#might revisit it again

[spacebubblehomebase]

*push lucifer to make Lucifer kiss alastor*

...

*runs for her life*

JELWLWKRIEBVWOWBOWBEPBW

No need to run.

I'll just get CHARLIE to do it! XD

All they need is a little push~

Ok. Maybe we didn't even need Charlie's help for that. A pat on the back well earned.

-Bubbly💙

[sleepinglionhearts]

Oh, it’s gonna be the way you always thought it would be

but it’s gonna be no illusion

Oh, it’s gonna be the way you always dreamt about it

but it’s gonna be really happenin’ to ya

[puppyeared]

auggie!!

[amourninghost]

Why'd you stand there laughing, holding your microscope? If you can't see the problem, then I guess there's nowhere to go

he likes to leave the house at 3am to touch grass (dissociate indefinitely)

[thebigolbee]

Omg I’m rlly late bc my dash is screwy and only shows me what I post(?) BUT THE NICK IN YOUR COMS IS 💞💞💞💞💞💞 I audibly gasped

AH THANK YOUUU I really appreciate it!!! Nick and Benny boy are my favorite from that batch for sure! I need to channel whatever creative energy I had while making these... feels good to revisit.

[dasketcherz]

(@leaky-heart‘s) bloodmoon au : fitzafton portrait art study

[exotic-inquiry]

line art for a thing i started a year ago and never got back to

[nataliesscatorccio]

The Magus, John Fowles / Yellowjackets

[quietwingsinthesky]

Dean is such a paradox for me because on the one hand, I have been actively triggered by him in the show, there are moments where, intentionally or not, the writers managed to create a portrayal of manipulation and abuse and control issues that it sets off actual alarms for me. And on the other hand, I would not have him any other way. There is something — not comforting, that’s too soft a word — about knowing where Dean’s actions stem from, having seen and learned all that we do about his childhood neglect and parentification and the trauma he goes through repeatedly in the show, and that he doesn’t come out clean. He comes out a goddamn mess who ends up hurting the people around him in reaction to his own pain!

There’s a reality there that’s. Almost nice, actually. Distressing to watch, but it is a fucking mess, it’s a good mess! He’s got zero healthy coping skills and a healthy relationship with say, his brother, is terrifying because it leaves him open to abandonment!

I’m not sure I’m wording this correctly. There is a way to be a good abuse victim. Take the pain, martyr yourself on it, and then, even if you have no support or idea how to, then you have to become a Good Person who never hurts anyone the way you have been learning to your entire life. Simply toss everything that shaped you out the door and emerge a saint with a tragic backstory. And Dean is not that. And that’s so fucking good. Everything that he has gone through continues to effect the way he treats the people around him, and he can’t fight the behaviors he might recognize as harmful because he also sees them as protecting him (or protecting Sam by keeping Sam with him.)

And sometimes, idk. It feels good to see a guy who didn’t heal the “right way.” Who mostly didn’t heal at all, just keeps the wound open because it’s easier that way.

[chrlie-cox]

Daredevil — Season 1 Episode 6, "Condemned"

[9thgateofgay]

for @kakagaievents ' halloween 2023 event prompt - day 1 - GHOST!!!

[blimbo-buddy]

We could welcome the responsibility Like a long lost friend, And re-establish the kingdom of laughter In the dolls house once again

handless version because I like how both look

[no-1-rosalind-lang-apologist]

Juliette, the Girlboss Trope, and Structural Change

From what I’ve observed, stories with “girlboss” protagonists tend to be less likely to critique existing power structures and end up focusing more on slightly tweaking surface level aspects of them to allow the protagonist to prove themselves within the context of the existing system. To me, this is extremely interesting within the context of These Violent Delights because Juliette is arguably initially set up to fulfill this archetype. Because she is a girl, her claim to the status of heir is questioned by those around her more than it would be otherwise. She feels more pressure to be ruthless and to do whatever she can to earn the respect of those around her. Toward the very beginning of These Violent Delights, she threatens to kill Tyler when he attempts to upstage her, saying that she will kill him before she lets him take her heirdom away from her. Without knowing that These Violent Delights is a Romeo and Juliet retelling, it wouldn’t be unreasonable to expect Juliette to become the leader of the Scarlet Gang and somehow fix things from the inside at the end. She is well set up to be the Strong Female Protagonist ™ who takes what is owed to her and is hardened and kickass and ruthless and doesn’t let interfering men get in her way. 

But importantly, regardless of how much Juliette initially knows it, this is a facade. The image of the hardened ruthless heir may be one that Juliette encourages, but it is a heavily distorted reflection of who she truly is. Because at her very core, though she was raised to be the heir of the Scarlet Gang and therefore should be the literal personification of the continuation of the blood feud, that is not who Juliette is. Throughout the duology, her main motivation is protecting those she loves. At first, she believes that she can do this by working within the existing system. She tries to legitimize herself as heir within the existing power structure of the Scarlet Gang. However, the Scarlet Gang Juliette is set to inherit is one built upon a foundation of fractures that legitimizes its existence through the perpetuation of the blood feud to the extent that to solve the blood feud, or even seek to calm it, would be a violation of its very nature. The Scarlet Gang could never accept a leader that sought to do this, nor could the White Flowers, who equally rely on the blood feud as a source of power, accept the figurehead of their rival gang as an ally. To do so would be a fundamental betrayal of the nature of these two groups. Thus, Juliette must choose between legitimizing her position as heir, bringing more suffering upon the people and city she loves in the process, and giving up her position as heir and forfeiting her power. 

But if Juliette forfeits her power, who does she forfeit her power to? After all, if she merely walks away, the blood feud will still exist. The refusal of one person to fall in line cannot topple an entire system. The answer comes back to Tyler who, unlike Juliette, truly is meant to represent the continuation of the blood feud. He feels the need for vengeance and hatred at his core, and is constantly suspicious of Juliette, recognizing her lack of loyalty though it is incomprehensible to him. Ultimately, there was never room enough for both of them. When Juliette threatened his life in These Violent Delights, she did so out of fear of him usurping her place. Little did she know, he already had. In representing the longevity of the blood feud, Tyler, not Juliette represents the longevity of the Scarlet Gang. While she was the heir in name, he embodied the very lifeforce of the gang. In a way, he almost represents the Juliette that could have been. And that is precisely why Juliette had to kill him.

Though Tyler’s death is foreshadowed by Juliette’s initial threat in the first book, when she shoots him in Our Violent Ends, it is not the callous, unfeeling kill of an heir pushing aside the final obstacle before claiming their rightful place at the top. Instead, it is Juliette’s final severance from the vicious cycle of the blood feud and the illusion of her status as heir. She recognizes that the power she would wield as the future leader, or even the true heir, of the Scarlet Gang stakes its legitimacy in the continuation of the blood feud, and therefore, she would lose legitimacy as a leader if she were to act against the blood feud. This is further demonstrated when Lord Cai tells her that she can choose between dying a White Flower and being heir following his discovery of her relationship with Roma, representing her direct defiance of the blood feud, and her murder of Tyler, representing her sabotage of the longevity of the blood feud and her rejection of her status as heir.

By this point, Juliette has established that she cannot live as a part of the blood feud. She put a bullet through its heart, firing on her own kin to do so. Because the blood feud has no future, she can no longer pretend to occupy the role of heir. But at the same time, in killing Tyler, she has rejected her place within the blood feud. She cannot die a Scarlet, and she cannot die a White Flower because she refuses to be either. In the end, it is not her and Roma’s apparent deaths that aid the end of the blood feud. Instead, it is their rejection of its perpetuation through their rejection of their statuses as heirs. Their continued survival after their apparent death and the birth of their daughter stands in direct defiance to the division brought on by the blood feud. Though, as is further explored in Foul Lady Fortune, this division is still very present, Roma and Juliette’s continued survival both acknowledges that the kind of change required cannot be brought about by the efforts of one titular protagonist, no matter how world ending their sacrifice, and gives hope for a better future. Unlike the girlboss protagonist, Juliette rejects the status quo and achieves her goals by rejecting power. Instead of seeking to be the figurehead of change, which would also be extremely ahistorical, she does her part and steps back, acknowledging that as a singular person, she does not and should not have the power to fix everything. In the end, she watches from the outskirts of Shanghai, and though she is doomed to forfeit her place within her home to protect the people she loves, she is safe enough to live with her husband and raise her daughter and use her remaining connections to do what she can. Because in the end, one person cannot fix everything, no matter how powerful they are. And the spark of hope represented by Juliette and Roma’s continued survival and the birth of their daughter as well as the protection offered by their weapons ring is enough. 

[puppyeared]

i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you

[littlebunnysander]

Screenshotting my original post so my addition shows up in the tags.

Two-siding a genocide in your ongoing podcast while an actual real world genocide is going on is WILD.

The humans have been confirmed to be colonizers of land originally inhabited by monsters. They have carried out multiple genocides and forced the monsters out of their homes and into cities on the fringes of the world. Then more human invaders show up to destroy those cities (also the monster cultural centers).

We have confirmation that the city they hit first has been leveled entirely now. The city that Olala was seeking because it contained so much information and history about monster kind.

We've also got political leaders refusing to get involved unless the bombing comes to them, and the monsters being treated as primitive and ineffective against the advanced tech of the off-world humans. This is a really uncomfortable if unintentionally a parallel and actually awful if it is intentional. Best case scenario, it's trying to make a connection between fictional monsters and real life people in a way that's both othering and pretty racist. Worst case, the writers actually believe this is a two side issue and that any attempt to stop Israel is "just as bad" as an ongoing genocide.

Does anyone know if anyone has made any statements? I'm not expecting every creative to do so, but when your work is hitting this close to real world situations, it might be necessary.

[kaurwreck]

hi! i am dropping by because you're having a rough time and my cancer stellium has been begging me to express my sympathy. there's little i can do outside of my established love language (astrology headcanons), so i am offering you two facts about soukoku's synastry (because i'm in love with your post on the dungeon scene): 1) jupiter/venus conjunction makes them feel like they are bigger than everything else in the world, in a constructive, not a destructive way; it just feels so good. it's often called a soulmate aspect. they can't stop being playful because there's nothing as fun as getting the other's reaction to your words. with this aspect, jupiter sometimes expands venus person's wallet, so chuuya almost certainly spoils dazai. it might look like dazai is bleeding him dry, but it's very consensual. 2) chuuya's pluto adores dazai's chart, it's both bad and good news for dazai, because it brings so much depth to their relationship it never gets boring, there's always mental stimulation, but it's always making him question everything he knows about life, it feels pretty exhausting. chuuya eliminates dazai's core beliefs like it's nothing, casually, over lunch. you don't feel human? you fool, i am going to love you in the most human way possible. anyways, i am wishing you 8 hours of good sleep, and i am hissing at those who send you inconsiderate asks. 🤍 (feel free to not respond, it's an offering of a loving hand, commitment-free)

This absolutely made my day, by the way, and cradled me as I worked through the weekend.

They ARE bigger than the world, and you continue to validate everything I know about them with better language than I have to offer. (From Chuuya spoiling Dazai to Dazai's ongoing ego death as Chuuya impishly shatters the truths with which Dazai tried to bury himself.)

(Also, this ask might have been a spell because I actually managed to sleep for nearly 8 hours when I received it, which was more than I'd slept the entire four days prior.)