anyone reblogging this post talking about a guy under 40 is banned
you know i've grown since i made this post. if they're not nearing their early 60's what even is the point
โ

oozey mess
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Game Changer & Make Some Noise

Love Begins


Product Placement

titsay
The Bowery Presents
Noah Kahan
One Nice Bug Per Day
"I'm Dorothy Gale from Kansas"

Jar Jar Binks Fan Club
Aqua Utopia๏ฝๆตทใฎๅบใง่จๆถใ็ดกใ
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noise dept.
Today's Document
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@just-wublrful
anyone reblogging this post talking about a guy under 40 is banned
you know i've grown since i made this post. if they're not nearing their early 60's what even is the point

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the odyssey is so funny. after losing all his clothes in a horrific god-induced shipwreck odysseus is like hm how can i get this random girl ive just run into to give me some clothes. maybe i should run up to her while still naked head to toe and grab her knees or actually maybe that might not be such a good idea and i should just ask her with words from my mouth. real headscratcher for wily odysseus
a kiss for my angel
๐ this is for my monthly mail club | instagram | bluesky
inseparable ๐ปโค๏ธ๐บ
๐บ04 terracotta, underglaze, beeswax, wire

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Locked in too hard on Romeo and Juliet again with my current reread of the play. Romeo has no agency within the text unless it's related to love and Juliet has agency no matter what. They're subverting gender roles within the play your honor.
Romeo, who's depicted as a bleeding heart and a deep soul, only actively pursues ideas of love through the play. Violence isn't something he chooses, it's something that happens to him.
He tries to separate Tybalt and Mercutio, and only resorts to killing Tybalt in his grief and love for Mercutio. Despite not loving Leonardo DiCaprio, his acting in this scene during the 1996 version is a perfect example of this. It's the same with his murder of Paris, he doesn't actively want death and violence here (dare I say this is why it's such a footnote within the story itself).
Juliet, on the other hand, has more agency throughout the majority of the play. Her father gives her the option to choose whether or not to marry Paris, at least before this is revoked later, and this seems to be reflected in her nature. While she has less text overall (and is a little harder to understand because of it, imho), she's more levelheaded than Romeo, and takes far more action than he does.
Juliet is the one to send her nurse to find out more about their wedding. Juliet is the one who decides to defy her father and refuse to marry Paris. Juliet is the one who chooses to go to Friar Lawrence to solve her problems.
All of this even gets boiled down to base gender roles in their deaths. Romeo chooses poison, considered feminine within Shakespeare's work due to its indirect nature, but also continues this characterization of Romeo as almost love incarnate. Juliet, however, has death by blade, which is more masculine in Shakespeare in comparison, due to it being more directly involved in violence. There is such a fascinating juxtaposition in their final scene as a whole between the two of them (that really boils down to my prior statement, though).
Anyway enough analysis, I'm horrifically tired and love r&j and all this to say that Juliet is a boy and Romeo is a girl and they're kissing nasty and it's awesome and I love them.
"passing advice" for trans men that is like "kill your joy and whimsy. you wear baggy neutrals now. you will dress like a 90s grunge band member but you cant accessorize or have hair longer than your ears. plain boxy tshirts only. maybe a flannel but beware you might look like a lesbian if youre not careful. and i have to reiterate: dont you fucking DARE wear a color"
"Passing advice" for trans women:
Skirts, dresses, no shirts unless they're women's cut. 2 hours of makeup AT LEAST every day. Don't wear anything other than pink. Don't have any unique style. Also get these dozen surgeries.
"Passing advice" for non binary people:
Der Maskenball (1949/รl auf Leinwand) - Arthur Kampf
Stefan Eggeler (Austrian, 1894-1969) - The Suicide (Death Playing the Violin)
3 year old vs 5 month old

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Marina Abramoviฤ and Ulay,ย Rest Energy, 1980
16mm film transferred to video. 4:07 min.
Shot in the Dark (1943), by Tom Lovell
inspired by that one post about how you can cut out the middle of โfine lookingโ for an expert YTP style sentence mix
two sides of the same story

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โ๐๐ข๐ณ๐ญ๐ช๐ฏ๐จ, ๐ธ๐ฆ ๐ง๐ฐ๐ถ๐ฏ๐ฅ ๐บ๐ฐ๐ถ!โ
๐ this was for my monthly mail club | instagram | bluesky
[ID copied from alt: Two mermaids in water peer up at an injured girl. One of them holds her face in their hands. The caption says "Darling, we found you!" End ID]
The website whose major export in the last 365 days is a superwholock style yaoi delusion about Markiplier and Ryan Gosling seems obsessed with letting me know it finds itself too much of a sophisticated cinephile to enjoy a Christopher Nolan movie
My issue isn't that I think I'm too good to enjoy a cinematic movie, it's the complete bastardization and sanitation of the female characters. To be fair, I feel that way about all Nolan films to an extent, but this one especially so because the female characters are so incredible in the source material. Penelope isn't some sad, weak woman waiting to be saved. She's a cunning strategist who holds down the fort until her boo gets back, which she never doubts for a second. Athena isn't a product or victim of war and violence. She is a WARMONGERING GODDESS. Calypso and Circe are also goddesses and they are not there to act as sad caretakers to listen to Odysseus's grief. They are actually just as flawed and monstrous as the male gods, assaulting Odysseus and using him as they see fit. They have depth and individual motives that have nothing to do with the pathetic man Nolan turns Odysseus into.
i could probably engage you in good faith discourse about this but opening your blog and immediately seeing art of ryan gosling sticking his tongue down markiplier's throat absolutely knocked the wind out of me