Sorry I commented "fag alert" on a picture of your newborn baby đ
DEAR READER

pixel skylines
KIROKAZE

@theartofmadeline
2025 on Tumblr: Trends That Defined the Year
sheepfilms

Kaledo Art

oozey mess


Cosimo Galluzzi

â
will byers stan first human second
𩵠avery cochrane đŠľ
he wasn't even looking at me and he found me
taylor price

PR's Tumblrdome
Misplaced Lens Cap
Keni
seen from Venezuela
seen from France
seen from Venezuela

seen from TĂźrkiye
seen from Switzerland
seen from United States
seen from South Africa
seen from Paraguay

seen from United States

seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from Egypt
seen from United States

seen from United States
@each-time-again
Sorry I commented "fag alert" on a picture of your newborn baby đ

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
im not a "good boy" im nuanced. also i hurt strangers for no reason sometimes
Baby shoes for sale theylook gay

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
penis isn't real. pussy isn't even real. the only thing that is real, is the pleasure of combat
I could recognize him by touch alone
that âthere are x everywhere for people with eyes to seeâ line is so dramatically relevant to the experience of people who have sat witness to Oasis. the music, the history, everything. when you sit back and look at how all the small details come together to make a grander picture, it's really astonishing to then consider how much transparency they allowed their music to have, their life's work - so much so that you can distinctly recognize and empathize with all the emotions they inhabited throughout a convoluted and impossible 30+ year affair.
the music from beginning to end is unequivocally a conversation and shared meditation between the two of them - one songwriter/occasional singer and one singer/occasional songwriter - that paints a poignant picture of Liam being the youthful idealistic âanything is possible if weâre togetherâ romantic and Noel being the tortured pragmatist; Liam overwhelmed with longing for an intentional, fully-realized romantic partnership, spending most of his adult life imploring Noel to give himself over to loving him in the way that Noel was inclined to, and Noel responding mournfully that the the risk is too great, the world isnât designed for something like that to be possible. Liam seemed ready to jump at the drop of hat, and i think a big part of the rebuffing from Noel was recognition of that impulsive instinct in Liam and fear of the outcome. Liam's music said, repeatedly, âletâs just do it, don't be scaredâ and Noelâs response was no, itâs not practical, that's not how the world works, this is both self-preservation and preservation of the person i love, this is in both of our best interests
still, Noel's music has always expressed just as devastating of a longing to share a life in that way, to "escape" or shun his moral responsibilities, but the impression weâre left with when also taking into account how things turned out is that from the beginning Noel felt a deep sense of shame and paternal duty and thus kept Liam at armâs length (at least in the sense that he didn't allow a full commitment to come to fruition), Liam acted out in increasingly desperate ways, Noel was often left hurt, and so went the constant cycles of overwhelming love, frustration, longing, jealousy, giving in, backing off, despair, resentfulness, and coping. decades spent at a depth of pain that couldn't be aired out with a single other soul in pursuit of relief due to the taboo nature of it must have felt biblical and inescapable. they couldnât practically extricate themselves from it, because their romantic affection existed hand-in-hand with their brotherhood. in this case, moving on from a lover would mean losing a brother and savior. it would also mean losing their livelihood. ultimately, the chaotically-reached resolution was absolute estrangement and they both appear to have suffered greatly for it.
of course i would expect accusations of absurdity in response to these thoughts, but when it gets down to it all i can say to people who characterize interpretations like this as being absurd - listen to the music and read all the lyrics from start to finish. take note of the songs that have most explicitly demonstrated that their longing for each other is romantic and/or sexual in nature - e.g. My Sister Lover, Guess God Thinks Iâm Abel, Itâs A Crime, If We Shadows, Songbird, Let There Be Love - and the themes and motifs they present, and look at how they have been woven endlessly throughout all the music they made (together and separately) for over 30 years. those recurrent themes - criminal shame, the intangible/unattainable nature of safety, fear of the outside world and judgement, a need to escape, dreams of finding refuges, communicating the contents of the heart through song, idolizing or regarding your lover religiously, stewing in the pain of their absence, hopelessness, appeals for pragmatism met with appeals to the supremacy of love and the courage to love boldly, mourning the death of a romantic and familial relationship, and more - are what make it incredibly easy to pick up the narrative of their story across their work and understand what unique circumstances, emotions, beliefs, and behaviors made it so that they were never able to find their footing with each other despite how deeply they loved each other.
and thatâs without even considering the historical events that lined up with the timeline of their music - such as, for example, footage of Noel doing an interview looking truly miserable and sick with jealousy prior to an enormous show, during which he immediately drives the conversation into a discussion about how he had to find out about Liamâs engagement to his girlfriend through the papers, sardonically calling him the man of the hour; and then later in the day, experiencing what can only be described as a complete collapse of emotions and judgement that led to him walking up to his brother (who was sitting on stage in front of 40,000 people and their cameras) and pulling a wide-eyed Liam into a fully-reciprocated, open-mouth-and-tongue kiss (that, mind you, only exists now in photos, despite the epic size and scale of the event). soap opera levels of angst, and we can only estimate what uncontrollable emotions and thoughts were informing his actions in that moment - was he demonstrating ownership by engaging his brother in that way in front of a crowd of 40,000, flaunting how malleable Liam was for him? was he overcome with despair at the thought of an imminent goodbye? was he trying to appear bold cool and unaffected? or all of that?Â
for Liamâs part, it will never stop fascinating me to observe how he seemed so confident in his feelings and what he wanted from the very beginning. itâs clear that his love for Noel was paramount and he would have done or said anything to have Noel choose him, outside perception not even being a consideration. i donât think there was ever a point that Liam would have cared if the public found out. outside of his music he has always been just as transparent and without shame in expressing these intense emotions and desires, and has been literally begging Noel his whole life to let himself love him the way he naturally would if no one was watching.Â
itâs incredible to see that Liam has persisted in maintaining that same mindset, genuine vulnerability, bloody gushing heart on his sleeve existence. and that heâs just as blindly romantic for the same person at 52 years old as he was at the beginning of his life when he experienced all those emotions for the first time and immediately placed them above everything else in the world. his behavior and words throughout their estrangement has been distinctly and unabashedly lovesick in nature, obsessive and romantic, something that Noel had remarked on outright in interviews during their separation. Liam never shied away from revealing exactly how much he was suffering and why.
this post has gone on too long but ultimately, i suppose what i want to express the most is that it is a heartrending, staggering thing to consider them and the full body of music they made for each other and then allowed out into the world. you end up dwelling on critical time being lost and squandered, navigating the all out collapse of a relationship that is both familial and romantic - particularly one that is deeply enmeshed with experiences of shared trauma, refuge in each other, and the pursuit of safety and recovery - and ultimately, the unique grief that accompanies the loss of your person of sanctuary. that shit is crazy, and they just laid it out there for everyone in the name of art and love and each other.
this is probably not a hot or new take but i sort of think that Steven Knight had Stirling introduce the concept of naked wrestling in the sand to Paddy as a way to give him his sex scene in season 1 without violating the 'we can't say it outright' statute they seem to be keeping to đ hysterically, watching that ep 5 scene with my mom felt as awkward as watching any other sex scene that season and judging from her reaction alone it was about 10 times more indecent and graphic than the other two straight sex scenes up to that point... i imagine because their half-naked sweaty bodies were in full sunlight + the grinding + the spit + the hot and heavy whispering + of course, the layer of adversarial tension. my mom was Shocked and Appalled it was soooooooo funny bc the scene is graphic and physically/emotionally intimate in the most insane and disturbing ways possible. i have to congratulate them for what they achieved with it, it's an erotic freak of a scene and i'm glad it got the attention it deserved
(no but truly they won't ever have paddy outright fucking any guy unless they know they're doing their last season so they don't have to act like they give a fuck about any of the fallout from defaming a venerated national hero)
Paddy + Augustin đ
SAS: Rogue Heroes

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
paddy mayne did not commit literal war crimes to vent his fury and grief at his boyfriendâs death only for me to open tumblr dot com and see fics about him fucking women. Did We Watch The Same Fucking Show.
ughhh god how i would have loved to be privy to the conversations they had determining how they were going to represent something between their characters that had to stay intangible. and i appreciate that taking risks was a consideration specifically in regards to working within the confines of the script, which mirrors Paddy and Eoin having to evaluate the risks they could take with each other within the confines of their environment.
wow this show really goes out of its way to show the audience that Paddy is gay and deeply in love with Eoin and damaged irreparably by his passing (as opposed to explicitly telling us, i imagine to give them plausible deniability when theyâre accused of defaming recently deceased, celebrated war heroes beloved by uptight conservative military historians). and they do it consistently, from episode to episode, even having Eoin haunt the narrative long after he has died - but so much of the heterosexual audience on non-Tumblr social media will say either they didnât âget that vibe at allâ or that thereâs no reason to assume it was more than friendship.
like putting my gay indignation aside completely, how dense and cinema illiterate do you have to be to completely miss or misinterpret established run-of-the-mill cinematic techniques meant to convey romantic attachment or attraction? in regards to the cinematography and visual/audio storytelling, what could possibly surpass the depiction of romance as the filmmakersâ primary objective when they chose to zoom in on Paddyâs hand resting on Eoin and then leave the camera there for a long and intimate moment as they play a famously longing, romantic composition together on the piano, looking emotionally and physically insular and private despite the presence of the other men around the hall? the men, whose raucous banter has been muted. in a scene that would otherwise serve no purpose to the narrative (actually, it laid the foundation for a frequently revisited metaphor symbolizing Paddyâs inability to move on and desperation to feel a connection to Eoin again).
and then to repeat the touch/camera zoom technique again, in the very next episode! in a deeply romantic moment where Eoin makes it clear that his direction in life is entirely dictated by Paddy and where Paddy goes. we donât get the impression that they have ever made the nature of their love explicitly clear to each other; we do, however, get the impression that they are life partners and soul mates who are mutually aware that theyâve dedicated themselves to each other. maintaining their relationship in this way might be the most practical method in their current circumstances - their relationship is physically unconsummated, but they have figured out how to maintain each other in their day-to-day lives in an emotionally consummate way that doesnât risk the notice of those with the capacity to punish, hurt, and separate them, and restrict their freedom.
okay now reeling the gay indignation back in, the straight viewers who argue that there is nothing inherently romantic about a hand on a shoulder/that not showing anything more explicit means that âthe writers are leaving it up to the audienceâ to decide if itâs friendship or romance are dicks for refusing to consider it within context or even ask why a romantic attachment might manifest itself in such brief and seemingly trivial touches.
what types of touches do they genuinely think would occur between two men harboring romantic affection for each other, when the entire lives of those two men are spent in a hyper-macho, violent environment that is hostile towards sentimentality, and legally and socially punitive of homosexuality? in their current circumstances they are unable to achieve the safety that would be afforded to them by a genuinely private physical space where they could be transparent about their feelings and motivations. they are never alone, so they enact touches in ways that would be perceived as commonplace camaraderie by an observer who doesnât know to look closer, and literally speaking that is what is happening. meanwhile, the actors are tasked with the feat of minutely conveying a longing that the characters have kept hidden even from each other in the interest of self-preservation and preservation of the other; but the actors have to be even subtler than subtle, so that it doesnât become unrealistic or compromising to the characters given the precariousness of their situation.
with those limitations always in place, it becomes necessary for the camerawork and music choices to convey that meaning for the audience in ways that the characters literally cannot. you need to give this touch between them its due attention, and consider the emotions that informed it and resulted from it: longing, desire, tenderness, pleasure and comfort in each otherâs presence, revitalization. hopefully from there the viewer could surmise that Eoin and Paddy have adapted common rituals to their own needs in order to satiate a hunger inside them that (most of) the other men donât have.
e.g.,
insisting that he let me teach him to play the piano will put him in close proximity again and again, and when he leans over and around me i can try to feel the warmth of his body hanging close, and sometimes i might even get to feel the direct heat of a hand placed on my shoulder. / heâs teaching me to play but iâll hover with my drink over the piano and him below me, so that when it comes time for me to repeat his movements, i might be able to lean in close enough that i can discern the pattern of his breathing or the smell of his hair / when i touch him, he never looks me in the eye, but it doesnât upset me, because i can feel how deeply the rest of his body welcomes it. it thrills me to know that thereâs no other person on this earth that he would permit to touch him like this. / if i perform this drill remarkably or outlandishly enough, the men will clap and holler and i know then Eoin will come and put his arm around my shoulder, and an arm around the shoulder is nearly an embrace.
Paddy Mayne (Jack O'Connell) & Eoin McGonigal (Dónal Finn) in SAS: Rogue Heroes Season 1 behind the scenes
ughhh i truly hate to be sappy and romanticize on main but the thing about Eoin is that he is so boyishly handsome and bright and smiley and especially lovely to look at in a very invigorating way, like one has to imagine that Paddy got a boost of serotonin and a sense of peace and fulfillment and that âiâm homeâ feeling every single time he saw Eoinâs face, even when he saw him multiple times a day. then one day he saw Eoinâs face for the last time and never again, and that life- and love-affirming pick-me-up just disappeared from existence for Paddy in the blink of an eye

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
fam, wasnât there a print interview where Jack OâConnell talked kinda at length about the showâs treatment of Paddyâs sexuality, I feel like it was something about his frustration with that part of himself informing a lot of his crazy behavior? i thought that was a thing i read but my searches are producing nothing. also has he ever said anything about the loss of Eoin informing Paddyâs arc?
found it!
https://telltaletv.com/2022/11/creator-and-cast-members-discuss-sas-rogue-heroes-interview/
We spoke with creator, Steven Knight, and cast members Connor Swindells, Alfie Allen, and Jack O'Connell about SAS: Rogue Heroes. Read the i
fam, wasnât there a print interview where Jack OâConnell talked kinda at length about the showâs treatment of Paddyâs sexuality, I feel like it was something about his frustration with that part of himself informing a lot of his crazy behavior? i thought that was a thing i read but my searches are producing nothing. also has he ever said anything about the loss of Eoin informing Paddyâs arc?