Treacle-A

I know exactly how this bear feels

Mood

(Based on tags by @shark-toothed-fae. Reading this made me emotional so I Had to illustrate it)

so judging by how astonished people are by it every time we explain it to anybody, it seems like my wife and I might really be onto something here

during the pandemic, we invented something we call "astronaut time."

when it's astronaut time, it's like we are two astronauts wearing the big helmets, moving around the station on totally separate tasks. one of us is outside the space station and one of us is inside the space station. our radios do not work and we have no way of communicating with each other. we might see each other through the lil porthole windows, but we ignore each other because we both have different things to do.

"astronaut time" is how we get total privacy when we live in the same apartment. I will pretend you don't exist. You will pretend I don't exist. we have a nonverbal, zero-contact signal for when astronaut time is over (usually "I'll draw a smiley-face on the whiteboard in the kitchen when I'm done"). No talking, stay out of each other's line of sight, we are actively avoiding each other, unless you are currently experiencing a medical emergency goodbye.

it has been. a godsend. imagine living with your partner and being able to close every single tab in your brain related to social interaction. no fear of being interrupted by a "hey, quick question--" or "sorry to bother you, but do you know where the scissors are?" or "did you want something to eat, too?" Once or twice a month, we look at each other lovingly, hold hands, and say "baby I think I need some astronaut time tonight," and the other person goes "okay cool. bye! have a nice night!" and nobody's feelings are hurt and we both go and have a lovely evening completely by ourselves.

like idk it's a small thing but it's made our lives so much nicer, so if you and your partner/roommate are both people who sometimes need total privacy in order to recharge, maybe try it

I'm the wife in question and I cannot recommend this enough. When I told my therapist about astronaut time, she asked if she could share it with the couples she councils, so even the professionals give it two thumbs up.

i think a lot about exactly 1 thing from the roman empire: the concept of bread and circus. the idea was that if your population was fed and entertained, they wouldn't revolt. you are asking us to give up our one small life, is the thing - for under 15 dollars an hour.

what would that buy, even. i am trading weekends and late nights and my back health. i am trading slow mornings and long walks and cortisol levels. i am trading sleep and silence and peace. for ... this. for what barely-covers-rent.

life really is more expensive right now. you aren't making that up. i make almost 3 times what i did 5 years ago, and despite an incredibly equal series of bills - i am still struggling. the most expensive line item i added was to own a dog. the money is just evaporating.

we were okay with it because it's a cost-benefit analysis. i could handle the customer harassment and standing all day and the manager's constantly changing temperament - i was coming home to hope, and my life planned in a blue envelope. three hours would buy me my dog's food for a month. i can give up three hours for him, for his shiny coat and wide, happy mouth. three days could be a new mattress, if i was thrifty. if i really scrimped and saved, we could maybe afford a trip into the city.

recently i cried in the car about the price of groceries.

business majors will be mad at me, but my most inflammatory opinion is that people should never be valued at the same place as products. your staff should not be a series of numbers in an excel sheet that you can just "replace" whenever you need something at that moment. your staff should be people, end of sentence.

it feels like someone somewhere is playing a very bad video game. like my life is a toy. like someone opened an app on their phone and hired me in diner dash ultra. they don't need to pay me well or treat me alright - they can always just show me the door. there is always someone more desperate, always someone more willing.

but i go to work and know i could save for years and not afford housing. i am never going to own my own home, most likely. i have no idea how to afford her ring, much less the wedding. my dog doesn't have his own yard. everything i love is on subscription. if i lose my job, i have no "nest egg" to catch my falling.

this thin life - they want me to give up summer for it. to open my mouth and throat and swallow the horrible hours and counted keystrokes. they want me to give up mountains and any non-federal holiday. to give up snow days. to give up talking to my mom whenever i want. to give up visiting the ocean and hearing the waves.

bread and circus worked for a while, actually. it was a the kind of plan that would probably now be denounced by republicans as socialist commie liberal pronoun bullshit.

but sometimes i wonder if we should point them to the part of the history book that says: it worked until it didn't.

haven't seen the anyone upload the best video of the welsh holiday horse skull yet

holy shit. this guy on the bus talking to a girl about how he trades stocks. and she goes “have you seen american psycho” and he said no i dont watch movies. im too busy trading

mash being surprisingly queer in the 70′s - 19/?

My Name is Rachel Corrie, taken from the writings of Rachel Corrie, edited by Alan Rickman and Katharine Viner, with the permission of the Corrie family, in collaboration with the Royal Court Theatre International Department, Theatre Communications Group, New York, NY, 2006, p. 47-50 (Rachel Corrie’s emails here)

it's just a deep sleep he's a disney princess actually, that's why his sleeves were so poofy all along

jfc this family photo !!!!!!!

(via @sambaschutte on IG)

Can we talk about how The Swede seems to be wearing a screen-printed cropped graphic tee?

I'm not mad or anything, I just think it's funny

I did my very best to reproduce this logo!

A good bit has been made of Ed saying that "last night was a mistake" and I get the sense that a lot of people are interpreting things through a lens that he means they shouldn't have slept together, they should have waited, Stede was pushing things too far too fast, etc. So I want to go into some detail on why I don't agree with that, and what I think is happening in the aftermath of Calypso's Birthday, as well as in the love scene itself.

(This is kinda long, because I am not witty and cannot be brief. These are just my thoughts, so of course I'm not trying to tell anyone how to understand what happens in these scenes.)

Them having sex and what happens after is very much related to the things that they've both gone through, and especially Ed's fears and trauma after his depressive spiral. When we first meet Ed in Season 1, he's already borderline suicidal. Stede gives him a new view of life by showing him things that he's never seen before, and emotions he's never experienced before. He falls in love and anchors himself to Stede. Then his anchor breaks and lets him float off. He's alone and heartbroken and quite literally goes insane with grief and self-loathing (spurred on by Izzy) on a ship filled with people and things that keep reminding him of how he wasn't enough.

In Season 2, he knows that if he goes back to being Blackbeard, again, after everything, he might very well never be able to come back. He's still terrified of Stede abandoning him, and I think the fact that he did consent to the sex, that he did want to have sex, that he did feel loved and desired and happy, is a huge part of that. He says it was a mistake because he wanted it so much and got exactly what he wanted and is afraid that, again, he's going to lose the person who made him feel like he was enough. So he's doing exactly what Stede says he's doing - panicking and trying to run this time, so that he's not the one who gets hurt again. That's not the same as truly regretting the night before; it actually says that them sleeping together meant so much that it's frightened him because now he stands to lose even more. (If losing Stede once ripped him apart, after they had just barely kissed and admitted they care for each other, what would losing Stede now do to him?)

Should they have waited? Doesn't really matter. They didn't. Are they overwhelmed with emotion? Well, yeah. There have been other posts floating around discussing the relationship between sex and death and the concept of funeral sex, which are quite accurate IMO.

But...I'd say the moment when Stede first grabs Ed at the door is the "overwhelmed with emotion" part. Remember that Stede has killed before, accidentally, and is absolutely wracked with guilt by it. The guilt is also associated with Ed and with his masculinity/sexuality - "you defile beautiful things" - and Ned's words earlier poked those wounds. The last thing that Ed said to Stede before he killed Ned was not to do it because "you can't come back from that." So Stede does what he did before - he runs and hides. But he's not alone anymore. Ed shows up. He's not angry, he's not rejecting Stede or lecturing Stede; nothing has fundamentally changed in their relationship because Stede killed Ned. He's there to say, "Hey, it's OK, it's hard, I know, I've been there." Stede is overwhelmed with emotion - guilt at what he's done and all its associations with his past, fear that he's ruined something in his relationship (defiled a beautiful thing), uncertainty about what this means about him as a person. And there's Ed, standing there and saying "Are you OK?" Nothing has been defiled.

It's not Ed who crosses the threshold - maybe Stede needs his space and really doesn't need his sympathy right now, so he waits there and doesn't invade the space - but Stede who grabs him and drags him across. That's the impulsive moment, not the sex. Ed is surprised by it, as we can see on his face, and Stede is in pain and almost crying. He seems incapable of speech at that moment, which says a lot about his state of mind since this is a man who cannot shut up. He's not behaving rationally or thinking things through deliberately; he's coming apart and Ed's there and Ed holds him together.

Now, the next cut could've been to Stede throwing Ed down on the bed or kissing him aggressively (as, indeed, has happened in plenty of shows and films with these kinds of scenes). But that's not what happens. The next cut is to the end of the impulsive moment, Stede backing Ed up against the wall. Then there's a pause. Both of them are recalibrating. Stede in fact keeps his distance (wish we could actually see their expressions up close), and he waits. He's done something he likely shouldn't have in grabbing Ed; he's stopping himself from doing anything else he shouldn't. He's making a choice and it's an important one, just like when he stopped the kiss when Ed told him to, when he stopped saying "I love you" because Ed couldn't hear it, or when he asked if it was OK to hold Ed's hand. He didn't do anything wrong in being impulsive, and he's waiting for his partner to help him know what to do next.

Could Ed say no at that point? Yes, absolutely, and we know from the moonlight scene that Stede would not try to go farther. Would Ed say no at that point, with the knowledge of how much this man needs him? Yes, I think he would. I don't think this is a case of Ed going "well, he needs this, so I'll sleep with him." That interpretation I think undermines Ed's autonomy and misunderstands his character - he's not going to do something that he doesn't want to, not even for Stede, and he's not going to damage their relationship by having their first time be a result of pity or sympathy. It's going to be about mutual desire, or it's not going to happen at all.

That pause is where they look at each other (again, wish we could see expressions better) and Ed nods. And even then, when Stede leans in to kiss him, it's not Stede who increases the intensity. I think we could even read this as Stede not consciously planning for the kiss to lead to sex. It's Ed who grabs Stede, pulls him up against him, lets his body support Stede's, who's practically collapsing. It's Ed who snatches Stede's waist and wraps his arm around his shoulders and caresses his neck.

I think it's really important that Ed is the one who ups the intensity. His actions are pretty much the definition of enthusiastic consent. That's needed for the scene, just like all the other scenes where Stede stops when Ed tells him to. It's Ed who wanted to take it slow and so now his choice to go ahead is necessary. There's no indication that this is rushed or only a result of passion and pain.

The next scene, Stede is closing the curtains, and he's shirtless, but Ed is still mostly dressed (and no, that is not the face of a man having second thoughts or being pressured into sex. That's the face of a man who's so in love he can't see anything but fireworks). What's happening is very deliberate on both their parts, and the entire scene is a culmination of their desires and - very importantly - their love for each other. It's not Stede needing comfort or validation and Ed rewarding him with sex. It's them both needing, wanting, and loving each other.

It's really tempting to make this all more angst-y than it is, especially with Ed's later "last night was a mistake!" But once more, this silly gay pirate show gets at something that a lot of less silly films and TV shows don't - that human relationships are messy and complex, and messiness and complexity are not inherently Problematic. Just human.

Tl;dr: seems like neither of them regretted having sex, and not just because it was definitely good sex.

100%, the main reason being that the expression Ed is wearing just before he nods is *the exact same expression* he's wearing when Stede says "I'm your captain!!!"

Dear #SagAftraMembers:

We are thrilled & proud to tell you that today your TV/Theatrical Negotiating Committee voted unanimously to approve a tentative agreement with the AMPTP.  As of 12:01 a.m. PT on Nov. 9, our strike is officially suspended & all picket locations are closed. We will be in touch in the coming days with information about celebration gatherings around the country.

In a contract valued at over one billion dollars, we have achieved a deal of extraordinary scope that includes "above-pattern" minimum compensation increases, unprecedented provisions for consent and compensation that will protect members from the threat of AI, and for the first time establishes a streaming participation bonus. Our Pension & Health caps have been substantially raised, which will bring much needed value to our plans. In addition, the deal includes numerous improvements for multiple categories including outsize compensation increases for background performers, and critical contract provisions protecting diverse communities.

We have arrived at a contract that will enable SAG-AFTRA members from every category to build sustainable careers. Many thousands of performers now and into the future will benefit from this work. Full details of the agreement will not be provided until the tentative agreement is reviewed by the SAG-AFTRA National Board.

We also thank our union siblings — the workers that power this industry — for the sacrifices they have made while supporting our strike and that of the Writers Guild of America. We stand together in solidarity and will be there for you when you need us.

Thank you all for your dedication, your commitment, your solidarity throughout this strike. It is because of you that these improvements became possible.

Marrying Stede...

"There is something... and I think I can take it from you."

I mean...I would?

ajsjdjdjfhhffjkfkdllfkfkdfk new favorite tweet from david