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  • doing my part by being in my 20s and not getting married HOLD THE LINE

  • 16 likes on tiktok is embarrassing but 16 likes on tumblr is like winning a grammy

  • characterpilled Unfollow

    [photo of the character]

    i love my this. the charactr

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    characterpilled Unfollow

    charac te r. ... ... . ....
    #FUUUUCK. THE CHARACTER.

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    characterpilled Unfollow

    DOES ANYBODY EVER THINK ABOUT .THE CHARACTER

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    characterpilled Unfollow

    [1.5k word essay about the character]
    #but like idk maybe im wrong

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    characterpilled Unfollow

    character i love youso badly.

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    ^dash when someone is possessed by The Character core (this post is positive)

  • Text: “The modern concept of time as we understand it was “discovered” in the fifteenth century, partly in order to frame new modern ideas of societal and individual progress. This conception of time led to ideas of human destiny, which motivated colonial projects across Europe and The United States (Toulmin & Goodfield, 1965).”ALT
    Two rows of images. The first row is from season 1 episode 1, showing Mark switching out his personal watch for a Lumon one at his work locker. The second row is a still from season 1 ep 2, showing a Lumon severance michrochip package surgery. A tagline at the bottom of the package reads, “Don’t live to work. Work to live.”ALT
    Two stills from season 2 ep 3, as Mark starts reintegration. The first still shows him in his basement, the second shows his consciousness shifting from his outie self to his innie self, in work attire at Lumon. Overlaid timestamped dialogue tags read, “Reghabi: What month is it?” “Mark: You mean, what quarter?”ALT
    Text: “Our selves, our worthiness, our entire being and right to live revolve around making our labor power available to the ruling class. The political economy demands that we maintain our health to make our labor power fully available, lest we be marked and doomed as surplus. The surplus is then turned into raw fuel to extract profits, through rehabilitation, medicalization, and the financialization of health.”ALT
    Two stills from season 2 ep 7. The first shows one of Gemma’s innie’s at the dentist, wincing, and the second shows one of Gemma’s innies rubbing her hand in pain after finishing writing thank you cards. Overlaid, time-stamped dialogue tags read “Mauer: How are you feeling? Gemma: My mouth hurts.” “Mauer: How are you feeling? Gemma: My hand hurts.”ALT
    Text: “Capitalism and disability are inextricably entwined [...] In the United States, the very term disability “came to be defined explicitly in relation to the labor market.” Even in Social Security law, “disabled” refers to someone who cannot engage in work activity due to medical reasons.”ALT
    Text: “We are all to be smoothly running engines and disability renders us defective products.”ALT
    Stills from season 1 ep 2, of Irving falling asleep at his desk then be escorted down Lumon’s halls by Milchik. As he falls asleep, overlaid dialogue reads, “Milchick: Irving?” As Irving follows Milchik, dialogue reads: “Milchik: We’ll deduct the time you spent dozing from your Outie’s paycheck. What will be harder to fix, Irving, is my and Ms. Cobel’s trust in you.”ALT
    Text: But this is “the heart of capitalism’s central paradox:  it creates disability even as it shuns or attempts to “fix” it.”ALT
    Three rows of episode stills. The centre one shows three stills of the macrodats: 1) Mark in season 1 episode 1, touching the lumon bandaid on his forehead after leaving work; 2) Irving and Dylan holding each other in season 2 ep 1 as Irving considers ending his life as an innie; and 3) Helly in season 1 ep 5 considering her reflection in the mirror, neck visibly bruised from her suicide attempt. The top and bottom rows show two moments from season 1 episode 6; Graner escorting Mark to the Break Room, and Mark’s red and bruised knuckles after his time in the break room.ALT
    Text: “...I'm curious: what might happen if we were to accept, claim, embrace our brokenness?”ALT
    Two columns of images. The first column are all from season 1 episode 8, showing outie Irving at home at night, pouring himself coffee, drinking coffee, pressing play on a boombox. The second column shows him squeezing out tube of black paint, which drips into the lower picture, where Innie Irving, slightly out focus, sits at his desk and looks concerned as he stares up at dripping, viscous black liquid. Overlaid dialogue from season 2 ep 2 reads, “Irving: I want you to know my innie got the message.”ALT
    Text: “What is the crip time of remembering? Or the temporality of preparing to remember? How does one take steps now to get ready for the future moment when one will delve into the past?”ALT
    Still from season 1 ep 2; Mark and Petey talk in the abandoned greenhouse next to Petey’s hand-drawn map. Overlaid timestamped dialogue reads, “Mark: You okay?” “Petey: Sorry. Reintegration sickness.” “Mark: Never heard of that one.”ALT
    Text: “Time for the innie is one endless loop of work.”ALT
    In season 1 ep 4, a tired, harried looking Helly stands in the severed floor elevator. The elevator doors close, and when they reopen, her appearance has been refreshed and she’s in a new change of clothes, but she looks dejected. Overlaid dialogue from season 1 ep 2 reads, “Helly: So it’s tomorrow now?” “Mark: Uh, yeah. Well, it’s Monday.” “Helly: A weekend just happened?” “Helly: I don’t even feel like I left.” “Mark: Yeah, that’s how nights and weekends feel here.” “Helly: Like nothing?”ALT
    Text: “Crip time is time travel. Disability and illness have the power to extract us from linear, progressive time with its normative life stages and cast us into a wormhole of backward and forward acceleration, jerky stops and starts, tedious intervals and abrupt endings—”ALT
    In season 1 ep 3, Petey leans over the sink and looks at his reflection in the mirror when he gets a bloody nose. He leans against the mirror in pain. As he looks back up, he is wearing his Lumon suit, and sees himself showering in Mark’s bathroom behind him. Then (now at the start of season 1 ep 4), he is back in Mark’s bathroom, wearing his red bathrobe when behind him, and he sees innie Irving enter behind him.ALT
    A still from season 2 episode 3 with overlaid dialogue. In the picture, two sine waves on Reghabi’s monitor during Mark’s reintegration brain surgery flicker and begin to overlap. Overlaid text reads, “Reghabi: and that’s reintegration.” “Mark: Yes. Do it.” “Reghabi: You’re sure?”ALT
    Text: “… capital has both shaped health and shaped itself around health. In the process, one of capital’s most critical vulnerabilities has been left in plain sight.”ALT
    Mark dealing with various symptoms post reintegration (primarily from season 2 ep 5): taking pills from a new pill regimen, making a face as he takes a liquid supplement, wincing as he gets a headache at work, hallucinating his new pills on his work desk, seeing Gemma, getting a nosebleed, watching the clock.ALT
    Text: “Clock time is the time zone of neoliberal capitalism, while crip time belongs to the land of the ill.”ALT
    Two images from season 2 episode 6. In the first, Mark leans on Miss Huang’s next, holding a tissue to his nose as Helly and Miss Huang watch him; a Lumon clock on the wall behind him. Overlaid dialogue from season 2 ep 7 reads: “Mauer: He’s stuck at 96%.” “Drummond: The nose bleeds set us back.” In the second image, Devon crouches beside Mark, who has collapsed and is seizing on the floor. Overlaid text from season 2 episode 9 reads, “Drummond: The numbers aren’t moving.” “Milchik: He may just be running late.”ALT
    Text: “...crip time is broken time.   It requires us to break in our bodies and minds to new rhythms, new patterns of thinking and feeling and moving through the world. It forces us to take breaks, even when we don't want to, even when we want to keep going, to move ahead.  It insists that we listen to our bodyminds so closely, so attentively, in a culture that tells us to divide the two and push the body away from us while also pushing it beyond its limits. Crip time means listening to the broken languages of our bodies, translating them, honoring their words.”ALT
    A still from season 2 episode 9. Mark, after his coma, is in the passenger seat of a car, resting his head against a seatbelt. He holds a hand with a bandaid-wrapped finger to his mouth as he coughs. Overlaid dialogue reads, “Drummond: Our most vital refiner missing in the wind, on what was to be Lumon’s finest day.”ALT
    Three images. The first image, from season 2 episode 2, Helena taking a breath after giving a press release where she stated it wasn’t her Innie speaking at the Lumon event, but her outie self having an outburst caused mixing alcohol with a non-Lumon medication. The second image, from season 2 episode 3, is Mark starting his stopwatch before heading into work. The third is from season 2 ep 9, Milchick on the phone with mark as he looks at the picture on his office wall – the tip of an iceberg. Overlaid dialogue reads, “Milchick: Mr. Scout?” “Milchick: I have your word you report to work tomorrow?”ALT
    Text: “Without health, capitalism will die.”ALT
    Images of Mark, Dylan, Devon, Irving’s Severed Employee list, Irving’s saved article titled “Severed worker sues for information following injury”, Gemma, Cobel’s mom’s breathing tube, Harmony Cobel, Irving, the mouth wall from the perpetuity wing turned upside down, Milchick’s reflection, and Helly.ALT
    Text: “Malingerers of the world, unite.”ALT

    "Your so-called boss may own the clock that taunts you from the wall. But friends," // "the future is for crips—"

    musings on severance & disability | full citation list below the cut

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    Ship's cat Chiclet watches the harbour during her watch on the museum tanker Mary A. Whalen (1938)

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  • Another element of all this is just the straight up misogyny behind how people see Hellyna, which is to say: it’s easier to focus on just one part of a female character and say that that trait is All She Is rather than accept that female characters can be nuanced and contradictory. Much like, you know, actual women in real life. No one is just one Thing. Helly is not just suicidal, prone to self harm, Lumon-hating, and “not cruel.” She’s also selfish, loving, funny, protective, and to an extent grateful for the severed floor’s existence because it allows her a place to live. You can’t just shove her into a box and then be surprised when she bursts out of it.

  • strawberries should be the size of apples

  • Something interesting I’ve noticed is how often Helly is depicted in fanart either holding the extension cord, or actively hanging herself in the elevator. To be clear this isn’t a criticism of these works by any means - they’re all gorgeous, stunning pieces. But the proliferation of this visual as the defining symbol of her character does, I think, reflect the larger fandom perception of Helly and explains why she’s getting the response she’s getting after the s2 finale.

    Because the hanging happened in 1.04. 15 episodes have happened since. And yet I do feel like some fans have kind of frozen Helly in that moment. And I get it - it was one of the most emotional and impactful moments on the show, and in many ways it was the inciting incident that really put s1’s innie rebellion into motion. But it also was the start of Helly accepting who she is, and realizing that other people actually do care about her. In 1.05 we got Mark’s line “Look, I know you don’t want to be here, but I’m glad you are” as a direct response to the hanging, plus Dylan and Irving brainstorming ways to help cheer Helly up. After the hanging, her connections to MDR deepened to the point that by s2 they rivaled all the connections Helena had ever made in her entire life.

    My point is - much like the “Helly was never cruel” line, the hanging was just one part of Helly’s character development. Both her and the show have moved on. “The real Helly would have pushed Mark through the door.” “The real Helly would rather die than stay on the severed floor.” Maybe Helly in 1.01-1.04. But not now. She has a life she loves now, and she doesn’t want to lose it.

  • i would kill every single one of your male characters for one more scene with my hélénah

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    this is how i stared at my tv for 7 weeks waiting the next morsel of information about my ginger demon that would convince me she is beyond saving

  • what's the matter honey? you've hardly touched your fleeting experience of time on earth

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    &. lilac theme by seyche