critical readings

Don’t Make it Awkward - Part Two

Characters: Dean x Reader, some Sam
Warnings: swearing, crack, mild angst, fluff make out sesh
Word count:  2322
Summary: @mizzamericnpie asked: Could you write a Dean x Reader where Dean finds out the reader is still a virgin? Maybe due to a bunch of bad experiences she gave up on ever being intimate with anyone. Dean’s going to fix that!
A/N: What started out as a simple ask exploded into almost 8,000 words for me. I had the story in my mind as soon as I read the ask, and I wasn’t expecting to have to chop it up into parts, but I’m happy with how it turned out. Feedback and constructive criticism always appreciated!

Read Part one 

Waking up the next morning, you felt the light before you could even open your eyes. It’s true what they say, hangovers progressively get more terrible after your 25th birthday. Sure you were only 26, but if they were going to feel like this from now on, you might have to reconsider your drinking habits…Heck, who were you kidding. You were about to head into the kitchen for some ‘hair of the dog.’

Shuffling through the hallways, you blinked and squinted your eyes, trying to adjust to the brightly-lit hallways. You heard the brothers talking in the kitchen and last night’s confession-memory came slamming back to you.

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Don’t Make it Awkward - Part Four

Characters: Dean x Reader
Warnings: loss of virginity (in graphic detail), smut, fluff
Word count:   1032
Summary: @mizzamericnpie asked: Could you write a Dean x Reader where Dean finds out the reader is still a virgin? Maybe due to a bunch of bad experiences she gave up on ever being intimate with anyone. Dean’s going to fix that!
A/N: What started out as a simple ask exploded into almost 8,000 words for me. I had the story in my mind as soon as I read the ask, and I wasn’t expecting to have to chop it up into parts, but I’m happy with how it turned out. Feedback and constructive criticism always appreciated!

Read Part One Here

Read Part Two Here

Read Part Three Here

After you had mostly come down, Dean slid out of you. The sudden loss of him made your stomach roll and twitch. You felt like jello, your nerves burnt through and muscles melted. Dean pulled the condom off and tossed it into a nearby trash bin. He returned with what looked like a t-shirt and wiped you down, and even though he was extremely gentle, you were overstimulated and jerked away from the contact.

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Dialogue: Exposing the Rhetoric of Exclusion through Medieval Manuscripts

By Kristen Collins and Bryan Keene, originally published on the Getty Iris

We invite your thoughts on an exhibition-in-progress at the Getty that addresses the persistence of prejudice as seen through lingering stereotypes from the Middle Ages.

As curators in the Getty Museum’s department of medieval and Renaissance manuscripts, we are interested in how books, and museum collections more broadly, can spark dialogues about inclusivity and diversity. Our manuscripts collection at the Getty consists primarily of objects from Western Europe, which can present challenges when trying to connect with a multicultural and increasingly international audience. 

We are striving to make connections between the Middle Ages and the contemporary world—connections that may not be immediately evident, but are powerful nonetheless. Museums are inherently political organizations, in terms of the ways that collections are assembled, displayed, and interpreted. This year’s meeting of the Association of Art Museum Curators addressed how institutional narratives and implicit bias can skew ideas of history and culture in ways that exclude minorities and gloss over the shameful aspects of our past. Groups such as the Medievalists of Color, the Society for the Study of Disability in the Middle Ages, the Society for Medieval Feminist Scholarship, and the Society for the Study of Homosexuality in the Middle Ages, among others, are applying similar lines of inquiry, seeking to decolonize and diversify the field of medieval studies. We stand with these groups.

We were also inspired by Holland Cotter’s call to arms, as he exhorted museums to tell the truth about art, “about who made objects, and how they work in the world, and how they got to the museum, and what they mean, what values they advertise, good and bad. Go for truth (which, like the telling of history, is always changing), and connect art to life.”

Here is our description of the exhibition, still in draft form:

Medieval manuscripts preserve stories of romance, faith, and knowledge, but their luxurious illuminations can reveal more sinister narratives as well. Typically created for the privileged classes, such books nevertheless provide glimpses of the marginalized and powerless and reflect their tenuous places in society. Attitudes toward Jews and Muslims, the poor, those perceived as sexual or gender deviants, and the foreign peoples beyond European borders can be discerned through caricature and polemical imagery, as well as through marks of erasure and censorship.

As repositories of history and memory, museums reveal much about our shared past, but all too often the stories told from luxury art objects focus on the elite. Through case studies of objects in the Getty’s collection, this exhibition examines the “out groups” living within western Europe. Medieval society was far more diverse than is commonly understood, but diversity did not necessarily engender tolerance. Life contained significant obstacles for those who were not fully abled, wealthy, Caucasian, Christian, heterosexual, cisgender males. For today’s viewer, the vivid images and pervasive narratives in illuminated manuscripts can serve as a stark reminder of the power of rhetoric and the danger of prejudice.

We begin the exhibition with a masterpiece of Romanesque painting, shown above. This manuscript, with its gilded pages and geometric symmetry, reveals the institutionalized antisemitism that formed the basis of Christian rhetoric about the triumph of the Church.

Ecclesia, the personification of the Christian Church, is seen above and to Christ’s right, while the Jewish Synagoga appears on Christ’s left. Often represented as a blindfolded figure, here Synagoga (in red robes) points at Christ, glaring. She holds a banderole representing Old Testament law that proclaims “cursed be he who hangs on the tree.” Below, two additional personifications echo and intensify the antithetical positions of these two figures. In a roundel below Ecclesia, the fair-skinned figure of Life (at far left) gazes calmly across the composition at Death, whose dark complexion and hook nose are seen in caricatures of Jews in other twelfth-century images.

We’d Like Your Comments

We are in the early stages of writing this exhibition, which is scheduled to be presented in the Getty’s manuscripts gallery in January 2018. As we create both the thematic content and the individual object texts—which we will be posting periodically on the Getty Tumblr—we are curious to receive community input. Specifically, we are curious to know any or all of the following:

  • Your level of interest in an exhibition of medieval and Renaissance art exploring these themes
  • Comments on the wording of the exhibition description we’ve shared above (as a whole or in any part)
  • Suggestions for perspectives and points of view we should consider in developing the exhibition
  • Any and all other suggestions or criticisms

Please reblog with your comments, DM us, or contact the curators directly by email at

Our culture tells girls in a million tiny ways to pay attention to guys’ boundaries and respect them. Don’t be clingy. Don’t be pushy. Don’t bother someone unless they actively request your company, otherwise you’re needy and pathetic. Don’t make a big deal out of it if you don’t get your way. Don’t be too loud, too uncomfortable to be around, too bitchy.

And then we tell boys, don’t let anyone disrespect you. Stand up for yourself. If you see what you want, go after it with everything you’ve got. If it matters to you, it’s worth fighting for. If you don’t succeed, keep trying. Don’t let anyone tell you what you can or cannot do. Nice guys finish last. Get the girl.

This kind of interaction exists along other lines of oppression as well - white, cis, abled, wealthy, straight, etc., people are taught that they are the only ones allowed boundaries, and everyone else is being aggressive/needy/etc. for setting their own and should be squashed. 

Hierarchy is perpetuated by socially pressuring lower-tier groups to anticipate, learn about, and respect others’ boundaries, but not to have any of their own – while the same social pressures contantly assure more privileged people that they have a right to set boundaries so far out that they infringe on others’ autonomy.

In this paradigm, an oppressed person setting reasonable boundaries is treated as a deep insult to an oppressor who wants to override them. Not actively catering to an oppressor’s desires is treated as a tresspass instead of a default state.

We need to notice stories and language that glorifies some people’s entitlement and demonises others’ autonomy. Pay attention.


What Ardyn did wrong... and why everything was wrong with Noctis’ fate

Ardyn is the most interesting character in FFXV, indeed. Mysterious man of no consequences. Despite his horrible actions, a lot of people being sympathetic to him, because Trash Jesus is very charismatic person with aura of tragic, misunderstood hero, who was punished by terrible Gods for nothing.

But people simply ignore a big elephant in the room.

Ardyn didn’t cure Starscourge. 

He didn’t fullfill God’s task, he absorbed Starscourge within himself, but didn’t destroy the plague properly. 

But why? Why didn’t he sacrifice himself like Noctis? Why did once selfless and kind man choose the path of Accursed?

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