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#but man she is a mess
zandra-lang-cave · 10 months
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Molly's posible depression
I didn't think about it until I saw this fanfic
https://archiveofourown.org/works/45957685/chapters/115676548
( I love it. It inspires my mind, that isn't an easy thing to do, believe it or not)
I won't explain everything, but it basically gives a lot of insight about what could go on in Molly's head through the perspective of everyone around her.
After I read it, I gave a rewatch to the show, and a lot of stuff took a turn in my head and in my view of molly. In this post/essay, i will explain why Molly's depression is not such a baseless idea as it might seem. Here are some examples that can be symptoms/reasons for depression.
She has moved a lot for her entire life
That doesn't look that bad at first sight. Specially when the show doesn't really pay attention to the life of molly begore Brighton. But if you really look more closely, it's really sad.
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If you count all the pins the macgee's had, they move at least 23 times. I say at least because molly just put the places she remembers moving, but they have probably moved more when molly was a baby/toddler, so she doesn't remember. Let's assume this are since when molly was 4-5 since that's when she probably started to remember the places they have moved.
Molly is just 13 years old. Doing the math She has moved to 23 places in 9-10 years.
Moving just once in your life can change your mind a lot. especially for a child. They need stability to be able to develop the best they can, and moving to a completely new environment even just once can affext that development.
I move from my home contry to the US when I was arround 9-10 years, and even though I knew it was for the best, the whiplash affected me all through my teen years and I just recently started to feel comfortable in my home, almost a decade later.
So just imagine a kid in their formative years, moving to a new city, and going through the process of adapting to a new environment, just to move again in a few months.
Lack of friends/community
This is a big part of the show, though a suttil one, and it applies to the whole family, not just molly. The macgees are a very social family not just molly, everyone of them trive in community. They do volunteering together, they support molly to construct the banshell, they join in town parties, and events not has attendees but has staft.
But that say, none of them have any friends before Brighton. And until the Chen's arrive they didn't have any close friends.
Darryl has 2 friends he mentioned, but we never see, and Sharon and Pete have libbys mom, but that one is more of a "our kids ate friends, let's get along" type of friendship.
Molly makes a big deal of both scratch and libby being their best friends, scratch specially when she calls him her "forever friend." And lets remember her entire family makes an entire dance for the chen's, it was a big deal to them to get them to be friends with them.
They haven't had any friends or community in such a long time that they are emotionally deprived, to the point they go to extreme lengths to ensure they forever home can be the best place it can be. It's not a bad thing on paper, but it's not a good thing if we think of it logically.
Molly's controlling tendencys
A big part of Molly's personality is how controlling and pushy she can be. The entire episode of snow day show this at his peak, but there were tiny examples before and after. When they make a movie and molly dismiss her friends complain saying "if I'm the director it's still our movie", her helping all her class with the props and costumes (she 100% volunteer for it), the relationship with her mom and grandma, libbys bat mitzvah, etc.
Well, that can be seen as a coping mechanism. She lacks stability as she grew up, so taking control can be subconsciously comforting.
Again this is something I can relate, I lack stability in my childhood (for different reasons) and in my teens I crave has much control in my life I could get (I didn't have it which leaves me with more unrelated issues but still I salty about it) it's just a comfort being in control when you are use to not having it.
There are probably more examples for Molly's possible depression symptoms/reasons, but this are the biggest I could think at the moment. I will make a second post if I remember anything else.
Now the biggest counterargument would be "she is so smily and happy, she is not sad she can't be depress." To that, I answered, depressed people can look/act happy. Most of the time, they do.
Using myself has an example, I pass through a "happy depression," and I basically pretend to be happy to not worry my family. I didn't wanted to feel what I felt so I would do things to not thing about, I would read fanfiction all day, work on school, read books, see TV an unhealthy amount of time just not to feel anything but the "happines" those things give me. In family gatherings and school, I would act friendly and "normal." I didn't even let my grades slip cuase at the time they were the most important thing in my mind. There was no reason for anyone to believe I was depress.
I kept that for around 5 years, the "happy depression" going on an off but never leaving completely, I never addressed it because in my mind and everyone around, I was "happy." Until the pandemic hit, and it destroyed me emotionally. I know that happen to alot of people but I mean it, It destroyed me, I couldn't use school has a distraction because it didn't kept me occupied enough, the little time I spend outside of my house was rip away.
I could no longer avoid thinking and feeling, and that turned the "happy depression" into a full mental breakdown that I had just recovered less than a year ago. And not even fully cause I keep falling back into avoiding my feelings from time to time. Just now, I can recognize it and fix it before it turns into "happy depression" again.
Hum, acting happy to avoid others to worry, filling yourself with activities that make you "happy", acting has if everything is totally normal.
Those are things molly can and has done.
So yeah, depress molly. More likely than you believe. I already loved her before. Even though i couldn't relate to her, i related more to scratch. but after this realization, I relate to her a lot, and I appreciate that. I don't think it would ever be acknowledged or even mentioned in the show, but the fact I can see it, it gives me comfort.
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mumblesplash · 4 months
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(teaching my art class)
me: and what’s the number one rule when designing characters with wings? …well?
a handful of students, sighing reluctantly: no good fa-
me (interrupting them): NO good-faith attempts at realism, EVER. you want all the bird dweebs and physicists jumping ship as EARLY AS POSSIBLE so they’re not around to cinemasins your ass when you get to the cool parts of your story, and…ugh, what now, gerald
gerald (my least favorite student): why not just do some minimal research instead of-
me: listen you little shit i can and will singlehandedly tank your 4.0 gpa
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hedgehog-moss · 1 year
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I just read a detailed account of the Bal des Ifs and I’d never realised how funny this event was when you don’t focus on Madame de Pompadour. All I was taught at school is that it was the masquerade ball in 1745 where Louis XV first took (public) notice of la Pompadour, but what I didn’t know was that the former royal mistress had recently died so there was a vacancy so to speak, and a lot of noblewomen showed up specifically hoping to catch the King’s attention. 
But he came dressed up as a shrub (a yew tree similar to the ones in the royal topiary gardens) along with seven other men in identical costumes, so no one knew for sure which one was the King. People always focus on how Madame de Pompadour recognised the royal shrub and talked to him, but what about the women who didn’t!! History is written by the winners but I want to hear about the women who doggedly danced the minuet with random shrubs hoping this one was the one. My book mentions that a determined noble lady followed a yew tree outside the room on a hunch, only to find that she had bet on the wrong shrub. This is what the shrub costumes looked like by the way, imagine stalking one all over the park of Versailles at night because you think his gait looks kingly and you are an ambitious noblewoman
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liam-summers · 4 months
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Angel: Help! I've fallen and I can't get up! Buffy: *sigh* *goes over to pick up her giant of a man, once again*
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bumblerhizal-art · 1 year
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tell me this wasn’t basically zevran’s recruitment
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ibrithir-was-here · 4 months
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Sooo I wrote a…weird little thing, a certain comic by @mayhemchicken-artblog got my creative juices percolating and under the press of staying up far too late for several days this came to fruition, enjoy!
The Eye of the Beholder
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Link to the Comic
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ghouljams · 4 months
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"We can start trying after dinner." Why do I have a feeling one of two things are going to happen. One bee ain't gonna be out of bed for the next 5-6 weeks or two Bee's gonna to be heavily indulging in König's free use kink. No room, structure, or area will be safe from the beast and I don't think Bee will complain. If the animals could talk they'd simply say run to whoever is unlucky to pass by. Good thing their farms are so far from everyone.
-Hot mess rambler
When König said after dinner he meant after dinner. Pushed against the sink as he tugs your pants down, shuddering and moaning as he bullies his cock into you, after dinner. You don't even get the water turned on, you put the dishes in the sink and he bends you over. His big hands pull your hips up to meet his, and he leans over you so you can feel his weight as he fucks you nice and deep. Maybe König pulls his shirt up enough that you can feel the softness you're created, the press of his stomach against your back, the dark thick hair that covers him and tickles your skin. It's dirty and efficient and he keeps you there, fucks his come back into you and murmurs in your ear about trying until it takes.
You have 20 minutes to clean up, working within his refraction time before you're bent over the next nearest surface and fucked full again. There's absolutely no area of the farmhouse you wouldn't get fucked on/in/over while König indulges not just his free use kink, but his breeding kink too. Although, is it really a kink or is it just what's happening? He's breeding you. He doesn't need 5-6 weeks, König is keeping you stuffed full of his potent come and if you don't miss your next period it will be an act of god.
You cannot escape this man. It's a miracle that you don't get caught by anyone driving past your farm when König catches you during chores, fucking you into the grass, mounting you like an animal. Fuck he'd smack your ass when he's done, tell you to clean up and get back to work. Walking around with wobbly legs and his come dripping out of you... Mmm, You sure feel like a farmer's wife during these few weeks.
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himejoshiangels · 6 months
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cass cain is so emotive and I hate that so many of yall fall straight into the stoic asian woman stereotype thing because like, the only reason cass wouldn't vocalize a feeling is when she would struggle to find the word for it because she literally wasn't taught how to speak. that's so fucking upsetting. She has such big beautiful emotions, she feels so deeply about the littlest things but everytime she has trouble putting it into words she's reminded that she was conceived not to. her abuser did not have her feelings or her pain in mind, only how well she could end a life. can you fucking imagine
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thewisestdino · 5 months
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Spotify game: 63 and the angsty boy Breezepelt!
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I think that you’re worth keeping around
I think that you’re worth holding onto
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cutness agression
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jklpopcorn · 6 months
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she so ANGY
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iwasbored777 · 9 months
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Love learning new things just like the other day someone said that, apparently, in order to lean on Miles' shoulder Gwen had to use extra strength and concentration cuz it's already hard to sit upside down and she made it even more difficult by balancing her weight enough to lean her upper body towards another person and it made me think of how she didn't hold hands with him which was way easier to do in that position but she felt so bad that she rejected him that she said "fuck gravity he needs to know that I care. I already fell for him I might as well fall down too"
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bonefall · 1 month
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Did Brambleclaw actually disown the Three when the secret is revealed? I don't remember this happening (then again, it's been a while) but it does bug me how all three go "Poor brambleclaw :(( He was such a good dad to us and he has to learn we're not even his biokits :(((( poor guy" while simultaneously shitting on Leafpool and Squirrelflight despite them showing them more care and affection before AND after the reveal. If he does disown them, then.... WOW is the double standard real here.
In-canon? It's something you have to approximate. They don't seem to have a concept of ""disowning"" because blood relation is taken as such an insurmountable, FUNDAMENTAL fact of life. He doesn't write them out of his little kitty will and testament, but his actions ARE disowning.
It's as if the fact he is not their biological father is an automatic disowning. From the reveal onwards, he is immediately cold, distant, and the "betrayal" is mentioned often. The Three also explicitly don't blame him for his behavior, like it's just to be expected that he's Not Their Dad anymore.
Lionblaze in particular stares longingly at him several times, really missing him. And like... that's kinda what gets my goat so much
I do believe Brambleclaw is entitled to his feelings of betrayal. I believe Squilf was ultimately in the right to lie, actually, but he's still allowed to be upset and angry that she didn't trust him enough to tell him something so important. THAT SAID, YOU ARE NEVER ENTITLED TO TREAT OTHERS POORLY.
And that's what GETS me. He isn't upset that it was all revealed in such a painful and embarassing way when this could have been avoided, or that his lover struggled with this lie for so long without him, or that he feels he's lost his children. Squilf points it out in The Last Hope-- He's so ANGRY at Squilf that he will THROW HIS FAMILY AWAY
Lionblaze seems desperate to be his son again. Hollyleaf is gone for months, and Brambleclaw is still huffing about the secret when she comes back from the dead. Squilf is fawning in the hopes it makes him talk to her again. Doesn't matter. Brambleclaw Is Upsetti Spaghetti so the narrative will never examine his role in hurting this family he apparently loved so much.
(Narrative seems to understand full well that when Squilf lies for a good reason, that doesn't invalidate the hurt Brambleclaw felt... but when Brambleclaw is upset for a good reason, it actually DOES validate what he put her and his kids through)
In BB it is explicitly a disowning. He cuts them off as his children, and they reciprocate. BB!Lionblaze does so in a ball of fury, vowing that he has ONLY a mother.
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tyttetardis · 4 months
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Macbeth Q&A 18th Jan 2024 Part 1
Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️
The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.
The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.
Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if haven't seen it yet but is going to!
To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).
David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".
First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!
Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.
David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.
He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.
Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.
When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!
Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.
Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.
Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".
It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.
David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.
He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.
Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.
David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.
Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.
David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".
Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.
The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.
Part 2
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OLD SATOSHOKO AND THEIR GRANDKIDS
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Ahh sorry Anon, I couldn't really imagine them old old. Call me Age-ist but I like this better anyway.
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