I Don't Want To Die. 😥

ripley :)

To Squidward: what would your ideal home be like and how far away from SpongeBob would you want it lol

part of the fun of the original alien is the horror of the nostromo itself imo. it’s a cell of corporate greed ferrying narrowly-trained workers across barren space. it’s huge and yet claustrophobic, cockpits crammed with machinery giving way to yawning berths dripping chains and water. the supercomputer is named mother in a stroke of human anthropomorphization, but instead of providing comfort or protection, it’s only a courier between its creator and its wailing brood. ripley yells “mother! mother!” at a matronly-voiced computer that speaks calmly over her helplessness. the ship is full of endless details and patterns and unlabeled buttons and dials the audience can’t entirely make sense of; to do anything on the ship is a rigorous, technical process, and we must depend on the characters to know it. the internal mechanics of the ship are so alien that a literal alien can hide among the bits and bobs and not be noticed. it’s great.

Thinking about robots exchanging parts as intimacy.

Robot partners who are compatible enough they can swap out parts at will. It starts with just a few smaller spare internals, and theres just something... comfortable about having a piece of their lover inside them.

Then it's an optic, so they can see the world- and each other, through their partner's eyes. They look in the mirror and their new optic notes all of the things their partner finds wonderful about them.

Then they're exchanging plates, patches of false skin and sensors and even limbs, melding together, growing more and more familiar, until eventually they decide to take the final possible step.

Two machines sitting across from each other, outer plating shed around them in small piles, revealing their complex inner machinery, wires patched together in slightly different colors, lit by the gentle orange glow of a power core. Trey stare into their partner's mismatched eyes, mirroring theirs as they inch closer.

A familiar hand reaches into their chest, and they feel cool metal enclose around their power core.

Click.

They shake slightly as their senses begin to go dark, and warning lights flash inside their mind. Counting down the time until their reserve power runs out.

Ten, nine, eight, seven, six...

they stare into their partner's dimming eyes as their other hand reaches back until their chest, feeling around to find the right place..

five, four, three, two...

Click.

Two machines sit in each other's arms, overwhelmed by what they've just done, kept alive by each other's humming artificial hearts.

ALL OF THIS AHUJAHSYCIT

i really love the fact that we don't know what species he is aside from being an orange mop because it makes his character even more intriguing. he could be over 1000 years old. he could know so much more than what he lets on. is he actually that gullible most of the time? when is he playing the part to secretly ruin the bad guy's plan? he's such a harmless sweetheart, but he's actually freaky. we literally know nothing about the guy. also the mime ghosts?? remember those???? what the hell was THAT??? WHY DO THEY ALWAYS TERRORIZE HIM WHAT IS THAT MAN'S STORY

ahem thanks for coming to my ted talk.

wander shenanigans and headcanons

first things first i like to think some of his fur? whiskers?? work kinda like a cat's: he can detect some movement that's happening close by

also

claws

he probably has retractable claws or he trims them almost every day so he isn't a menace to society (or to Sylvia's skin)

and the OCD thing

i might make a whole entire character analysis about it but for now just know his cuckoo behavior is exactly like me when im doing compulsions and i feel seen😩

and for the final one

shedding season.

Some roleplay art cuz I got bored

Cw: Minor injury, blood

duality of man

THE babygirl

"In bringing together Kurt Cobain's 'most poignant lyrics and journal fragments' to demonstrate the ways in which both writing and reading about melancholy can be life-affirming, Saint-Aubin has created a wonderful memorial not only to Cobain's troubled genius but especially to his profound humaneness."

Neil Nehring, author of Popular Music, Gender, and Postmodernism: Anger Is an Energy

The year 2019 marked the twenty-fifth anniversary of the death of Kurt Cobain, an artist whose music, words, and images continue to move millions of fans worldwide. As the first academic study that provides a literary analysis of Cobain's creative writings, Arthur Flannigan Saint-Aubin's The Pleasures of Death: Kurt Cobain's Masochistic and Melancholic Persona approaches the journals and songs crafted by Nirvana's iconic front man from the perspective of cultural theory and psychoanalytic aesthetics.

Saint-Aubin discusses Cobain's writings independently of the artist's biography, positioning these texts within the tradition of postmodern representations of masculinity in twentieth-century American fiction, while also suggesting connections to European Romantic traditions from the nineteenth century that postulate a relation between melancholy (or depression) and creativity. In turn, through Saint-Aubin's elegant analysis, Cobain's creative writings illuminate contradictions and inconsistencies within psychoanalytic theory itself concerning the intersection of masculin-ity, masochism, melancholy, and the death drive.

By foregrounding Cobain's ability to challenge coextensive links between gender, sexuality, and race, The Pleasures of Death reveals how the cultural politics and aesthetics of this tragic icon's works align with feminist strategies, invite queer readings, and perform antiracist critiques of American culture.

Arthur Flannigan Saint-Aubin is professor of French at Occidental College, where he teaches courses in Francophone literatures and seminars on the theory and practice of translation. His books include The Memoirs of Toussaint and Isaac Louverture:

Representing the Black Masculine Subject in Narratives of Mourning and Loss.