i love being tight with teachers because you get to hear them talk shit about other teachers its so funny they all act like highschoolers except they get paid
ISTJ: Practical and down-to-earth. Probably your mother.
ISFJ: Always nice enough to be suspicious and more loyal than all your pets combined.
ISTP: Probably don’t care about you, might still kill you in your sleep though.
ISFP: Always carrying at least 4 daisy chains on them at all times; don’t take them to museums if you ever want to come out again.
INTP: That one guy hiding in their room trying to calculate exactly how much bigger the TARDIS is on the inside.
INFP: Starry-eyed idealist, so caring and sweet they might just rot your teeth out.
INTJ: 50% standoffishness, 50% being right all the time, 100% better than you.
INFJ: Spends half their time delivering melodramatic heroic monologues and the other half attempting to purify the ground they walk on.
ESTJ: 100% committed to their life partner, the rulebook.
ESFJ: Happy to make you happy to make them—could potentially create a feeling paradox.
ESTP: Probably Kanye West.
ESFP: The golden retriever you always wanted, except in human form.
ENTP: Would probably blow up the world to calculate shrapnel velocity.
ENFP: Like a bottle of fizzy soda, except with more righteousness.
ENTJ: Like an INTJ, just better at hiding the fact that they’re an asshole.
ENFJ: The world’s mother hen. May also be running ten cults of worship behind your back.
Lena Headey stated that she did not want Cersei to appear nude up until this moment, because it wouldn’t serve the story and in fact would take away from the power of suddenly seeing her stripped down. So Headey was excited to do this scene, and do it the right way. Naked.
Unfortunately, the Church of St. Nicholas has other ideas. That’s the Croatian church that the production uses as the Great Sept of Baelor in the town of Cavtat. According to TMZ, they are none too pleased with the prospect of public displays of sexuality, and so apparently they have not only denied the series access to film in the church but have also pressured the local authorities to deny the production the permits they need to film.
In other words, a Church is using moral outrage over a woman’s sexuality to stop the filming of a scene illustrating the danger of a Church using moral outrage over a woman’s sexuality to punish a woman."
every 1st september we joke about getting ready for hogwarts to cover up the very real and very very deep scars of never getting our letters
Westeros + Religion
The gods are blind. And men see only what they wish.
in the iliad helen speaks the last lament for hector. the only man in troy who showed her kindness is slain—and now, helen says, πάντες δέ με πεφρίκασιν, all men shudder at me. she doesn’t speak in the iliiad again.
homer isn’t cruel to helen; her story is cruel enough. in the conjectured era of the trojan war, women are mothers by twelve, grandmothers by twenty-four, and buried by thirty. the lineage of mycenaean families passes through daughters: royal women are kingmakers, and command a little power, but they are bartered like jewels (the iliad speaks again and again of helen and all her wealth). helen is the most beautiful woman in the world, golden with kharis, the seductive grace that arouses desire. she is coveted by men beyond all reason. after she is seized by paris and compelled by aphrodite to love him against her will—in other writings of the myth, she loves him freely—she is never out of danger.
the helen of the iliad is clever and powerful and capricious and kind and melancholy: full of fury toward paris and aphrodite, longing for sparta and its women, fear for her own life. she condemns herself before others can. in book vi, as war blazes and roars below them, helen tells hector, on us the gods have set an evil destiny: that we should be a singer’s theme for generations to come—as if she knows that, in the centuries after, men will rarely write of paris’ vanity and hubris and lust, his violation of the sacred guest-pact, his refusal to relent and avoid war with the achaeans. instead they’ll write and paint the beautiful, perfidious, ruinous woman whose hands are red with the blood of men, and call her not queen of sparta but helen of troy: a forced marriage to the city that desired and hated her. she is an eidolon made of want and rapture and dread and resentment.
homer doesn’t condemn helen—and in the odyssey she’s seen reconciled with menelaus. she’s worshipped in sparta as a symbol of sexual power for centuries, until the end of roman rule: pausanias writes that pilgrims come to see the remains of her birth-egg, hung from the roof of a temple in the spartan acropolis; spartan girls dance and sing songs praising one another’s beauty and strength as part of rites of passage, leading them from parthenos to nýmphē, virgin to bride. cults of helen appear across greece, italy, turkey—as far as palestine—celebrating her shining beauty; they sacrifice to her as if she were a goddess. much of this is quickly forgotten.
every age finds new words to hate helen, but they are old ways of hating: deceiver and scandal and insatiate whore. she is euripides’ bitchwhore and hesiod’s kalon kakon (“beautiful evil”) and clement of alexandria’s adulterous beauty and whore and shakespeare’s strumpet and proctor’s trull and flurt of whoredom and schiller’s pricktease and levin’s adulterous witch. her lusts damned a golden world to die, they say. pandora’s box lies between a woman’s thighs. helen is a symbol of how men’s desire for women becomes the evidence by which women are condemned, abused, reviled.
but no cage of words can hold her fast. she is elusive; she yields nothing. she has outlasted civilisations, and is beautiful still. before troy is ash and ruin she has already heard all the slander of the centuries; and at last she turns her face away—as if to say: i am not for you