a secret makes a woman woman


Kdrama kisses

  • What she says: I'm fine
  • What she means: In 2008, Taylor Swift dated Joe Jonas, lead singer of the Jonas Brothers. Their relationship was Taylor's first highly publicized relationship and attracted some of Taylor's biggest media attention at the time. Taylor thought she and Joe were genuinely in love and possibly meant to be, but Joe abruptly dumped her over the phone in under 25 seconds. Taylor then went on to make the infamous Joe Jonas doll video, wrecked Joe on The Ellen DeGeneres Show, and publicly admitted that the breakup song "Forever & Always" was about Joe. It was later revealed that Joe had left Taylor for another woman. In turn, Joe wrote the song "Much Better" about Taylor, saying his new girlfriend was much better than Taylor and calling Taylor's fans crazy. On Taylor's next album,Speak Now, Taylor wrote the song "Last Kiss" about Joe, revealed with it's secret message "Forever and Always." She also wrote "Better Than Revenge" about the woman Joe left her for. During one night of the Speak Now Tour, Joe Jonas came, and Taylor and he looked into each other's eyes as Taylor sang Last Kiss, a song of missing him and wishing he would come back to her. On her next album, RED, Taylor wrote the song "Holy Ground" about that specific incident, saying she appreciated their original relationship and glad she had him in her life and would always remember their good times. Taylor then released her 5th album, 1989, and posted public photos of her and Joe hanging out, Taylor now dating someone else and Joe dating one of Taylor's friends. Taylor also admitted that writing "Better Than Revenge" was an immature mistake, saying she knew Joe left her because he wanted to, not because he was "stolen" and they just weren't meant to be. Taylor and Joe were also spotted at Coachella talking and hugging and at one of Taylor's 4th of July parties. It is now the year 2017, and Taylor is dating someone else named Joe, and she and Joe Jonas are good friends, and Taylor's prophecy that she would only watch his life in pictures never came true. All was well.

can you say cute??

like…i mean…automatic win. cat ears. you cannot go wrong. even meredith is in fact #shook


no words needed

she just looks so powerful??? RADIATING?? 


@tree-paine i’m a fan. hold your own secret session please. 

foreign films 2.0

hi all! follow-up on THIS post.

this is another very long post giving you film and series suggestions in foreign languages - i have included my three target languages and french just to spice things up a bit. 

if you’ve seen any of these or want to expand on the post please fell free to do so!! this list is obviously very subjective and contains things that i have seen and enjoyed, so i would love to see a greater variety of genres/directors featured on here.


wakolda - this is straight up one of my favourite films ever. 1950s argentina. a family accomodates a guest at their hotel, unaware that their guest is nazi monster josef mengele. 

tiempo sin aire - colombian mum and son escape the horrors of civil war and move to the canary islands, but the mother will not rest until she has found her daughter’s rapist. contains some graphic scenes, not for the faint of heart.

la regenta - adaptation of 19th century classic, both film and miniseries (3 x 1.5 hrs) available on youtube. the film is mediocre but the miniseries stole my heart. pious wife anita torn between sexy local liberal and dark imposing priest. features an absolutely superb carmelo gomez as the cunning don fermin.

el crimen del padre amaro - another c19 classic, this time in a modern latin american setting where hot priest gael garcia b. can no longer fight his feelings for a certain young lady…

ocho apellidos vascos - SOOOOOOOO FUCKING FUNNY!!!!! 

la piel que habito - almodóvar, banderas, weird, cringy, intriguing,  “a horror story without screams or frights” [wiki]

la nana - “Raquel, la amargada e introvertida nana (eufemismo chileno para denominar a las sirvientas) de la casa de los Valdés … ve peligrar su puesto cuando éstos contratan a una nueva empleada para que le ayude durante su convalecencia. Raquel se dedica a hacerle la vida imposible a las nuevas nanas. Esta mecánica se repite una y otra vez hasta la aparición de Lucy, una mujer de provincia que logrará penetrar la coraza de Raquel.” [wiki]

el secreto de sus ojos - “Using a nonlinear narrative, the film depicts a judiciary employee and a judge in 1974 … as they investigate a rape and murder case that turns into an obsession for all the people involved, while also following the characters 25 years later reminiscing over the case and unearthing the buried romance between them.”[wiki] RECOMMENDED

vacas - portrays the conflict between two basque families that lasts three generations, starting in 1875.

la princesa de francia - looks ery promising, centred around a group of actors preparing shakespeare’s “love’s labour’s lost”, in buenos aires. read review here 


ligações perigosas [BR] - recently released tv globo miniseries, NOT A NOVELA, available on yt. adaptation of laclos’ les liaisons dangereuses. set in 1920s brazil. love, sex, intrigue, DRAMA, 1920s music. great acting by selton mello and alice wegmann. i cried watching this. i love selton mello

justiça [BR] - also a globo miniseries, follows various characters in recife as each of them searches for their own private justice. RECOMMENDED

amores roubados [BR] - yet another miniseries, based on the book “a emparedada da rua nova”. leandro returns to his hometown from SP and becomes involved with three women.

3% [BR] - a dystopian thriller series, apparently available on netflix. “ The show is set in a future wherein people are given a chance to go to the “better side” of a world divided between progress and affluence in the Offshore, and devastation and poverty in the Inland, but only 3% of the candidates succeed.”[wiki] RECOMMENDED

pecado fatal [EU] - angst, drama, shy sweet love but also bitten family secrets. “a young man and woman fall in love on the night they meet, but he takes advantage of her when she gets drunk. although she doesn’t remember anything from that night, something nags at the back of her mind.” not the most accurate description - just watch it its good

o convento [EU] - a literature professor goes to a portuguese convent to confirm a conspiracy theory about shakespeare. this film is actually in english and french as well as portuguese, but i’ve included it here because it was directed by the great manoel de oliveira. stars john malkovich and catherine deneuve.

o dia de desespero [EU] - another one by oliveira, portuguese entry for 1992 oscars. the film shows the final days of the life of famed c19 writer camilo castelo branco, his blindness and eventual suicide. probably available on youtube. 


malena - a classic, story of how a beautiful young woman is ridiculed by her prejudiced community told through the eyes of a young boy lusting over her. very tastefully done and visually very pretty. plus it has monica belucci

la prima notte di quiete - 1972. scruffy alain delon is bitter and elopes with a mysterious student of his who keeps some dark secrets. very beautiful visually, lovely music, unexpected ending. watch this if you want to be sad and vague

lºeredità ferramonti - set in 1880s rome, cunning young woman weds into a split family and wreaks havoc. dominique sanda is brilliant in this. also very nice music by morricone.


des hommes et des dieux - algeria. eight monks live a secluded life in the mountains. when war breaks out, they are forced to make a choice between their faith and their lives. “a luminous tale of faith and heroism”, and also very prettily made. 

venus noire - based on the true story of saartije bartman, a black woman showcased in 19th century europe because of her body. explores prejudice, otherness, fetishisation, directed by tunesian abdellatif kechiche. RECOMMENDED.

la dame aux camélias (1981) - isabelle huppert stars as the destitute and illiterate alphonsine who travels to paris and becomes a courtesan. based on alexandre dumas’ novel, of the same title.

I really wish Dragon Age fans would understand that “Moral Greyness” can be JUST as contrived and convoluted as regular “Black and White” and “Happy Ending.”

Just look at the Mage/Templar Conflict. The devs have tried their darnedest across three and a half games to present the conflict as 100% balanced with both sides equally sympathetic, and they’ve failed each time. The devs have said they felt they made the mages look “too sympathetic” in the first game. For the second game they realized too late that making the player character come from a family of apostates and have two mage companions but no Templars made Templars look bad; and they fully admitted that Leandra getting killed by a crazy blood mage serial killer was an attempt to vindicate a pro-Templar playthrough. DAI? Well, we all know about THAT… (Retconning the Dalish to have a “three mages max” rule just to make Circles look better by comparison?) All to make a flimsy, “See? Both sides are equally flawed” argument that’s as sturdy as cardboard; blow on it, and it falls over.

Just look at The Masked Empire verses Wicked Eyes and Wicked Hearts. In the book, the human nobles are all completely despicable, racist, genocidal asses, while Briala (and Felassan to a lesser extent) is the most sympathetic and likable character. Briala is a straight-up hero who struggles to help her people despite knowing they won’t thank her for it, and being shit on by everyone she meets right and left.

In DAI, the devs flat-out hid the many crimes and character flaws of Celene and Gaspard, and hid many of the virtues and character strengths of Briala. Why? To create a flimsy and false “All three choices are equally morally gray!” so-called “choice.”

Just look at the Qunari. You can tell the devs have been trying their damnedest from game one to depict Qunari culture as rather alien and incomprehensible to outsiders and vice-versa, but still a good system with its balances of virtues and flaws like any other. And it never works.

And any time players complain about an aspect of their culture, they try to fix it next game. Sten said “women don’t fight”? In DA2 they’re like, “JK! Since the Priesthood allows both genders, we just made up this secret spy division of the Ben’Hassrath that allows female assassins. Please love our Qunari.“ When that didn’t work, in DAI they went overtime trying to make Iron Bull THE most likable character they could, then had him lend his charisma to explain away Qunari societal faults. Plus the whole “transgender acceptance” and “free love” and “Tamassran are still like family” thing, and the sudden, “Oh, the Qunari don’t REALLY keep women from fighting. If a woman is discovered to be good in combat, they just decide he’s a man who happens to look like a woman and let “him” fight. Please love our Qunari!”

And it’s NEVER WORKED. I mean, some small minority of weirdos like Qunari despite their flaws (myself included), but MOST players just find these flimsy attempts at “MORAL GREYNESS!!!” to be just that: flimsy.

So whenever I talk about a plot hole or character failing in the series, I’m so sick to death of seeing that go-to, knee-jerk, catch-all “moral grayness” excuse.

Yes. Sometimes, when written well, a morally grey conflict can be very engaging. But sometimes some characters or divisions naturally come across as more sympathetic than another. I’m not saying “one side is innocent and perfect and other other guilty and evil,” but sometimes one side comes across as a lighter shade of grey than another; it happens. If the devs would just embrace that and run with it and tell emotionally engaging stories, instead of spending so much time and energy trying to constantly backpedal or force a square peg in a round hole just for the sake of that original vision that just isn’t coming through.

- You can’t make a conflict where one heavily tyrannical and abusive faction holds complete power over another as a perfectly 50/50 “morally grey conflict” where “both sides are equally at fault.”

- You can’t take the freedom-fighting victim of horrific systematic abuse by two perpetrators of that horrific system and try to act like she’s “just as bad” or “on the same footing” as those abusers.

You can’t take a culture that thrives on robbing individuality, stripping free will, brainwashing resisters, and severely limiting the roles of its citizens based on their gender, magical ability, etc. and expect our modern freedom- and individuality-loving society to find them anything but restrictive and tyrannical.

“Moral Grey” can be just as CONTRIVED as any attempt at “black and white” or “happily-ever-after.” Because they’re still trying to force something that doesn’t fit.

NOVEMBER 30: I Can’t Think Straight premieres (2008)

On this day in 2008, the lesbian film I Can’t Think Straight finally received a wide release in the United States after initially hitting select theater on November 21, 2008.

The British drama is based on the book of the same name and was directed by Shamim Sarif, a notable writer and director of South Asian and South African descent who is openly lesbian and has extensively explored gender and sexuality in her work. I Can’t Think Straight follows the story of a Palestinian woman named Tala who is living in London and engaged to a man named Hani. While Tala’s wealthy family eagerly make arrangements for her wedding to take place in their home country of Jordan, Tala is slowly coming to the realization that she likes women. The object of her affection is the girlfriend of her best friend, a British Indian Muslim woman named Leyla. As Tala’s wedding day approached, both women struggle with their family’s cultural expectations and their secret relationship.

Upon its release in 2008, I Can’t Think Straight was awarded by many LGBT film festivals from around the world such as the Miami Gay & Lesbian Film Festival, the Melbourne Queer Film Festival, and the Vancouver Queer Film Festival. Lesbian publication sites such as AfterEllen and Autostraddle delivered lackluster but ultimately endearing reviews of the film. Autostraddle dubs it “another film that lesbians either love or hate, but this is the film that opened our hearts forever to…Tala and Leyla, two women from very different backgrounds that fall in love on accident.”


The creation of Dionysus.

Zeus falls in love with a mortal and secretly visits her, invisibly. Hera hated this, so she tells the woman that her secret lover is a god, and that she must insist on seeing his true face.

The next time Zeus visits, the woman makes him promise to give her whatever request she wants. Makes him REALLY promise no matter what. He agrees. She asks to see him face to face.

He sighs deeply and says fine, the woman is incinerated by the full up close shiny glory of a real god right in front of her. Zeus is able to rescue the fetus growing inside her by attaching it to his thigh. Dionysus is later born, and goes on to become the god of wine and vineyards. I’m pleased to finally get some of the Greek gods on my list after mostly doing Egyptian and Norse ones.

This piece was done on commission as a holiday gift and is not for sale.

Themes of secrecy in Reputation

Anyone who’s remotely paying attention knows that Reputation is absolutely brimming with references to secrets, duality, double meanings and private revelations. The album explores these ideas from a lot of different perspectives, and I thought it would be useful to get some analysis in one place. Let’s take it song by song, shall we? 

  • “…Ready For It?” – This song has obvious public/private parallels that I’ve written about before, with the verses tracking Taylor’s dark public bearding and the choruses tracking her light, airy private loves. (ht @bikertaylor for being the first to point out to me that the verses and choruses seemed to be tracking two different ideas.) The theme of secrecy that I’m interested in exploring here, though, is even more personal: When Taylor writes, “In the middle of the night, in my dreams, I know I’m gonna be with you, so I take my time,” she’s writing about a hope so dear to her heart that it’s buried in her subconscious, bubbling to the surface only in her dreams. (Of course, a dream can also reference a wish or a fantasy, but I think the literal meaning is interesting here and shouldn’t be overlooked.) If you read this song as a conflict between Taylor and her own inner desires, fighting to break free, the music video can be read more literally as well: This song is about a fight Taylor’s having with herself. The battle rages within her own heart, and the “you” in the title might refer to us (her fans, the world) being ready for her to reveal her secrets – but it might also refer to whether Taylor herself is ready. 
  • “Endgame” – The line that piques my interest here is, “I bury hatchets, but I keep maps of where I put ‘em.” The first reading here is about her seeming apologies for her public dramas, a joke that she forgives but doesn’t forget. Many of those dramas, though, concern heartbreaks and bearding narratives – and I’m really interested in the idea that each of these might be considered a hatchet, a weapon, an instrument of pain but also a tool of survival. She buries these hatchets one by one, but she doesn’t forget them, and they become a map of her psyche,
  • “I Did Something Bad” – The line that sticks out here is, “For every lie I tell them, they tell me three.” A lie is of course one kind of secret, and it’s telling that Taylor and her “boyfriends” so regularly keep secrets from one another. Additionally, I like the way “every lie I tell them” might connote that she’s telling the same lie over and over – namely, the lie about the true nature of her feelings and their relationship.
  • “Don’t Blame Me” – This song is absolutely rife with themes of darkness, secrets, and hidden truths, and I love how these references are overlaid with religious iconography: “the darkest little paradise,” “halo hiding my obsession,” “I would fall from grace just to touch your face.” This song is also a continuation of Taylor reckoning with her own desires: “Lord save me, my drug is my baby, I’ll be usin’ for the rest of my life” isn’t a lyric about wanting to return to her past self, the one who plays by the rules; this is a plea to find acceptance for who she is and who she intends to be for the rest of her life. That’s why this song makes more sense as an LGBTQ narrative than, for example, a song about pre-marital sex – once you get married, you would return to the “halo” state of playing by the rules, but if your “baby” is a queer relationship, you can’t play by the rules without changing who you are. That’s why Taylor’s name is whatever you decide, and that’s how she changed from an existence that was poisonous to herself and others into a daisy, a symbol of innocence. She’s using words associated with nature (and therefore associated with paganism and lesbianism) to redefine the traditional religious ideas of innocence and sin, darkness and light.
  • “Delicate” –  This is a song about a literal secret relationship (or the beginning of one), so of course I’m more interested here in the metaphorical lines, namely “Is it chill that you’re in my head?” and “Are you ever dreaming of me?” In this song, the first on the album that seems grounded in specific details of Taylor’s current relationship, Taylor is creating a distinction between the secrets she keeps from the public (that the relationship exists at all) and the secrets she keeps from her lover and even herself. 
  • “Look What You Made Me Do” – Hear me out on this: What if LWYMMD is a song (at least partially) about bearding? Read this way, we can see that Taylor hates being made to play the role of the fool who can’t make a relationship work, that she had to get smarter and harder in order to protect her real relationships, that she accepts her role as an actress pretending to be someone she’s not. Many critics and listeners have commented that the chorus leaves them cold – without a melody, without emotion, without the payoff promised by the rising action of the pre-chorus. But if Taylor is telling us that “what we made her do” is live a fake life pretending to be someone she’s not, it makes perfect sense that the chorus would feel lifeless and robotic. The fact that it’s a sample of “I’m Too Sexy” could also be a clever nod to the fact that the performance she’s giving is as a conventionally acceptable, heterosexual being appropriate for consumption by mass audiences. 
  • “So It Goes…” – Now we come to the part (i.e. the majority) of the album where secrets are no longer subtext; they are straight up text. The brilliant lyrics about magicians and illusionists show us that the secrets Taylor is keeping are now public – she is being honest with herself and her partner. No longer is she in her head and her dreams: “I know what you know, we can feel it.” This song marks a transition in the album, away from Taylor reckoning with her own secrets and toward her reckoning with how to keep those secrets away from prying eyes.
  • “Gorgeous” – Our explicit secret here (“you touching my hand in a darkened room”) leads to an opportunity for Taylor to confront her own emotions about having to keep this relationship secret: She uses the words “furious,” “hurts,” “hate,” “sad,” and “mad” – not exactly the kind of language one typically uses to talk about the excitement of meeting a new love. These negative words are juxtaposed against a joyous beat and melody (typical Swiftian genius), but we shouldn’t overlook the fact that Taylor’s circumstances are clearly making her feel horribly upset. Is she upset by meeting a new person? That doesn’t make a lot of sense – it’s much more likely she’s upset that she can’t be with that person in public.
  • “Getaway Car” – I like reading this song as an accurate retelling of her switching beards from CH to TH. “A circus ain’t a love story” is a great way to think about the media circus surrounding all of Taylor’s het relationships, and the narrative of she and TH being criminals fits with them perpetrating duplicity and lies. (More secrets!) Once we get to the outro, though, we see the true emotions behind this lighthearted heist: She was crying and dying in that car. If she didn’t have feelings for TH, as this song would suggest, and if she was ready as hell to leave her ex, why was she so upset – if not for the deeper secret she was keeping?
  • “King Of My Heart” – “Your love is a secret I’m hoping, dreaming, dying to keep. Change my priorities, the taste of your lips is my idea of luxury.” Here we see the unity of Taylor’s inner hopes (her dreams) with her outer identity: She has found the solution to her secrecy problem – glass closeting. She changes her “priorities” to her “friendships,” and is then able to bring the person who rules the kingdom inside her room out into public. 
  • “Dancing With Our Hands Tied” – This is where we get into the dark side of glass closeting, namely kissgate. This song is all about secrecy: “I loved you in secret,” “picture of your face in an invisible locket,” “I’d kiss you as the lights went out.” All those golden secrets Taylor and her partner keep tarnish and revert to poison when brought to the light of day. The “sacred oasis” of Taylor’s relationship is subjected to biblical plagues – fire, avalanche, flood – when they dance in public. Their only option is to go back into hiding.
  • “Dress” – And, as it turns out, keeping secrets can be hella sexy! This feels like a yin/yang pair to DWOHT, the ecstasy of getting away from public toxicity and back to a golden secret paradise. But though their kingdom is small and secret, Taylor takes care to note its permanence with lyrics like “a golden tattoo,” “carve your name into my bedpost,” and “inescapable.” If a “beard” is the woman a man wears to seem straight, then it only makes sense that a queer woman would wear a “dress.” In that reading, J*e is actually Taylor’s “dress” – the costume Taylor bought to show a good public face, while in private she removes her armor and becomes her true, permanent self with the person she loves.
  • “This Is Why We Can’t Have Nice Things” – Here again, I’ve got a suspicion that Taylor is writing about more than her public feuds. “I’m shaking my head and locking the gates” feels like the same retreat into private described in DWOHT and Dress. What if – in addition to the obvious narrative – this song is also discussing why Taylor can’t have the life she wants in public, and we (her fans, the media, etc.) can’t have the true details about her life that we crave?
  • “Call It What You Want” – Taylor taketh away but then, oh then, Taylor giveth. Because this is the moment where she lifts the curtain and lets us spend time with her in her golden oasis, behind her crumbled castle walls, her guard evaporated. She’s got her code here (het pronouns), but otherwise her secrets are all gone. I’ve written before about the language she uses in the chorus to reinforce the idea that her relationship is a secret escape, but the beauty of this song is that she invites us to run away with her – if we’re willing to see the truth. Karlie what you want to; her name is whatever we decide.
  • “New Year’s Day” – A circus ain’t a love story, but this song is – literally! “Don’t read the last page” means that Taylor already knows the ending: she’s going to stay with her partner for the whole long road. In private moments cleaning up the apartment after a party, squeezing hands in the back of a taxi, recognizing each other’s laughs, they have found comfort, longevity, and lasting love in their secret world. They will hold on to each other, and despite the deep fears that the world would divide them, their joy and their memories see them through. 

This album is one long rumination on secrecy and how it affects us – the secrets we keep from ourselves, from our lovers, and from the strangers who think they know who we truly are. In the introduction to Reputation, Taylor writes very explicitly about this idea – but in her lyrics, she gives us an intimate view into her own emotional process in grappling with the secrets that have dominated her life. The album charts a beautiful progression from Taylor coming to terms with her own secrets, finding someone else to share those secrets with, and, finally, finding a comfortable and happy way to live with those secrets despite the public and the media bearing down on her from every angle. In refusing to give interviews during this era, she is living the solution she has shown us on this album. 

To state the obvious, Taylor’s het relationships are public by definition, charted in press releases and pap walks. It just doesn’t make sense to me that she would write an entire album about the idea of secrecy unless her life were riddled with secrets. Taken with the specific ways Taylor uses gendered language on this album, it seems abundantly clear to me exactly what secrets she’s keeping.


Title: It’s Over

Character(s): Negan and Reader
Prompt: “I told you not to come back.” || Lesley Gore - You Don’t Own Me
Summary: Negan doesn’t understand that your affair with him is over. You, however, had enough and finally lose control. 
Word Count: 2,590
Warning: Violence, and of course, Negan’s vulgar language! 
Author’s Note: Thank you @embracetheapocalypsewithme for hosting this challenge! These two prompts actually made me so excited to write for Negan, especially since the song fits so well with him (I think). I had a blast writing this and I hope you, and whoever reads this, enjoy it as much as I did writing it! Thank you again for allowing me to participate in this amazing writing challenge, and congrats on 400 followers! I still think you deserve so much more! :-)

(GIF Source: @heartfulloffandoms)

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Danger Within

Originally posted by deararchimedes

Boogie Nights and Columbian White 

EXO 1970′s Cartel AU Collab Project.

Minseok the pimp.

1.8k. Special thanks to @the-porcelain-doll-xo and @sugaspiano

The dimly lit room was alive with people. Men spread out in the smoky bar surrounded by scantily clad woman all practically throwing themselves at the men. They all wanted their attention. Only Miseok sat alone with no one’s attention on him as he silently watched the scene before him while nursing his glass of whiskey. He blended in yet stood out. It’s how he liked it. 

The number of secrets the room held was endless, and thanks to Minseok’s ladies he knew them all. It was amazing how a couple of drinks and a naked woman could make a man sing like a canary. Over the years he had gathered dirt of every businessman in the city to hold over their heads for the day he needed a favor. It was the source of his power, and exactly what made him dangerous.

A hand ran across the back of his shoulders but he didn’t react. It was only when one of the more popular woman, Daisy, plopped into his lap. While most men would be overjoyed with attention from her, Minseok’s mind was elsewhere. “Minseok,” she purred into his ear, wrapping her arms around his neck. She leaned forward to expose more cleavage in hopes of gaining his full attention.

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what kind of girls would bts be attracted to?

this wasn’t requested. it’s based on my personal opinion and most definitely not made to offend anyone. i hope you guys enjoy it!! oh, and feel free to put down your thoughts too! i’m not a writer but i had this on the back of my mind for a while. please take it easy on me

  • jin; for me, jin would be really attracted to women who know what they’re doing. he would dislike emotionally messy ppl and would like stability and assuredness. someone who’s wealthy but humble and a good influence to him. a sporty, free spirited girl who has a good sense of humour, too. probably someone around his age or older, tbh. i can still see him dating a younger girl tho
  • yoongi; oooh yoongi!!!! most likely to date a foreigner, in my opinion. he likes independent, strong-willed woman. tomboy-ish girls would have a special spot in his heart. someone who can stand up for herself and has an open mind. probably younger than him.
  • hoseok; artsy, ethereal woman. someone soft spoken and polite. would never loose her cool no matter the situation. politically informed and liberal girls. someone he could help. he likes beautiful women, but his idea of beautiful is unique. age wouldn’t matter to him.
  • namjoon; mysterious woman. they look like they are keeping a secret. usually quiet. he dislikes superficiality and likes women who can get him shy. someone two or three years younger, but mature and determined.
  • jimin; //very// feminine women. he likes polite and social girls, who can make him laugh at their cuteness.  fashionable and attractive, someone who’s gentle and funny. also dislikes superficiality and dating a younger girl is a must.
  • taehyung; like jin, taehyung would love a woman who works hard and is wealthy but still humble and honest. someone he would be able to rely on but would also let him lead the relationship. someone who would be waiting for him to come home. seems really independent but is actually a fluffball. would have a thing for younger girls.
  • jungkook; fuckgirls tbh. he likes feminine girls who are soft-spoken but still able to take control and work under pressure. jungkook would be really attracted to girls who take care of their looks and has a warm personality. someone who would challenge him. probably his age or older.

rain-sleet-snow  asked:

If Rey is a Skywalker, what do Leia and Finn see when they look at her?

Finn sees a girl. He sees a girl with ferocious  eyes and the kindest smile and hard callused hands and an absolutely banging six pack – our homegirl is shredded– and soft brown hair, so soft, oh Force above it looks so soft all he wants to do is touch it –

He sees a girl who, when the wind is just right, seems to bluster and sway, like her skin is just an outline, pressing in something far larger. Imagine a sandstorm, caught in a single swirling instant – or an ocean, contained in a sphere. He gets the sense that there is more of her, tucked away where no one can see. When she snarls at him – thief! – the skin splinters, and a tongue of lightning lashes out and for one moment he is hypnotized.

And then he runs, because he isn’t an idiot.

When she jumps into his arms, he feels like he is holding a girl – and yet being held by something larger, something vast, something as ancient as the desert. When he lets his gaze slide off her face in just the right way, he sees that her hair is lightning-white, extending into oblivion and – 

Then the image fades. 

Rey is more human than those who came before her. She’s worked at it. One of her earliest memories is sitting with a doll in her lap, the doll she made herself, fiddling with the limbs, counting them: one, two, three, four. That is how many limbs people have. That is how many limbs her mother had. If she has that number of limbs then they will come back for her. If she looks human enough, they will return. 

Leia sees her brother.

Oh Luke, she thinks and then, on the heels of that: you bastard. Because here is a girl shaped like a storm. She’s not got Anakin’s fire, or Luke’s bloody teeth – she’s more of this world, shaped from the storms above Jakku, the scour of sands. Her wings – four sets, Leia counts (one, two, three, four, if I get the number right they will return –) – fade in and out of view, one minute dark purple, one minute heartblood red. 

She’s more human than other Skywalkers. Her mother was human, after all. And she’s lonelier. And rather than letting the loneliness make her feral and cruel, she’s used it to carve kindness into her bones. She doesn’t want to hurt anyone. She keeps her strangeness secreted away. She’s ashamed of it. 

(one two three four)

(if I get the number right – )

She returns from Starkiller Base and meets Leia, fair-faced, gentle-eyed, wonderterror Leia, with teeth and tendrils and wings aplenty, a woman who bursts out of her skin, a woman of white-gold and terrible beauty, a woman who is sure of herself, and her heritage, and unashamed – 

Well. Rey learns. There’s nothing wrong with having more than four limbs. Nothing wrong with who she is. 

And whatever form she takes, Finn still thinks she’s the most wonderful thing he has ever seen.


Whether you have been lifting for a few weeks, a few months, or a few years, sometimes you won’t look like you do anything at all.

And that’s completely OK.

Superman is sometimes just Clark Kent. Wonder Woman is sometimes just Diana Prince. 

We don’t need to be superheros all of the time - plus it makes their reactions all so much better when you show them your little secret.

anonymous asked:

Just before Jon goes all angry kitten on Baelish, observe his face(" Not even thank you"? till " As I loved her mother")- It does not make a whole lot of sense. Jon somehow starts boiling with anger before Baelish utters the trigger word. As if he knew that the rat bastard would bring up Sansa. And he would be more than happy to chew him to pieces. A platonic brother-sister relationship? NADA. This was a dude being possessive of the woman he loved. At least thats what I think. Care to comment?

I know, that is NOT how a brother behaves. His face and reaction, literally screamed “Oh no you didn’t, she is MINE.”

I wrote this before, we’ve never heard jon make that animalistic growl, that he made in that scene, before he chokes Littlefinger, and how his mouth twitches, I was like OMG looking at that scene. THAT was not meant to be platonic. He acts possessively, as if Sansa is his, as is she’s off limits to everyone/anyone, but, him. 

And then he comes out the crypts two minutes after, and looks at Sansa with such sadness, but at the same time, tenderness in his eyes, he waves at her, she smiles and waves back, then he lowers his hand, looks at her just a bit longer, then turns around and leaves, and then it pans to Sansa, you can see sadness in her eyes, and fear, for Jon’s life, fear he might never make it back home, you can literally hear the sounds of Sansa’s heart breaking 💔😩

EVERYONE saw these strange reactions from Jon this season, he’s had them 3 times, 1st with Littlefinger, then with Tyrion, and lastly with Theon. And the way both Jon and Sansa look at each other, it is not brotherly/sisterly love, there is 100% something else going on. Even many tv show directors/screenwriters, who write and direct romance, have noticed it, and they have no shipper goggles on, or whatever. We can’t be ALL crazy, come on lol 😂😂 

D&D have planted the seeds throughout season 6 and season 7, and they will flourish in season 8. 

The only ones who, LITERALLY refuse to see, and are in denial, are J*onerys shippers, who apparently, whenever there was a Jonsa scene, a scene where Sansa was brought up to Jon, and where Sansa mentioned Jon, they apparently put cucumbers on their eyes or something lmao 🙃🤣🤣

Jonsa has had so many romantic tropes in their scenes, that at one point I found myself thinking, wow D&D this is getting out of control, but please, continue, we don’t mind, quite the opposite. 😉😂😂

There is nada platonic about these two, and honestly, the chemistry between Kit and Soph, is off the charts. Their acting is on point, there is sexual tention, there is awkwardness, there is love, sweet stares, sweet glances, lip staring contests, they exasperate each other, they drive each other mad, they talk to each other, they scream at each other, open up to each other, don’t keep secrets, they trust each other, they would both do anything to protect the other, they fight but they quickly make up, and they complement each other beautifully.

J*onerys had none of this. Jon is like a close shell around her, he doesn’t open up with her at all, and you can see he’s very weary of her. He’s seen she’s moody, throws temper tantrums, she’s unpredictable, she’s narcissistic, entitled, power hungry, pyromanic and the list can go on. 

Jon could not fall in love with a woman like her, a woman who has seen the army of the dead, and yet still hesitates, to go North to help save the world. Had Cercei stayed put on her decision to not cease fire, she would have not gone North to help, because “Cercei would’ve came in, and taken the kingdoms back”. She thinks of herself as this hero, this good hearted person, when really she’s not, it’s just a facade, she loves being cheered, she loves have people fall at her feet in adoration, that’s what drives her, for the most part. She would put a throne, before the people, she would let the NK and his army invade and murder innocent peoole, to sit on a “pretty chair”, and rule above all.  I repeat, Jon could NEVER love a woman like that, a woman who puts power before everyone and everything.

#JonsaIsComing 💙

Bruce Wayne (BvS) x female reader- Secret Possession (Rated M smut)

Bruce keeps you his secret lover, the love of his life, using the women on his arms in public as pawns in his plan. Returning home to you he shows you how much he missed you. His little Princess, but have you been a good girl for Daddy?

Warning- Sexual content, Daddy kink, submissive reader, Dom!Bruce, BatDaddy, Oral (M/F), rough sex, punishment

Originally posted by kane52630

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