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If you have Spotify reblog this and tag what your number one song on your “on repeat” playlist is.

When I was younger and more abled, I was so fucking on board with the fantasy genre’s subversion of traditional femininity. We weren’t just fainting maidens locked up in towers; we could do anything men could do, be as strong or as physical or as violent. I got into western martial arts and learned to fight with a rapier, fell in love with the longsword.

But since I’ve gotten too disabled to fight anymore, I… find myself coming back to that maiden in a tower. It’s that funny thing, where subverting femininity is powerful for the people who have always been forced into it… but for the people who have always been excluded, the powerful thing can be embracing it.

As I’m disabled, as I say to groups of friends, “I can’t walk that far,” as I’m in too much pain to keep partying, I find myself worrying: I’m boring, too quiet, too stationary, irrelevant. The message sent to the disabled is: You’re out of the narrative, you’re secondary, you’re a burden.

The remarkable thing about the maiden in her tower is not her immobility; it’s common for disabled people to be abandoned, set adrift, waiting at bus stops or watching out the windows, forgotten in institutions or stranded in our houses. The remarkable thing is that she’s like a beacon, turning her tower into a lighthouse; people want to come to her, she’s important, she inspires through her appearance and words and craftwork.  In medieval romances she gives gifts, write letters, sends messengers, and summons lovers; she plays chess, commissions ballads, composes music, commands knights. She is her household’s moral centre in a castle under siege. She is a castle unto herself, and the integrity of her body matters.

That can be so revolutionary to those of us stuck in our towers who fall prey to thinking: Nobody would want to visit; nobody would want to listen; nobody would want to stay.

#it’s so so important to remember that representation is not one-size-fits-all#what is empowering to one person might be exhausting and oppressive to someone else#some people need stories about having the strength to save themselves#some people need stories about being considered worthy of being saved#some people need inspiration for their independence while others need validation that they don’t have to be able to do everything themselves#before you lash out against something PLEASE stop to consider:#is this inadequate and/or damaging representation?#or is it just something I don’t personally relate to? [X]

It’s been half a decade and I still haven’t found an articulation of the complexity of “representation” as concisely and precisely mindblowing as @hungrylikethewolfie’s here.

Making you blush..

there is no heterosexual explanation for this.

What happens!!?? I want this romance…. so cute

Ummm im here for vintage lesbians

i’m sure someone probably commented on this post already but this is calamity jane, they eventually move into a tiny cabin together and sing a song about how “a woman’s touch” can fix anything. i watched this movie daily when i was about 7 and now i’m a dyke

my butch lesbian professor who is well into her sixties had told me that this was her first real exposure to the concept that a woman could not only be attracted to other women, but be butch while doing it. she said this movie propelled her into her sexuality with a sense of pride and remains a cornerstone of her coming-out journey. in short, representation matters and always has. 

Reblogging for Calamity Jane, actual lesbian disaster.

Prime Video: So, Good Omens Season 2 

Neil Gaiman: Yes

Prime Video: What‘s the Story? 

Neil Gaiman: No story, just vibes.

Prime Video: Neil, we need a little more to work with. 

Neil Gaiman: Okay, do you remember Sister Theresa Garrulous and Sister Loquacious from Season 1?

Prime Video: Yes?

Neil Gaiman: They‘re in a coffee shop AU.

Prime Video: Aaaand?

Neil Gaiman: And they need to fall in love. 

Prime Video: But Neil what about Crowley and Aziraphale?

Neil Gaiman: Oh, don‘t worry. They‘re already in love. 

Prime Video: Not sure this is enough.

Neil Gaiman: Naked Jon Hamm.

Prime Video: OK, yeah, sold.

Actually I started with Naked Jon Hamm. But otherwise, yeah, more or less accurate.

No Nightingales

We, the audience, know what that means. But how do Crowley and Aziraphale know?

Crowley makes it a point to deliver this line in the most 'pay attention, this is important' way possible. "Listen. Do you hear that?" Dramatic pause. And after Aziraphale says he doesn't hear anything, Crowley continues, "That's the point. No Nightingales." Followed by, “You idiot. We could have been… us.”

Let’s talk about it.

This is the first time in the show that nightingales are explicitly, openly referred to between Aziraphale and Crowley. Prior to this moment we had God's narration and the song playing on the piano during their romantic celebratory lunch at the Ritz. But no one in-universe has mentioned the song, or alluded to its importance or its meaning to Aziraphale and Crowley.

But during this painful 'breakup' scene, not only does Crowley refer to nightingales, but he does so in a way that is makes it clear that "nightingales" is actually a code between them meaning “us”.

After Crowley says “no nightingales” Aziraphale looks hurt, almost offended. Then Crowley says "we could have been... us" (past tense) and Aziraphale's heart breaks. He quickly looks away because he knows he isn't capable of hiding this pain. We briefly see this about-to-cry expression when Crowley grabs him for the kiss. In other words, Crowley saying "no nightingales" is understood by both of them to mean "our romance, our 'us', has ended before it even truly began."

Think about what this must mean for the rest of their 1941 interaction that we have yet to see. "A Nightingale Sang in Berkeley Square" was published in 1940. I think it’s clear that the first time they heard that song together, they had a breakthrough in their relationship. It might have been a baby step - but it was a significant one. Something happened between them to make "nightingales" code for "us" and it makes perfect sense for that breakthrough to have happened during their romantic 1941 encounter.

But I don't think it was anything as dramatic or earth-shattering as a kiss or a confession. I think it's clear that the bookshop kiss at the end of s2 was their first kiss, and Crowley's "we've spent our existence pretending that we aren't" speech is the first time either one of them as put their feelings for each other in such plain language. Nina's "have you been together long" talk with Crowley, and his subsequent shell-shocked reaction to it, points to Crowley not even really being fully aware that what Aziraphale and Crowley feel for each other looks like romantic love to outsiders because it actually is romantic love.

So what the hell happened in 1941? I am confident that we're going to find out in s3. My guess is that they continued drinking into the night, at some point one of them turned on the radio, and then the song came on. My hope is that Crowley asks Aziraphale to dance, which Aziraphale promptly and nervously turns down (call back to the s2 line "You don't dance.") but this leads them into a discussion about their importance to one another, even if they can't actually demonstrate it explicitly - no dancing, no touching, etc. Then finally, at the end, one of them plainly ties "nightingales" to their relationship in the most achingly romantic way possible. "You'll always have me, until the world ends, until the nightingale stops singing." I'm no writer, but you see what I mean.

I also think "no nightingales" means that when Aziraphale and Crowley finally do reunite and explicitly become an "us" (complete with do-over kiss) we'll get a line of dialogue referencing the nightingale once again.

While I was drawing, I thought about the poppy field in Oz.

"The Sandman" fanart

a remake of "you've got mail" called "you've got kudos" about two fic writers who make flirty comments on each other's fics, only to realize that they already know each other because they used to be on opposite sides of a fandom war when they were teenagers under different usernames

Other polls have found Tumblr users to be mostly 18-45 so here's a poll to get into the grit of that range.

i cant get over the king charles portrait. they made that thing to age in his place. that painting hangs in the house of a too-friendly family you find in the post apocalyptic wasteland who inexplicably has a ready supply of fresh meat. if mario jumped into that painting he wouldn't find a charming platformer he would be flayed and hanged like a medieval criminal by an unseeable force in a droning red void. that painting is a color blindness test for people who work in IT but believe in the divine right of kings. that painting is going to weep the sequel to blood. after he dies charles is gonna crawl outta that thing like sadako.

this painting is what ultrakill speedrunners see when they close their eyes. if you showed this to the romans who flogged jesus theyd think this painting is excessive. this painting is the blood cavern from space funeral. it's the color out of space.

jegus tapdancing christ it is actually that bad

Cartoony good omens my beloved!! ✨

MUCH ADO ABOUT NOTHING

incorrect quotes

CONTROVERSIAL OPINION ABOUT BISEXUALITY

that purple in the middle is not the right saturation, it doesn't fit with the other two colors and it drives me crazy.

all right, I think I got this, I've got dual citizenship and I have another flag we can borrow from:

step 1

step 2

step 3

This is true bi/ace solidarity.

holy shit

This is the only correct way

[Patchnotes]

this is so heckin great. truly proof that love is real