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#It's overwhelming
psalm22-6 · 4 months
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khaire-traveler · 6 months
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Speaking as someone with PTSD, I've met many people who try to "inform" me of things I do as clearly a trauma response, and I would just like to say that maybe it is helpful the first (1st) time, but when you're bringing clearly traumatic shit like that to someone's attention 24/7, it's not helpful anymore. Sometimes we are already doing all that we can.
Please just be patient with traumatized individuals. Healing takes a lot of fucking time.
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silvianap · 7 months
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(SO MANY NEW CONTENTS TODAY, HELP 🔥 I HOPE YOU GUYS CAN KEEP UP WITH ME 🙏🏻)
Gwendoline Christie for Harper's Bazaar & Porsche 🚗
(-> Twitter thread)
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illiana-mystery · 1 year
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I know this is an intense scene, but my god...the way he's looking...🥵🤤
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eidolons-stuff · 8 months
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May: “I haven’t heard that one before”
Jen: *nervous laughs* “ha yeah. I’m guessing you parents were lazy and just named you after the month you were born in?”
Internal Jen: "WTF! DID I JUST INSULT HER PARENTS??!?!"
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ittybluebell · 3 months
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how do people manage so many projects? i'm being pulled in so many directions 'cause there's so much i want to do but each one is different and takes its own huge amount of time. art and stories and comics and animations for tens of projects each and learning to knit/crochet and baking
i don't know which project to pick and i KNOW i should work on this one, but what about that one or this other one and then my brain just picks none because i can't make a choice
it's so disappointing because i want to do something, but it's never the right thing the right way and oop there's the perfectionism
i feel like i'm in a maze of my own brain
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the three acts of the ‘nero & sporus’ scene
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i just rewatched the nero & sporus scene for like the hundredth time and i have thoughts
within itself, the scene has what are essentially three micro-acts:
i. “let’s game it out”
ii. “what do you know about nero and sporus?
iii. “let’s fight like chickens”
the first act is set in motion by tom’s goal of applying the thumb screws to greg.
tom visits greg apparently holding the power- he is in a position to control greg and get him to sign the jda. he does so by attempting to strategise with greg about how greg can land a gig at parks, as he sees himself as a mentor for greg with these things. 
however, it soon becomes apparent that greg has already figured out exactly what he needs to ask for:
TOM: So, I guess you've already gamed it.
tom is clearly taken aback by greg’s show of strategic prowess. tom sees his place in this dynamic as the boss/possessor of power. this gives him a sense of control over greg - his knowledge and experience positioned him as someone greg needed. in this way, greg simultaneously functioned as a display of tom’s authority, as well as a friend/confidant. 
greg does genuinely thank tom for his willingness to help him, but he doesn’t need tom’s advice anymore. tom is left questioning both his level of power and his place in greg’s life.
the second act shows tom starting to reckon with these notions, causing him to dictate a narrative that establishes his place in greg’s life.
tom immediately seeks to regain some semblance of power by harkening to a story that greg did not know:
TOM: Sporus was a young slave boy. He was Nero’s favourite.
for the purposes of this post, let’s focus not on the prophetic nature of the story, but rather what it says about tom’s perception of greg. firstly, the comparison to a “young slave boy” further re-establishes the power that tom feel like he should have over greg. 
more importantly, we know that tom sees himself as nero, and greg as sporus - so when he says that sporus was “nero’s favourite”, he is clearly telling greg that he is important in tom’s life. tom is covertly telling greg that they need each other, for any number of reasons. 
it explains why greg is absurdly accepting of tom’s confession:
TOM: I’d castrate you and marry you in a heartbeat.
greg is not weirded out by the objectively insane thing tom has just told him, because he understands what tom is saying - he gets the feeling that tom is making a promise to him. tom is being highly vulnerable in this moment, and greg can see that - it’s why he asks: 
GREG: Are you okay, Tom?
tom realises that greg has seen his moment of weakness, and feels somewhat threatened by it.
the final act shows a flashpoint of tom’s anxieties about prison and his personal & professional vulnerability.
tom switches the tone of the interaction from vaguely tender to completely insane in a matter of seconds, when he says:
TOM: See if you can wrestle me into the ground, Greg.
on the surface, this is tom being tom - obnoxious, strange, menacingly playful (note: this also does play into the imagery of ‘the mad emperor nero’, which speaks further to how tom perceives himself and greg and nero and sporus). however, this proposal actually acts as a mechanism through which tom’s true thoughts about his situation are revealed.
GREG: I don't wanna do it! 
TOM: (mockingly) "I don't wanna do it! I don't wanna do it! I don't wanna do it!" Neither do I, Greg
tom isn’t talking about play-fighting when he cries “neither do i, greg”. tom is talking about going to prison. tom is between a rock and a hard place. he volunteered himself to go to jail, but that doesn’t mean he wants it to happen.
and what of the alternative? losing any leverage he has with logan, and existing in a marriage that is draining him. tom can’t see a way out, and everything in his life is shifting beyond his control. he doesn’t want to lose what little power he feels he has left. 
so, when greg shuts him down, tom reverts to roy-style mockery to build some sort of shield around himself.
TOM: It was a joke, you idiot. You're so hard to riff with. I mean that is a big career obstacle right there for you.
tom attacks greg’s ‘lack of humour’ as a potential hurdle for his success. here he is trying to diminish greg in order to show him that he still has control- that greg still needs him to guide his career. 
in one last show of chaotic defiance of his situation, tom knocks over the coat stand in greg’s office and storms out.
this scene is a culmination of all the pressures that tom is experiencing in the middle of the third season. 
he thinks he is going to prison. his marriage is in a shambles. he thinks his only true confidant/friend/??? doesn’t need him anymore. he’s weaker than he has ever been, and he has no idea where he is going to end up. so, achieves three goals in this interaction. 
1. he brings greg back to waystar
2. he strengthens the bond between himself and greg
3. he tries to regain control over his situation
this scene reinforces tom’s arc across the season, including his strengthening relationship with greg, and his betrayal of shiv in the finale. it is clear that tom appears to be over-confident, but is ultimately vulnerable - a testament to the complexity and depth of his character.
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femmespoiled · 1 year
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I don't think we have enough words to explain the complexity of human beings
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noctude · 2 years
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sometimes i start looking at twitter for more than 5 seconds at a time and i thank the gods above that i was born & raised on tumblr. twitter culture is so fucking annoying godbless
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liliallowed · 8 months
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guys the power is getting to my head I suddenly feel a bit popular I AM PANICKING FROM YOUR COMPLEMENTS AND I DON'T KNOW HOW TO PROCESS YOUR KIND WORDS AAAAAAA-
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pinknatural · 16 days
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i think ttpd's biggest problem is that it's too long
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van-g0ne · 10 months
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man these days the clone high tag has really become like 90% topherposting, huh?
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sarroora · 10 months
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I know I’ve been pretty quiet over 2023, especially the past 2-3 months. A lot’s been going on, and I was also out of Cairo during June. Anyway, I’m back home now and hopefully gonna be more active online - 
*eyes the colossal tower of unfinished projects and art in the corner of my closet*
damn
*picks up a random note from the pile*
SOME OF THESE THINGS DATE BACK TO 2015 WHAT THE HELL!
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corgi-cthuwu · 4 months
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I'm getting high off of watching the first few episodes of Hazbin Hotel and playing Duskwood for the first time, fr
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eleord · 2 years
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there’s a small essay that’s bouncing around in my head about disco elysium, masculinity, humanity, and poverty. it’s bad don’t read it
it’s a big part of Lely’s characterization that he’s poor. he’s from Oranje, which is a developed country that forms part of the moralintern, but he was forced (”“) by his financial situation to go into the military and become a mercenary. the moralist who you question in the Smoker’s apartment laments that Lely was “cut down during his prime earning years" - the most important part of who Lely was is how much money he can make. when you tell the moralist that Lely was forced to become a mercenary out of poverty despite being Oranese, he remarks that “that’s not how we do things where I’m from.” for all (because) he’s a moralist, he doesn’t actually view Lely as a person. when you tell him that Lely was “a motherfucker,” he gets offended, saying that you shouldn’t speak ill of the dead, when that’s *exactly* how Lely would have referred to himself; we learn from Klassje that Lely found some sense of security in romanticizing the violent life that he had led. but to the moralist, the type of violence and masculinity that Lely represents is so abhorrent that the moralist refuses to see it, DESPITE the fact that Lely was working for a military contractor that takes moralintern contracts.
you, as Harry, also must contend with your masculinity and how it figures into your job as a police officer. you and Lely are often juxtaposed - Harry has the option to show tenderness to Lely, and dreams of himself as the dead body hanging from the tree. we don’t know anything much Harry’s past, but we do know that Harry and Kim are both very poor - the RCM does not pay that much money. both Harry and Kim seemed to have joined from a sense of duty: Harry for Dora and Kim for Revachol. throughout the game, Harry has to confront what it means to be a police officer in a part of the city that does not want him there. he is subject to the union forces, the hired mercenaries, and the disrespect of the locals. he’s trapped in this web that he learns about throughout the game and has very little agency in. to a small degree, i think the game’s approach to fashion is sort of part and parcel of the poverty: it’s one of the only ways you have self expression, but you’re still limited by what you can find lying around or afford to buy. it’s also no accident, i think, that a lot of the clothes you get are either really boring or not traditionally “masculine.”
and then you have Kim, who is gay, comments several times on the way you dress, is obsessed with large machinery, is visibly tickled by your infatuation with the smoker, and has a belief system that seems to revolve around the RCM.  Kim’s masculinity is directly in conversation with his status both as a police officer and as a gay man. Kim cares (no he doesn’t, yes he does) about being cool, which to him, seems to synonymous with being in control. it’s plausible that desire for control is what allows him to believe in the RCM: at least it’s Revacholians policing Revachol instead of the moralintern (or mercenaries) doing that job. i think you learn that the RCM was a compromise, but that the moralintern would *not* have allowed Revachol to go without some kind of occupying militia force. He’s killed people, he wants to arrest Klaasje (if you do this, you later find out that the moralintern has her killed in prison), he helps you get out of paying Garte what you owe specifically *because* you’re a police officer. (i think the scene with Garte is FASCINATING bc like, yeah, as a character you don’t want to have to pay 130 real, but as a person you can recognize what a dick move it is for Kim to call Garte tacky for charging you for the destruction *you* wrecked while *not* doing your job as a police officer.) But he’s kind to Harry, he’s so cool, and he generally doesn’t like it if you’re mean or racist. and like - that’s sort of it. at the end of the day, he’s just a guy trying to do the best he can in the situation he’s in. all the characters, even Lely, are just kind of guys. Titus is just a guy.
you have all this masculinity spilling out of these characters: Titus, Harry, Lely, Kim, (even the murderer at the end who got fixated on Klaasje), all of whom are given these pretty rounded stories where you can interpret their actions as them doing the best they can in the system they were born into given the information they have. on the other hand, you have the moralist, who is the only character you meet in the game who has the power to leave Revachol (depending), and who, arguably, is the only character who has the freedom to express himself because of the relative freedom afforded him by his position. the moralist has *optionz*. and to him, Lely, Titus, Kim, and Harry are not really people. your attempts to (sometimes violently) assert yourselves in this desperation are gross to him: “that’s not how we do things where I’m from.”
but he’s *boring*. it’s a fascinating trick to make the moralistic choices so fucking *boring* in the game. because by choosing the boring option, you’re sort of erasing the complexities that come along with just being a person in a sociopolitical reality you have little control over. there’s so little in the game that you can know the outcome of in advance. when I confronted Ruby and turned her machine off, I was horrified to realize her next plan was fucking suicide. you don’t know if forging the signatures for Evrart is the right decision; even when you return to him the game tells you not to expect that you actually got one over on him. the game doesn’t let you rest easy with the knowledge that you did the right thing even with the tribunal: either way, approximately the same number of people die, and i think it’s very purposeful that you *can’t* talk your way out of this situation. sometimes, people are going to die.
you play as a really fucked up guy in a really fucked up situation investigating a fucked up murder, and basically everyone you talk to has their own degree of fucked-up-ness. you can try to be political to somehow change the situation, but that’s time you could be spending helping people in more direct ways, and the likelihood of success is highlighted as absurdly low. morality is very much a luxury afforded to people who have money and power.
and like, who are you allowed to be, what kind of man are you allowed to be, in these circumstances? do you become kim/titus control freaks, for whatever faction is most appealing? or do you explode into overly romantic, violent shards like harry/lely?
Whatever you pick, you're just a guy.
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mintaka-iii · 8 months
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thinking about her (the moon)
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