black with low white spotting

Hims do a little dance

I WILL WATCH THE FUCK OUT OF THIS! Monster romance books prepared me for thiissss!

just FYI it's based on a short story called The Wicker Husband which I read here despite the small print because I could only find the opening elsewhere (the place it was originally published online is gone, but the author, Ursula Wills-Jones, says she hopes to see it in print soon!)

Mammal in a Sunday Dress explores the uneasy relationship between femininity, civilisation, and the animal body. At first glance, the figure appears modest and withdrawn. Her posture is composed, her gaze seemingly lowered towards her bare feet, recalling the conventions of nineteenth-century portraiture where women were often depicted as passive objects of observation. Yet as the viewer moves closer, the illusion collapses. Her eyes are not lowered at all. She is looking directly back.

The delayed eye contact transforms the encounter. The viewer approaches believing they are safely observing a woman; instead, they realise they have been observed themselves. The work refuses the traditional power dynamic of portraiture, denying the comfort of anonymous spectatorship. Looking becomes a reciprocal act.

For Cox, the painting considers humanity's persistent desire to separate itself from the rest of the animal kingdom. The title quietly undermines this distinction. A "mammal" is not another creature—it is us. The Sunday dress, rich with cultural associations of femininity, morality, and respectability, becomes an attempt to distinguish ourselves from nature. Yet clothing cannot alter biology. Beneath lace and ritual remains the same vulnerable animal body.

The work also reflects on the historical relationship between women and nature. Across art, religion, and philosophy, women have repeatedly been positioned as closer to instinct, emotion, reproduction, and the body itself, while men have been aligned with reason, culture, and civilisation. Mammal in a Sunday Dress does not reject this comparison. Instead, it questions why proximity to nature has so often been treated as something lesser.

Chiaroscuro isolates the figure within darkness, allowing the luminous dress to symbolise the performance of civilisation while the bare feet quietly return the body to the earth. Neither is presented as more truthful than the other. The painting exists in the tension between performance and instinct, refinement and biology.

Mammal in a Sunday Dress ultimately asks a simple but unsettling question: if every layer of culture were stripped away, what would remain? Not a king. Not a saint. Not a gentleman or a lady. Only another mammal, looking back.

source

he's supposed to take notes and make an intrigued hum when an interesting plot point occurs

one is getting cucked by the bottom and the other is getting cucjed by the top. Subject matter experts discussing the sex like a sports panel

One cuck always lies, the other always tells the truth. You have one question to determine who’s a top and who’s a bottom.

In every way this is set up to be a joke like any other short video, it even uses the trope of main character in a wig to represent their mom, but it isn't funny at all. It's just sweet and nice