warsawmouse on Pillowfort|Fandom.ink|Dreamwidth.
Polish, 42, ADHD, grayace, demifem (she|they).
Fan, parent, compulsive reader & procrastinator extraordinaire.
Serial stress reblogging, no original content. Very bad at tags.
Multifandom, multiship, defaults to OT3.
What about folks who have therapy via Zoom? Court hearings? The list goes on. If you’ve got any Zoom alternatives, or maybe preference for one of the ones we listed with why, reblog please!
Email your university about FERPA compliance if you or your peers take online classes also
Gonna have to bring this up to my therapist, we do our appointments over zoom and I am def not comfortable with my trauma and shit being used for that.
ive worn heart shaped glasses for almost 4 years and they are just like my Thing and i love them so much and so often people will say shit like Oh Id Love To Wear Something Like That But I Could Never Pull It Off and like… babe no one can theyre heart shaped glasses u dont wear them to look flattering or stylish or whatever u wear them to make ur soul happy
stop worrying about whether u look Nice and start worrying about whether u look like You
i didnt articulate it well so i just wanna clarify. the point of this post was not “fuck the haters wear what you want” it was “fuck the idea that clothes and accessories exist to make you look good they should exist to make you happy”
Total F-bombs Critical Role Campaign 3 Episode 67 Bloody Flowers
Per Character:
Ashton: 24
Chetney: 2
Fearne:
Fresh Cut Grass: 1
Imogen: 3
Laudna: 1
Orym: 2
Total Fucks for Campaign So Far:
Fearne: 25
Orym: 62
Fresh Cut Grass: 71
Laudna: 178
Imogen: 197
Chetney: 496
Ashton: 1009
Dorian: 18
Numbers collected from watching and following transcripts and are subject to when the curse is said in character. I’m only human so these counts might not be perfect if I didn’t hear something or thought a f*ck was being said by the player not the character.
The vulture capitalist hedge fund that bought and subsequently destroyed Toys R Us now owns Overdrive/Libby.
They have already begun making it worse/less usable and they have a chokepoint monopoly on the delivery method of ebooks borrowed from public libraries in the US.
A fun thing about capitalism is that rich people can buy something a lot of people love and depend on, and then destroy it for fun and profit, and there’s not really anything we can do about it.
Cringe started as a verb describing a physical reaction, i.e.: “I cringe when I see [x].”
Modern slang has turned cringe into an adjective describing anything to which a person might have such a reaction.
.
This shift in language is illustrative of a shift in culture.
.
For a while there, in the early 2000s, there was this big sex positivity movement and we talked openly about kink and queer sexuality and creating a culture of consent that broke away from traditional conservative ideas of moral respectability.
And now we are in the midst of this giant purity culture backlash, this giant push for rigid conformity all over the internet. Anything that deviates from the norm even remotely is ridiculed.
And this cultural shift is perfectly encapsulated in this singular linguistic shift, this verb becoming a noun.
The Revenge of the Pearl Clutchers
That’s what “cringing” is. It’s pearl clutching.
When the pearl clutchers turned cringe into an adjective, they turned a reaction into an accusation. The pearl clutchers don’t want to take responsibility for their own kneejerk emotions. They want to blame YOU.
They are saying, “My disgust isn’t the fault of my own backwards prejudices. It is YOU who are inherently disgusting. My inability to cope with even the slightest deviation from norm is not the problem here. YOUR refusal to rigidly conform is the problem. I am not the one who is cringing. YOU are the one who is cringe.”
Lan WangJi replied, “We will wait until we find them. After all, we do what we must.” Wei Wuxian, “Just by using nets?” Lan XiChen, “That is right. Does the YunmengJiang Sect have other methods?” Wei Wuxian smiled but didn’t respond. Of course, the YunmengJiang Sect used nets as well. But, because he was a good swimmer, he had always jumped into the river and dragged water ghouls out. However, this method was too dangerous; he definitely couldn’t do it in front of the Lan Sect’s people.
One difference between the Lord of the Rings books and the Peter Jackson films that I find really interesting is what the hobbits find when they return to the Shire.
In the books, they return from the War, only to see that the war has not left their home untouched. Not only has it not left their home unscathed, battle and conflict is still actively ravaging the Shire. They return, weary and battle-scarred, to find a home actively wounded and in need of rescue and healing. All four launch themselves into defending their home and rousting those harming it, and eventually succeed. But their idyllic home has been damaged, and even once healed, is never quite again the Shire they set out to save.
In contrast, in the Jackson films, they return to a Shire shockingly untouched by the horrors of war. The hobbits of the Shire talk, in the Green Dragon in Fellowship of the Ring, about not getting involved with issues “beyond our borders,” and it seems those issues have not invaded their sanctuary. After having been bowed to by kings, dwarves, elves, and men alike at the coronation in Gondor, their only acknowledgment upon returning home is a skeptical head shake from an older hobbit.
One of the most poignant scenes to me in Return of the King (and there are a considerable amount) is the scene where Frodo, Sam, Merry, and Pippin are sitting in the Green Dragon. The pub patrons bustle around them, talking loudly, clapping excitedly, drinking cheerfully, just as they had in the beginning of the story. But the four hobbits sit silently, watching almost curiously at what was once familiar but is now foreign to them. Their home has not changed. But they have.
Which is the deeper hurt? To come to your home to find it irrevocably changed, despite all you did to keep it untouched and the same? Or to return home but no longer feeling at home, because it is only you that is irrevocably changed?
no one is obliged to like you and that is okay. this is why you mustn’t put your self-worth in the hands of other people–you have no control over how they feel about you.
wanting your art to connect with others is the same: no one is obliged to interact with it and you have no control over whether they do or not. you must accept this. your mood can’t be reliant on the decisions of others, let alone strangers–happy when you get engagement from them, sad when you get less.
I’m not saying it’s selfish to want validation, attention, or connection. your feelings are real and I’ve FELT them. I still feel them. but other people have a choice of whether to give you those things or not, whether in everyday situations or online, and you have to accept that choice. the only thing you can control is you.
connecting, REALLY connecting with others, is about actively inserting yourself into communities you vibe with, learning the necessary skills (social or otherwise), being vulnerable, and a little luck. join a discord server or a local club. focus on specific artistic friendships. put your time and effort into those relationships, spend less time on social media, uncouple your self-esteem from your art and try your damnedest to make your own at home. that’s all you can do.
I want to add that the reason why you see “big artists” saying this stuff is not because they’re getting all their emotional needs met and don’t remember what it was like to be insecure starting out.
it’s because once you get to a certain level of internet-popular, you start to realize that it’s Never Enough. no matter how popular that one thing you made was, eventually it tapers off and you crash and you have to work for the next hit. until you burn out.
that applies no matter how big or small your following is. it never stops. but it does get harder to deal with the more intense the highs are. put less stock into it now so it has less power over you in the future.
ALT
