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🩵 avery cochrane 🩵

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Noah Kahan
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Kiana Khansmith
Doug Jones

@theartofmadeline
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if i look back, i am lost
todays bird

bliss lane
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Cosimo Galluzzi
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let's talk about Bridgerton tea, my ask is open
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@vanishing-point-1971
i reject trans homelander hcs not because im transphobic but because he's clearly a secret third thing (a chaser)
One thing I genuinely hate in the finale is the way they kicked Maeve for that Annie/random V-girl moment. “Never meet your heroes” when Maggie not only proved to Annie that she was the hero Annie had thought her to be (broken arm), but also stepped up and was, in her final moments as Queen Maeve, the bravest hero of ALL of them. She jumped to her death (to her knowledge) FOR Annie.
Summing up her character with something like “she gave people too much and was hollow and bitter” does her a brutal disservice and making it sound like Annie would think that of her does Annie a disservice.
The writers treated Maeve as largely irrelevant in the last two seasons and it’s just horrific. We can assume that she was the first one to make Homelander bleed, and his first love. She knew his name.
She gave Annie hope, she protected her. In that sense, she was so important for both of them.
my homelander headcanon is that when he was been raised in the lab by all of those expendable female tutors, the way they taught him the english language and expanded his literacy (because in season 1 he was very articulate and glib, even when he was veering off his corporate-approved script) was by having him read all of these classically "american" novels like grapes of wrath, lord of the flies, catcher in the rye, and they'd also have him read these really antiquated american foundational documents like common sense, age of reason, and on liberty, which led to his current obsession with america and the aesthetic of americana.
later on, as he grew up into this undersocialized young man who felt underappreciated and "castrated", he began finding solace in books about young men struggling within structures of rigid authority and perfection (like rage by richard bachmann/stephen king and an english translation of the temple of the golden pavilion by mishima) and also books about the american myth and how america was built on violence and conquest (blood meridian, the frontiersmen by allan eckert, empire of the summer moon), though he interprets the events in these books as necessary evils and admirable displays of american imperial power rather than genocide.
(bonus: his juvenile curriculum would restrict the books that are critical of america, both foreign and domestic, so he'd never read books like to kill a mockingbird, native son, beloved, a raisin in the sun, etc. despite these books also being foundational american literature)
soldier boy and movies
the searchers (1956)
patton (1970)
the man who shot liberty valance (1962)
dirty harry (1971)
death wish (1974)
the night of the hunter (1955)
goldfinger (1964)
escape from alcatraz (1979)
having historical literacy is a cheat code to understanding soldier boy as a character. "why does he like bush so much?" watch any vintage pornography or grindhouse film circa-the 1970s. "why did he underreact at seeing that gay couple" because he went to studio 54, a known safe haven for queer culture ran by a closeted gay man. "he's pro-abortion?" abortions were extremely common for promiscuous male celebrities to fund and hollywood had dedicated "fixers" to bury the information. "he's pro-afghanistan?" ronald reagan armed the mujahideen.
it's so sad when the most popular ship in the fandom sucks
I'm sorry (actually no I'm not) but if you think Johan Liebert is nothing more than a mindless killer who murders people just for sadistic pleasure then I'm afraid you missed the entire point of the fucking story
the POINT of MONSTER (2004) is that ordinary PEOPLE can become MONSTERS and that johan's UPBRINGING did not INHERENTLY make him a MONSTER
trinity is not used to aftercare. with yolanda, it might be a glass of water and the opportunity to use the shower but after that, it’s backs turned and the expectation that she leaves quietly and discreetly.
she assumes that’s what baran would want too. after all, she’s an attending. she can’t be seen with a resident.
so, when trinity spends the night at baran’s and quietly sneaks out once she falls asleep, she assumes this is how they’re going to go. out of the frying pan, into the fire, or however the stupid saying goes.
she’s not massively mad about it.
baran doesn’t have neighbours that watch her through a crack in the door or a doorman to do the walk of shame past nor do her floorboards creak when she’s tiptoeing down the hallway. no, her place is much easier to sneak out of.
that being said, she lives a lot further away from trinity’s apartment than yolanda does and it’s too late for ubers to be a reasonable price so she toughs it out and walks it, crashing the minute she gets through the door.
it’s fine. it was worth the evening.
the real trouble is when she gets to work.
trinity assumes it’ll just be another standard we-pretend-we-are-colleagues-and-nothing-else act that she’s used to. a lingering glance here and there perhaps, maybe a nod layered with something behind their eyes, but nothing more. baran’s a private, professional person, even more so than yolanda.
which is why she’s surprised when baran walks into the er with red-rimmed eyes, frazzled hair and a worried look on her face that says she hasn’t slept all night.
“where the hell did you go?”
there exists a real divide in the pitt fandom of the chronically online robinavitch hatedom and 40 year old medical professionals and managers/team leaders who find robinavitch incredibly relatable and realistic as a character
I'm so close to having a coherent thought about this, but I find it very interesting how violent behaviour is viewed in characters, versus other sorts of antisocial behaviour (-phobias, -isms, etc). maybe it's the perceived separation from reality? because if you're lucky, nobody in your life will ever slit anyone's throat, so you get to view it as an abstract and fantastical action. it's pure play! whereas if a character says something like "you look fat in those jeans", BAM! instant hatred, because now you can link it to painful moments in your own life. even though the people you've heard those words from (moms, aunties, grandmas) are probably people that you still love.
which is why you get all these books that embrace hyper violence but flinch away from any -phobias and -isms, because that would be uncomfortable.
what makes the dissonance especially jarring is that viewing violence as abstract is a privilege. in Canada and the States, we get to sit comfortably in our homes while our governments fund weapons and send troops to inflict violence overseas. and sure, we can watch a genocide live-streamed on social media, but it still feels distant.
don't confuse this as me saying violence shouldn't be written about! everything should be written about! it's more me wondering why violence feels comfortable to write about, when arguably milder social offences do not.
t1000 x t800 this. sarah x t800 that. you guys dont know ball (t800 x kyle and t1000 x dyson)
i am jesus and soldier boy's sweaty pits are my gethsemane
my take on the evolution of what i call the "white american man as designed by a japanese game developer in the early 2000s" phenotype
broke: girlfriend cleaned jacket's apartment
bespoke: jacket cleaned up his own apartment for her and she simply added the feminine touches (the throw pillows on the couch, the green table cloth and flowers, the laundry hamper in the bathroom)
if you are a ftm chase truther do not also headcanon him into a completely different character. he canonically likes sports, cars, and gets hella bitches. he's using 3-in-1 body wash and dressing in a white t-shirt and basketball shorts to run errands. his ass is NOT wearing a skirt or painting his nails