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autusm 👍

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ACT ONE REVIVAL WHIZZER DRESSES LIKE LOIS GRIFFIN

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she let me hit cause i died and came back wrong

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all ur life u wanted men but when u got it up to have them… who knew it could end ur life :(

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Sad idea my brain has been stuck on: young Rick getting extremely drunk/high/otherwise out of his mind to the point that he forgets that the voice isn’t really Diane and goes into the next room to try and find her, and then the next and the next, increasingly more frantically with each room until he breaks down (as Diane’s voice taunts/berates him)

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logging onto tumblr dot com and reddit dot com, searching up ‘rick and morty’, and finding some of the worst takes perhaps comprehensible to man on justin roiland, then logging onto twitter dot com to see no statement made from adult swim

#justin roiland #rick and morty #i got into rick and morty a day before the charges #i hope they replace him and cut him from the contract and maybe even just get different showrunners

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ok see i could agree with this but tbh any white man in his 20s can do a killer rick or morty impression

Rick & Morty is a cautionary tale about how you shouldn’t count on one guy to do a majority of the voices in your show because if he gets outed as a sex pest you can’t just recast him with a similar sounding voice actor

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No thoughts just Chip Zien as Mendel

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i think about duane often and felt the inexplicable urge to share this

http://www.thedallasway.org/stories/written/2021/9/19/duane-puryears-and-the-quilt-panel

[image description: a young man sits on a grassy field, holding a panel of the AIDS quilt. The panel is in black and white, with writing in capital letters. It reads: My name is Duane Kearns Puryear. I was born December 20th, 1964. I was diagnosed with AIDS on September 7, 1987 at 4:45pm. I was 22 years old. Sometimes it makes me very sad. I made this panel myself. If you are reading it, I am dead.]

#cw aids #queer #lgbtq #queer history

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been thinking lots about mapplethorpe and queer art history

#robert mapplethorpe #mapplethorpe #queer #lgbtq #queer history #photography

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the way alison fraser says ‘we lay in bed he plays dead i play a game with sound and light dont need no quiz im all his darling he says we might survive the night love me for what i am not what i try to be love me for what i am i am someone inperfectly me” hurts my soul

#falsettos #in trousers #marvin trilogy #alison fraser

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The final scene of Falsettos at Hartford Stage, 1991, captured by Charles Erickson

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Everytime i think maybe In trousers isn't as weird as we act it is i remember there's actually gay columbus x vespucci fanfiction in it and it's actually one of the most important parts of the entire musical. Also none of those are actual characters in the show.

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meow…. if u even care

i just go bleh bleh meow mrrroew hiss hiss grrr through life

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“I swallow your heart and you make me

spit it up again.”

Richard Siken really and truly went off with “sometimes you get so close to someone you end up on the other side of them”

#poetry #siken goes so hard

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genuinely when i stopped self reflecting my life got so much better im not kidding

too much self reflection is not a good thing honestly. go outside and plant a garden and then cook yourself a homemade dinner then mop the floors and change your sheets and take a hot shower then you won’t care so much

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In his “Rude Awakening Series”, John Boskovich explores queer shame, desire, and the historical role of psychology in condemning queerness during the AIDS crisis through conceptual photography. Comprised of a framed set of Polaroids, each image depicts a mundane memory, domestic scene, or occasionally homoerotic vignette against a positive affirmation. The text itself is silk-screened and was derived from a psychology self-help book gifted to Boskovich shortly after his partner’s hospitalisation.

Each memory is curiously devoid of real human faces, with most containing no people at all. This prompts the viewer to consider who is missing, and the reasons for their absence. The person has left behind half-eaten popcorn, open books, lit stoves. Alternatively, they are invisible — pushed into the margins of heteronormative culture, ignored so harshly that they simply stop existing altogether. Why did Boskovich receive the self-help book, rather than his partner? Why must he better himself, when his partner obviously needs more help than he does?

Ultimately, Boskovich critiques the cogency of pop psychology when faced against genuine queer crises. How can queer people adapt to the increasing societal focus on psychology, knowing fully well how it has been used to harm them? How is psychology used to brush over and minimise the pain that Boskovich is feeling in this moment— a pain already so minimised solely because of his homosexuality?

He sardonically touches on his partner’s inevitable death with levity, with statements such as “Money comes easily to me” contrasted against a naked man, exploring the way queer crisis fits into the prevailing, heterosexual context from which it is borne.

The historical use of psychology to criminalise and condemn queer identity is not lost on Boskovich, who considers whether queerness can ever fit into a world of medicalisation, psychoanalysis, and diagnoses.

#queer #queer history #lgbtq #queer artwork #artwork #conceptual art #john boskovich #psychology #psychoanalysis