Ash The Fruit Bat @ash-fruit-bat - Tumblr Blog

in monster high universe you can get horrormone replacement therapy. there's hextrogen and testostegroan

how it feels to be in your 20s with the same interests you had when you were 10

Dysphoria is crazy what the genuine fuck does feminine knees and feminine aura even fucking mean. My brain just making up bullshit for me to be sad about

#trans memes #gender dysphoria #ftm dysphoria #trans guy #f

the-quasar-hero

Crazy to think that this is all Ronald Reagan’s fault

lordmeowdemort

I dont care what you're referring to. You are right.

ripley-stark

the characterization of cinderella in the ugly stepsister is, dare i say it, my favorite i've ever seen. because elvira and cinderella are both competing for the prince's hand, the film performs a delicate balancing act in depicting patriarchy. elvira seeks male approval at the instruction of her mother, but cinderella seeks social mobility and changing of her material circumstances.

unlike other cinderella adaptations, the ugly stepsister doesn't simply reward cinderella with marriage for being beautiful. instead, it depicts marriage as a social tradeoff. cinderella is pragmatic and cunning, and she has more experience with men than elvira does due to her position and appearance. she has more confidence and decorum than elvira, but she is also never given a reason to doubt herself. she doesn't marry out of love but as a means of escaping her situation. meanwhile elvira doesn't actually need to be married. but after such intensely targeted indoctrination, scrutiny, and bullying from her mother and teachers, this is the only future she can imagine. and ultimately this makes her shallow and cruel, to both cinderella and herself.

this is a truly fascinating and deeply sympathetic take. a lot of people compare the ugly stepsister disfavorably to the substance as body mod horror. however, the ugly stepsister is in an entirely different ballpark with its characterization

more of my thoughts on letterboxd x

l-safira

I love the Malcolm in the Middle reboot because they're like

"hm how can we let Brian Cranston flex his acting. Oh I got it give his character mushrooms and put him in a room with himself. Perfect"

And yep it's perfect

shetheyslain

Dahling you simply must read this book! It’s all about this devious little caterpillar who simply gorges himself on all manner of divine things

canipleasehavefood

dnp-as-posts

amicaarts

I know it’s not appropriate to speculate on anyone’s possible diagnoses, but I will say this: if Dan and Phil ever come out with his and his joint autism diagnosis I will not be surprised.

birdsofanarchy

Trinity Santos walks into the Pitt everyday with a bucket of unresolved trauma, a toxic yuri situationship, and Dennis Whitaker hanging off her belt like a labubu and still manages to serve cunt

tears-of-acid-and-sluts

The Pitt is a study in empathy and in this essay i will state that:

It all comes down to this

tyrantisterror

The core appeal of Willy Wonka is that he's a nigh-omnipotent maniac who uses his near limitless powers over reality to trick shitty people into killing themselves. You can't make him the protagonist of a whimsical coming of age tale - you have to treat him like Jason Voorhees, or Dracula, or any other horror icon. Give him some new victims and new interesting kills and set him loose, that's all audiences want.

bcomic-blog

I feel like I watched a somewhat different movie...

tyrantisterror

fluidstatick

Gene lobbied hard for Wonka to be introduced as a feeble limping old man who suddenly falls into a forward somersault and leaps to his feet, because "from that moment on the audience won't know if he can be trusted." On a related note: the director told Gene what would happen during the boat scene, but none of the other actors were prepared; to this day, none of them are sure what he ad libbed and what was scripted.

My favorite detail, though, is his performance of Pure Imagination. On the surface, the song is charming and inviting, but if you look closely at him throughout the scene, you'll notice that Gene never blinks. He looks around, down at his feet, up at the trees; his eyes never fully close. He moves erratically, stuttering up and down the steps of the chocolate room. The lyrics are warm and friendly, but his face is blank. He bows to permit his visitors to run amok, but his posture is stiff. He helps Violet and Mike reach a couple of treats, but there is no joy in the gesture. The final post-chorus feels like a dirge, a threat, and a warning, all at once; Wonka sits in repose under a tree, but his eyes are glassy and dispassionate. "There is no life I know to compare with pure imagination; / living there / you'll be free / if you truly / wish / to be.......... "

Fantasy in excess, like anything else, will destroy you; that's the real message of Gene Wilder's Wonka. He taunts his guests with unrepentant disdain, and doesn't care if they live or die. He toys with their emotions, their safety, and their grip on reality, feeling no regret or remorse, no pity, no compassion. Fantasy is colorful and compelling, but it's false, and ultimately empty. Wonka is a walking maladaptive daydream, and as far as I'm concerned, that's the real reason the 1971 film has endured in the culture for so long.