i want to kill myself.
Lint Roller? I Barely Know Her

@theartofmadeline
I'd rather be in outer space đž

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YOU ARE THE REASON
2025 on Tumblr: Trends That Defined the Year
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Sweet Seals For You, Always

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@3kockeleda
i want to kill myself.

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Is It Normal to Think About Grief This Much?
(spoiler: probably not. but here we are.)
I've been grieving for as long as I can remember, and the strange part â the part that took me an embarrassingly long time to figure out â is that nobody died.
Not recently, anyway. Not in the way that makes it socially legible, the kind that comes with a casserole and a sympathy card and a socially allotted window of being allowed to feel like the floor has dropped out from under you. The grief I carry isn't that kind. It doesn't have a face I can frame on a mantelpiece. It doesn't have a date on a headstone.
It has a feeling, though. God, does it have a feeling.
Cornfields, Ghosts, and the Guy Who Runs the Diner at Midnight
You never really forget the summer you first arrive in a place like Ashwood.
Not the way the highway peels away into cornfields and wild grass, or how the streets shrink down until even your worries canât fit. Thereâs a kind of hush here, an old-soul quiet, like the townâs still catching its breath from secrets itâs not ready to spill.
Some folks say nothing ever happens in a Midwest town like ours, but if you listen long enoughâreally listenâyouâll hear otherwise. Youâll catch it in the whisper of willow branches against chipped porch railings, in the half-glances from neighbors at the post office, in the low hum of the diner after midnight when the regulars have all but dozed off. Every cracked sidewalk and leaning mailbox has a story or three, if you know where to look.
When my father and I first rolled up the drive to the old Hensley house, I remember the windows watching usâtall and narrow, clouded with dust and the memory of people Iâd never know. Dad said it needed âa little work.â
Thewhole place creaked and sighed like it was waking up from a long, strangedream.
We werenât what youâd call âlocals.â Not yet. Not with the way the hardware store clerk eyed us, or how the school secretary said our last name twice, just to taste the shape of it. But Ashwood has a way of folding you in, whether you belong or not. Thereâs comfort in the rhythm of familiar odditiesâthe mailman who whistles church hymns, the mayor who collects ceramic frogs, the retired teacher who claims to read fortunes in spilled coffee grounds. Every town has its quirks; ours just hid them better.
And then, there were the mysteries.
People talk. Stories grow wild as milkweed. They say the old mill is haunted, that the cornfield swallows up stray cats, that the man who works the graveyard shift at the diner only comes out after dark. Some of it is nonsense. Some of it, I learned, was only half trueâhalf enough.
If Iâd known what we were really stepping into that summerâthe secrets, the friendships, the things that move just out of sightâI might have run screaming back to the city. Or maybe I would have just stood there on that crooked porch, as I did, and watched the world change around me, not knowing I was about to change too.
But thatâs the way of Ashwood.
Sometimes, the strangest stories grow best in the quietest places. And every so often, if youâre lucky, you get to be part of one.
Are you gay?
no im normal
How to survive without creativity - a helpful guide from a (f*g) to you.
Hereâs the deal: nobodyânobodyâin this vast, meaningless expanse is actually âuncreative.â Sure, some folks are hopeless at doodling stick figures but can whip up ingenious spreadsheets; others trip over their own imaginations yet excel at, I donât know, convincing plants theyâre alive. Everyoneâs got somethingâeven if itâs just a talent for accidentally blowing things up in the kitchen.

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âThriving,â and Other Lies I Tell Myself While the Tram Breaks Down Again
Letâs get one thing straight: Iâm killing it.
Still No Idea What I'm Doing (But I'm 25 Now, So Itâs Classy)
The air smelled like a birthday cake left too long on the counterâsweet, but tinged with something sour. I was cross-legged on a couch that once cradled childhood sleepovers and teenage heartbreaks, now just an overstuffed relic sagging under my quarter-life weight. The TV murmured in the corner like a dying oracle. News ticker scrolling warzones. A world on fire. Kyiv crumbling. Rafah weeping. Somewhere, a president laughed.
It was my 25th birthday.
The room was full. Laughter echoed, and someone passed me a slice of cake that tasted like every other year. Candles flickered. Wishes whispered. Photos snapped for feeds destined to dissolve in twenty-four hours. But something in me didnât want to be documented. Not this year. Not like this.
The Quiet Unraveling: Navigating Complacency, Consumerism, and the Search for Meaning in a Fractured World
Letâs begin with a confession: None of us are innocent here. Weâre all tangled in the same messy web of contradictionsâyearning for purpose while numbing ourselves with distractions, craving justice while clinging to comfort. This isnât a condemnation; itâs an invitation to untangle the knots together. Because the truth is, the systems that suffocate us didnât emerge in a vacuum. They grew from our collective fears, our exhaustion, and the very human desire to just make it through the day.
"smut", censorship & why we must defend the freedom to read
Every era polices its stories. Today, the battleground is digital: TikTok, Twitter, and Tumblr simmer with moral panics over âproblematicâ fiction. At the heart of this debate lies a paradox: in an age that champions individuality and free expression, why are readersâparticularly women and queer communitiesâincreasingly shamed for enjoying narratives labeled âdark romance,â âsmut,â or âspicyâ? These terms, weaponized as shorthand for âmorally bankrupt,â obscure a deeper cultural anxiety: the fear of stories that center taboo desires, power dynamics, or unapologetic female agency. What begins as criticism of tropes often escalates into demands for censorship, blurring the line between discourse and dogma. The stakes here transcend genreâthis is about who gets to control narratives, and why.
Censorship has always targeted the marginalized. In the 19th century, novels like Madame Bovary and Lady Chatterleyâs Lover were deemed âobsceneâ for depicting female desire outside patriarchal norms. By the mid-20th century, paperback romances adorned with shirtless heroes (think Fabio rescuing a swooning heroine) dominated bookstore racks. These novels were dismissed as frivolous âchick lit,â relegated to the realm of harmless escapism. Yet they sold millions, offering women a rare space to claim ownership of their fantasies.
Fast-forward to today. Their spiritual successorsâstories exploring BDSM, morally gray relationships, or traumaâface a more insidious suppression: algorithmic shadow-banning, deplatforming, and viral callout campaigns that frame readers as complicit in harm. The shift from physical book burnings to digital erasure reflects a new puritanism, one couched in progressive language but rooted in the same paternalism: âThese ideas are too dangerous for you.â Platforms like TikTok, which amplify outrage for engagement, reduce complex narratives to soundbite controversies. A single tropeâa mafia romanceâs nonconventional relationship, a bully romanceâs power imbalanceâis stripped of context, becoming fodder for hashtag activism. Lost in this frenzy is the distinction between depiction and endorsement, between art and advocacy.
Critics of dark romance often argue, âThese stories normalize abuse!â Yet this concern is selectively applied.Â
Consider:
Male-Centric Media: Films like Fight Club (domestic terrorism, toxic masculinity) and The Sopranos (misogyny, murder) are analyzed as âcomplex art.â Video games like Grand Theft Auto let players enact mass violence, yet their audiences arenât accused of glorifying crime.
Queer and Feminist Narratives: Stories by marginalized authorsâe.g., Carmilla (lesbian vampirism) or Tampa (female predator tropes)âface disproportionate scrutiny. Their themes are pathologized, their audiences interrogated.
This double standard reveals a cultural discomfort with women and queer people claiming narrative autonomy. Dark romance, often written by and for women, subverts the âpure heroineâ archetype, allowing charactersâand readersâto explore rage, desire, and imperfection. To dismiss these stories as âtoxicâ is to deny women the right to messy, multifaceted representation.
Fiction is a laboratory for the human experience. Psychologists argue that dark themes in art serve as simulations, letting readers safely confront fears, taboos, or repressed emotions. A 2019 study in Psychology of Aesthetics found that readers of transgressive fiction often engage in more ethical reasoning, not less, as they analyze charactersâ choices.
Consider the appeal of dark romance:
Agency in Restriction: Heroines navigating oppressive worlds (e.g., mafia romances) often reclaim power within constraints, mirroring real struggles against systemic misogyny.
Catharsis Through Hyperbole: Exaggerated tropes (obsessive love, revenge plots) externalize internalized emotions, offering emotional release.
Censoring such works doesnât protect readersâit infantilizes them, implying they canât separate fiction from reality.
History shows that censorship rarely stops at âprotectingâ audiences. Once normalized, it expands to suppress dissent:
1980s âSatanic Panicâ: Moral crusades against Dungeons & Dragons and heavy metal music targeted countercultural communities.
2020s Book Bans: U.S. schools have banned texts like Gender Queer and The Hate U Give, conflating LGBTQ+ and anti-racist narratives with âobscenity.â
Calls to censor smut follow the same playbook: frame subjective discomfort as objective harm, then demand removal âfor the greater good.â But who decides whatâs âharmfulâ? Algorithms? Politicians? Corporations? Amazonâs arbitrary delisting of LGBTQ+ romance novels in 2021 (âcontent violationsâ) proves corporate censorship is already hereâand itâs arbitrary.
To censor âsmutâ is to endorse a world where stories are policed by the timid, the authoritarian, or the algorithm. It undermines foundational principles:
Freedom of Literature: Art is not a public service announcement. It must be free to provoke, unsettle, and challenge.
Reader Autonomy: Trust adults to choose their media. Advocacy for content warnings and nuanced critique is valid; eradication is not.
Media Pluralism: A free society requires diverse narrativesâincluding those deemed uncomfortable, âimmoral,â or politically inconvenient.
The fight against censorship isnât about defending specific tropes; itâs about resisting the idea that any story is âtoo dangerousâ to exist. As Salman Rushdie wrote, âWhat is freedom of expression? Without the freedom to offend, it ceases to exist.â Let readers revel in their smut, their Shakespeare, their sapphic space operas. Let them dissect, debate, or devour stories without shame.
The alternativeâa sanitized, homogeneous cultural landscapeâis a far darker tale.
Defend the right to read. Defend the freedom to imagine. And never apologize for the stories that make us human.
America is Dead, Long live the Oligarchy!
Oh, I can already hear the chorus of outraged patriots clutching their flags and gasping for air, wondering how on earth I have the audacity to say it out loud. But letâs be honest hereâAmerica died a very public, very embarrassing death, and we all watched it happen. It was sentenced to death at 1 AM on November 5th, 2024, beheaded at noon on January 20th, 2025, and, in a spectacle fitting for the end of a grand empire, the victors danced around its lifeless corpse on January 21st, mocking it in perfect synchrony.
Now, before you start shaking your head at the âinsanityâ or âcynicismâ of that statement, take a nice, long look around. Everything we once believed inâdemocracy, freedom, the pursuit of happinessâhas been carted off to the highest bidder. Billionaires decided that profit was worth more than human life, and somehow, the rest of us naĂŻve peasants stood around and let them do it. Isnât that just adorable?
Iâll spare you the poetic eulogies and patriotic tears because, quite frankly, theyâre wasted on a corpse thatâs no longer even warm. The world we cared for, the world we tried to save for our children, has been neatly packaged and sold off to the oligarchs whoâve gleefully hung a âWelcome to our Empireâ banner on the front door. Weâre living in a reality where democracy is now a quaint idea you might reminisce about in your next social media postâassuming you havenât already had your account banned for daring to be âdisruptive.â
But donât worry, itâs not just America that got the axe; the entire worldâs on this same unsteady track. Everywhere you look, the crumbling veneer of âfor the peopleâ has chipped away, revealing the real puppet masters tugging at our strings. They exploit our hopes, our fears, our addictionsâwhatever it takes to keep us clicking, swiping, and spending, until weâre all too exhausted to care.
And the best part? When we finally figure out that the people no longer hold the powerâthat weâre essentially serfs in a digital feudal systemâmaybe then weâll realize thereâs no profit when there are no longer people. Imagine that: you spend all this time building an empire, only to discover your empire is worthless without the very consumers youâve systematically drained of resources.
So here we are, rummaging through the ruins of a once-idealized nation, a once-idealized world, trying to piece together some shred of dignity. Frankly, itâs laughableâif it werenât so tragic. Our leaders have effectively sold our future for pocket change, and weâre left with rigged systems and hollow speeches. Itâs as though weâre the star attraction in an absurd play where the final act is a funeral dirge for the idea of freedom itself.
But please, donât get sentimental. Thereâs no room for nostalgia when the victors are busy dancing on the corpse, flinging confetti made of shredded constitutions and worthless promises. Theyâre having a grand old time, and who can blame them? They got exactly what they wanted: unchecked power, obscene wealth, and a global stage to flaunt it on.
In a world that has been murdered for profit, I suppose the only solace we can take is that maybe, just maybe, when everything collapses, the oligarchs wonât have anyone left to exploit. But hey, I wouldnât hold my breath waiting for that day to comeâthese folks are terrifyingly resourceful when it comes to sustaining their blood-sucking empires.
So, rest in pieces, America. Iâm sure the oligarchs will give you a lovely eulogy at your unceremonious funeralâif they can pause their celebratory jig long enough to deliver it. As for the rest of us? Well, weâll be here, wondering what could have been, had we not welcomed the power-hungry elite with open arms. Maybe in the next world, weâll do better. Or maybe weâll just dance along, too. Who knows? After all, itâs much easier to join the mocking victors than to stand against them.

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