FERNANDA TORRES Winner of the Best Performance by a Female Actor in a Motion Picture - Drama award for "I'm Still Here" during the 82nd Annual Golden Globe Award (Jan 05, 2025)
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FERNANDA TORRES Winner of the Best Performance by a Female Actor in a Motion Picture - Drama award for "I'm Still Here" during the 82nd Annual Golden Globe Award (Jan 05, 2025)

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always on a fact finding mission
Julian Bunetta also posted a snippet of Fireproof with only Liam's vocals.

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i have no idea how to process this. it’s not unfathomable and it’s something i’ve thought about many times but i don’t actually know how to process it. what do you mean he was such an integral part of me growing up and he did some fucked up things in part bc of the fucked up environment he grew up in and now he’s DEAD and can’t do anything to try and make amends. what do u mean the boys now means harry louis liam niall zayn. what do you mean he left behind a child less than 10 years old. what the fuck do you mean
I keep thinking about that time a fan asked Stephen Hawking about Zayn leaving the band and how he said there are infinite parallel universes and that in at least one, Zayn would still be in One Direction.
The thought that there are infinite parallel universes is comforting to me right now.
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Think this often about my boy
you might be goth but you’ll never be fucking the grave of your unconsummated lover, who you poisoned to death (in the center of a hedge maze), in a rainstorm, on the grounds of his castle goth

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Once more, I return to the stabbing scene vis a vis Izzy and Calico Jack, more or less related to what I talked about here.
Again, this moment is clearly memorable for Ed, as he tells Mary Read, and even perhaps for Stede, who recalls the line "I stabbed you, you nut" via "You nut, why'd you have to go and get yourself killed" when he's sitting by Ed's bedside.
But this is also important in terms of how the representatives of toxic masculinity in the pirate world, Izzy and Jack, conceptualize sex between men.
Both Izzy and Jack clearly view sex as something that is done by someone to someone - I've discussed earlier how Izzy's understanding of the stabbing precipitates his insistence that Ed kill Stede. He's requiring that Ed fix the hierarchical imbalance created when Ed asks an "effeminate" man to penetrate him - something which Ed ultimately declines to do, and which Izzy himself cannot do (because his attempt to kill Stede backfires and effectively unmans him by breaking his sword).
Jack's own view of sex and sexuality is markedly similar. He also attempts to dominate Stede by his account of his "dalliances" with Ed, by reducing their sexual relationship (and all sexual relationships between men) to functions, and finally by pissing on Stede's shoes. It's entirely a performance of dominance - he tries to argue that Stede is ashamed by the thought of "buggery" and drags Ed's own sex life into the open (something which Stede rejects, saying that Ed's past life is his own business and that he respects that). Since Jack was sent by Izzy, one wonders how much he's learned about Stede and Ed from Izzy, and how much he infers on his own. The question - "Are you buggering each other?" - is a frank statement about what Izzy certainly thinks is going on.
Izzy's view of the stabbing scene and Jack's discussion of buggering are entirely about who is doing what to whom - and to them, who does what determines sexual roles and therefore their place in the hierarchy. Dominance and submission is about who penetrates and who is penetrated, and that is ultimately about power, not pleasure, desire, or love.
At no point do either of them imagine that Stede and Ed's relationship could have a romantic or emotional component - Izzy only sees Ed being seduced by Stede, Jack only sees buggery and dalliances. That their sexual roles could be not about power but pleasure and desire, much less an expression of love, is not something Izzy or Jack consider. And that Ed could be topped or even dominated by a gentle man who doesn't use, or think to use, penetration to hurt or shame him doesn't enter into their heads.
Ed, as much as Izzy or Jack, is aware of the power dynamics in sex between men in a way that Stede is unlikely to be. Ed does know the rules by which Izzy and Jack function, and it's consistently shown that he's tired of those rules - hence why he wanted to meet Stede in the first place, and why he continues to reject Izzy and Jack in favor of Stede. But he believes that's who he has to be - he tells Stede "you were always going to find out who I am" before he leaves the ship with Jack.
I've said before that Ed's entire purpose in the stabbing scene is to have Stede hold him. He's unable to ask for the softness he wants and so turns it into a violent game, not so dissimilar from the ones he plays with Jack. He allies a symbolic sexual act with violence because that's the primary way he understands - and, we can infer, has experienced - sex. But what he sees and feels in that moment, and what he remembers when he recounts it to Mary, is a soft man who doesn't treat sex and violence as inextricable, and is only concerned about having hurt him.
By the time we get Calypso's birthday, Ed seems to have fully realized that there is an alternative to the sexual power structure in which he has lived his entire life. That discovery is as freeing for him as it is for Stede, because it means that the soft things he wants, and the desires that he has, are not shameful, nor do they need to be violent for him to find pleasure in them. Being held by Stede is something he can ask for, and being penetrated by Stede doesn't need to be painful. By then, neither Stede nor Ed see their roles, or their choices about their sexuality, as fitting into a masculine power structure.
It is about love.
Making his boyfriend blush
excuse me i just need to scream about the red silk/suit parallels for a minute
the red shirt is to Ed as the red silk is to Stede:
we’ve covered how the silk represents Stede and Ed’s his love for him as a fine thing that Ed was not supposed have, a small scrap of hope that he kept hidden away from everyone but the one person he trusted most, and when he thought he’d lost Stede, he let that hope go.
Stede, on the other hand, can’t hide his heart away, and he isn’t good at hiding his feelings or masking most of the time; he wants his joy to bring joy to the people he loves. his love covers him head to toe, affects his behavior, it’s unmissable, just like the suit.
BUT the crew doesn’t trust Ed Blackbeard* the suit; they think it is cursed, haunted, will cause them harm and even death if it lingers.
we know this isn’t true, and most importantly, Stede knows it isn’t true. but he still has to show them that their feelings and perceptions matter and have a real effect on all of their lives; Ed the suit may not kill them, after all, but they will absolutely destroy Blackbeard the suit, and Stede too, if he gets in the way.
so, keep everyone on the ship happy and safe, Stede has to get rid of what constitutes Blackbeard the suit in the minds of the crew.
for Ed, it’s his leathers and weapons; for the suit, it’s the pants and coat.
but Stede gets to keep arguably the best part, the core of the look, the part of the whole outfit that is most versatile, *that suits Stede best*, Edward the shirt.
because, if i’m being honest, as fabulous and fun as Blackbeard the suit is, it is not an anytime look, and seems, frankly, a bit uncomfortable to wear all the time. but Ed the red shirt, with the neckline, and the black lace? that’s comfortable. that will go with damn near anything; it fits perfectly for whatever Stede needs in pretty much any circumstance.
he knows how to wear fine things well.
*when i say “Blackbeard” in this context i am specifically referring to the crew’s perception of him as-shaped-by the kraken-era suicide spiral

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“I ain’t seen it yet! [stutters] Well I— these days you can’t work out what’s fucking AI and what ain’t, do you know what I mean, so I’m looking at it like ‘is that the thing or not?!’ but I’m sure it looks great! I’m sure it looks great!”
-Louis commenting on if he’s seen Harry’s new haircut. (23 November 2023)
via Rolling Stone