you were raised in comparison.
it wasn't always obvious (well. except for the times that it was), but you internalized it young. you had to eat what you didn't like, other people are going hungry, and you should be grateful. you had to suck it up and walk on the twisted ankle, it wasn't broken, you were just being a baby. you were never actually suffering, people obviously had it worse than you did.
you had a roof over your head - imagine! with the way you behaved, with how you talked back to your parents? you're lucky they didn't kick you out on your ass. they had friends who had to deal with that. hell, you have friends who had to deal with that. and how dare you imply your father isn't there for you - just because he doesn't ever actually talk to you and just because he's completely emotionally checked out of your life doesn't mean you're not fucking lucky. think about your cousins, who don't even get to speak to their dad. so what if yours has a mean streak; is aggressive and rude. at least you have a father to be rude to you.
you really think you're hurting? you were raised in a home! you had access to clean water! you never so much as came close to experiencing a real problem. sure, okay. you have this "mental illness" thing, but teenagers are always depressed, right. it's a phase, you'll move on with your life.
what do you mean you feel burnt out at work. what do you mean you mean you never "formed healthy coping mechanisms?" we raised you better than that. you were supposed to just shoulder through things. to hold yourself to high expectations. "burning out" is for people with real jobs and real stress. burnout is for people who have sick kids and people who have high-paying jobs and people who are actually experiencing something difficult. recently you almost cried because you couldn't find your fucking car keys. you just have lost your sense of gratitude, and honestly, we're kind of hurt. we tell you we love you, isn't that enough? if you want us to stick around, you need to be better about proving it. you need to shut up about how your mental health is ruined.
it could be worse! what if you were actually experiencing executive dysfunction. if you were really actually sick, would you even be able to look at things on the internet about it? you just spend too much time on webMD. you just like to freak yourself out and feel like you belong to something. you just like playing the victim. this is always how you have been - you've always been so fucking dramatic. you have no idea how good you have it - you're too fucking sensitive.
you were like, maybe too good of a kid. unwilling to make a real fuss. and the whole time - the little points, the little validations - they went unnoticed. it isn't that you were looking for love, specifically - more like you'd just wanted any one person to actually listen. that was all you'd really need. you just needed to be witnessed. it wasn't that you couldn't withstand the burden, but you did want to know that anyone was watching. these days, you are so accustomed to the idea of comparison - you don't even think you belong in your own communities. someone always fits better than you do. you're always the outlier. they made these places safe, and then you go in, and you are just not... quite the same way that would actually-fit.
you watch the little white ocean of your numbness lap at your ankles. the tide has been coming in for a while, you need to do something about it. what you want to do is take a nap. what you want to do is develop some kind of time machine - it's not like you want your life to stop, not completely, but it would really nice if you could just get everything to freeze, just for a little while, just until you're finished resting. but at least you're not the worst you've been. at least you have anything. you're so fucking lucky. do you have any concept of the amount of global suffering?
a little ant dies at the side of your kitchen sink. you look at its strange chitinous body and think - if you could just somehow convince yourself it is enough, it will finally be enough and you can be happy. no changes will have to be made. you just need to remember what you could lose. what is still precious to you.
you can't stop staring at the ant. you could be an ant instead of a person, that is how lucky you are. it's just - you didn't know the name of the ant, did you. it's just - ants spend their whole life working, and never complain. never pull the car over to weep.
it's just - when it died, it curled up into a tight little ball.
something kind of uncomfortable: you do that when you sleep.
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A little tired of people saying Moon can’t stand up for herself. Like yeah I think one of the flaws she has is she is too lenient and forgiving, but also in her situation it’s VERY HARD not to be. And it’s very situational, usually manifesting with Five Pebbles.
She stops talking to you if you annoy her enough, and only starts again if you win her back over. You have to put in the work. She isn’t “rolling over” and letting things happen to her, despite the fact that she is in absolutely no position to bargain. As stated by her, her kindness and her words are the ONLY thing she has. So her taking those away from you, the player, is absolutely her standing up for herself.
Everyone brings up how she handles Five Pebbles (esp the comms thing) and it is incredible to me just how many people lay this entirely at her feet when the game states over and over again that even despite Moon’s intentional feather-light influence over him, he still resents her for being his superior. He seeks out a mentor who is her opposite.
He wants to be something more than what he is, wants to be detached from her, and she can’t do anything about that but do the best she can to exert as little influence over him as possible.
She is stuck between a rock and a hard place here, and was betting on her kindness to have fostered enough mutual respect that she wouldn’t have to resort to forced communications. She was wrong. He was driven by fierce desperation, something that she wasn’t privy to. And she paid for it.
Yes, this is a flaw of hers. But it’s not a universal one. (the rest of the iterators look to her for help- she’s the group senior for gods sake- and people act like she can’t take a stand) I genuinely doubt Moon would’ve waited so long to used forced comms if it were happening to anyone else. If it were being committed by anyone else. And that just makes the tragedy even sweeter.
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literally nobody asked for it, but here's my list of saltburn essays that i've slowly been drafting over the course of the last week which WILL be required reading for anybody trying to engage with me about this movie. my very personal saltburn 101 syllabus just dropped
A Wolf in Deer's Clothing: Saltburn's Attempt at Innocence
an examination of party costumes and our character's last attempts to masquerade as something they're not: felix—an angel, all-forgiving and all-knowing, something to be worshiped; and oliver—a prey animal, prey to class-divide, prey to saltburn, prey to felix.
thoughts about oliver specifically are loosely organized in my #bambi tag
A Midsummer Night's Mare: Farleigh Start as the Ultimate Victim of Saltburn
a farleigh character study, about the ways he was mistreated and manipulated at saltburn, about fighting to stay alive and the scars left behind by knowing when to give in
alternatively titled "QuickStart", may be adapted into a conclusive essay specifically focusing on oliver and farleigh's relationship
The Eye of the Beholder: On Saltburn's Voyeurism & Violence [working title]
how wealth and class pushes the catton's toward the volatile reality of being able to look, but not touch. on desire and the lack thereof, and portraying yourself as an object to be desired
may end up as two separate essays on wealth and aestheticism but i'm pushing toward a conclusive essay about the intersection of the two, which i feel is at the heart of saltburn
alternatively titled "Poor Man's Pudding: A Melvillian Approach to Saltburn's Class", again, may be adapted into it's own essay
Gender-Fluid: A Study in Sexuality and Saltburn's Desire to be Dry
a deep dive into the bodily fluids of saltburn and how oliver upsets the standard of men who are just so lovely and dry. on the creative choice to lean into the messy wetness of sex and desire and the audience's instinct toward repulsion
a celebration of the grotesque and an examination of why we would label it as such
least developed of the four, heavily inspired by @charnelpit's lovely post about the fluids in saltburn
if anybody is actually interested in any of these, i can work toward something closer to a finished piece instead of just bullet points and quotes in a google doc, but mostly this is so i can share my very brief takes on a multitude of themes in saltburn that have been haunting me
edit for people seeing this in the future: all posts about my essays are being organized into my #saltburn 101 tag if you’re interested in following these through to development!
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ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--
But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.
And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.
That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.
Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.
And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"
So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.
Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.
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plsssss can we talk about bucky getting his revenge and edging gale
gale edging john post | yes we cannnnn !! eta: ykw. i need to just turn this into a proper oneshot since this ended up being over 1k words. new wip created </3
john may be a man of little self control, but after that incident, he decides he can be at least a tiny bit patient so he can catch gale off guard with it when he gets his revenge. because the next few times they're fooling around, gale's expecting a retaliation, john can see it in the way he tenses up and glances at his face before he comes like he's waiting for it, but john never follows through with it. he wants gale to let his guard down, and that he does.
so a week or so later when john's kissing him and feeling him up and asks ever so sweetly if he can tie gale's wrists behind his back, gale doesn't think anything of it. john likes to take control occasionally and gale sometimes likes the feeling of not having to worry about making decisions, getting to let john call the shots, and john always puts extra time and effort into the way he touches gale when he's restrained because he likes to watch his darling blondie squirm.
john has him sit in his lap facing him, letting gale lean against his shoulder to take the pressure off his legs while john works him open on his fingers, already riled up from the pretty gasps gale's making against his neck but reigning himself in because he's gonna need to have some self control for once.
he sweet–talks gale through it, telling him how good he sounds, how well he's doing as he sinks down on his cock, guiding him with hands on his hips so he doesn't unbalance himself without the use of his own hands where they're tied behind his back with a belt. he stays still at first, letting gale ride him slowly, keeping his hands loosely on his waist while praising him and talking him into that foggy needy headspace until gale's thighs are trembling and john takes pity on him (and frankly is so hard he doesn't have the patience to keep his own hips still anymore).
so he runs his hands down from gale's waist to his ass to hold him in place while he rolls his hips up into him, watching the way gale's eyebrows pinch and his pretty lips fall open in a silent oh as john angles himself in a way gale couldn't with his own movements. lets his mouth run as he slowly picks up his pace, all the coos of "so pretty", "you're taking me so well", "you feel so fucking good", loving how reactive gale is to every word and every thrust.
he moves his hands to gale's hips to get a better grip, can tell gale's getting close because he gets noisier, losing his filter and letting out breathy little "fuck"s and "john"s, head rolling back on his shoulders to bare his neck, rocking his hips down to meet john every time he fucks up into him. and then just as he gets the warning of "close", he pulls gale down by his hips to bury himself deep in him and stops moving completely.
the whine of desperation that tears out of gale's throat when he lifts his head has john knocking his skull back against the wall, cock twitching hard enough inside gale that he's sure the blond can feel it. he watches gale's biceps flex when he instinctively tries to get his hands free, feels his hips try to squirm out of his hands to keep moving, but he keeps him pinned firmly down, dizzy at the way he clenches down around him.
a plaintive "john" pulls a groan from him, but he composes himself, lifts his gaze back up to gale's face and lets the corners of his lips quirk up, purrs out a "yeah, sweetheart? something wrong?"
laughs at the way gale cusses him out, a rare sight of his little spitfire with a mouth on him, though the effect is a lot closer to being hissed at by a kitty than actually being convinced to move. john lets him run his mouth, murmurs a "cute" once gale's done, and then promptly hammers his hips up into him just once, swearing under his breath at the way it punches an open–mouthed moan from gale. rocks his hips up into him a few times before going back to a quick and rough pace, the sound of skin on skin getting both of them flushed.
it only takes a minute before gale's hips are twitching into his hands and whispered pleas are falling from his mouth and john thinks he's never had to use as much self restraint in his life as he does when he forces himself to stop moving again, once again yanking gale down against him, holding him still in his lap.
gale really fights it this time, enough so that it's a merciful distraction for john from how close he himself is (trust his idea to backfire as he ends up edging himself along with gale, he thinks) when he has to use proper strength to keep him in place. any blood that might've still been lurking around his brain rushes south the moment he sees gale's eyes getting shiny with frustration, cheeks all pink and lips red and flushed from biting down on them.
"not so fun, is it?" john taunts, but his voice comes out a bit more raspy than he would've liked, evident how much the stop and start is getting to him too. it's probably karma, because he knows he's being more mean than gale was to him, but he can't help it; those blue eyes look so pretty when tears are threatening to spill over when he's desperate and needy like this.
gale wriggles in his lap the best he can, still furiously chasing his orgasm, head finally falling back in frustration before he lifts it again, looking john in the eyes, pulling his bottom lip between his teeth and letting it go. he whines quietly and whimpers out the sweetest "please, johnny," almost crying in his impatience, and fuck.
john doesn't mean for his hips to twitch up at that, but they do, hard. gale sobs out a broken sound at the way john's cock hits just where he needs it to in his accidental movement, and gale spills over his stomach completely untouched, just like that. john swears and drives his hips up into him in an attempt to quickly amend his slip up, moaning loud at the wrecked noises that immediately start bubbling up out of gale as he fucks him through his orgasm.
he tips over the edge himself from the desperate sounds the blond starts to make as he crosses the line into overstimulation, feeling gale's hips jerk frantically in his hands, fighting to get away from the incessant rhythm of his cock inside him as john shudders through his own orgasm, fingers digging into gale's sides.
he slows down to a gentle grind of his hips when gale collapses against his chest, face pressed to his neck, shivering at the slow drag inside him and whining pitifully when john eventually pulls out, settling him down on his thighs while he reaches around to undo the belt and free his hands. his heart bursts at the way gale instantly wraps his arms around him, clinging to him as they both catch their breath, john petting his hair and showering him with praise.
he eventually huffs out a laugh, murmuring a "sorry buck. payback's a bitch, but that was an accident, i swear." gale groans against him in complaint, lightly nipping at his shoulder in retaliation, too tired to fight back, but john's sure he'll pay for it eventually.
it's confirmed with the "better watch your back, darling" that he gets when they're both pulling their clothes back on, but to john, that sounds less like a threat and more like a good time, and he shoots gale a crooked grin to let him know as much.
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