descent into madness continues

“Temporary stitches” all stitches are temporary if you have a pair of scissors and aren’t a coward

Air to air combat is the easiest form of warfare to argue that both parties consent to. Dogfighting is basically kink and it should turn you on at least a little.

This honestly does it all such little justice. You need to know your opponents airframe intimately- how it handles, turns, how much it weights and how it pulls against the air. How to dance with her body elegantly, and all for just a brief moment under the sights. The strain of your body as you pull the stick, the strain of the engines as they try to give all the force you need. All for a glimpse. The blood rushing from your head as you push forward, the fight for elevation, dominance, potential energy. Position is gained slowly and lost quickly. Eagerness can find you vulnerable, under the eye of your enemy. And all they need too, just a brief glimpse. Just one moment under her sights till you’re undone, penetrated, bleeding oil and smoke and shuddering.

Aircraft Mechanic (angry): Hey! You're trying to fuck my wife!

lets out one truly pitiful little whimper & then goes back to doing fucking whatever

hollanova and jane’s obsession with lilya’s tits she cant leave them alone she needs to have her lips on them she has to nuzzle the corner of her mouth against lilya’s nipples to press her tongue to the soft give of them she loves feeling lilya draped over her back when they fuck but she *needs* to roll over after to press their chests together and suck lilya’s nipple into her mouth as she’s drifting towards sleep she cant control it she’s a woman possessed

My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.