Reasons.

fleabag's fourth wall breaks being a metaphor for dissociation, and her doing them every scene EXCEPT when she has sex with the priest where she physically shoves away the camera. it being the first time in the entire show where she's fully present in the moment... poetic cinema.

The Duality of Man, mixed media, 2020

for his own good

Inspired by « By any other name » from SatelliteBlue on AO3

WHAT IS THE SHAPE OF THIS PROBLEM? VIII of IX — LOUISE BOURGEOIS, 1999 [letterpress & lithograph | 12 × 17" (2)]

–Richard Siken, "Cover Story"

Additionally, readers began to ask me if the poems were “true,” by which they meant, “Did they really happen?” which seemed both beside the point and also intrusive. I realized that if they thought poems were biographically accurate, then they could walk away, knowing I was just a sad little man.

The Doubling of Self: An Interview with Richard Siken

“Good luck finding someone who can be told eighty thousand times how replaceable they are.”

Some angst for you 😔🤲 GIF nuked the quality so the clear images are below <3

(proship dni ‼️)

In Another Life...

Warsh_Tippy and Zelda - Whatever, Dad/Unknown/A Nest of Quiet: A Notebook-Anna Kamienska/The 1 - Taylor Swift/ghost, zero, suitcase, and the moon - richard siken/Last Kiss - Taylor Swift/Unknown/rebecca malakai/Warsh_Tippy and Zelda - Whatever, Dad/everything everywhere all at once /Scott Street- Phoebe Bridgers/the 1 - Taylor Swift/c. t. salazar/unknown/unknown/ The Goldfinch-Donna Tartt/Warsh_Tippy and Zelda - Whatever, Dad

the thing i think a lot of people don’t realize about rick and morty is that the question isn’t “does rick care about morty?” - it’s very obvious he does - it’s “does rick care enough about morty to change?”

In writing, epithets ("the taller man"/"the blonde"/etc) are inherently dehumanizing, in that they remove a character's name and identity, and instead focus on this other quality.

Which can be an extremely effective device within narration!

They can work very well for characters whose names the narrator doesn't know yet (especially to differentiate between two or more). How specific the epithet is can signal to the reader how important the character is going to be later on, and whether they should dedicate bandwidth to remembering them for later ("the bearded man" is much less likely to show up again than "the man with the angel tattoo")

They can indicate when characters stop being as an individual and instead embody their Role, like a detective choosing to think of their lover simply as The Thief when arresting them, or a royal character being referred to as The Queen when she's acting on behalf of the state

They can reveal the narrator's biases by repeatedly drawing attention to a particular quality that singles them out in the narrator's mind

But these only work if the epithet used is how the narrator primarily identifies that character. Which is why it's so jarring to see a lot of common epithets in intimate moments-- because it conveys that the main character is primarily thinking of their lover/best friend/etc in terms of their height or age or hair color.