seth

hey if youre like 13 or under please get off social media and go frolick somewhere i am frightened.and concerned for the youth of tomorrow

so hard to explain your personal inside jokes but. okay so every time i roll a joint i’m like hmm how much is left in the tray.. about a joints worth..

and then i get caught up thinking about a weed butler named jointsworth

thank you jointsworth

if you had fun it was not a waste of time, having fun is literally one of the best parts of being alive

Patrick Bateman too homophobic for murder moment, for the nonbelievers

I keep seeing people in that one other post not believing that this scene is real. I need everyone to watch this, I need everyone to know this is something that happens in American Psycho (2000)

@dilfpassing

Please absolutely say more

alright u asked for it

disclaimer: i have an english degree and i wrote this paper to graduate and this thesis is over 60 pages long so please bear with the length of this excerpt:

As a representation of postmodern masculinity, Bateman theoretically must be a pillar of heterosexuality, as traditional western patriarchal masculinity and heterosexuality are inseparable. Throughout the book, Bateman’s disposable treatment of women, socially, romantically, and sexually, reflects the general attitude and objectification of women in uncritical heteroseuxal relationship dynamics, and he is often homophobic, vocally expressing his disdain towards gay men while sexualizing lesbians through his frequent viewing of lesbian pornography. However, Bateman feels no sort of affection towards women throughout the narrative, and is often disgusted by them. One way to understand his violence towards women throughout the novel is by framing it as his attempt to find pleasure with women in order to conform to societal expectations of heterosexuality: if he finds no pleasure in being with them romantically or sexually, he can find pleasure in brutalizing and killing them, legitimizing his claims to heterosexuality. However, Bateman does not lack sexuality or passion for others: in the chapter “Concert,” in which Bateman attends a U2 concert with some of his coworkers, he is overcome with a sense of emotional euphoria as the lead singer Bono stands in front of him:

Bateman is essentially love-struck in the presence of Bono. Not only does he feel emotionally stimulated merely by another man’s presence — claiming that, presumably for the first time, he can “actually feel” — but he is also sexually aroused (146). Bateman immediately attempts to redirect this manic and erotic excitement to the elusive and mysterious — but ultimately inconsequential — Fisher account, a financial account that Paul Owen, one of Bateman’s identical coworkers, is managing. In his attempt to shift his desire from the emotionally and sexually overwhelming encounter with Bono, Bateman has an even further confusing and suggestive exchange with Owen, his narration commenting on Owen’s attractiveness: “‘I want it,’ [Bateman shouts,] staring at [Owen’s] perfect, even part; even his scalp is tan. / ‘You want what?’ [Owen] shouts back. ‘Marijuana?’ / ‘No. Nothing,’ [Bateman screams, his] throat raw” (148). Bateman, embarrassed and overwhelmed after a very erotically charged and confusing sequence of events, lets the topic drop. Intimacy with men simultaneously intrigues, confuses, and embarrasses Bateman, ultimately leaving him feeling defeated and emasculated. As a demonstration of the shortcomings and corruptions of patriarchal postmodern masculinity, this kind of awkward and fumbling interaction with other men and the concept of intimacy with other men speaks to the lack of emotional freedom and deep friendships that men are allowed to have. Men are allowed to be intrigued by each other — but only professionally, or in terms of competition. Anything else, as demonstrated by Bateman, is not only confusing and embarrassing, but also defeating and emasculating.

In the chapter “Lunch,” Bateman, in the company of one of his coworkers, stumbles upon a gay pride parade, which “[makes] his stomach turn,” where he “[watches] with a certain traumatized fascination” (139). Because of this, he sprints away into another street and has to change clothes, torture a dog to death, and give himsef a pedicure in order to calm down. However, Bateman frequently consumes lesbian pornography throughout the narrative, and after viewing it he does not feel the urge to run away and decompress through violence. It is not the act of same-sex sexuality that disturbs him, it is the fact that it is two men: by finding not only comfort but pride in the rejection of the heterosexual norms of masculinity, these men shake the very foundation that Bateman has constructed his persona and his personality on. Bateman’s outward attitude towards gay men juxtaposed with his ravenous consumption of lesbian pornography reflects the typical masculine attitude towards homosexuality: the issue is not with the act of same-sex attraction itself, but rather what that attraction implies about masculinity. Highly sexualized lesbianism is acceptable to a heterosexual male society only if it is filtered through a male-accessible lens, continuing to uphold male domination over women even if a man is not present in the relationship, but male homosexuality shakes the dominance structures that western patriarchal masculinity is built on. Bateman, obsessed with structures of dominance in order to make sense of his role in the world, is focused specifically on the act of homosexual sex: “[his] mind reeling with the concept that a human being, a man, could feel pride over sodomizing another man:” the power structure in which a man could dominate or be dominated by another man while still maintaining his masculinity and identity as a man is too much for Bateman to handle (139).

Though Bateman may claim to be innately disgusted by homosexual men, his behaviors towards them throughout the book and his internal values when faced with them reflect a different reality. One of Bateman’s coworkers, Luis — one of the only men to have a distinct personality separate from the monolithic horde of doppelgangers within the trading company — is presumably bisexual, if not homosexual with a girlfriend only to maintain a public image of heterosexuality. He fulfills a stereotypical gay role as a character, being generally flamboyant and sporting a very blatant crush on Bateman, who is aware of Luis’s interest. Bateman is generally annoyed by Luis’s flamboyance, and at one point attempts to strangle Luis while both of them are secluded in a public bathroom. The unintentional innuendo of this, however, is not lost on Luis:

By all logic, Bateman should have no qualms killing Luis. With all of the disdain and hatred he has expressed towards him throughout the narrative, Bateman should be overjoyed with the opportunity to kill him. In this moment, too, Luis has caught Bateman by surprise and caused him a shocking amount of embarrassment, something that Bateman has a track record of responding violently and murderously to. However, he physically cannot bring himself to kill Luis: he can’t even hurt him. Even as Luis trails after him, continuing to flirt, Bateman is only flustered and embarrassed and brushes off his advances. Additionally, as noted by the ellipses in his narration, Bateman finds Luis’s response baffling, needing to take a moment to comprehend what Luis has just done. After this interaction with Luis, in the next chapter, Bateman encounters a stereotypically flamboyant gay man on the street who flirts with him. Bateman relishes the attention while feigning disgust, asserting that the “queer with the sharpei” must be enamored with him as “he gives [Bateman] the once-over with a quizzical smile […] [Bateman] can sense he’s flattered, not only that [Bateman has] noticed his dog but that [Bateman has] actually stopped to talk to him about it, and [he swears] the old bastard is positively flushed” (164-165). Bateman makes sure to note that, because of his own attractiveness, the man “just can’t help it” (165). Bateman flirts with the man, asking him questions about his dog, who, in a comically grotesque display of superficiality and wealth, like its owner, has had plastic surgery done on its wrinkles. Bateman then slaughters the animal and pounces on the gay man, stabbing him to death, shooting him in the head, and running in a frenzy up and down Broadway, drawing back to the imagery of performance, facades, and fallaciousness. Again, like how Bateman feigns disgust with homosexuality yet consumes lesbian pornography, it is entirely not because of a deep hatred of this man’s sexuality that Bateman is compelled to kill him: if that were the case, Luis would be dead by this point in the novel. Instead, Bateman murders this man because he is projecting his confusion and frustration over his interaction with Luis onto the gay man, seeing him as a suitable replacement for Luis, but sparing the man who has actually shown him affection. Luis, by surprising Bateman with a sexual advance instead of the horrified reaction that Bateman expected, embarrassed and flustered him, causing Bateman to lose social status in his mind. Even private moments are enough to affect Bateman’s fragile image of himself, reflecting how even when alone, the looming panopticon of gender expectations influence someone’s feelings and actions: Bateman is constantly performing.

Whimpie, 1970s

tomfoolery at an all time high

we are so fucking back baby

Hey, did you guys know that the spongebob popsicles replaced the delicious bubblegum eyes with chocolate chips? Because of this change, i think i will go outside and kill the first person i see

too many bat plushes get it wrong, i dont want it to look cute i want it to look like a little beaste

maybe the girl in the car's boyfriend and the hook man simply ran away together. did you ever think of that.

I’m like the opposite of a catholic. all sex is fine except sex for reproduction

can someone pls explain

Cops lie all the time about being contact poisoned with fentanyl, saying touching someone using/some contaminated surface RESULTED IN FOUR COPS OVERDOSING AND NEARLY DYING !!!11!!1 despite the fact that this is physically not possible. Primarily it is done to either hide the fact that cops are using, or to fearmonger about fentanyl and addicts. No this cop wasn't using fentanyl, it was some junkie scum who used and then when the cop touched the desk it was strong enough to make him OD ! Also if fentanyl can make four pigs OD just by touching traces, what would happen if little Jimmy had touched it ? we have to kill junkies to protect our cops and your children !!

The joke is that theyve blown it so far out of proportion that even being faxed an image of fentanyl would cause the whole precinct to OD and keel over dead.

oh i see

thank you for explaining it to me :)

just wanted to add some resources to back this up cause i didn’t know it was bs until now

Reblog to make all the cops die from touching a fax machine

Adding to this, y’all realize that if fentanyl could kill you merely by existing in its presence a lot of healthcare workers and healthcare patients would be dead. Heck, I had to clean up a broken fentanyl vial at work the other day and even touched a droplet of the liquid by accident, and I’m still alive. This isn’t even looking at how stigmatizing drugs and drug users like this makes them less likely to seek help for their situation.

crazy that we send them billions in military aid yearly and they still gotta crowdfund basic military equipment for their idiot soldiers. how are you going to do a Gofundme genocide

King triton: What did you do to my daughter???

Ursula:

shes a professional

I feel like enough time has passed since Steven Universe ending to say this: inventing your own alter ego and then launching a war against yourself is an iconic move actually. It's like if Batman and Bruce Wayne had public beef except if entire armies were involved. She really Did That. She said "go big or go home" and then went so big that no-one could ever go home, and then changed the fate of the entire galaxy by faking her own death. She slutted it up bisexually and broke countless hearts along the way. Iconic move after iconic move. Non-stop slaying. A queen an icon a legend. No-one does it like her.

Imagine living in the universe where you have to admit that your entire shit got rocked and you got played like a goddamn fiddle by this living powder puff:

What a ledge.

I fixed that meme that was going around parts of goth social media by combining it with another one of my favorite memes. Now everyone's happy.

count dracula? um, okay. 1. now what

*he turns into a swarm of bats* ah shit 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15