#the less they've liked me

[butterfly-in-progress]

I was born with a mask

Or I might as well have been

I didn't even know what my own face looked like

As the years went on

I added to it

Layers upon layers caked onto my face

A protective shell

But you were by my side when there were cracks in it

You loved me when the mask was still new and didn't cover much

You were with me for so long, through so much

I thought

That after the long and arduous process

Of hammering at this ceramic

To chip away the layers

And let my face feel the sun

You would rejoice as I did at seeing my face

But instead I have to wonder if you ever loved me in the first place

And chip you off of my heart

[poorly-drawn-mdzs]

Unsolved Mysteries.

[First] Prev <–-> Next

[thottybrucewayne]

I think what I want to get into with the "Anyone can do harm." thing that I keep beating yall over the head with is that literally anyone, anyone at all can do harm it's not "in your DNA" to be an abuser or written in the stars that you'll be a predator. Whatever image you have of an abuser in your head, drop it and replace it with your favorite person in the world and you'll probably be closer to the truth than you realize. It's easy to address harm when it's coming from someone you already hate. I see it happen all the time. Someone you couldn't stand for no real reason does something heinous then all of a sudden here comes the avalanche of "I always knew they were a fucked up individual." No, you didn't. There is no possible way you could have known, you just already didn't fuck with them before they started doing something you could use to justify your hatred of them. I'm guilty of it too! I'm petty, mean, vindictive, and yes! I'm way quicker to believe something bad about someone I hate versus someone I love because I'm human. Still, y all gotta learn to move past that initial "Well, they were always nice to me!" gut feeling and understand that nobody truly knows anyone and anyone can be capable of anything. Even victims. Even you.

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[infiniteglitterfall]

A Chabad synagogue in Pomona, New York, burned to the ground on April 17th, along with its three Torah scrolls.

Torah scrolls are hand-written, hand-made, and kept in elaborately decorated cases or wrappings.

Many of them have long histories; my synagogue has two, I think, that were smuggled out of villages being destroyed in pogroms or in Nazi attacks. One of them is the only remaining piece of that village on earth.

Sometimes, the Torah scroll doesn't even belong to the synagogue, but is on loan from a place like the Memorial Scrolls Trust:

There's an entire Jewish holiday just for taking them out and dancing with them: Simchat Torah, "The Joy of Torah."

In fact, that was the holiday on which Hamas's invasion took place.

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So it's a particular tragedy when a Torah is destroyed.

Chabad itself has a page about what goes into making just one Torah scroll:

"An authentic Torah scroll is a mind-boggling masterpiece of labor and skill. Comprising between 62 and 84 sheets of parchment -- cured, tanned, scraped and prepared according to exacting Torah law specifications -- and containing exactly 304,805 letters, the resulting handwritten scroll takes many months to complete.

"An expert pious scribe carefully inks each letter with a feather quill, under the intricate calligraphic guidelines of Ktav Ashurit (Ashurite Script). The sheets of parchment are then sewn together with sinews to form one long scroll. While most Torah scrolls stand around two feet in height and weigh 20-25 pounds, some are huge and quite heavy, while others are doll-sized and lightweight."

I learned all of this on Tumblr.

Once upon time, in people's "punch Nazis" days, I would've been able to find some mention on Tumblr of this synagogue burning.

There is none, so I'm posting about it.

And I'm going to quote Daniel Weiner, Rabbi of Temple de Hirsch Sinai in Bellevue, Washington, when his own synagogue was vandalized last November:

"It’s horrific and heartbreaking.... [Taking out your feelings about] what's going on in the Middle East by defacing a sacred space of a synagogue -- that’s the very definition of antisemitism."

I'm also posting about the Kehillat Shaarei Torah Synagogue in Toronto, whose windows were broken on Friday, April 19th, by someone who also tried to break the front door down.

And the April 15 graffiti outside a Bangor, Maine synagogue that said, "Nazi Israel 30K murdered," next to a crossed-out Star of David. The same synagogue faced pro-Hamas flyers plastered around it in November.

I was going to include all the synagogues vandalized over the past six months. But there are way too many. Several every week. Lots are swastikas.

I'll go back to just doing attacks on and near synagogues.

Someone has to talk about the 1-year-old who was stabbed outside Temple Beth Zion-Beth Israel (BZBI) synagogue, in Philadelphia, on April 13th.

The foiled terrorist attack on a Moscow synagogue on April 11th.

The man who, on April 9th, screamed at the rabbi at Moldova's Great Synagogue, "What are you doing here? How come no one has finished you off for everything you are doing to the Palestinians?" Just one week after people had vandalized a Holocaust memorial in nearby Soroka, and sprayed "Free Palestine" on it.

The Oldenburg, Germany synagogue that was firebombed on April 5th.

The Florida Las Olas Chabad Jewish Center, which on March 16 burned, but not to the ground. The Torah scrolls were safe, and no one was hurt, but the back of the building was severely damaged.

The planned-but-thwarted-on-March-7th ISIS massacre in a Moscow synagogue.

The stabbing of an Orthodox Jew in Switzerland on March 5th. (He was badly injured, but expected to survive.)

A man leaving a synagogue in Paris was beaten on March 3rd.

People set the courtyard of a synagogue in Sfax, Tunisia on fire on February 27th. Firefighters managed to put the fire out before it consumed the inside of the building.

The synagogue is no longer used; there are no Jews left in its area, and fewer than 1,000 Jews left in Tunisia overall.

(Thousands of Tunisian Jews were sent to work camps during the Holocaust. Antisemitism across the Middle East continued to increase rapidly for decades. By the 1970s, 90% of Tunisian Jews had fled to France or Israel.)

On February 18, an Orthodox Jew leaving Synagogue of Inverrary-Chabad in Lauderhill, Florida, was beaten by an attacker yelling racial slurs.

Someone deliberately chose International Holocaust Remembrance Day, January 27, to smash all the windows in the front of Sgoolai Israel Synagogue in downtown Fredericton, New Brunswick.

On December 29, Turkey arrested 32 people linked to ISIS who were planning attacks on synagogues and churches.

On December 17, a man drove a U-Haul truck up onto the sidewalk between a barrier and the front door of the Kesher Israel Congregation in Washington D.C., got out, and started yelling "Gas the Jews." He also sprayed a foul-smelling substance on two people leaving the synagogue.

December 17 also saw 400 synagogues across the United States receive bomb threats.

On December 11, a man attacked an elderly couple on their way into a synagogue in Los Angeles, screaming, "Give me your earrings, Jew!!" and beating one of them bloody with a belt. (Happily, he chased the guy down the street, and caught him when his pants fell down.)

On December 10, a 16-year-old was arrested in Vienna for planning an attack on a synagogue.

On December 8, on the first night of Hanukkah, 15 synagogues in New York State received bomb threats. And someone screamed, "Free Palestine," and fired shots outside of Temple Israel in Albany, NY. Which has a preschool that was in session.

Meanwhile, the five Jews left in Egypt were canceling public Hanukkah candle-lighting at their synagogue out of fear of reprisals. Particularly after two Israelis in Alexandria had been gunned down by terrorists on October 8. (While Israel was still fighting Hamas in Israel.)

On November 15, a terrorist group set the only synagogue in Armenia on fire.

Armenian Secret Army for the Liberation of Armenia (ASALA) has a history of working with the Popular Front for the Liberation of Palestine (PFLP).

(PFLP is part of Hamas's network of groups. Samidoun is their nonprofit arm - which is why Germany banned Samidoun last year, although it's still active in many other countries.

PFLP is also actively supported by the Palestinian Youth Movement (PYM), a diaspora nonprofit group, and Within Our Lifetime (WOL), an SJP spinoff in NYC.)

On November 11, halfway through Shabbat services, police asked Central Shul in Melbourne, Australia to evacuate "as a precaution" due to a "pro-Palestinian" protest that had chosen the neighboring park as its gathering place. Australia has seen some very outspoken antisemitism at protests, including the march shortly after October 7 that chanted "Gas the Jews."

Also on November 11, protesters targeted a synagogue along a march route. They sat in their cars, spraying green smoke and shouting at people leaving the synagogue. The march itself featured a record number of horrifying signs and chants.

On November 7th, Congregation Beth Tikvah in Montreal was firebombed, and the back door of the Jewish organization across the street (Federation CJA) was set on fire.

On November 4, protesters chanted "Bomb Israel," and burned an Israeli flag outside the only synagogue in Malmo, Sweden.

During October, there were 501 antisemitic acts under investigation in France in just three weeks, including groups gathering in front of synagogues shouting threats, and graffiti such as the words “killing Jews is a duty” sprayed outside a stadium.

On October 18, people firebombed a synagogue in Berlin after homes all over the neighborhood were graffitied with stars of David.

And also on October 18, hundreds of "pro-Palestine" rioters attacked the Or Zaruah Synagogue, in the Spanish enclave of Melilla in North Africa, while worshippers were inside.

Based on the video, they seem to have blocked the synagogue entrance completely, while screaming "Murderous Israel" and waving Palestinian flags. (Melilla is an autonomous zone belonging to Spain. It borders Morocco.)

On October 17, during pro-Palestinian protests, hundreds of rioters set fire to Al Hammah synagogue, an abandoned house of prayer in central Tunisia. They hammered down the building’s walls and raised a Palestinian flag on the building. Police did not intervene.

The Facebook page "Tunigate", which has around 88 thousand followers, published a video of the assault. So did "Radio Bousalem”, with 83 thousand users. The vast majority of comments on these videos welcome these acts. The building was severely damaged and almost completely razed to the ground.

On October 15, bomb threats were sent to many East Coast synagogues. Attleboro synagogue Congregation Agudas-Achim received one of the emails, which read, "The bombs will blow up in a few hours. A lot of people will die. You all deserve to die."

On October 8 -- again, while Hamas was still in Israel -- Madrid’s main synagogue was defaced with graffiti that read “Free Palestine” next to a crossed-out Star of David.

And on October 7, an assailant in Rockland, NY fired a BB gun at two women entering a synagogue. Later in the month, a banner at the Stephen Wise Free Synagogue in the area was vandalized with the words, “Fuckin kikes."

[introspectivememories]

too many of you guys think nico is the loser and not lewis for letting the divorce go on for so long. like they're both losers about each other. emotionally constipated idiots who can't talk about their toxic homoerotic friendship that imploded on itself like 8 years ago and are now making it everyone else's problem. yeah nico's on television or in beer gardens talking about lewis all the time but like every other month some reporter is like "lewis, what's your favorite moment in your career?" and lewis no hesitation is like "oh man, karting, y'know? everything was simpler then" and then spends another six months skirting around nico's name. like this whole thing they're doing in the media isn't some kinda extended foreplay for them. they're both still pressing on the bruise to make sure it's still there!!! every few months, they're literally just asking on public television, does it still hurt for you like it does for me? and like clockwork, someone will release new information about them or one of them will say something about each other (in my heart, he's still my best friend/yes... and teammate) and the answer will remain the same, yes, of course, always.

[everysongineverykey]

genuinely killing undyne in a neutral run and then walking through hotland later and seeing alphys' posts go "just realized i didn't watch undyne fight the human... well i know she's unbeatable i'll ask her about it later v . v" completely unaware of what's happened is one of the most unpleasant and harrowing experiences in undertale and i am not kidding even a little bit

[thepoisonroom]

'I flirted with the idea that instead of being trans that I was just a cross-dresser (a quirk, I thought, that could be quietly folded into an otherwise average life) and that my dysphoria was sexual in nature, and sexual only. And if my feelings were only sexual, then, I wondered, perhaps I wasn’t actually trans.

I had read about a book called The Man Who Would Be Queen, by a Northwestern University professor who believed that transwomen who were attracted to women were really confused fetishists, they wanted to be women to satisfy an autogynephilia. And though I first read about this book in the context of its debunkment and disparagement, I thought about the electricity of slipping on those tights, zipping up those boots, and a stream of guilt followed. Maybe this professor was right, and maybe I was only a fetishist. Not trans, just a misguided boy.

About a year later, on the Internet, I come across a transwoman who added a unique message to the crowd refuting this professor. Oh, I wish I remember who this woman was, and I wish even more that I could do better than paraphrase her, but I remember her saying something like this: “Well, of course I feel sexy putting on women’s clothing and having a woman’s body. If you feel comfortable in your body for the first time, won’t that probably mean it’ll be the first time you feel comfortable, too, with delighting in your body as a sexual thing?”'

-Casey Plett, Consciousness

[a-most-beloved-fool]

sometimes I suspect I am being pranked and that I somehow only have access to a version of DS9 that gradually increases the size of Kira Nerys's eyes over time. I always think, 'no, I must be imagining things. it is not possible that her eyes are That large and dewy and doe-like.' and then she appears on screen. and points a disruptor at your chest. while looking at you with the largest and dewiest and most doe-like eyes you've ever seen in your life.

this is what i see when i look at her. if u even care.

[lloydfrontera]

male authors, writing m/m friendships: their bond will develop through hundreds of chapters, we will get to see each stage of their budding relationship, they'll constantly be in each other thoughts, their first instinct will always be to reach for the other, their first worry will always be the other's safety, they'll spend every minute of the day together, they'll be complete opposites and yet perfectly compliment each other, they will put everything they ever loved in risk just to keep the other safe, they will give their life without hesitation to save the other's, they will fight and argue and tease and joke around but they will always be at each other's side at the end of the day, they will plan to spend the rest of their lives together, sharing the happy moments and the hard times, the idea of being without the other being unthinkable, the thought of being always together coming naturally, as easy as breathing.

the same male authors, writing m/f romance: she'll like,, smile once at him and he'll start thinking of marrying her and having children with her idk

[burntblueberrywaffles]

I have beef with TCW Anakin

[bitchthefuck1]

you know what, I actually will talk about this because it's bothering me. The issue with focussing so heavily on syd and carmy's potential for a romantic relationship isn't that there's something inherently unintellectual about romance or whatever, it's that a lot of people seem incapable of doing that without immediately flattening the story and ignoring or intentionally misreading any and all nuance for the sake of that romance. Every scene suddenly becomes about how it impacts their relationship, every analysis is done through a romantic lens, every frame or line of dialogue becomes about finding some easter egg or hint that "proves" these people should start dating. Their dynamic is absolutely a fundamental part of this show, but if you can only see it as a will-they-won't-they, you miss so much of what the story is actually trying to say with these two.

There are good versions of this story where their relationship is romantic and there are good versions of this story where it isn't, but as soon as you decide them being together is "the point," you lose the ability to actually judge the story for what it is, not what you want it to be.

[anghraine]

Today's unhinged "good God I hate how much extreme generosity I'm expected to extend to the Peter Jackson films by people who make wildly bad faith arguments about things I like" rant:

I am very deeply tired of people insisting with zero evidence that of course the LOTR films are imperfect, but the difficulties of adapting LOTR are such that it wasn't possible for them to be better than they were—in, apparently, any respect. They just couldn't be done better, at all, because it was so hard to make something watchable at all.

This is always just like ... really? Really?? Just what prevented them from making better decisions about anything? What exactly made casting every actor of color as barely differentiated villainous hordes in the twenty-first century so necessary and unavoidable? The glamorization and vast expansions of battle scenes and insertion of "heroic" war crimes was the highest film as a medium could aspire to in the early 2000s because of what insuperable force?

What made it impossible to give Arwen a coherent character arc? The films could not have been made without the underlying assumption that most of the cast are NPCs who will only do the right thing, when they will, if prodded or manipulated or influenced by main characters? In what way is this an inevitability of adaptation or film that simply couldn't have been conceptualized differently, much less better?

There is zero explanation or justification for why any of this stuff (or the myriad other flaws) had to be that way and couldn't have been done better in any way at any point. It's just stated that the films that exist must be the best films that could have existed because they're the ones that do exist and are popular. QED.

That doesn't make any sense, though, and it doesn't convince anyone who doesn't already agree. The idea that they could not have been better in any way (including their worst quality, which again, is the extremely racist casting), that some force was preventing not only the actual filmmakers but any filmmakers that could possibly exist from doing anything better just seems patently absurd.

You can like them and respect what they did achieve without demanding that everyone buy into a baseless and irrational argument that their pop culture success means nothing about them could possibly have been done any better. Look, I was in my mid to late teens at the time. I remember the early 2000s quite well. It wasn't now, but we are not talking about an age so divorced from our own that any of these things were somehow fundamental to the media landscape.

There are ways in which the LOTR films were very good that were essential to their popularity then and now. This does not require anyone to accept that it was literally impossible for them to be better than they are or that some defense is required against every criticism of them ever.

I am not, incidentally, talking about removing Bombadil, an entirely understandable and defensible decision that the film defenders in my notes somehow always feel the need to bring up. I know that changes had to be made, that adaptation is not a word for word transcription, that it would always be a difficult text to adapt, that structurally minor elements had to go, that they are cinematically beautiful films that a lot of work and love went into. I know this. EVERYONE knows this, because for the last 20 years it's been impossible to criticize anything about them without being reminded. Their accomplishments, and their existence, do not mean that any choice made by the filmmakers must definitionally have been the right call and could not possibly have been better in any way.

[taonpest]

Good morning to them and them only

[angelsdean]

ruthlessly deleting old 2021/2022 posts (not by me) from my dean studies tag like *click* un-incorporating that from my beliefs system! also the way SO many posts have me like ok uh-huh good aaand then say one completely wrong thing that loses me. it's so many posts.

[sunflowermp4]

karma's gotta come for all of us

i just hope she comes for you first