I love you lifelong vaginal atrophy
i love you topical estrogen that treats atrophy and doesn’t interfere with testosterone at all. i love you modern medicine that makes safe and harmless transitions possible. i love you health professionals who explained the risks of taking testosterone to me calmly and told me exactly how we would respond to each one if they ever became an issue because they’re not scary or unmanageable if you have good, competent people on your side.
i hate you terf rhetoric that completely ignores the actual reality of testosterone hrt in favor of portraying it as poison. i hate you transphobes who try to make me scared of the medication that gave me my life back.
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ok dumb poll but. this poll is about the SENSORY experience of using these. not aesthetics.
1) regular flatware
2) decorative handle flatware
3) weighted handle flatware
4) plastic/acrylic handle flatware
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I find it so painfully heartbreaking that Solomon just...laughs off all the derision, the name-calling, and possibly even did "evil" things on purpose because it's expected of him at this point. (He had not always been like this as Thirteen pointed out before). There was a time when he was "innocent". When his soul sparkled. When it resembled the kind of soul everyone in these god forsaken (pun intended with spite) three realms seemed to associate with the ever loved MC. He's just...worryingly carefree. And because he's like that, he feels even more of a tragic character to me.
Sometimes it even seems that he himself would seemingly make up excuses on why he's hated. Oh, it's because I'm a sorcerer this. I might have won a war against Devildom single-handedly this. I have forgotten. But maybe, I did something bad, that. Hon, you were doing that to SURVIVE. You don't have to be a faultless person to deserve compassion. You don't have to be MC to deserve to be loved.
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Tumblr: we want people to be able to find new blogs to follow so you can find your community!
No not by seeing who people are reblogging from that's not allowed.
No you can't see who people are talking to with prev tags that's not allowed.
No you can't see the icons of the people you're following to know at a glance who's reblogging what and know them better. that's not allowed.
Sorry, did we say "find your community?" we meant "trawl through the endless swamp of the internet so you can reblog funny popular things"
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like. something that really struck me during saw x is the stark difference in the way amanda treats male subjects vs female ones, and it's something that's also very apparent in ii and iii. she's kinder to the women and wants them to win - and even when she's playing the role of the docile taunting apprentice, she has fun with it. like it's flirting for her. it's definitely something that lends credibility to lesbian readings of amanda (something i am always shocked isn't like, canon) but it's also very...heavy, given the way men have treated amanda all her life. john and hoffman and cecil and her father in the original saw iii script. what amanda knows from men is manipulation and violence and i think it's a very powerful feeling for her, to get to be the one making men scared of her. i don't think she enjoys watching people suffer, but i think she enjoys not being the victim for once in her life.
it's also important that the two women involved in games she helps orchestrate that she DOESN'T feel sympathy for or find any connection with are kerry and cecilia. kerry, who was close to eric matthews and wanted him to be alive and well even AFTER finding out that he was violent and corrupt and planted evidence. and cecilia, who preyed on desperate and innocent people and either conned them or manipulated them into doing her bidding. women who either allowed her to be harmed or harmed people like her.
and god. it kills me that amanda is able to see herself in gabriela and recognise that cecilia manipulated her and used her as a pawn. but she isn't able to see that john, like so many men in amanda's life before him, is doing the exact same thing.
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hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.
the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.
the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.
so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.
something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?
the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.
it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.
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I've written it plenty, but let me say it with my full chest after episode 10.
I DON'T LIKE MEW AND CHUEM.
They ain't shit. They suck. They are the worst. They are annoying.
Even the camera kept cutting Ray out probably to emphasize these two are basically the twins from The Shining.
This is not about the actors. This is fully about these horrible ass characters.
Mew refused to define his relationship with Top regulating Top back to the talking-phase, so when Top slept with Boston, they weren't actually dating. It's splitting hairs, I know. But I don't like Mew, so I'm being petty.
Then he acted like sex was some grand prize that Top had to prove worthy of.
Mew punched Ray in the club just so he could take his revenge on Top later.
He lit the papers on fire knowing that is Top's trauma.
Chuem and Mew are always such jerks to Ray then blamed Ray for Mew being a piece of shit after his breakup with Top.
He got Nick involved in his payback to Boston (like Boeing is doing to him, and I hope Boeing fucks everyone up!), only to get the sex tape and threaten Boston with it.
He told Top he'd give him another chance only to play games the same damn way he did before.
Oh, then Chuem!
She didn't care about Mew's boundaries regarding Top, and is super creepy about Top too.
She slut shames Boston all the time.
She is the only one keeping this project going, honestly, but she is quick to push her group members out the second she is unhappy.
She is the first to throw out that "friends don't treat friends this way" yet is the first one to throw verbal stones.
She lectured Ray as he was being arrested.
Chuem and Mew think they are superior to everyone else.
These might be 20-year old mistakes, but these characters still fucking suck.
I cannot stand them!
Let the sluts be sluts without all the damn judgement.
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