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over christmas when i came out fully to my mom she did tell me i was beautiful and gave me some of her old jewelry and told me she was excited to have another daughter and that was all wonderful, but the part that meant the most to me was when i told her "i want to get my facial hair taken care of sooner than later, the whole "girl" thing is a lot easier to swallow when im shaved" and she examined my use of the phrase "it's a lot easier to swallow" and said "Scout, I didn't have a good relationship with my mother. you know that." (i did know that, my grandma was NOT good to my mother) "but your grandma kim [friend of my grandma's, unrelated by blood in any way, but was adopted as a grandma through familial osmosis] was the greatest woman who's ever been in my life. and up until the day she died, she had a beard and a moustache [which is true, my grandma kim, a cis woman, had VERY thick facial hair]. if you kept your facial hair for the rest of your life i wouldnt think of you as less of a woman" and ya know what? THAT'S the part of her support that made me cry.

my grandma kim was an amazing woman and she had peach fuzz that she didnt give a FUCK about. and everyone loved her.

you can have your own fuzz too, and that doesn't make you not a woman.

“Before the writers started working on the first season, I wrote a list of six things on the wall that every episode had to do.” - Mike Schur (x)

Portal 2's Turret Opera still hits soooo hard as a closing point for Chell and GLaDOS' story dude. Right after a monologue about how after everything they've been through she realizes she's incapable of killing Chell, GLaDOS has actually.. set up a perfect, inescapable death trap. She could've easily had the turrets shoot through the glass, sent the elevator all the way back down to Old Aperture or simply gassed her without letting the elevator even leave her central chamber. She basically had her. She could've obliterated her while she was still out cold from fighting Wheatley, but she doesn't. Instead, she has them perform an opera about walking as far away from science as possible. An opera that's implied to have been rehearsed even before Chell broke out with Wheatley - was she considering doing this long before Chell went out to try and kill her again?? This is very blatantly me steering into headcanon territory, but I like to think this whole room was the "REAL surprise with tragic consequences" GLaDOS spoke of. I imagine this is exactly what she originally planned to do - give her false hope by having her ride an escape elevator only for it to stop right in the middle of a massive turret ambush. She would literally treat Chell like a fish in a barrel. Quick, easy and delightfully painful. Each instance where she escaped was either due to oversight or third party intervention - so she created a situation where none of that is possible. All that would arrive to the surface and see the sun is a bullet-riddled corpse. But that's not what the elevator brings to that dingy faux shed in the end. I wonder what she's done with this room after the elevator made its ascent. Do the turrets still stand there, waiting on the off-chance the elevator goes back down with a familiar face within? Do they still sing the same song, over and over, hoping she'll hear it up there? Do they think of her, does she think of them, does she think of her? If Chell were to step back in, would GLaDOS even have the heart to let that elevator go back down? Either way, they'd still be down there, gathered for someone that may never ever come back. They'll all be faithfully standing at their usual spots in the chambers, ready to lovingly shoot her again should she be back to test forever.

I feel that you summarized in a single sentence everything I want to do with my writing, and pretty much what I want to do with my life the most. Thank you so much for that.

And cheers to all people who already do exactly that, and the ones who want to join. Let's have a guild.

My contribution, I hope, is to find the ideas that matter the most and connect them in a way that is highly actionable.

#I cannot hate myself into a version of me I will love is so true and beautifuuul

i cannot hate myself into a version of me i will love.

now im imagining what pride events in ankh morpork are like

The only way in which selling sex is exceptional as a form of work is that it involves having sex.

Sex work is not more emotionally intimate than all other forms of work. Emotionally intimacy can be involved in therapy, care work, and writing about deeply personal topics.

Sex work is not the only form of work which can involve genital contact. This happens in medical environments, care work and when giving genital piercings.

Sex work is not uniquely dangerous. Fishing, construction and underwater welding all have high fatality and injury rates.

Sex work is not more prone to trafficking than all other forms of work. People are trafficked in huge numbers in the agricultural industry and for the manufacture of textiles.

Sex work is not the only form of work which involves frequent sexual harassment. People are often sexually harassed whilst doing bar work, waiting tables and providing health care and social assistance.

Sex work is not the only type of work that is criminalized. Other types of work like busking without a license, drug dealing, con artistry and any kind of job which requires authorisation form a third party where that isn't obtained.

Stop it with the sex work exceptionalism! Treat it like other work.

"It was so much easier to blame it on Them. It was bleakly depressing to think that They were Us. If it was Them, then nothing was anyone's fault. If it was Us, then what did that make Me? After all, I'm one of Us. I must be. I've certainly never thought on myself as one of Them. We're always one of Us. It's Them that do the bad things."

Terry Pratchett in "Jingo"

Truly hate the way "did this person do something that actually harmed someone" and "do they deserve to be unpersoned for it" are considered the same question