intro post! 𖦹
hello! I’ve finally got round to looking through my archive and rediscovering everything that’s on this mess of a blog, so here’s a (somewhat) comprehensive overview!

pixel skylines

@theartofmadeline

Kiana Khansmith
we're not kids anymore.

JVL

No title available
𓃗
Monterey Bay Aquarium
The Bowery Presents
he wasn't even looking at me and he found me
untitled
Show & Tell
$LAYYYTER
The Stonewall Inn

titsay

PR's Tumblrdome

gracie abrams
KIROKAZE
NASA
todays bird

seen from Austria

seen from Malaysia

seen from Saudi Arabia

seen from Malaysia

seen from Malaysia
seen from United States
seen from United Kingdom

seen from Malaysia

seen from Russia

seen from Germany
seen from United States

seen from Malaysia

seen from France

seen from United States

seen from United States
seen from Aruba

seen from Malaysia

seen from Malaysia

seen from Malaysia
seen from United States
@theoldgvard
intro post! 𖦹
hello! I’ve finally got round to looking through my archive and rediscovering everything that’s on this mess of a blog, so here’s a (somewhat) comprehensive overview!
we’re together because we’re together. because we’re tori and michael and we’re happy together. that’s all there is. whether it’s romance or friendship or whatever, that’s everyone else’s problem. maybe our together isn’t the same as your together or the normal sort of together, but it’s ours and we’re happy with it. and maybe that will change in the future. maybe it won’t. but for now, we’re here, and this is what it is. we’re here, and we’re alive and whatever.
Jason Isaacs D.J. in Event Horizon (1997)
fell into the trenches that is lancelot x galehaut.
gonna explain why they matter so much to me because i genuinely think they may be one of the most extraordinary relationships in medieval literature, and because every time i see them reduced to "lancelot's close friend galehaut" i feel a part of my soul leave my body.
For context: Galehaut is a character from the great French Arthurian prose romances of the thirteenth century, particularly the Lancelot-Grail Cycle (often called the Vulgate Cycle), one of the most influential literary projects of the European Middle Ages. When people think of Arthurian legend today, they are often imagining a version of the mythos shaped directly or indirectly by these texts. The Arthurian world most modern audiences recognize—the Round Table as a complex political institution, the centrality of Lancelot, the tragedy of Camelot, the Grail Quest, the immense emotional focus placed upon individual characters and their relationships—owes an incalculable debt to these prose cycles.
And Galehaut is not a footnote within them.
He is not an obscure side character who wanders onstage for a chapter and disappears.
He is, for substantial portions of the narrative, one of the most important people in Lancelot's life.
Which is remarkable because when Galehaut first appears, he seems destined to be something entirely different.
He enters the story as a conqueror.
Arthurian literature contains many kings. What makes Galehaut unusual is the scale on which he exists. He is called the Uncrowned King, a title that sounds almost paradoxical until one understands what it means. According to the romance tradition, Galehaut rules so many territories that no single crown can adequately symbolize his authority. The title is not a mark of deficiency. It is a mark of excess. He possesses too much power to be contained by ordinary political language.
He is wealthy. He is feared. He is militarily brilliant. He commands immense armies. He has spent much of his life expanding his influence across the known world.
And when he turns his attention toward Arthur's kingdom, the situation is not particularly favorable for Arthur. Galehaut is winning.
I will repeat this because it is essential to understanding the magnitude of what follows.
This is a man positioned to reshape the political order of Britain. This is a man whose ambitions are vast enough that even Arthur's kingdom appears merely another prize to be claimed. This is a man who has spent years constructing power.
Then he sees Lancelot. Not Sir Lancelot. Not the greatest knight in Christendom. Not the legendary lover of Guinevere. Not the future hero whose fame will eclipse almost every other knight of the Round Table.
Just a mysterious anonymous warrior fighting among Arthur's forces.
And something happens.
Galehaut becomes fascinated.
Suddenly the war matters less than identifying this knight. Political calculations matter less than understanding him. Military victories matter less than remaining near him.
One of the things that strikes me whenever I revisit these texts is how quickly Galehaut begins making decisions that become difficult to explain through ordinary political logic.
He repeatedly sacrifices advantage. He repeatedly prioritizes Lancelot's welfare. He repeatedly chooses personal attachment over strategic benefit.
The conqueror begins surrendering opportunities that conquerors do not ordinarily surrender.
And this is where people often invoke the medieval friendship discourse.
Which is fair. Genuinely. It is important.
The Middle Ages possessed emotional vocabularies that do not correspond to modern categories. Aristocratic friendship could be intense, passionate, and openly affectionate. Men could express forms of devotion that modern readers might instinctively interpret as romantic without necessarily conceptualizing them that way themselves.
All of this is true.
But sometimes I think the friendship discourse accidentally obscures the thing that is actually interesting.
Because regardless of how we categorize the relationship, the text itself is absolutely obsessed with Galehaut's love for Lancelot.
The question is not whether Galehaut loves Lancelot.
The text tells us he does.
Repeatedly.
The question is how we understand that love.
And what fascinates me is that the narrative treats this attachment not as a passing emotion but as the defining force of Galehaut's existence.
His ambitions begin bending around it. His choices begin bending around it. His future begins bending around it.
There is a reason Galehaut remains memorable despite existing in a literary tradition overflowing with kings, knights, giants, enchantresses, and saints.
His emotional life is astonishingly vivid.
Again and again the romances emphasize his desire for Lancelot's affection.
At one point Galehaut's deepest wish is essentially to be loved by Lancelot.
And every time I remember that detail I have to stare into the distance.
Because this is the Uncrowned King.
This is a man who could command armies. Who could alter kingdoms. Who could negotiate with monarchs as an equal.
And the thing he wants most in the world is something he cannot command.
The love of a single knight.
There is something profoundly human about that.
In many ways, Galehaut's greatness as a character comes from this contradiction.
Outwardly, he embodies power.
Inwardly, he is vulnerable.
The conqueror becomes emotionally dependent.
The king becomes hopeful.
The warrior becomes tender.
And nowhere is this more evident than in his relationship to Guinevere.
Because if Galehaut's devotion were purely possessive, the story would be much simpler.
But it isn't.
Instead, Galehaut becomes instrumental in facilitating one of literature's most famous romances.
He helps Lancelot and Guinevere.
He creates opportunities for their relationship to flourish.
And what devastates me about this is that the texts never suggest his own feelings diminish in the process.
He simply places Lancelot's happiness above himself.
Again.
And again.
And again.
Which means that one of the most powerful rulers in the Arthurian world spends enormous portions of his narrative helping another man pursue someone else.
If that is not tragedy, I do not know what is.
And then comes the ending.
Galehaut receives false news that Lancelot has died.
And he cannot bear it.
Upon learning of Lancelot's death, Galehaut's love was transfigured into a grief so profound that he could scarcely endure the burden of his own continued life.
Think about that for a moment.
This man has faced armies. Kingdoms. Wars. Political crises. He has spent his life navigating the brutal realities of medieval power.
And yet the thing that destroys him is grief.
He loses Lancelot.
(Or rather, he believes he has.)
And the loss proves unbearable.
The conqueror who could challenge Arthur himself simply wastes away.
There is something almost classical about the tragedy of it.
A great ruler brought low not by external enemies but by the internal magnitude of his own love.
And then Lancelot learns what has happened.
And his response matters.
Because the story could have treated Galehaut's devotion as one-sided.
It could have transformed him into a tragic figure whose feelings ultimately vanish into the margins.
It does not.
Instead, Lancelot is inconsolable.
He arranges for Galehaut to receive magnificent honors. He ensures that his memory endures. And most famously of all, he requests to be buried within the same tomb.
The tomb itself bears an inscription that has haunted readers for centuries:
"Here lies Galehaut, who died for his love of Lancelot."
I think that may be one of the most extraordinary epitaphs in medieval literature.
Because look at what has been omitted.
Not a word about conquest. Not a word about kingdoms. Not a word about military victories. Not a word about political power.
All of Galehaut's worldly achievements disappear.
The text strips them away.
What remains is love.
The defining fact of his life is not that he ruled. Not that he conquered. Not that he commanded armies.
It is that he loved Lancelot.
And Lancelot's response is to ask that, after death, they remain together.
Which means that buried deep within one of the foundational texts of the Arthurian tradition is the story of a king who saw a knight and willingly allowed that encounter to transform the entire course of his existence.
A conqueror who abandoned ambition for companionship.
A ruler who valued affection above power.
A man who died believing the person he loved was gone.
And another man who could not bear to be separated from him even in death.
And medievalists wonder why some of us emerge from the Prose Lancelot permanently altered.
As if there were any other possible outcome.
DS9 Textposts pt 121-???
i laugh every time riker makes this face lmfao he's such a messy bitch
idk what do you guys think they did with all that time in prison. this was really the only option to me.
absolutely fucked that jadzia finds one in one episode that:
- the gesture she makes (hands behind back) that she does indeed make very often is what lela dax, one of the first women to become a legislator, started doing after being mocked by her male collagues for talking with her hands
- she almost didn't get joined bc curzon found her beautiful/thought he was in love with her and decided to reject her because of that (and felt so guilty about it he "nearly" retired from the symbiosis commision, what a sacrifice! he considered it briefly, guys!) and then also tried to lead her to believe it was all because she was not good enough
never has an alien needed feminism and a gun this badly. and we have ishka as a contender so you know this means something
in general i do like how "facets" follows up on the themes of "equilibrium" with the radical acceptance of self. but it was more powerful when it was against the medical establishment and not when it was in line with jadzia once again overlooking and forgiving heinous sexism
Nichelle Nichols (December 28, 1932 - )
“Uhura never had another name during the series. One of the fan writers wrote “Upenda” - which means “peace” in Swahili, I understand — not officially, but in some of their fan writings. And it sort of took hold. But when they were going to do the official history of Star Trek in a published book, the writer called Gene and asked him was “Uhura” her first name or her last name? Gene said, “Well, Nichelle and I never decided.” We always leaned towards it being her last name because it’s taken from the Swahili “uhuru” which means freedom. So it would sort of be like the same as “Freeman.” So he said, “You can make it her last name.” The writer said, “What about her first name? I’ve come up with one in Swahili. It’s Nyota.” Gene said, “I can’t give you that permission because Nichelle and I named her together, and she has rights to that, so you’ll have to call her and get her permission.” So he gave him my number, and he called me and I laughed and was delighted. He said, “I have a name and it’s Nyota.” I said, “That’s quite beautiful. What does it mean?” He said, “It means ‘star’.” I said, “You can have my permission!” So I have since said that her name is Nyota Upenda Uhura, which would mean a free-floating star: “star of freedom and peace”. I like that.” — NICHELLE NICHOLS
Just a silly crossover that wouldn't leave my mind
Emotionally, spiritually, truly it's him
i wish more stuff looked like that season of doctor who where they were smearing vaseline on the camera
the noticeable overexposure of the film coupled with the tactile "ugliness" of the environments and costumes looks so good to me. genuinely dreamy
man they just let him say anything on that bridge
isn't he beautiful
Amazing moments in Dads: my friend’s dad’s critique of Frankenstein was, “I just don’t think the author had read science fiction before.”