can I please get the Replying From Sideblogs Feature Please. im so tired of looking like this every time someone says something to me.
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something. about. the horror of being sent on an impossible (death) quest and obligations and hospitality politics. the trauma of not having a home, and then the trauma of being in a house that becomes actively hostile to you, one that would swallow you whole and spit out your bones if you step out of line. all of this is conditional, your existence continues to be something men want gone.
it's about going back as far as I can with the perseus narrative because there's always a version of a myth that exists behind the one that survives. the missing pieces are clearly defined, but the oldest recorded version of it isn't there! and there's probably something older before that!! but it's doomed to forever be an unfilled space, clearly defined by an outline of something that was there and continues to be there in it's absence.
and love. it's also about love. even when you had nothing, you had love.
on the opposite side of the spectrum, this is Not About Ovid Or Roman-Renaissance Reception, Depictions And Discourses On The Perseus Narrative.
edit: to add to the above, while it's not about Ovid, because I'm specifically trying to peel things back to the oldest version of this story, Ovid is fine. alterations on the Perseus myth that give more attention Medusa predate Ovid by several centuries. this comic is also not about those, either! there are many versions of this story from the ancient world. there is not one singular True or Better version, they're all saying something.
Perseus, Daniel Ogden
Anthology of Classical Myth: Primary Sources in Translation, edited & translated by Stephen M Trzaskoma, R. Scott Smith, Stephen Brunet
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The RuPaulication of being gay. The TikTokification of being gay. Both are the same, in a way that it also feels like capitalism taking over, where you've to buy certain accessories, like certain music, watch certain shows, dress a certain way to be Gay EnoughTM, and if you do not, then you're absolutely out of the loop and are not considered gay.
There's a lot I could say about it, especially about how it's very fucking American above all and based around English second of all, and third of all, I just can't stand a lot of pop music and I'm goddamn tired of every Cis Gay Over 30 either gasping at me for not listening to Cher/Beyonce/Insert Pop Artist or Cis Gay Under 30 gasping at me for not listening to Taylor fucking Jet Fuel Swift.
I'm so tired of "gay icons" being cis women that make music videos with huge rainbows and says performative shit that has Feminism 101 written all over it. I hate that being gay is an AestheticTM now. I hate that every queer has to have a common fucking vocabulary that's native only to English-speaking, online-dwelling, TikTok-addict people. It's so infuriating to be giggled at by people because you just don't fucking care about wearing certain clothes that THEY consider gay enough.
Seriously, I fucking hate it.
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"The key thing was of course, the fact that Rick has PTSD and that's very much what's driving a lot of his behavior and being in a place of that level of vulnerability, back with the love of his life in that way.
It's also the thing he fears, the loss of her. It manifests itself in a way that is visceral and leads to the lovemaking not just being about love, but the revealing of pain and trauma and fear. That informs Michonne, that she can't just blast him into making sense. There's something deeper going on here that he can't verbalize. She has to help him get through in a different way. So she gets to see him, as well, as he reveals what's really in there, the wound. That's going to happen most likely in that most vulnerable space." — Danai Gurira
"Yeah, I think it is about pain. As Danai just said, it's about him wanting her and then fearing what he's about to unlock again. He gets to sort of articulate it in the scene further in the episode, when he gets to say that, 'I can't do this again. I haven't got the capacity to do this again. I've worked out how to die and live again.' So it is an absolutely necessary scene that allows Michonne to realize that there's something really broken here, more broken than she's ever anticipated. [...]
So the scene was about a real intimacy, a sort of frightening intimacy. This is a part of his personality he has shut down. It's almost like he's trying to stop himself from feeling this love again. She sees that and she just says, 'Just trust. We're back. We're the same...' I find it very moving. I think it's a very, very moving scene, because it's about them connecting in a way that he's had to deny for seven years. He's denied that connection for the sake of living on in this half life for the CRM" — Andrew Lincoln
Andrew Lincoln and Danai Gurira Discuss Episode 4 of The Walking Dead: The Ones Who Live
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