bow down to the real goddess

anonymous asked:

Oh so you're a real cuck and not sure if "stag" is the right term for what im thinking of but someone to gets to explore the other's desires right by their sides. As an equal. You like bowing down to her a bit instead? Idolising and worshipping her as a goddess. Youre the type who likes being degraded as it makes your wife shine that much brighter and your humbleness lets you cherish everything she decides to share with you that much more. Am I understanding fully? COM

tbh i dont know what the diff is bwteen cuck and stag. maybe i’m bit of both. it depends on the guy that she’s with and how she feels. but i see my role very much as someone supporting her sexual needs and making it possible for her to experience sex fully with whoever she chooses.  she says she’s had sex on another level and she’s not ready to give it up just yet (not that i’m asking her to).

the times when i’m included, like i say, i see my role as making sure her and her guy enjoy themselves. i’ve even started wearing a cage recently lol, it makes sure i dont get distracted with erections and can focus on giving them both oral work. in think its also a kinky way of letting her guy know he’s the alpha male and and can do as he pleases without my erections getting in the way. he current bull is a very experienced white guy and very clued up into playing to each of our fetishes and totally cool with me rimming him, sucking him off etc. our neighbour was ok with that too but we had to ease into it. not just because it was new to us but new to him as well. this guy knew from the outside what we’d like and has totally delivered!

most of the guys she’s gone with i never even met. she hooked up with guys off tindr and only told me about it afterwards.  i’m sure there’s some that she hasn’t told me about, but it’s cool. i promised her that it’s her decision, her body and i dont expect to be entitled to answers. its a bit unnerving not knowing if she fucked someone i know. she teases me by saying things every now and then cos she knows deep down i love not knowing.

but yeah, to answer your question, how we are and my role depends on the guy she’s with and how she feels.

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anonymous asked:

You have to wonder why A&E chose Robin Hood of all characters to bastardize. On this show, all the things that make him who he is have been pushed to the periphery of the show and distant from the character himself. Marian & The Merry Men are of little importance, Sherwood Forest will be getting a mere cameo appearance, and he's done no stealing to help those in real need. He's just a man with a bow given the title of Robin Hood to add some importance to a poorly developed original character.

Anon, you are right, and know not what you unleash.

Representations of Robin Hood - I’m going to take a whistle-stop tour through the ages.

We’ll start with Robin and Marian because, despite what an OQer of pick’n’choose knowledge insists to select just one very late ballad about a shepherdess as Robin’s real love (she didn’t take off), that’s where it starts; not even with the earliest ballads we have (which are just the first written records of Robyn Hode); with European paganism, spring time celebrations, the delights of the greenwood - these are regular features of seasonal life. Like most of Europe the Anglo-Saxons have been Christianized and the early Church adopts their magical springs and shrines, often keeping iconography of the pagan past. Then the Normans invade in 1066 and smash early English democracy with feudal law, and it feels like the Orcs have taken over Middle Earth. But many traditions continue. Celebrations of Robin and Marian are being recorded for posterity by the 1100s (and also in France), eventually evolving into the May Day festivities we recognise as heritage.

Robyn, Robin, Robert - there’s no need to get into the many historical possibilities of a real man with the name of Hood because we’re dealing only with how he’s represented. Every age does something different to add to the folklore we inherit. We celebrate the yeomanry of the early medieval period. We are not serfs of our Norman conquerors, we are free artisans and choose to march behind foreign kings if it suits us. We won’t speak their French, but we’ll take some words and add them to ours, and eventually they’ll be speaking our language. Look, we are the literal swashbucklers – we carry bows and swords and swash our bucklers as we walk. And if it doesn’t suit us we’ll walk away, be outlaws and live off the deer they claim as their own in the forest. We sing each other our adventures in our evolving language, but we haven’t written them down yet.

So now, like the Norman introduction of surnames, Robin Hood is getting established - his class, his skill with the bow and sword, his Marianism (Marian is a greater archetype than Robin by her association with the Virgin Mary), his respect for women (the tradition of male reverence for goddesses; England is never a fatherland, always a mother); his enmity with Nottingham’s sheriff; his entertaining habit of robbing rich churchmen and greedy merchants, so that many a real bandit of the medieval period is tempted to take his alias.

The literate among us write the songs and stories as ballads. The oldest ballad to survive dates from the 1400s. The Merry Men are settling - Little John, Scathelocke (Scarlett), Much… Marian’s name is written in a more bawdy context and here comes Friar Tuck. By the 1500s minstrels and jesters will even tell tales of Robin and Marian at Henry VIII’s court. Eventually the bards will insert themselves as Alan-a-Dale. The make-up of English society has evolved. We have given a lesson in how to be conquered - we absorbed our conquerors. We’re no longer oppressed, we are all in this together, right? So it’s safe and even desirable to ennoble Robin by literally ennobling him - he can be an earl like Huntington who gives up his privilege to fight local injustice. While we’re at it we can promote Marian’s class to match, and she can be the daughter of a nobleman, the sheriff’s ward or some-such (note: an OQer uses this to argue that Regina is a better Marian for Robin because of Regina’s aristocratic status. Feel free to point and laugh at that).

As the centuries go by and drama evolves into what we recognise as modern genres, we make both tragedies and comedies out of these heroes. Robin Hood also enters pantomime, and children are still watching these cross-dressing, gender-bending performances today at Christmas. The nineteenth century impact is big. Robin’s legend (for by then that’s what it is) is firmly dated to the 1100s, so it’s been enough centuries to safely address conquest and class, and the Victorians re-visit the English struggle under the Norman yoke. Robin is an heroic Saxon fighting Norman oppression.

Then Sir Walter Scott writes Ivanhoe and yet again there’s a shift: Robin is a follower of good King Richard - and look, by now Richard is not Coeur de Lion, he is Lionheart (we’re all English now, don’t forget!) Robin becomes of national consequence, fighting tyranny in the good King’s absence until Richard returns to pardon him and restore the lands a bad Sheriff/bad Prince John confiscated. This is the incarnation that 20th century Hollywood grasps. Errol Flynn epitomises - his Robin is a swashbuckler without a buckler. He is pretty and brave and charming, and Marian is worthy because she is as much his foil as the sword he deploys like a Restoration rake, appreciating his wit while playing hard to get.

In 1976 Britain and America collaborate on a much more interesting film (Robin and Marian) to remind us that kings can’t always be trusted, middle-aged people count as protagonists, Robin Hood isn’t a fairy-tale, and to give an historical lesson on the role of a nun as a rare place for medieval women to be powerful and safe (a lesson Miranda Richardson also passes on to Hayley Atwell in the recent The Pillars of the Earth).

At last we get to 1984 where I’ll stop because, although there have been two big budget films and a BBC TV series since, ITV’s Robin of Sherwood is my favourite. The first two seasons are the best. Robin of Sherwood makes a brave stab at historical accuracy while reintegrating Robin and Marian with their English myths and archetypes: the Green Man, the May Queen, Cunning Women, Herne the Hunter, the Wild Hunt, Albion, Wayland Smith. Here also is a non-exhaustive list of aspects explored as on-going themes or on an episode basis:

  • economic oppression
  • religious hypocrisy
  • anti-semitism
  • islamaphobia (more relevant now than then)
  • ableism (through the character Much)
  • institutional sexism (feudal law re. women)
  • misogyny and male entitlement (gender-based accusations of witchcraft)
  • the homophobic AIDS panic (a story featuring lepers)

- all at tea time on a Sunday so the kiddies can watch comfortably before bath, pyjamas and bed on a school night.

If you’re going to use the folklore of Robin Hood, that is what you do with it. You have an understanding of its history and meanings of the past. You then make something contemporary and relevant of it. You do something that resonates.

You don’t appropriate the name and stick it on a husk you’re too lazy to write. You don’t use it to make insta-character, like a Pot Noodle, from your shallow dragnet of exploited tales and genre mash-up. You don’t use it to demean and infantilise a female character, romanticise cheating, and write heterosexual love as a man’s choice of women to shag.