺#anyway that day will come eventually #also- if you haven't done it before- listen to this song in your car on a high volume while driving. you're welcome.

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found-wings · 8 months

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Imagine, just when qEtoiles can finally go home (is Quasilada Island really a home, though?), aePhil can in some way see qPhil (maybe totally, maybe a silhouette... Anyway not only do my brain decided it was vibe it also choose brainrot)

-🚀

WAIT, HOLD- HOLD ON, HELLO?? THIS????

Oh my god anon please

After qEtoiles return to where he‘s supposed to be, everything seems to be okay. Etoiles feels relieved to be back with everyone and see that nothing much has happened ( besides his disappearance, and without going into too much about how he kind of misses aePhil & aeTechno eventually ) and it stays like that for a while.

Until, imagine -

qPhil starts seeing things. He‘s not sure if he‘s hallucinating it or not, but he sees a silhouette around him, watching him and eventually even talking to him.

Meanwhile aePhil has the same issue except much less often, but it still freaks him out.

Where I‘m going with this is.. what if upon qEtoiles return to his "home world", it also takes back certain data of the world where aePhil lives? Obviously Etoiles items he has from the Antarctic Empire doesn‘t get suddenly erased, so there would definitely still be ties between these worlds and it starts a whole different corruption.

So every time qPhil is asleep, he "dreams" about being a silhouette in the SMPEarth world and meanwhile the same happens with aePhil being a silhouette in the QSMP world.

LIKE HELLO???

It‘d be for me the most logical thing and also imagine the angst of when qEtoiles realises that the new data corruption is technically. his own fault.

AHAJAJ

#also the island is 100% not Etoiles homes. but his home is right there in the form of his family #home is where his family is and he stands by that #RAAAAH #the silly idea in the actual post would potentially even happen with other players as well #example being #if he brings an item from any smpearth member that is also a part of the qsmp #then this odd silhouette connection will happen #but I can’t imagine Etoiles taking anything with him besides a few things that he got from aePhil and aeTechno maybe #also welcome to the au brainrot JAJSJ #🚀 anon #winged.rambles

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fitzrove · 9 months

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I think I'm struggling creatively because as time goes on I find less and less motivation to write (and read, tbh!) stuff that's

good wholesome queer representation

escapist everything-gets-better fantasy ("because life is hard enough why would you write about miserable things")

palatable to people who disagree with me

And obviously I'm nowhere near finishing even a single original thing yet ahdfhajf but I've been looking at publishing videos that people who have experience in the industry have made and. Man no wonder that so much milquetoast stuff gets put out nowadays

#not to be a hater and controversial but #the fact that its often straight people judging whether queer representation has problematic elements (and similar situations)#and lots of queer media seems to be made with straight people in mind (at least as a considerable portion of the audience)#and ugh in general/unrelated like. i just want to write litfic about the human condition XDD and structural inequality #but if i do it with fanfic nobody will read it because my most popular fics will always be ones where white men kiss each other for 3k word #obviously i'm grateful that anyone reads anything i write aggdhfh it's very nice to be heard #but fr my most popular fics are NOT my best ones #and yeah like if i write original fiction it's unlikely to do well in publishing because there's no hot sexy straight romance or wholesome #soft high school good representation queer people:3 #maybe i can put in a red herring twink guy idk #also i'm just so bitter about linguistic inequality still XDD like. in a video abt fantasy tropes the person making the video hates they #said that they hate 'overly long fantasy names' that they can't pronounce #which just made me go 'silence anglo' mentally because omfg super often those names are just BASED ON CULTURES YOU'RE NOT PART OF #(disclaimer i know not all english speakers are ignorant hahfjsdhjfj)#but yeah its funny when old english inspired names are too hard for modern english speakers like welcome to being anyone else lol #its somehow considered a minimum requirement of knowledge to be able to pronounce names like george and matthew correctly #but then for other languages it's a special courtesy if people say names right #afujishgfis and this is just one example #rant #writing #literature

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majorshatterandhare · 8 months

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You know, if I had a nickel for everytime a podcast has resulted in my music taste expanding, I would have three nickels; which isn’t a lot, but it’s weird that it happened three separate times.

#in order thats #welcome to night vale -> ya know whatever they play for the weather. but particularly parables and primes by danny schmidt #i have a playlist on youtube that is this too shall pass. stained glass. and dark eyed prince by him + the table song by katie kuffel and-#the ends and the means by robby hecht. they all have the same vibes #then i think next was #old gods of appalachia -> those poor bastards #then i let myself get into the mechs. coming from tma. which makes sense because they are far more separate than the other examples #like i started listening to tma in april of 2020. then ogoa in the late summer or fall. and i think i pretty quickly went to listen to i-#cannot escape the darkness and then moved to satan is watching. which is really basically the whole extent of my knowledge of those poor-#bastards. but then i started listening to the mechs in december of 2020.#you have no idea how much it disappoints me being almost a year late #oh also the ends and the means by robby hecht is the only reason i have the slightest understanding of ejm and mje #i started listening to wtnv in… 2015? for comparison #i listened very primarily to podcasts and nerd music through high school though

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non-un-topo · 1 year

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I don’t want to jinx it but I think I might have fixed this plot-hole

#apologies for my fic writing blogging omg you can blacklist this tag:#sage writes #or #fool's gold #and i'll try to be more consistent about tagging #this project feels like a big one and i'm getting excited over it so i've been spamming a lot about it ;_;#anyway YAAYYY!!!!#BUT i noticed i'm doing that thing again where i kind of write the same beginning formula...#like for example: queer quartet shows up in new place. they meet a woman who welcomes them and they all sit down and have dinner -#- with the rest of the locals. here the woman explains shit to them / they learn about the place and some Thing going on.#bonus points if they're drinking alcohol too.#i meean... every writer has a sort of story/formula they write over and over again right...? idk maybe only i'm noticing this -#- and it's not even a big deal. this one isn't really a mystery though. it has mysterious elements but regardless.#it's slightly more house of the dragon + oldschool ghibli inspired. like there's gonna be some family drama and grey morality.#if it does end up being really similar to all my other plotty fics i deeply apologize. and also plotty fics take a ton of effort!!#sometimes ideas subconsciously get repeated... but also i really like to incorporate the message / conflict of the movie into fics #so there's always a good chance some bozo is going to get greedy about immortality or power in my plotty fics #okie back to my doc before this caffeine wears off

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arkhmlcst · 1 year

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character study. long post below ! tagged by @oculusxcaro

SPEECH

# OF SPOKEN LANGUAGES. 1 / 2 / 3 +

TONE OF VOICE. high / average / deep

ACCENT. yes / soft / no

DEMEANOR. confident / shy / approachable / hostile / other

POSTURE. slumped / straight / stiff / relaxed

HABITS. head tilting / swaying / fidgeting / stuttering / gesturing / arm crossing / strokes chin / er, um, or other interjections / plays with hair / clothing / hands at hips / inconsistent eye contact / maintains eye contact / frequent pausing / stands close / stands at distance

COMPLEXITY

VOCABULARY. 🖤🖤🤍🤍🤍 .

EMOTION. 🖤🖤🤍🤍🤍.

SENTENCE STRUCTURE. 🖤🖤🖤🤍🤍 .

PROFANITY

FREQUENCY. 🖤🤍🤍🤍🤍 .

CREATIVITY. 🖤🤍🤍🤍🤍 .

bold all that apply. arse. ass. asshole. bastard. bitch. bloody. bugger. bollocks. chicken shit. crap. cunt. dick. dickhead. frick. fuck. horseshit. motherfucker. piss. prick. screw. shit. shitass. son of a bitch. twat. wanker. pussy. dipshit.

given proper religious context. christ on a bike. christ on a cracker. damn. goddamn. godsdamn. hell. holy shit. jesus. jesus christ. jesus h christ. jesus h. roosevelt christ. lord sithis have mercy. jesus, mary and joseph. sweet jesus. seven hells.

this or that? contractions or enunciation ? straightforward or cryptic ? jargon or toned ? complexity or simplicity ? finding the right word or using the first word that comes to mind ? masculinity, neutrality, or femininity ? formalities or abrasiveness ? praise or equivocation ? frankness or lies ? excessive or minimal hand gestures ? name-calling or magnanimity ? friendly or blunt nicknames ?

IMPORTANT QUESTIONS

DO PEOPLE HAVE A HARD TIME UNDERSTANDING OR HEARING YOUR CHARACTER?

almost always / frequently / sometimes / rarely / never

DOES YOUR CHARACTER’S POINT COME ACROSS EASILY WHEN THEY SPEAK?

almost always / frequently / sometimes / rarely / never

WOULD YOUR CHARACTER INITIATE CONVERSATIONS?

almost always / frequently / sometimes / rarely / never

WOULD YOUR CHARACTER BE THE ONE TO END CONVERSATIONS?

almost always / frequently / sometimes / rarely / never

WOULD YOUR CHARACTER USE ‘WHOM’ IN A SENTENCE?

yes / no / only ironically

YOUR CHARACTER WANTS TO MAKE A COUNTERPOINT. WHAT WORD DO THEY USE?

but / though / although / however / perhaps / mayhaps

HOW DOES YOUR CHARACTER END CONVERSATIONS?

walk away / ask if that’s everything / say that that’s everything / give a proper goodbye / tell their company they’re done here / remain quiet / they don’t

HOW DOES YOUR CHARACTER ADDRESS OTHERS?

titles / first names / surnames / full names / nicknames

WHAT SOCIAL CLASS WOULD OTHERS ASSUME YOUR CHARACTER BELONGS TO, HEARING THEM SPEAK?

upper / middle / working / lower

IN WHAT WAYS DOES THE WAY YOUR CHARACTER SPEAK STAND OUT TO OTHERS?

accent / vocabulary / tone / level / politeness / brusqueness / it doesn’t

#— * memes #{{ very fun to think about!! those in italics are something that she also potentially does but not as often as bold #{{ for example she can’t STAND eye contact. but sometimes she’ll be able to do it with varying levels of uncannyness #{{ she is very good at making people uncomfortable should she mask LOL #{{ dewey : i am doing what others find normal . look. * stares right through your soul * does this not make you feel welcome in my presence #{{ a lot of things change when she’s stressed more contractions less sentence structure etc #{{ and well. It’s hard for her not to be stressed so I had to meet in the middle #( forgotten memory ) / * archived .

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the-tired-commander · 2 years

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I really do love characters that are just hot pink and a bitch (affectionate)

#myrddn is an example of my love of this character type #if other people also have characters like this i would 100% love to see them #ive got a headache thats kicking my ass rn so would welcome the distraction

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lenofiga · 2 months

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#ahhh I recall this was one of the first event stories I read so i didn't really have a good grasp of their dynamics and relationships #but I def remember wanting to punch fi because of this scene #It rubbed me the wrong way how he's kinda dismissing fa's feelings just because he's younger #and therefore acc to him lacks experience to understand the world like he does as well as fi's feelings #and like well there you go?!! if that's what you think #how is he supposed to know how you feel if you don't tell him he can't read minds can he??#also how fi was like you could have fixed me you know but you decided you were too obsessed and eager to die for your best friend instead #and then I found out they probably only spent 5-10 years at most then and fa was in his late-teens early twenties #do you expect rtl and mimi to be on the same page for example??#but then seeing how much fa cared for bianca and lnox and his other brethren #it probably would've taken him a lifetime to get over alc no fallout or fallout #in that sense I think fi was right to distance himself if he's not comfortable w that BUT like don't expect to be welcomed again w open arm #idk where I stand here even now I think I wanna reread the episodes about them again before deciding i'm just kinda rambling here #but like bro please just communicate properly instead of dropping the news of your imminent demise to your estranged student #first thing after reuniting in centuries #then there's also me questioning whether fa would've understood even if fi tried to express how he felt anwy #either way fa doesn't owe it to fi to reciprocate how he feels and live up to his expectations #my first read of this felt like i'm judging some randos or acquaintances for their tea and drama aita style

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9260remade · 1 year

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As a rape survivor, I understand the need for safe space together – free from sexist harassment and potential violence. But fear of gender variance also can't be allowed to deceptively cloak itself as a women's safety issue. I can't think of a better example than my own, and my butch friends', first-hand experiences in public women's toilets. Of course women need to feel safe in a public restroom; that's a serious issue. So when a man walks in, women immediately examine the situation to see if the man looks flustered and embarrassed, or if he seems threatening; they draw on the skills they learned as young girls in this society to read body language for safety or danger.

Now, what happens when butches walk into the women's bathroom? Women nudge each other with elbows, or roll their eyes, and say mockingly, "Do you know which bathroom you're in?" Thats not how women behave when they really believe there's a man in the bathroom. This scenario is not about women's safety – its an example of gender-phobia.

And ask yourself, if you were in the women's bathroom, and there were two teenage drag queens putting on lipstick in front of the mirror, would you be in danger? If you called security or the cops, or forced those drag queens to use the men's room, would they be safe?

If the segregation of bathrooms is really about more than just genitals, then maybe the signs ought to read "Men" and "Sexually and Gender Oppressed," because we all need a safe place to go to the bathroom. Or even better, let's fight for clean individual bathrooms with signs on the doors that read "Restroom."

And defending the inclusion of transsexual sisters in women's space does not threaten the safety of any woman. The AIDS movement, for example, battled against the right-wing characterization of gay men as a "high-risk group." We won an understanding that there is no high-risk group – there are high-risk behaviors. Therefore, creating safety in women's space means we have to define unsafe behavior – like racist behavior by white women towards women of color, or dangerous insensitivity to disabilities.

Transsexual sisters are not a Trojan horse trying to infiltrate women's space. There have always been transsexual women helping to build the women's movement – they are part of virtually every large gathering of women. They want to be welcomed into women's space for the same reason every woman does – to feel safe.

Leslie Feinberg, Transgender Warriors: Making History from Joan of Arc to Marsha P. Johnson and Beyond

#💬#leslie feinberg #transgender warriors

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