As an anime fan who respects creative integrity and intellectual property, I am disgusted by how much you’ve hurt me DavidPro. From the smiling faces to the word “happiness”, do you not have any value or respect for originality? You’re a laughing stock. It’s cheesy. It’s disgusting. I personally found it absolutely artistically atrocious. I am embarrassed to be sitting here in your presence having to even dignify you with an answer of my opinion.


Here’s my injection of positivelity for the day peeps. So, you know how nothing at all on this show is accidental and a lot of the events are mirrored later on… Well here’s one that is subtly sumptuous, it shows the progression of Paddy and Kevin’s growing love for each other and is all about team Kevin! They are often on the rooftop but on three occasions, they sit down and food is involved. In Paddy’s constant hunger and consumption of food, there’s a long extended metaphor but I haven’t quite formulated what it is yet. Anyone? I do know though, that its significance to the character cannot be understated. 

In ‘Looking Glass’ Patrick is eating but Kevin isn’t and when Kevin sits down next to him, they sit facing forward i.e. away from each other. The conversation is uncomfortable and the emotional rift is symbolically represented in the physical space between them. Patrick is eating and can distract himself from the uncomfortableness of the situation, Kevin’s discomfort is further enhanced by the fact that he doesn’t have a distraction. It adds to his vulnerability here. They are on very different pages here.

In ‘Looking Top to Bottom’ both our boys are chomping down on cake. They are on more equal footing compared to ‘Looking Glass’, which the shared eating experience symbolises. Patrick however refuses to change his plans (atta boy! Such a positive step for the fledgling young one here!) and Kevin sweetly invites himself along (with a winsome smile and head wiggle-nod… Awww). Even though they are much closer to each other now, lots still remains unresolved which is apparent in the body language. Patrick is asserting himself more in the relationship, he’s refusing Kevin’s requests and even though he’s facing Kevin, his body is turned away from him. He’s guarding himself to some extent. Kevin on the other hand is completely turned towards Patrick, in a totally open defenceless manner, not only that, he is leaning in, both physically and metaphorically. Patrick won’t given in and just change his plans repeatedly for Kevin anymore and Kevin is the one who needs to make changes. Their stances symbolically reinforce their status in the relationship at this point — they are both investing in each other but Patrick has the upper hand here while Kevin is laying himself bare and stepping up to the plate.

In ‘Looking for Glory’ they are in complete simpatico — both facing each other, open, happy, smiling, laughing, leaning in towards each other, lots of intense eye contact and most crucially, they are sharing a sandwich! Paddy does not share his food, we all know that which is what makes this little gesture even more poignant. Visually, it’s a perfect metaphor — they are so completely in love! These three scenes are so subtle in their richness and I love that they speak such volumes about where these two are at with each other emotionally. The visual representation of their feelings towards each other and the circularity of the narrative, is such an intelligent ploy. The attention to detail is staggering — where each of them sits, the colour palette of their clothes… And let’s not forget the jumper — the cutest, puppiest cherry on the topping, is the most blatant visual representation of their complete togetherness and ultimate cuteness! How can such an intensely hot, sexy pair also be cute?! Beggars belief! 


Twilight: So that’s a pretty wide range of things. Usually though I ‘eat’ this special brain food I devised for myself and other brains. It’s specially formulated to give disembodied brains everything they need!

anonymous asked:

How would Kuro Kaneki and Hide feel about having a s/o that loved cuddling?

[[aw this request has actually made my day fluffier! thank you!! also i made hide cuddlier than his partner? i’m so sorry ;-;]]

Kuro! Kaneki is used to his partner initiating cuddle sessions with him, but each time they ask him, he would blush and stutter. It’s not like he doesn’t like it, though; it’s just that it’s hard for him to formulate the proper words once he is in front of his partner and conversing with them.

He is enamoured by their beauty, and fascinated with their brightness that he is almost always out of words whenever he is talking to them. And so when his partner asks him to cuddle with them that night, all Kaneki could do is nod.

His partner simply smiles at him and doesn’t say anything; Kaneki has to take a moment to calm his erratically beating heart after seeing his partner smile. His partner sees this, and they smile knowingly at him; they don’t say anything to tease him, though, and for that he is thankful.

His partner then grabs his wrist and pulls him over to the living room. They push him on the couch, and he is about to mouth a protest when his partner suddenly seat themselves beside him, laying their head on his shoulder.

They move away after a moment, and they order Kaneki to scoot over in the corner. Kaneki does so without question, and his partner grins widely at him before they flop themselves down once more on the bed, this time lying down instead of sitting. They lay their head down on Kaneki’s lap and looks up at him; Kaneki notices that his partner’s eyes are twinkling brightly like the stars in the night sky.

“Ken,” they whisper his name with a smile, and Kaneki finds breathing stop short, as does his heart. He is rendered wordless once more by his partner, and god, he knows he won’t ever get used to this.

His partner reaches a hand up to stroke his cheek, and Kaneki closes his eyes, leaning against his partner’s gentle touch, silently craving for more.

“Ken,” they whisper again, and Kaneki opens his eyes and meets his partner’s gaze, finding himself drowning in the ocean of brightness that is his partner’s eyes. His partner starts to giggle, and the pleasant sound of it—like a thousand chimes dancing at the tune of the wind—snaps him out of his stupor.

His partner reaches a hand to poke him on his cheek. Kaneki makes a small sound of pain in his throat, and his partner starts to giggle again. “You’re mean,” Kaneki says with a pout.

“And you’re cute,” his partner remarks with a smile. “At least we go well together.”

“That, we do,” Kaneki answers with a nod. His partner’s smile widens just a fraction. A minute of silence passes before his partner speaks again. “Hey, read me a book, Ken.”

“Sure,” Kaneki answers; he frowns after a little while and adds, “But which book?”

The Black Goat’s Egg; your favourite, of course,” they answer. “It’s on the nightstand, in case you’re wondering.”

Kaneki nods and reaches over to grab the aforementioned book from the nightstand. He opens the book at a certain page and looks at his partner and asks, “Are you ready to listen?”

“Yes, sir,” they answer with a laugh. Kaneki blushes, but clears his throat and begins nonetheless. Halfway through his reading, he discovers that his partner has already fallen asleep. Their eyes are closed and their breathing is steady; they look so peaceful that Kaneki couldn’t help himself from falling in love even more with them.

Kaneki allows a small smile to grace his lips, and he leans down to plant a kiss on his partner’s forehead. “I love you,” he whispers.

When he leans his head back, he sees the small smile on his partner’s lips, and he wonders whether the smile is due to a good dream or his words.

He watches his partner fall asleep; he watches the state of tranquillity they are in, watches the state of serenity they are currently experiencing. He is aware that he might not get any sleep tomorrow, but he deems sleep as unworthy enough compared to his lover.

Sleep is incomparable to the feeling of love and happiness swelling inside of him, anyway.

Hide is usually the one to initiate a cuddle session with his partner, so as soon as his partner asks him one night to cuddle with them, all he could do is gape. It takes him a moment to compose himself, takes him a moment to finally answer, but when he does, it is with the largest grin.

“Okay!” he exclaims. He quickly walks over to where his partner is standing and wraps his arms around their form; he slowly lifts them off the ground and carries them to the couch, earning a squeal of delight from his partner. He pretends to drop them on the ground, and when he succeeds in making his partner scream, he would gently place them on the couch.

His partner pouts at him. “Hide, you are mean.”

Hide only smiles before joining his partner on the couch, adjusting their position so that his partner is lying on him and he is wrapping his arms around them. “Will you accept my apology?” he asks, the traces of a smile still lingering on his lips.

His partner nods their head eagerly at this, and they turn their head to look at him, smiling. “Only if you cuddle with me,” they answer, and Hide grins, wrapping his arms tighter around their form.

“Gladly,” he answers.

request more scenarios here!

happy-endings-are-bullshvt asked:

i want to see your writing in books, i wanna be able to pick up your book and flip the pages so i can smell the fresh scent of a new book and be able to sit and imagine the words of your poems bouncing off everything around me *:・゚✧*:・゚✧ please work hard because i can't wait !!

It took me awhile to formulate an answer for this because it is honestly one of the most inspirational things I have ever read and it means so much. Thank you, thank you, thank you

Laundry and Kisses

Another one for darrancriss because Quieen.

Happy and Paige had returned from their week at the beach relaxed and fully satisfied. They hadn’t done much, choosing to spend nearly all day every day in each other’s arms or between each other’s legs. It had been extremely nice. In those few days, Happy taught Paige things she hadn’t even known were possible. Now, Paige had formulated a plan to return the favor and put the mechanical genius’s lessons to good use.

Keep reading

anonymous asked:

Do you think the lyrics to 'mood music' such as 'driving through the gated residential' and 'you keep tryna hide it but your friends know' are about ABEL actually having sex with this real girl? Or are his lyrics fabricated stories or fantasies?

His lyrics are formulated from real life experiences.

Rachael Fried, a 27-year-old graduate of Stern College, spent years formulating one three-word bombshell of a sentence: I am gay.

‘Just being able to say it to myself, let alone others, took years,’ said Fried, former student council president at Stern and current graduate student at Parsons The New School for Design. She wore a knee-length pencil skirt, button-down top, cardigan and colorful scarf, long hair falling down her back.

'I’m pretty religious, and I’m pretty gay,’ Fried joked. 'My story, though, is not an extraordinary one. I was a typical Stern student leader.’

—  The Jewish Week, “‘Safe Spaces’ For Orthodox LGBTQ Students Spreads On Campus,” by  Hannah Dreyfus  
Although the unproblematic unity of “women” is often invoked
to construct a solidarity of identity, a split is introduced in the
feminist subject by the distinction between sex and gender. Originally
intended to dispute the biology-is-destiny formulation,
the distinction between sex and gender serves the argument that
whatever biological intractability sex appears to have, gender is
culturally constructed: hence, gender is neither the causal result
of sex nor as seemingly fixed as sex. The unity of the subject is
thus already potentially contested by the distinction that permits
of gender as a multiple interpretation of sex.
     If gender is the cultural meanings that the sexed body assumes,
then a gender cannot be said to follow from a sex in any one
way. Taken to its logical limit, the sex/gender distinction suggests
a radical discontinuity between sexed bodies and culturally
constructed genders. Assuming for the moment the stability of
binary sex, it does not follow that the construction of “men”
will accrue exclusively to the bodies of males or that “women”
will interpret only female bodies. Further, even if the sexes
appear to be unproblematically binary in their morphology
and constitution (which will become a question), there is no
reason to assume that genders ought also to remain as two.8 The
presumption of a binary gender system implicitly retains the
belief in a mimetic relation of gender to sex whereby gender
mirrors sex or is otherwise restricted by it. When the constructed
status of gender is theorized as radically independent of
sex, gender itself becomes a free-floating artifice, with the consequence that man and masculine might just as easily signify a
female body as a male one, and woman and feminine a male body as
easily as a female one.
     This radical splitting of the gendered subject poses yet another
set of problems. Can we refer to a “given” sex or a “given”
gender without first inquiring into how sex and/or gender is
given, through what means? And what is “sex” anyway? Is it
natural, anatomical, chromosomal, or hormonal, and how is a
feminist critic to assess the scientific discourses which purport
to establish such “facts” for us? Does sex have a history?10 Does
each sex have a different history, or histories? Is there a history
of how the duality of sex was established, a genealogy that
might expose the binary options as a variable construction? Are
the ostensibly natural facts of sex discursively produced by various
scientific discourses in the service of other political and
social interests? If the immutable character of sex is contested,
perhaps this construct called “sex” is as culturally constructed as
gender; indeed, perhaps it was always already gender, with the consequence that the distinction between sex and gender turns
out to be no distinction at all.
    It would make no sense, then, to define gender as the cultural
interpretation of sex, if sex itself is a gendered category. Gender
ought not to be conceived merely as the cultural inscription of
meaning on a pregiven sex (a juridical conception); gender
must also designate the very apparatus of production whereby
the sexes themselves are established. As a result, gender is not to
culture as sex is to nature; gender is also the discursive/cultural
means by which “sexed nature” or “a natural sex” is produced
and established as “prediscursive,” prior to culture, a politically
neutral surface on which culture acts. This construction of “sex”
as the radically unconstructed will concern us again in the discussion
of Lévi-Strauss and structuralism in chapter 2. At this
juncture it is already clear that one way the internal stability and
binary frame for sex is effectively secured is by casting the duality
of sex in a prediscursive domain. This production of sex as
the prediscursive ought to be understood as the effect of the
apparatus of cultural construction designated by gender. How,
then, does gender need to be reformulated to encompass the
power relations that produce the effect of a prediscursive sex and
so conceal that very operation of discursive production?

Butler, Judith, 1990. Gender Trouble: Feminism and the Subversion of Identity, Routledge. 

here’s a whole lot of postmodern bullshit to explain what the hell i’m saying about radfem gender abolitionism being a farce

DMMD routes, in their essence: 

Noiz’s Route: free yourself; you are your own cage

Koujaku’s Route: forgive yourself; you are your own monster

Mink’s Route: be strong for yourself; endure before all things  

Clear’s Route: choose for yourself, or others will choose for you

Ren’s Route: love yourself; accept the parts you fear 

Mizuki’s Route: fix yourself; no one can do it for you

Virus’ and Trip’s Route: don’t fuck up or someone will put a snake in your butt


Thor and The Avengers