#in her address said

[revvethasmythh]

Thinking about Caleb “I-use-people’s-full-names-to-show-intimacy” Widogast and the way he calls Veth “Veth the Brave.” It’s not all the time—it’s rarely used, actually, saved for specific moments, only when he’s using the fondest of tones, with the most admiration, and how calling her that is more intimate than just “Veth Brenatto.” Because Veth the Brave is both of her identities. It’s Nott and it’s Veth, it’s their co-mingling, it’s her in her entirety. Veth the Brave. That’s why it’s so intimate, because he is speaking to all of who she is

[commsroom]

minkowski and hera (indirectly; to herself) are the only ones who call eiffel "doug", eiffel is the only one who calls minkowski "renée", hilbert is the only one who calls lovelace "isabel", and no one calls hilbert by (any of) his first names. kepler calls jacobi "daniel" and maxwell "alana", and maxwell and jacobi use each other's first names too, but neither of them ever calls him "warren" - the only person who does is rachel, while he calls her "miss young." pryce and cutter are the only people who use each other's first names (though cutter's habit of almost always only using first names is a whole other thing.)

[wavesoutbeingtossed]

Randomly thinking about “tolerate it” (narrator voice: it was not random) and how under the cloak of fiction it is ostensibly inspired by works like “Rebecca” (which Taylor said she read during the 2020 lockdowns I believe?), with the line of “you’re so much older and wiser” indicating that the speaker is significantly younger and inexperienced compared to the person she’s speaking to and a pretty direct reference to the plot of the book.

But I saw something somewhere once that stuck with me about how it might not be referring to relative age between the characters but chronological age as in the passage of time in a relationship. And that made me think about how in a contemporary context, it might not necessarily be referencing an actual age gap between the two characters, but rather a sarcastic or cynical response to the man’s claims that he has matured (“you’re so much older and wiser [than you were before/than you were when we met/etc.]”), which then made me think about that line in relation to the woman. And that it could be taken like, “you act like you’ve matured so much in our time together and like you know everything, while I’m supposedly still stuck as the girl I was when we first met.”

Which then made me think of the “right where you left me” of it all and did you ever hear about the girl who got frozen time went on for everyone else she won’t know it and the bit in Miss Americana where she talks about how celebrities get frozen at the age at which they got famous, and how she’s had to play catch up in a lot of ways not just in her emotional growth but kind of in general. (Which also made me wonder if she’s ever been called out for immaturity/lack of curiosity/lack of education about things in her life…)

Which then made me think about the rest of the song, and @taylortruther’s posts yesterday about “seven” and “Daylight” and the way Taylor idealizes her youth yet contrasts it with an almost sinister reality in its wake, and the line, “I sit by the door like I’m just a kid,” because the discussion raised that her relationship let her recapture some of the childlike joy and wonder she’d lost. So this line is a double-edged sword: the speaker sits by the door with childlike hope that the person will come home and cherish her, but on the darker side, feels like the child dealing with the monsters she doesn’t have names for yet and the feelings of isolation she felt as she aged.

I’m not saying the song is necessarily autobiographical; like most of the songs on folkmore, it’s clearly a fictionalized story based on media she’d consumed and created, but we know a lot of the fictional songs were infused with her own feelings and experiences and… This idea swirling in my head picked up steam and now I kind of can’t stop thinking about it. Sorry but I’m a little obsessed now.

Like maybe it might start to shed light on why she identified so strongly with the novel in the first place…

[phasesofpencils]

Lmao I'm watching Hazbin Reactions and the lack of chemistry between Charlie and Vaggie can be felt so obviously in the finale when Charlie says

"i wish my mom was here to see this.."

and without missing a beat, without even acknowledging what she just said, without offering any comfort Vaggie replies

"The cannibals seem ready to fight."

GIRL AGDHAVFHEHE😂😂 THIS IS LAUGHABLE

[solisaureus]

mithrun is really interesting and compelling to me from a disability perspective. rarely have i seen the disabling effects of trauma and depression so well represented in a fictional allegory

[pocketgalaxies]

"i've already said. i'm prepared to do whatever is necessary."

"i don't accept it, laudna, not from you."

[essenceofarda]

OF BLESSED THYME & THISTLE | Chapter 1 | Page 7

Masterlist of Pages

Faramir’s cousin, Lothiriel, comes to Minas Tirith to become a companion of his new bride, Eowyn, something that he hopes will ease Eowyn’s rough transition into Gondorian Society. Eowyn, for her part, decides her new companion would in turn make the perfect bride for her brother, Eomer King of Rohan. Matchmaking shenanigans ensue 😏

lol Be prepared to be VERY peeved by some of the main antagonists in this fancomic over the span of the next few pages,,, Faramir's Auntie Terenis (Denethor's sister) and her late husband's niece Lady I’Rhetha (whom Terenis had been plotting for years for Faramir to marry, so imagine her bitterness when he married one of those "uncouth northerners" instead of HER prized niece) are kinda the worst kinda people 😬

Also I tried something new (simple) way of drawing Eowyn's headdress but i kinda hate it so rip my hand i gotta go back to painstakingly drawing every embellishment. That or next scene making her headdress less complicated 😅

[lonely-night]

Janeway/Seven in 5.15 & 5.16 “Dark Frontier”

[ovenproofowl]

[thepromisedbride]

i don’t talk about bridgerton on here but just to clarify. i will not be having ANY eloise hate on this account. i will bite.

[philtatosbuck]

seven seconds is my favorite early seasons criminal minds episode because it's immaculate it's right between gideon leaving and rossi coming. everyone absolutely did great they didn't NEED another person to solve the case everyone was on their shit. hotch and prentiss looked like they were going to beat the uncle's ass when they took him in that back room. emily looked like she was gonna swing on the aunt. jj and derek were on their shit at every turn. reid and garcia were doing their thing. it was perfect. my friend and i were talking about it the other day and like. the team up in the later seasons is good BUT this is the perfect team because they're frankly the only ones who can tolerate each other at their worsts (later additions were good but they never saw the rest of them at their lowest imo the only other person who did was alex and i think she was the only other good long-term addition as far as emily's replacements went + tara luke and matt at least saw reid at his lowest arguably) so like. it could've remained the six of them. no one else could be the leader of this specific group but hotch. derek and jj serve as the big guy / media liasion but also the more empathetic ones who make people feel safe and heard. reid and garcia are irreplaceable geniuses in their own right but emily is also?? not exactly replaceable. she has a very specific set of skills and hotch chose her to be his replacement when he left for a REASON. if i had to pick a line up it'd be these six (hotch, prentiss, morgan, jj, reid, garcia) and then alex, tara, matt and luke (i'm VERY biased)

[secretsofthewilde]

'Kidnapping your child that you had to a man I manipulated into sleeping with you, and raising her as my own in another country' has got to be one of the most insane revenge plots of all time

[spotaus]

Laughing internally about a situation rn

[sansgout]

She's sneakier than the sneakiest sneaker, slowly popping her head up beside the chef as he worked away on something on the long counter before them. Cushioning her face between her mittens with a more than curious grin on her lips, she had to ask:

"... Is Rody bro yer boyfriend?"

@yukikorogashi || cheeky lil bab >) (ft. @howthesleeplesswander)

—!

Luckily for both of them, Vincent isn't currently wielding a knife. The little jolt that skates through his body would've easily caused a fumble just then . . . among other possibilities. Instead, the biggest crime to occur just so happens to be— Well, that sudden cloud of flour certainly hadn't been intentional.

He collects himself, waves a hand quickly through the floating white particles as if simply shooing them away would clean up the mess.

Then, turning to the girl with a modicum of composure . . .

“Why do you ask? Did he tell you that?”

[britneyshakespeare]

i feel bad for raquel lee bolleau and i feel like what she's saying about the lack of transparency behind quiet on set is a bigger issue that the consumers of this type of content don't want to talk about or criticize. social media has led to a huge boom in tragedy porn and trauma porn about the entertainment industry but especially the children's entertainment industry, especially especially from the eras when the largest demographic in that audience were consuming it themselves.

it's already been problematic in itself that there is an oversaturation of unresearched and repetitive videos on the exploitation of former child stars. it seems like the creators and audience don't often ask themselves "have we gotten enough of this? do we need another take on it? is another video full of dan schneider rumors and gossipy forum posts really adding to the public discourse?" i don't know quite at what point it becomes exploitative that this content continues to be made, and be evergreen in social media algorithms. the volume, the reach, and the general lack of quality control are the evil triad. because we are far past the point where i really believe everyone consuming this stuff cares about exploited children. there's far too many people gawking and not reevaluating the systems of power involved. or, to put it more concretely: how many times do we all need to watch those clips of ariana grande squeezing the potato and spilling water on her neck? at what point is this just personally disrespectful and retraumatizing for the victims that for the most part we, the consumers of internet content, are claiming to advocate for?

quiet on set is the first time traditional media got involved in this niche. there is still a lot of value in some of the discoveries made by the series. but it does not have completely clean hands in this either. it does not feel like everyone involved in making the executive decisions cared nearly enough about the vulnerability of former child stars they recruited to share their stories, or hell, whose stories were told without their involvement, such as amanda bynes and racquel in episode 5. these people did not even give statements.

the focus of this docuseries was far too broad and not coherent enough at the end of the day. and they did not give enough support to all of the people they roped in to tell their stories about childhood trauma. i have a hard time trying not to be completely cynical about its whole production, because i really want to believe that many of the people who worked on it do care. not every individual involved knew or had control over the injustices that happened in its own production. but the executives? fuck em. they greenlit this thing, and probably incentivized the creators to make these episodes as fast as possible, because they knew it would be a cash cow. something as sensitive as THIS series should not be so poorly produced just because it will be a guaranteed smash.

[deus-ex-mona]

me rn: