Tomboy014

okay so. picture this:

the batcave has one couch. it's in the corner. it’s hideous. it’s like beige or green or something equally offensive to every one of their aesthetics. no one likes the couch.

and that is exactly why it became sacred.

because one night jason just. drops onto it. full gear. bleeding. absolutely done with life. says nothing. doesn’t even take off the helmet. sits there in silence for 3 hours and then leaves.

next week tim uses it. sits there post-mission. face in hands. someone tries to ask if he’s okay and jason throws a batarang at them.

and thus it began.

Rules of the Do Not Talk To Me Couch:

You sit there? No one speaks to you.

You cry? No you didn’t.

You eat cold noodles off your chest at 4 a.m.? That’s sacred time.

If someone tries to comfort you? They are excommunicated for 12 hours.

Dick (sitting on the couch):

Damian: Grayson, are you—

Jason (from across the cave): HE’S ON THE COUCH.

Jason: I don’t make the rules.

Steph: You LITERALLY made the rules.

Jason: And I am the defender of the rules. There’s a difference.

one time damian storms in. covered in blood. absolutely furious. 10/10 rage goblin energy. throws his sword. marches to the couch. sits. arms crossed. steaming.

tim takes one look at him and goes: “i’m making tea.”

jason: “that’s acceptable. tea is allowed. talking is not.”

bonus:

once bruce sits on it.

and the ENTIRE CAVE goes silent.

tim literally freezes mid-typing. cass stops mid-flip. jason just mutters “oh shit.”

they all leave. immediately.

the couch is not ready for bruce.

extra bonus:

—

PBS: Language as Prejudice - Myth #6: Women Talk Too Much (via misandry-mermaid)

Every EVERY women’s studies class I’ve been in has had this problem and failed to address it. 

the cambrian period is TOMORROW!!!

PERIOD- / FANTASYFILM / SHOW + BRIDAL CARRY

FRANKENSTEIN (2025)

EMMA (2020)

BRIDGERTON (2020 - )

CRIMSON PEAK (2015)

INTERVIEW WITH THE VAMPIRE (2022 - )

A ROOM WITH A VIEW (1985)

THE PRINCESS BRIDE (1987)

SENSE AND SENSIBILITY (1995)

THE OTHER BENNET SISTER (2026)

WUTHERING HEIGHTS (2011)

In the middle of a horrific battlefield, you find one corpse laid aside neatly, straightened and arranged, its arms crossed neatly across its chest

As you walk through the garden, you gradually realise that the oddness you’ve been noticing about the trees is that they are all perfectly symmetrical

As you move through the abandoned house, you realise that suddenly that there’s no dust in this room, no dirt or cobwebs

You hear hideous noises coming from behind a locked door, screams and pleas, and visceral sounds of violence. When you manage to break down the door, there is no one there, and the room is perfectly spotless

In the middle of a horrific battlefield, a hollow full of churned mud and blood, you find five corpses cleanly dismembered, each set of limbs or parts neatly laid out in their own little row

You witness a murder, a brutal, grisly killing that carpets the area in blood. When you return in a blind panic with the authorities, the scene is completely clean, and no amount of examination can find even a drop of blood

You run through the night and the woods with a comrade, pulling each other through leaves and twigs and mud as you scramble desperately towards freedom. When you finally emerge from the forest, in the grey light of dawn, you turn to your companion in relief, and notice that their clothes are somehow perfectly clean

You hand a glass of water to your suspect, talking casually the whole while, and watch with satisfaction as they take it in their bare hand and take a drink. There’ll be a decent set of prints to run from that later. Except there isn’t. There are no prints at all. As if nothing ever touched the glass

You browse idly through your host’s catalogue, and stop, and pay much more attention, when you realise that several items on a dry list of acquisitions are ones you’ve seen before, and it slowly dawns on you that each neat little object and number in this neat little book are things that belong (belonged?) to people you know

Neatness, particularly incongruous neatness, neatness where you expect violence or imperfection or abandonment, or neatness that you belatedly realise was hiding violence, or neatness that is imposed over violence, is incredibly scary. Because neatness is not a natural thing. Neatness requires some active force to have come through and made it so. Neatness implies that the world around you is being arranged, maybe to hide things, to disguise things, to make you doubt your senses, or else simply according to something else’s desires. Neatness is active and artificial. Neatness puts things, maybe even people, into neat little boxes according to something else’s ideals, and that’s terrifying as well. Being objectified. Being asked to fit categories that you’re not sure you can fit, and wondering what will happen to the bits of you that don’t.

Neatness, essentially, says that something else is here. Neatness where there should be chaos says that either something came and changed things, or that what you’re seeing now or what you saw then is not real. Neatness alongside violence says that something came through here for whom violence did not mean the same thing as it does to you.

Neatness, in the right context, in the right place, can be very, very scary

So are

colostomy bags

Diapers

insulin pumps

Oxygen systems

rollators

hearing aids

compression garments

prosthetics

FREEDOM AIDS

- service animals

- noise cancelling headphones/ear defenders

- wheelchair attachments

- fidgets

IT’S DISABILITY PRIDE MONTH YALL

The mirror replied "To whom?"

"The miller who made the flour for my bread," the queen would say, or "Whoever spun the thread my shawl was made of".

The second time, she says "To the King," and she is pleased to see herself once more.

The third time, she says "To the Royal Advisor," and is once more satisfied to see herself.

The fourth time, she says "To the scribe who takes the King's letters." She is shown the man's wife. And she seethes, but quiets herself, for it is only right that a man loves his wife.

The fifth time, she says "To the Court Wizard," and is shown the man's departed mother as he remembers her from his youth, radiant and smiling and warm and larger than life.

The tenth time, she says "To the Stable Master," and is shown the fastest horse in the stable, majestic and free as the wind even in captivity

"To the baker," she is shown the man's daughter, young and adorable and full of joy and laughter.

"To the artist who did my portrait," she is shown a painting of a woman done by the man's teacher, who he still looks up to now that he is well established himself.

"To the Royal Knight," she is surprised but not displeased to see the castle's entire guard force in the middle of doing drills.

The one hundredth time she asks the mirror, and it asks her "to whom?" she once again says, "To me." And she does the same the one hundred and second, and again and again and again.