I'm actually emotionally invested in your background oranges. Who are they? Are they friendly? Do they enjoy long walks on the beach? Are they huggers?
Hahahaha anon, I’ll tell you what! These little oranges are the bravest citrus fruits you’ve ever met. They’ve took it upon them to protect and serve my blog, loyal as those before them, never failing, always keeping an eye out for nasty anons and obnoxious porn blogs. But once you get to know the fruit behind the peel, they’re all such lovely things! They have this rule to always look bland, but Thomas can crack the best jokes and Harold is a great baker. Gary can be a bit of an ass from time to time, but he’s great with kids. Clarice makes the world’s most amazing paintings, and you won’t know what you hear if Lizzy sings! Oh, and then there’s old Peter, who tells amazing camp fire stories. I never took them to the beach before but I’m sure they’d love it. Harold is a hugger, yes, Clarice pretends not to be but actually is. And you can bet your ass they’re all like puppies once they’ve had a drink, haha.
I had no idea just how thirsty for tje p5 gang I was until I found your blog akdhfkwjfjfkf hngggggf But holy shit I have to say I LOVE your writing, like it just captures the characters really well and blows me away! Keep doing what you're doing you absolutely lovely person <3
FDJKHASKJHJ I’m glad my blog helped you unleash the thirst that resided within you. LMAO And not even an earthquake could compare to how SHOOK I am??? That someone as sweet and benevolent as you loves MY writing?? And characterization???? You’re too good to me anon but THANK YOU SO MUCH and I hope you have many wonderful days ahead of you!!! （*´▽`*)
insp. by @eggplantgifs and feat. special guest appearance by Marie France Dubreuil and Patrice Lauzon
Lifts are essential elements in any Ice Dance program. They are used to enhance the character, music and choreography of the dance. They are graded on a level scale and awarded Grades of Execution (GOEs). Levels are awarded based on difficultly in the form of difficult positions, change of positions, entry and exit features, and number of rotations. Unlike pairs lifts, in Ice Dance the lifted partner cannot be supported over the head of the lifter so the lifts are identified by the position of the lifter and are split into two categories:
pride and prejudice wasn't written as a resistance to the patriarchy djdjfhdhsj what
i mean i’ve been staring at this message for a solid minute now pondering how to reply, trying to figure out how ro reply, but honestly it boils down to one question: have you read it?
because literally the prevalent theme of pride & prejudice as well as other works of Austen—perhaps most visibly, sense & sensibility—is the ironic social commentary on the degraded role of women, as subjected and dependent on the way of whether they would marry well as they used to be?
like, honestly, what did you think it was about? sure it has a romance in it, but it’s probably one of the the most politically designed and carried out romantical arcs in literature, as it relies not so much on mutual affection, but rather darcy aknowledging his fault of diminishing elizabeth as an intelligent human being. at first, we see him as quite obviously set upon taking her for granted and applying stereotypes; startled with her outspoken attitude and clueless as to why she would reject him. because it IS surprising, that’s the point, given the context of Austen’s novel, the commonly praised choice would be to accept not only darcy, but mr collins without another thought. what do you think is the reason mrs bennet was so distraught all the time? there was no way of securing the future of her daughters other than marriage, we hear it being repeated over and over again—they cannot inherit their father’s fortune.
and—good grief. that’s the romantic ‘main plot’ concerning darcy and elizabeth alone, because the whole point is that he changes his beliefs and acknowledges elizabeth as an equal in the end. darcy isn’t exceptional for being surly and broody, he’s exceptional because he listens and learns.
but all the rest? the whole arc of charlotte, and her unhappy and dull marriage to mr collins, and the stark contrast with elizabeth. charlotte is not WRONG, she does the only thing she knows for certain will allow her to live in a respectful way without becoming ‘a burden to her parents’. the arc of lydia, basing off her portrayal against wickham? even with all his debt, infamy and faults, wickham’s opinion is at no point more blemished than lydia’s. that’s the point, that’s reiteraring the original notion of the disparity between men and women in regency England. the radiating, stinging paternalistic attitude of mr collins towards elizabeth when he marries charlotte and TELLS her that she would probably get no better chance. his absolute belief—corresponding with darcy’s, and contrasted with the latter’s rehabilitation later on—that elizabeth has no choice but accept him.
and elizabeth herself—for all the composition and impeccable manners, she IS a controversial figure in the novel. take the scene when she’s bashed by lady catherine de bourgh, the ongoing commentary on her being too forward with her opinions, the continuous bashing coming from her mother—the lingering threat that lizzy’s ‘stubbornness’ will cause her much trouble and, above all, prevent her from securing both her and the other sisters from absolute poverty when their father dies.
and, just … of course it’s written subtly, it’s conveyed in elizabeth’s wit, in austen’s slightly ironic narrative. the problem with the situation of women is not EXPLICITLY named and stated. it’s not modern times where we’re accustomed to forward addressing of feminist issues. no: it’s shown. it is not only the consistent theme in her works, it’s the prevalent theme of them. i mean, come on, there’s tonnes and tonnes of books that were NOT written with a purpose of targeting partiarchy. fuck, there are much MORE of such books than there is of the latter kind. But to choose Pride & Prejudice specifically, a novel which became one of the most famous books in the world, renowned for e x a c t l y t h i s … i cannot comprehend. please, at least consider this: do you really think the purpose of austen writing p&p was writing a romance? really? why would it become so much of a literature landmark, then?
i don’t mean to be nasty and honestly, go and have your opinion, you’re perfectly entitled to it, but it does make me sad that a novel that is a witty, outsanding and one of a kind social commentary on the plight of women in a specific time period written by a woman IN the time period is turned into something as common as a novel with a romantic plot. that’s all.
you should definitely talk about size differential!kink bc absolutely same
I mean, okay anon, TWIST MY ARM why don’t you.
Let’s talk about–
That first time, when Sam’s eighteen and hitting that second-to-last growth spurt, still mostly skinny because he doesn’t eat enough but that doesn’t seem to be stopping him–he just goes up and up, and Dean’s buying him new jeans again and Sam tries them on in the grody Goodwill dressing room and comes out and Dean thinks, what the hell. Sammy’s long long legs in jeans that fit, for the most part, though his shirt’s too short and pulling when he stretches so that line of bare stomach peeks out. He comes up to Dean’s side and Dean’s conscious for the first time of looking up and there’s a moment where his stomach goes weird and hot. Oh.
Dean doesn’t like being shoved around. Has enough of that out in the field, and he’s been thrown into enough walls for a lifetime. And–it’s not that Sam shoves him around. That’s not it. But–sometimes, if it’s been a long day and they’re tired, and Sam gets that kind of intense look around the eyes, sometimes then, Dean will find himself caught up by the hips and–urged, maybe is the word for it, pushed step by step back until his shoulders are up against the motel-room wall, and even if he’s standing up straight Sammy’s standing up straighter, looming, his shoulders blocking out the lamplight, having to bend his head to look into Dean’s eyes, and that, that Dean doesn’t mind, so much.
Or–or after, sometimes, when they’re older, Dean broadens out a lot more, takes up lifting in the bunker, and he likes the look it gives him. His shoulders look good. Except–Sam’s bigger, still. Sam’s always bigger. Puts on muscle like it’s nothing and he’s still got those long, long legs, and Dean still doesn’t think of himself like a fainting damsel or anything, but it does something to him if Sam gets all worked up into a mood and yanks him in close and picks him up, being showy, using his strength like he usually doesn’t. It yanks at the pit of Dean’s stomach, lights him up like nothing else, and he pretty much goes liquid, lets Sam lay him out and do whatever he wants, then. They have good sex, fun sex, and they each have their little kinks and foibles, and he’ll maybe never be over how Sam likes his hair pulled, or how he likes to get tied up, sometimes. Sometimes, though, what Dean wants is exactly this, and he doesn’t really know how to ask for it, because how do you ask that? Sammy, he could say, I like that you–that you’re tall. That you’re bigger than me. He’d get no end of shit for that. Still. Doesn’t mean he can’t enjoy it. Doesn’t mean that, when Sam gets into a mood, he can’t go onto his back on their bed, let Sam loom over him with those shoulders, his body just… bigger, his legs longer and his hands huge as they trap Dean’s against the bed. Doesn’t mean he can’t go light-headed crazy with watching Sammy’s bigger dick slide up against his, can’t cup his bigger balls and love the way they feel, the way they weigh heavy against his own lighter skin. When Sam flips him on his stomach and he spreads out, gasping, he can love how Sam pushes up inside, big and inescapable, weight crushing Dean down into the mattress, and watch Sam’s hand twine with his, longer fingers and bigger palm, and love how Sam’s big enough that he blocks out everything else, his arms braced around Dean’s head, his long long thighs bracketing Dean’s, so that Dean’s left feeling–small. Caged, cradled, pinned. He doesn’t say a thing about it, doesn’t ask. Doesn’t have to. It’s just–a fact. Sam’s bigger than him.