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Lint Roller? I Barely Know Her

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@postedbygaslight
Photography by Gina Iacob.
Oh, so this is why we had the ox rib scene...
What are the best AO3 Reylo fanfictions?
Anything by @affidecrystal / Cora Riley ☺️
@anniewalflarck-blog I don’t know what you like, but here are 3 different suggestions:
1) A canonverse I think touched perfectly all the notes and bases! Personally, this is my headcanon ep. IX:
You’ll Be The One to Turn by @postedbygaslight
https://archiveofourown.org/works/14341389/chapters/33099192
2) One of my favorite AU’s that make my heart flutter. Ben is a food critic and Rey is a food blooger:
Say Something Sweet by LoveReading (I’m not sure she has a Tumblr):
https://archiveofourown.org/works/33803119/chapters/84032287
3) Another AU that I love, with dragon shapeshifters and treasure rooms:
The rarest treasure of all by Ladderganta
https://archiveofourown.org/works/47460400
Dk how this thread remained completely unnoticed for 2 years, but it’s a perfectly insightful yet simple explanation of the psychological and thematic symbolism going on in Loki s1, especially regarding the various “Lokis”.
Killing the Past: The Dark Side and Kylo Ren
TL;DR: Kylo, as a true Dark Side apprentice, sees attachment as weakness and an impediment to power, and this explains a lot of what he does and why.
[Note: I’m aware that this has been circulating on Tumblr. I’m the original author, and posted this to the Facebook group Reylo Trash on February 24. User @empressrey13 put it up here to save it for posterity and told me about it, making sure to credit me, but didn’t know my Tumblr— honestly, I just reactivated it.]
Something that’s been rattling about in my head the last few days is putting together a coherent answer to Rey’s question to Kylo in the third Force Bond scene: “Why did you kill [your father]?” It’s easy enough to say, “Well, Snoke, duh,” but that answer diminishes both Kylo Ren and Ben Solo to the role of a mere pawn, easily manipulated and controlled, and I think that’s a terrible read on a very nuanced set of circumstances leading up to Han’s murder.
To look at this properly, we have to look at Kylo’s direct answer to Rey’s question, which at first seems like a deflection:
“Your parents threw you away like garbage. [REY: They didn’t.] Yes, they did, and yet you still keep needing them. It’s your greatest weakness. You’re still looking for them everywhere, first in Han Solo, and now with Skywalker … Let the past die. Kill it if you have to. It’s the only way to become what you’re meant to be.”
When I first saw TLJ, I thought Kylo was evading Rey’s question because it was too painful to answer, or because there was no logical way to explain something as arcane as a Dark Side rite of passage. Now, having reflected on it a lot, the answer seems clear. He IS directly answering her, but not in an obvious way.
One of the major themes of this trilogy has been to address the main failing of the Jedi (and the Sith, for that matter): the rejection of attachment. The Jedi forbade romantic love and attachment because, in their estimation, the passions stirred up by love can confuse a Jedi’s sense of what is morally right, and therefore is an obvious path to the Dark Side. But what is commonly ignored is how vehemently the Sith also rejected romantic love and attachment.
As Palpatine says to Anakin, “The Jedi and the Sith are similar in almost every regard.” What Palpatine declines to tell Anakin is that the goal of the Dark Side is the accumulation of power for power’s sake (“POWER! UNLIMITED POWER!”), and that romantic love, familial attachment, and compassion for others will always present barriers to that power, and limitations on personal ambition. It is perhaps the cruelest trick Palpatine employs against Anakin, baiting him into the Dark Side by promising him the freedom to love, and omitting that being a Sith Lord (at least under the Rule of Two era) would by definition preclude such attachment.
Snoke reminds Kylo that his training is not complete, and that he knows his apprentice is not nearly as committed to the Darkness as he would like to project. And the reason for this is apparent: Ben Solo still loves his parents, despite their failings. Snoke makes sure to position killing Han as a test of Kylo’s commitment to the Dark path, but the real goal here is to eliminate Ben Solo’s attachments, clearing the barriers to unchecked nihilism. But killing Han doesn’t bring the clarity Kylo was expecting, only more conflict and pain.
What he’s doing is telling Rey that it’s *because* he didn’t hate his father that he had to kill him, it’s a chilling view into the moral vacancy of the Dark Side. When Kylo says to Rey that her attachment to the myth of her parents is her greatest weakness, he means that it’s her desire for belonging that is her greatest weakness. He recognizes the same yearning in himself, and also identifies it as weakness, as he has been trained. And yet, he can’t resist the growing urgency of their bond, and the hold it has on him.
I think this is why he reacts to his feelings about Rey, particularly after the Force Touch scene, with such confused resolve. He knows what he saw in the vision, and in order to square that with his worldview, he has to invent a scenario in which being with Rey conforms to his overall goal to eliminate his attachments to the past. Of course, this desire is paradoxical, since he craves belonging with her, and eventually would be unable to reconcile his feelings for her with what he perceives as weakness in them both. It would have brought them both to ruin if she had taken his hand there.
This is the one thing that has worried me about Kylo’s arc. His reaction to waking up in the throne room and finding her gone is to double down on eliminating attachments and embracing raw power for its own sake. It’s a moment of dark catharsis, in which he decides to destroy everything, including Rey (notice that he wanted to do this indirectly, sending troops, or trying to shoot down the Falcon), in an effort to rid himself of this flaw he believes he has identified. That’s what makes Luke’s sacrifice so important: he gives Kylo the invaluable opportunity to kill another loved one without actually doing it. When Kylo strikes what he believes has been the killing blow against Luke, the look on his face is one of pained realization: there still isn’t any more clarity, and he is even more riven than before.
And now we come to the final Force Bond scene, in which the two of them are reminded that they are still uniquely joined by the Force. It’s a potent reminder to Kylo that destroying his attachments won’t free him from pain; that yearning for belonging and love persists, and the echoes of those you’ve loved linger on forever in your heart. Luke says this twice, basically: “No one’s ever really gone,” and “Strike me down in anger and I’ll always be with you; just like your father.”
I think the novelization will go a long way to resolving the questions around this, but it does illustrate how goddamn hard it’s going to be for him to let go of his hate, and accept that caring for others is not weakness, as he wants to believe, but instead strength, as he’s seen demonstrated by Rey. I still think Anakin’s going to have to sort things out with him, and set him straight about the price of the power he seeks.
This meta clarified a couple of things I’d never fully understood before, particularly how Kylo could go through with killing Han if he didn’t hate him (had never hated him, still loved and yearned for him, wanted with all his heart to throw the mask away and go home with him). It was exactly BECAUSE he loved Han that he thought he had to kill him.
But it wasn’t enough. His soul was split, his heart more tormented by guilt and loneliness and yearning than before. He still hadn’t “completed his training” in Snoke’s eyes, because he still cared. So Kylo set out to prove himself by killing Leia. But despite all his anguished resolve, he couldn’t do it. His own wingmen had to fire on the bridge for him, and in grief and rage Kylo turned on them and blasted them to bits instead. Because even losing his mother, or believing he’d lost her, DIDN’T HELP.
But Snoke drilled “compassion is a weakness” so hard into Ben Solo’s head that he can’t give up, can’t see any other way to find peace but eliminating the sources of his conflict one by one. Han’s gone, Leia’s (seemingly) gone, who else is there to get rid of? Luke, obviously. He still cares that Luke betrayed him. Deep down Ben still loves his uncle and can’t get over the hurt of what happened between them. So the first thing he demands of Rey through the force bond is that she give him the location of Luke Skywalker. Maybe if he kills Luke THEN the pain will stop.
Which is why (and this was the second point I didn’t really get until now) Kylo snarls at Luke on Crait that he’ll destroy not only him but Rey as well. Because despite all his efforts to save her by offering her a place at his side, she rejected it, and Ben knows now that he can’t have the Dark Side and her too. Yet he can’t stop caring for her. Can’t stop being hurt that she left him. So if he’s ever going to be free of this pain, he has to eliminate the last person that he truly cares for. In a twisted way, it’s proof of just how much he loves her.
But of course real love is about doing what’s best for the other person, not what you think is best for you. And in Ep. 9 Ben will have to realize that, and accept it, and decide that he would rather suffer a lifetime of pain for a universe with Rey in it than destroy her in a last-ditch attempt to find his own peace.
@postedbygaslight thank you for this fantastic meta. Like @heliotrope-r, this also clarified some very important things for me.
In addition to the clarifications that others have mentioned, you completely cleared up one part of the novelization that really confused me: why Snoke sensed that Ben had raging internal conflict throughout the Throne Room scene.
This confused me because, in light of RJ’s comments that Ben very much knew he was going to kill Snoke heading in to the Throne Room, why would he be conflicted about it?
Now it all makes perfect sense. Ben was conflicted because he knew he intended to save Rey because he cares about her. Because he loves her, really, even if he isn’t willing to admit it to himself just yet. And he truly believes that attachments are weaknesses. That they are morally wrong.
I didn’t think that Ben’s story could be any more heartbreaking, really, but this insight has made it even more painful in two respects:
The fact that seeing Rey in pain (in the novel) was enough to completely resolve any conflict in Ben about being attached to her, because he couldn’t bear to see her harmed by Snoke. (after torturing Rey, Snoke notes how the raging conflict in Kylo Ren has been replaced by an “eerie calm.”)
The fact that the first time he actively violates his moral code against attachment since becoming Kylo Ren (in telling Rey that she means something to him, and asking her to join him) – a moral code that was beaten into him through years of manipulation and trauma and abuse – the end result is what he perceives to be an enormous betrayal. He believes that Rey not only spurned him, but also handed the man who tried to kill him (Luke) the family lightsaber so he could finish the deed. (Remember that Ben didn’t know what happened to the lightsaber after they fought over it because Rey woke up first.)
Thus, I think Ben interpreted Rey’s “betrayal” as something he had coming. He should have killed Snoke, then killed the girl. He should have never tried to get her to join him. He should have never begged her. What a weak fool he is. Just like his father.
And yet. Despite this terrible perceived betrayal, and despite his talk of destroying her, he still can’t help but yearn for her in the end.
He wants to be free of this pain (to @heliotrope-r’s point), but he can’t bear the thought of hurting Rey. Ben Solo is indeed alive. He must feel like such a failure in this moment.
This also clears up one more thing to me: why Ben seemed to steel himself after losing Leia, although he teared up and look devastated several moments before. He probably felt as though his mother being apparently destroyed despite his hesitation was a lesson from the Force. Forget about Ben Solo. Forget about his mother. You killed Ben Solo. So what if his mother is gone.
Honestly, they really do have to fix this in Ep. 9. I’ve never seen a villain with a more heartbreaking backstory. 💔
Okay, @raven-maiden, I’m tearing up now, and who gave you the right
Me too @postedbygaslight if it helps?! 😭😭
What happened to both Rey and Ben is really f-ing heartbreaking. They better fix these two poor lonely broken souls or I will riot.
In all seriousness, I fucking love what you added there, and I’m with you: no holds barred, flipping cars, pulling down street lamps, garbage cans on fire RIOT
Depicted: us, three and a half years later, touring the aftermath of the Great Rise of Skywalker Riots. 😒
The Prince and the Dragon: Dracula, Kylo Ren, and the Fate of Monsters (and their Brides)
The main reason for writing this meta is to provide context for the use of monsters as heroic love interests in fiction, with a particular focus on certain monstrous archetypes. This examination will be used to juxtapose and distinguish the tropes and symbols on display in the Star Wars Sequel Trilogy with classic heroic/fantastic narratives, particularly the dynamic presented in Francis Ford Coppola’s 1992 tour de force, Bram Stoker’s Dracula.
Prior to diving in, I’d like to acknowledge the brilliant work of @ashesforfoxes, and here is a link to her indispensable pre-TLJ meta, “Bride of the Monstrous.” I’ll also include a link to her companion meta, “The Descent.”
Before discussing the themes at play here or the film and its story beats and major symbolic elements, I’d like to establish some basic terms I’ll be tossing around. These are labels of my own making for this purpose, and tailored to this meta. I don’t claim these labels to be widely accepted as representative of the tropes discussed herein, but for the purposes of my own organization here, they’ll be used for the duration.
Continuar lendo
So much thought put into this. It’s enraging how TROS is the answer to all this care. We deserved more.
We were so hopeful and innocent then.
Me trying to figure out if I can remember how to tumblr
Rating: Mature
Summary: Ben Solo returns to his childhood hometown of Tofino, BC, Canada after being away for many years. His arrival happens to coincide with the biggest party of the year.
Rey has been left behind more than once, left to put herself back together and to keep going. She strives to stay positive by being self-reliant, looking forward and not dwelling on the past.
Past and present collide when they see each other for the first time since a fateful night tore them apart and broke both their hearts.
Chapters: One, Two, Three, Four, Five
Now Complete!
🇨🇦Happy Canada Day🇨🇦
Reylo Tarot Series - Five of Wands
Previous tarot cards:
Major Arcana: VI-The Lovers
Minor Arcana: Ace of Wands | Two of Wands | Three of Wands | Four of Wands
Hey,
Do you have any recommendations for TROS rewrites/fix-its?
My favorites are You'll Be The One To Turn by @postedbygaslight (Complete) and The Tether by @classeyspanks (In-progress). Technically they were both written before TROS, so not sure if they count as fix-its as much as post-TLJ canon-divergent. There are others but IMO these are the best-written and most in-character, so easy for me to imagine them as the real ending! Planning on getting bound copies of both some day!
I’m in my “imprisoned in the Tower” era.
which one of u was going to tell me that tea tastes different if u put it in hot water?
y- you were putting it in cold water?????
Radish. Answer the question radish.
yeah??? i thought for like. 5 years that ppl just put it in hot water 2 speed up the tea-ification process didn’t realize there was an actual reason
You dont have the patience to microwave water for 3 minutes???
[ID: Tags reading “u think i have the patience to boil water wtf ?????” /End ID]
why are you. putting it in the microwave to boil it
Do you think I have the patience to boil water on the stove
Its takes less than a minute
Bestie is ur stovetop powered by the fucking sun
How long does it take you to boil a cup of water on the stove
Like seven minutes
Just stick the mug on top of the stove on medium heat n it boils in like two minutes… less than that is u use a saucepan…
Crying you’re putting the whole mug on the stove ???? On medium heat???? Ur stove is enchanted
Every single person in this post is a fucking lunatic
Yet another post that reads like four shakespeare characters who come out in the middle of the play to talk about something completely unrelated for comic relief
(Enter RADISHN’T, MOTHMAN MISATO, BOIMG FROG and CATS'N RAINCOATS, stage left. They are having a HEATED DISCUSSION.)
RADISHN’T: Prithee, which one of you had planned to tell
Of diff'rent flavours gained by simple act
Of brewing tea with water hot, not cold?
MOTHMAN: Egad! you poured the water cold? Wherefore?!
FROG: An answer from you, Radish, I must beg.
RADISHN’T: Indeed I did, dear friends - why does this shock?
Without the guide of others I assumed
That heat was merely added for the sake
Of expediting this solution’s brewing!
Half a decade I have spent, or more,
Not questioning this worldview I had made.
In fact, I am myself a bit surprised
That you might think that I, your dearest friend,
Might have a patience of sufficient stock
To wait until a pot of water boils.
FROG: Three minutes overtaxes patience so?
The microwave will beep when it is done!
CATS'N: My friend, this answer vexes me the more!
Can it be true that thou dost boil by nuke?!
FROG: Are you in turn, my friend, so shocked to know
That I have not the patience, like our Root,
To boil upon the stove our favour’d drink?
CATS'N: It takes less than a minute!
FROG: On what plate?
Perhaps your dinner cooks atop the sun?
CATS'N: How long can take your stove to fill the task
Of boiling but a single cup alone?
FROG: In minutes?
CATS'N: Yes!
FROG: I counted seven, once.
CATS'N: Perhaps you ought to have your timepiece checked!
If on a middle heat you place the cup
You soon will have the scalding drink you crave.
Two minutes, in a mug upon the plate
Or even less, if you should have a pot.
FROG: You cause me tears - is this how thou dost live?
You place upon the iron stove a mug?
A mug, ceramic, filled with water cold?
How do these flames, though medium in height,
Not shatter like a glass this fragile thing?
Surely, then, your kitchen is bewitched
With magicks far beyond the mortal ken!
(The FOUR realise they have wandered into the THRONE ROOM. The ROYAL COURT watches with fascination.)
KING: Ev'ry single person in this group must be a fucking lunatic, it seems.
I’m sorry but the THOUGHT that has been put into this, I actually CAN’T—
The fact that nearly every line is so metrically considered- near perfect iambic pentameter witb the occasional trochee for emphasis, but usually retaining a strong sense of rhythm nonetheless. And then the king comes in at the end, so wound in his disbelief that his response is reduced to prose.
And the even better thing about this is how easy it would have been to structure the king’s line into iambic pentameter: it is effectively already said as such because of the way wizardlyghost has phrased it, yet they haven’t!! They did not break the line, rendering what, by all typically of both Shakespearean canon and other periods context should be the character with the most command and authority in the whole play. If there was ever a more effective way to convey a genuine “what the fuck??”, I know of it not.
But it gets better!! Shakespeare regularly uses meter in order to represent class divide; the nobility usually speak in iambic pentameter, save for a few particularly chosen moments (e.g. Lady Macbeth’s descent into madness, Othello’s realisation of Desdemona’s “betrayal”) or just lines where Shakespeare needs to suggest high emotion or when a character is lost in thought. Supernatural characters like the fairies in A Midsummer Night’s Dream and the Witches in Macbeth usually speak in trochaic tetrameter, an inversion of iambic pentameter. Lower class characters, particularly those used for comic relief (usually under the influence of alcohol), speak with no structure at all: their language is plain prose. Therefore, if this is a conversation between these types of characters, as the prompt from silvergirachi suggests, why the hell are the characters speaking so eloquently???
Now, this is Tumblr. It is subsequently logical to assume that this may have merely been a humorous recreation (and a very good one at that) of the Shakespearean style in a way that is widely recognisable to an audience that may or may not have read a great deal of Shakespeare, which is understandable. However, logic is boring so I’m going to probe further into this to the point where future historians will look to this as an example of overanalysing.
The inherent eloquence of the characters here suggests an unusual subversion of the roles typically assumed in Shakespearean comedy. This could be interpreted along two major avenues: firstly, that the rhetoric displayed by the speakers is fundamentally representative of how truth can be expected even from the most seemingly pointless or ludicrous discussions. Furthermore, it could suggest that it matters not how well constructed your speeches are: if you talk bullshit, it’s going to sound that way despite your attempts to hide it.
This is similar but not identical to the second avenue of interpretation: there is the implication that the noblemen in the play are in fact the comic relief characters, therefore implying that the “common people” of the play are the ones whose influence, though not expressed in such a highly spoken manner, makes a lot more sense than whatever the hell this is. If this was a real Shakespeare play, I would call it a subtle exploration into the innate corruption of the rich and powerful. Well done, op.
Now, I doubt any of this is actually grounded analysis in any way, shape or form, but if someone else can take this to the extremes of writing a Shakespearean scene, why can I not analyse it as such? And where else to do so than Tumblr?
im in tears i didnt think anyone would put this much analysis into this‚ thank you so much
i also like that everyone else gets a version of their handle and then tumblr user pidoop is promoted to king
Oh my god you’re right no one mentions that you can use an electric kettle to make the tea.
i’ve been getting notifications from this post for over a year now and i can assure you, literally fucking everyone mentions that you can use an electric kettle to make tea.
This is the greatest thread of all time
writer’s block (dry) = no desire to write, no ability to write (bearable)
writer’s block (wet) = HUGE desire to write, no ability to write (very evil)
Since I just gained a bunch of followers and I'm going to hazard a guess that some of you are new here (or returning after a long time away), want to talk about some Tumblr basics? First up, tagging.
You can put spaces in your tags on Tumblr! This is very exciting and often why you'll see people putting commentary in tags—because they can.
It's usually considered more polite to put commentary in tags, so as to leave the original post relatively uncluttered. I find this to be especially true of visual posts like fanart and GIFs. The best time to reblog with a comment is when you're actively looking to engage in some kind of dialogue with the post you're reblogging.
Tag commentary is kind of like a whispered aside. On my own posts, I often use that space for post-scripts of a sort. I have done this at the bottom of this post, for science.
On posts that you create, tags help other people find your post through their searches. It used to be that only the first five tags on a post showed up in a search, and now it's the first twenty.
If you are interested in a topic, you can follow its tag. So, for example, if I'm interested in [throws a dart at a board] seeing Daemyra content, I can follow that tag and posts from the tag will show up on my dashboard from time to time. Here is how to follow a tag and manage followed tags.
(It's worth noting that Tumblr uses ship portmanteaus but also sometimes longform ship names, so if you're posting your original Daemyra content it's often wise to also tag it "rhaenyra x daemon," "daemon x rhaenyra," and other variants as well. Remember, up to twenty of them count!)
Tags—of both your original posts and of your reblogs—also help organize your blog. I create specific tags for posts and answered questions about my fics that I try to use every time they're relevant to make it easy for readers (or, you know, me with my goldfish memory) to find them. Here's the tag for Out of Time.
You can organize your blog, or not, however you want. I also choose to tag characters prominently featured in a post, the media property shown, and so on, mostly just for my benefit. Here are most of my original and reblogged posts featuring Daemon Targaryen. Some people get very, very granular with their tagging, but some don't tag at all. Dealer's choice!
Lastly, Tumblr has pretty robust content filtering, so don't censor yourself in tags or in the body of your post. If you post, say, #p*neapple and someone is trying to avoid posts tagged #pineapple, you might accidentally ruin their day.
Jean-Paul Sartre said "hell is other people".
Shane Madej said "hell is when the puppet you m*rdered comes back from the dead and acts like everything is fine."
If I started posting here again, would anyone notice?
Me coming back to Tumblr after months of not checking my notifications: