Ren Maybe

Fujin 腐人 gender | they-lǝi/any | 26 | gemini | italian and kazakh | sometimes I draw #renmaybeart

[brawltogethernow]

Magi's severely underrated specifically for having a character who's a secret long lost prince in disguise, who got lifted up out of a tragic backstory on the street and was the just and wise king's preference for inheritance but then fled the country after a dramatic tragedy, who knows a suspicious royals-only fighting technique and is more caring and intelligent and handsome and politics-wise than his older brothers, and is also a staunch antimonarchist. Rolled up to depose his wicked older half brother in his country's time of crisis and then immediately started talking about the alternate forms of government they're doing in the fantasy Rome equivalent and then left again after a couple people started nodding. That was iconic.

[risariba]

lumity is back💥💥

[beccarchive]

Bound to the Altar. ⛓️

​A hauntingly beautiful fusion of bridal couture and shibari-inspired restraint. Samuel Cirnansck stunned the São Paulo Fashion Week by sending models down the runway with their hands bound in golden ropes and their mouths silenced by fresh orchid. It’s not just a wedding dress. It’s a study of beauty under pressure.

[dcartcorner]

i'm fine, actually

[naasog]

✨ FMA x WHA AU ✨

[slow--spark]

bitchy dads and their bitchy daughters

[platonbatonn]

blind mustang brainrot

[crowned-crimson-flower]

Danmei is a very unique genre of queer literature which both centers and de-centers queerness. None of the Danmei I’ve read have been essentially “about” being gay. They’re just stories of life, of magic, of fantasy, of love, in which the main characters happen to be gay. Which is a kind of representation I have often seeked from western media and related intermediaries because why is every gay story, a coming out story? Is there not more to queer people than that?

However, while capturing the personhood of queer people; Danmei also captures the queerness of people because none of these stories would work if the characters weren’t gay/queer

Wei Wuxian’s absolute buffoonery of misunderstanding Lan Zhan’s feelings in a decade long telephone game in which neither of them open their damn mouth would never work in a non-queer story because between a man and a woman romance would be the natural assumption of everyone around them and therefore wouldn’t leave space for confusion. The misunderstanding of their romance is so closely tied to the plot succession that the plot would be… non existent without it

In TGCF Xie Lian and Hua Cheng’s absolute aspirational love is literally in the backseat and front seat of the story. Not too different from a classic hero’s journey but instead of the hero being one person, it’s two people. They are so intertwined with eo that they become one character and witness a lot of the story together. Witness being a very interesting word choice. Their queerness doesn’t drive the story but replacing one of them with a woman would dampen the effect— it’d remove the uncertainty, the confusion from everyone around them, the genuine slow burn of the romance. There’s also this idea of Hua Cheng falling in love with Xie Lian so far separated from concepts such as gender or whatever which wouldn’t have been hammered home in a straight romance where those conversations aren’t always had between the audience and the story

And Erha.. well obviously. Half of Chu Wanning’s “this is so inappropriate” spiral wouldn’t exist if he was a woman. And, the idea of Mo Ran being a “cut sleeve” builds up the under current of his character being so far dismissed by society because he’s seen as immoral. Which just wouldn’t serve to the same effect if he was into exclusively women because so was every other character.

Not in a single one of these stories is queerness and homosexuality the central theme of the story yet without them, the romance wouldn’t be the same. Liking the same gender as you comes with baggage in our society which is so heteronormative and that effect has to exist in the person characters become for them to be authentic but at the same time, limiting that effect only to produce coming out stories/falling in love stories is unfair. Danmei mends this through a middle ground where the plot is the focus but it doesn’t exist in a vaccum, it exists in queerness itself

[christslamb]

[fashion-runways]

LWENX Couture Dress 2024 if you want to support this blog consider donating to: ko-fi.com/fashionrunways

[huyandere]

tamsy slipping just a little

[huyandere]

tamjin can be so funny

[dream0holder]

Until people started drawing him with his hair down, I didn’t get the Tamsy appeal. I now see the vision. Welcome to my love, blonde boy number eight❤️

[taxkha]

Dehumanization

[lleyksie]

let’s be primitive horses with mama

[crreature]

some recent portraits of butches of color. via butchisnotadirtyword

[sceptixfakemon]

fun little commission :]

[fatliberation]

FAT LIBERATIONIST FILMS

I noticed that the handful of lists on letterboxd for fat positive films only had Hairspray, Isn’t It Romantic, and I Feel Pretty (🤢) with the caption “I wish this list was longer!”

So I have taken it upon myself to compile a real list of real fat liberationist films: films that either confront the issue of fatphobia or portray fat bodies in a liberating way. I will not be including films where fat characters exist neutrally, only films with a message about fatness that does not promote weight loss.

I haven’t seen a majority of these films yet, so if you see one that you believe is not worthy of being on this list, please let me know! additionally, if you have ideas on more films that should be added, please share!

Films (left to right)

1. How to Carry Water (2023) dir. Sasha Wortzel

2. Piggy (2022) dir. Carlotta Pereda

3. Your Fat Friend (2023) dir. Jeanie Finlay

4. Dumplin’ (2018) dir. Anne Fletcher

5. Empire Waist (2024) dir. Claire Ayoub

6. PattiCake$ (2017) dir. Geremy Jasper

7. Läski (2019) dir. Kirsikka Saari

8. Aquaporko! (2013) dir. Kelli Jean Drinkwater, Anna Helme

9. Fat Hiking Club (2018) dir. Layla Cameron

10. Fat Front (2019) dir. Louise Kjeldsen, Louise Detlefsen

11. Disfigured (2008) dir. Glenn Gers

12. Riot Not Diet (2018) dir. Julia Fuhr Mann, Kristina Kilian

13. Straight/Curve: Redefining Body Image (2017) dir. Jenny McQuaile

14. In Our Skin (2017) dir. Rosa Beiroa

15. The Fat Feeling (2019) dir. Talia A. Darling

16. Dangerous Curves (2016) dir. Merete Mueller

17. Well Rounded (2020) dir. Shana Myara

18. Fat Chance (1994) dir. Jeffery McKay

19. Tales of Ordinary Fatphobia (2020) dir. Josiane Blanc

20. Fattitude (2017) dir. Viridiana Lieberman

21. (Not pictured) The Fat Body (In)Visible (2011) dir. Margitte Kristjansson