I hate this. Things like this scare the shit out of me.
Yes a parent should be protective. No they should not STALK their child.
Yes a parent can get upset at a child. No they should not flip out or let their anger make them out of control, or take out their anger on their child.
Yes a parent can lecture and maybe the kid feels like their parent is driving them crazy - but after the last two statements forgive me if I don’t exactly trust these definitions.
A parent should never be their child’s worst nightmare. A pain sometimes, ok, but not a nightmare.
And the idea of a parent “stalking” and “hunting down” their child is horrifying. If you were a good parent, maybe your child would have communicated whereabouts upfront with you already.
And the last statement is the worst. “I will subject you to terror and treat you like my property…. Because I love you!” No one would ever put up with this from a partner, a friend, even a grandparent…. Why is it suddenly okay from a parent?
Someone in the notes of the last Leyendecker post I reblogged mentioned having difficulty telling his work and Rockwell’s apart, and I know from experience that many people get them confused, which is somewhat astonishing as, to my eyes, their styles are very distinct. Leyendecker was Rockwell’s idol and mentor, but they were very different people and were interested in portraying different aspects of humanity, even when the basic subject matter was the same.
Surface-level, here are some differences:
Leyendecker smoothed out faults and imperfections (in the young. he stylized them in the old); Rockwell exaggerated them to mild or moderate caricature
Leyendecker approached his paintings as sculpture- even the merest clothing folds are carved out of the paint; Rockwell approached his paintings as drawings- the underlying contour always shines through.
Leyendecker used broad hatching brushstrokes and areas of smooth shine; Rockwell used more naturalistic texture and lighting
Leyendecker created idolized, larger-than-life figures that feel Hellenistic in their perfection; Rockwell created intimate scenes populated by figures that feel familiar in their specificity
Leyendecker’s best and most comfortable work was as a fashion/lifestyle illustrator; Rockwell’s best and most comfortable work was as an editorial/humor illustrator
Leyendecker created beautiful still lives with his figures; Rockwell told compelling stories
Leyendecker often created erotic tension in his paintings; Rockwell almost never did.
See below: Two paintings of soldiers with women, but in Rockwell’s there is a clear punchline, and while the poses are contrived for the sake of composition, they’re not self-conscious. The women are pretty- as demanded by the central joke- but not truly sexualized anywhere but in the mind of the young soldier who is being overloaded with cake and attention.
Contrast Leyendecker’s soldiers with a young nurse. Everyone in this image is posing attractively- no one has their mouth full or ears sticking out. Each crease and fold is sharp and sculptural, and the light picks out their best features- in particular the shoulders and posterior of the soldier facing away from the viewer. There is neither joke nor story, merely a group of beautiful young people, portrayed with deft brushwork and graceful lines. (and check out that hatching! That’s indicator #1 that you’ve got a Leyendecker image)
Leyendecker was very comfortable with “hot young things wearing clothes”, and did them very VERY well, but his facility with idealization came at the cost of personalization, which was fine for fashion illustration, but shows in his domestic scenes:
Beautiful, but… cold. (Also, that hand on the left- who holds a baby with their hand like that??? Good lord, J.C.) Compare a Rockwell illustration (for a baby food brand, I believe) of a mother and baby: this is clearly a real and individual young mother and baby, interacting exactly how parents and babies really interact.
Even when they did basically the same content, and putting aside posing or composition or anything other than objective visual analysis, it’s still obvious who is who:
Red: NR’s smoother rendering vs JCL’s super cool hatching
Green: NR’s naturalistic cloth folds vs JCL’s sculptural stylization
Blue: NR’s natural lighting vs JCL’s world where everything is shiny
Now go forth, confident in the knowledge that you’ll never confuse a Rockwell or a Leyendecker ever again, and can refute any claim that their styles are ‘virtually identical’.
Sorry you're having a bad day. For you: Maria gave Tony a Bucky Bear when he was a child and when Howard sneered at it she got up in his grill about his attitude toward their TODDLER having a STUFFED ANIMAL so Howard doesn't say another word about it. Tony still has it. It's well worn and soft. An eye and arm have had to be sewn back onto it from all the love its gotten. Steve finds it and Tony sees him holding it and karate chops him to get Bucky Bear back safely. 1/?
Of course Steve’s like wtf Tony you could have just asked for it back is your hand okay? YES it is because he’s holding Bucky Bear with it. Steve is like “all of my whats” but he lets it go and asks about the bear. It doesn’t look like all the other Bucky Bears from back then. And Tony is so proud, his mother stood in line at a toy store for a SPECIAL EDITION Bucky Bear. Only a hundred of them were made. They’re worth thousands in pristine condition. 2/?
Tony’s bear isn’t pristine but he doesn’t care. It’s special to him because his mom waiting in line to get to him. It’s priceless. “Do you still sleep with it?” Steve asks curiously. Tony scoffs at him and says “Absolutely you dolt. Bucky Bear has always been there for me.” Steve melts because that’s so sweet, and he mentions it to Bucky, and Bucky’s like “??? okay buddy I don’t give a fuck about his bear???” And of course Steve snorts and says “He likes the bear better than you.” 3/?
Bucky is v offended by this and creeps into Tony’s room and THERE. THERE IT IS. THE BUCKY BEAR. And Tony is there sleeping too but THE BEAR. He eases it from Tony’s arms and glares at it jealously but then he realizes he is in Tony’s room? Tony’s sleeping? So he sets the Bucky Bear aside and climbs in bed with Tony. Tony wakes up to Bucky instead of his Bucky bear and he says, “I’ve had dreams like this. Where you turned human to protect me.” And Bucky’s just like FUCK MY HEART. 4/?
And so he wraps around Tony and cuddles him and apologizes for taking so long. Tony sighs and tucks his face into Bucky’s chest. (And then he wakes up fully with a squawk and punches Bucky in the stomach with his flailing because WTF ARE YOU DOING IN MY BED YOU CREEP. It’s too late, Bucky knows Tony wanted to be protected by him as a child, so he rolls on top of him and says “I was the bear and now I’m not” but Tony sputters because HE CAN SEE THE BEAR BUCKY WTF. But he likes cuddles so. 5/5
This is so precious I’m squealing!!! Just imagining Maria going at Howard in a Rage over the Bucky Bear is brightening my day. (Especially when I think about how, even a decade later, Howard will not dare to say a word against the bear in question. His mouth twitches once, suspiciously, during dinner when Tony is fourteen and carries the bear with him out of pure spite, but Maria notices and her eyes narrow dangerously. And Howard isn’t always a wise man, but he’s not suicidal, so he gripes about his latest business deal instead.)
It’s this intriguing combination adorable and funny and slightly creepy (you don’t just climb into other people’s beds while they’re sleeping, Bucky, what even?!) and I love it. I can just imagine Bucky’s indignant face when Steve Dares To Insinuate that Tony prefers some toy to him lol. Thank you so much for cheering me up!!!
Of course now I can’t stop thinking about a tiny Tony clinging to his precious Bucky Bear, the one toy Howard would never dare to take from him, crying silently into it’s fur, begging it to please protect him and tell his father that he isn’t stupid and–
Yeah okay, I stop before I ruin it with angst haha. Lets focus instead on how, after all the well-deserved Tony-cuddling that morning ends, Bucky drags Tony down to the gym because that punch will not do if someone other than Bucky tries to sneak into his bedroom, not at all. Tony is less than impressed.
In the background, Clint loudly complains because “Bucky pulls an Edward Cullen and then actually gets into Tony’s bed and cuddles him while he’s asleep and it’s freaky cute but when I listen in on your margarita nights from the vents it’s creepy, what the hell???”
Natasha doesn’t look up from where she’s sorting her smarties by their colours. “Nobody disturbs margarita nights, Clint.”
(Clint is slightly appeased when only one Bucky Bear is allowed to join the next margarita night, and it’s not the fleshy one)
the reason melodrama is so complex is that it simultaneously celebrates and criticises parties as a place where the rules no longer apply
parties give us an illusion of control? confined in the world of the party it’s all ‘our rules, our dreams’ and we are ‘kings and queens’
homemade dynamite is such a call to arms for our generation okay it feels like a metaphor for the potential we all have to create change
but equally could be a metaphor for our self-destructive tendencies???
the louvre is beautiful because it glorifies the tiny beautiful moments, relationships that don’t last forever but are still beautiful and priceless and are still works of art - masterpieces and still good enough for the louvre
also this is a song about writing a love song? ‘broadcast the boom boom boom and make ‘em all dance to it’ that is literally the conventional role of pop music?
okay but hear me out i think liability/hard feelings are two versions of the same story, liability immediately after the split and hard feelings in retrospect!!!!! there are so many parallels!!!
let go of this endless summer afternoon vs. every endless summer’s eating me alive
well i guess i should go vs. well i guess i’ll go home
big mistake of dancing in my storm vs.
how you’d dance for me
i am obsessed with how sober ii explores the performance of being a young adult like ‘oh how fast the evening passes’ and the references to ‘champagne’ suggests some form of performed sophistication
‘we told you this was melodrama’ could play on this idea of performing a role, or alternatively could play on the way society views the lives of millennials - melodramatic and ridiculous!!!
‘they’ll talk about us, all the lovers, how we kissed and killed each other’ reminds us that this is our legacy, this is how we live forever - it’s super self-reflective and seems to call on us to consider the mark we are leaving on the world BUT also ‘romanticises us making us the stuff of myth and legend, we are immortalised forever in our scandal
writer in the dark!!!!! so like to begin with that double meaning - kissing her literally in the dark / kissing her while he kept her in the dark about how he really felt
this is lorde’s ‘blank space’ revenge song okay fight me on this
her secret power is being able to keep him forever bc she ‘locks him in her heart’ he’ll rue the day he kissed her because in doing so he sealed his fate!!!
this is actually REALLY CREEPY I WANT A CREEPY MUSIC VIDEO!!!!
okay so love of my life supercut: every chorus is like the actual supercut playing back all the good parts back - that sunny pre-chorus with the repetition, mirroring the idea of a highlights reel playing over and over again
but it’s also a metaphor for seeing a past relationship through rose-tinted glasses/the way nostalgia makes things beautiful - she is only remembering the beautiful parts
okay but the ultimate storyline of the album seems to be from green light, sober, homemade dynamite we get the impression that ‘all there is, is the party’, whereas liability reprise suggests that ‘maybe all this is the party’ which is such a beautiful and hopeful discovery for the album to make - leading straight into perfect places, which celebrates life with all it’s imperfections and flaws!!!
There’s a whole group of turtles that fold their necks into their shells sideways rather than pulling them straight back (called sidenecks). Several of them have very long necks that they can fold back into their shell and then shoot out to grab passing prey. Snakeneck turtles have truly impressive neck reaches.
“Don’t mind me, Mr. Fish, I just have a short little neck I definitely couldn’t reach all the way over…”
“JUST KIDDING YES I CAN”
They have such cute creepy little faces. If they didn’t all get so big I would love to have one (puts another turtle on my Someday list).
The other trouble is that snakenecks can sometimes be a bit nippy and since their necks are long enough to reach all the way to the back of their shell NOWHERE IS SAFE.