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#I'm being pathetic
floydsteeth · 1 month
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Someone bully me into taking a shower
Self care isn't self caring:(
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thelilpumpkin · 3 months
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I loved a boy
Thank G.d
Don't know how it happened
Don't why it happened
He was there
Tall and shy
Looking at me
Like I was some kind of life
And he made me feel alive
Leaving him buries me alive
Because I love him how silly is that
Remember when i put on your glasses and hat
I loved a boy gosh damn
I really thought you'd be a man.
But how can I know you
How could I be with you
When even you, smart as you are you
Don't know what you want
Or
Where you're going to.
So I knew a boy
A sweet boy
A man so long and tall
Made me question it all
And I need you right now
But that's not happening anyhow
So please have a good life somehow
Knowing I loved you
Enough to leave you
I wish I could have pleased you
But that's over
But
But
It's over
Fuck I don't want to say this is it
But it is
Fuck I'm doing it
Bye my almost love
Bye those dreams of us
I'm leaving I'm leaving
   
I'm leaving.....
  ...I'm leaving..
Leaving
now.
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adustoflove · 3 months
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Having bpd to me is like I'm the loneliest person on the planet, no matter how many people I talk to, no matter how many connections I make or have, I'm a lonely void who will die alone. I have to be talking to someone or with someone every second of every minute of every day. I love people so much, I need people. There's so many people out there with different things to teach you. And then, if I have to talk to one person for more than 6 seconds today, I'll kill them. I'll kill myself. I need to be left alone for the rest of the day, I need no one but myself to be happy. I don't want to partake in anything with anyone because it's all draining and taking out of my alone time. Everyone is the same, they're all boring and self-absorbed. Every conversation feels like I'm forcing myself to be actively present. I just want to be alone in my room with nothing or no one. I don't see a future where I'm happy with anyone other than being by myself.
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diathadevil · 7 months
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Day 7 - Scatter
His biggest fear.
(Bonus doodle underneath because I felt bad for Fakir so I ended up making this into a dream sequence comic :'] )
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marley-manson · 2 months
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Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.
Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.
Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.
And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.
From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.
Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.
Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.
And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.
Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.
More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.
But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.
Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.
This difference in framing can partially be explained by the nature of their respective gender performances.
While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.
The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.
This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.
And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.
Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.
Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).
Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.
Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.
Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.
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cottoncandysprite · 3 months
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Yall my gf just said the moment she fell for me was when I was infodumping about nandermo I'm not even joking
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onesidedradiostatic · 25 days
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I forget about some of the unhinged shit I have in my drafts sometimes
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moonchild-in-blue · 4 months
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Your face is a window
Sometimes it's 15:18 on a Wednesday; you're making coffee, water on a kettle, tugging on your sleeves to stave off the cold.
The skys are blue and bright and out of reach, hidden behind blurry windows. Droplets of yourself cling to the glass.
Condensation.
They too are trying to stave off the cold.
There is music playing ; the butterfly album that flutters quietly in your heart. You hold a spoon, cold steal, and weep.
Your tears faces run down the windows,falling from the sky to your hands.
I'm letting go I'm letting go I'm letting go-
The water is ready.
- a nothing writing about 50 minutes ago
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cacti-on-venus · 1 year
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q!Philever
So all I’ve seen is sad q!Philever angst fanfics about Forever locking up Phil and separating him from his family. But have you considered this?
Forever being an absolute failure in kidnapping Philza and Philza just. breaks out every time. Sometimes it takes him five minutes. Sometimes Chayanne breaks him out without Forever even noticing.
Forever gets so frustrated that he can’t have Philza that he starts crying and Philza makes him a cake to cheer him up for being a bad kidnapper all the while trying to stop cackling like the gremlin old man he is.
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greenmantle · 7 months
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I'm so, so sorry - I'm just...
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elfcollector · 1 month
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BALDUR’S GATE 3 (2023) — developed by larian studios.
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nikkoliferous · 8 months
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after reading the one hundred and one millionth inane quote about how Loki is such a pRiViLeGeD pRiNcE while Sylvie is just a poor baby who had no real childhood and had to learn to fend for herself from a young age, I feel the need to point out that even the ONE thing we know about Sylvie's past, the thing that's supposed to be her mAjOr tRaUmA and set her apart from him somehow, was literally stolen from Loki.
this is how Tom described Loki's experience post-suicide attempt back in the day while doing press for Avengers:
“I think he went, like with everything else, to a sort of… it was just like, the worst place imaginable. I think he went to all of the darkest recesses of the universe. I’m sure he had a brush with—several brushes with death. I think he ran into the shadiest characters you can find in the Nine Realms. I think he had to rely on his wits to protect himself. It was really, really, really unpleasant, I think. I don’t have any frame of reference for that, except for imagining what it might be like to be kidnapped by a terrorist or something and have to survive a very, very frightening and precarious existence. But whatever it was, it was important when Loki came back for The Avengers, that whatever compassion he had left was absolutely shriveled to a minimum because of the experience that he had. Harrowing, I think, and scarring for life—in a way that Thor and Odin and Frigga find very, very difficult to understand.” [source]
and now the show pretends that Loki teamed up with Thanos completely of his own will, even though Marvel had JUST confirmed that the sceptre was influencing him throughout Avengers, and they hand that traumatic backstory that was Loki's off to their precious OC.
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taydaq · 6 months
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People are talking about a Mike/Ness ship from FNAF and I CAN'T STOP THINKING ABOUT HOW CUTE THAT WOULD BE.
EVEN THOUGH THEY'VE NEVER MET AND NESS HAD LIKE 5 LINES.
I did try drawing them, but... it didn't look good. LOL. I'll attempt again this weekend maybe!
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slowpokegamer · 1 year
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Baptism of Fire giving me the saddest little meow meows ever
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moxley · 8 months
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i made a joke post about raphael being unconcerned, unbothered, moisturised, staying in his lane, etc when haarlep fucks someone else even though he can feel every second of it
except i am thinking about it so much actually 😳
because when you're given raphael's boudoir invite, you're told it's where he conducts business and pleasure. you're explictly told to share yourself with haarlep
if you give yourself over to haarlep entirely, they say that you're going to be a loving doll for them and their master, that you're going to pleasure all the beasts in the hells
why would he be concerned about haarlep fucking anyone in his house when it is always a good outcome for him. he's creaming his pants in some devil meeting(tm) on a different plane and maybe he gets a brand new toy
good lord the man may not get fucked by anyone except haarlep but he's into an endless list of gloriously fucked up shit
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irregularbillcipher · 10 months
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bill cipher is the character ever. he swears in cartoon sound effects. he has beef with a baby. he didn't know what colors were until he was like at least 27. he's the most powerful being to ever visit earth. he only exists in dreams. he's an alcoholic. he's a victorian. he almost certainly worked retail. he doesn't know about his own gender. he also doesn't care about his own gender. he's depressed. he likes silly straws. he knows everything. he's stupid as shit. he thinks that normal is just a setting on a washing machine. he's touchy about his sides being uneven. he's a flatland oc. he's owned by disney. he responds to "willy." he thinks in all caps. he has a reddit account
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