my otp is jesse pinkman x getting to be happy
crackship
Aqua Utopia|海の底で記憶を紡ぐ
"I'm Dorothy Gale from Kansas"
occasionally subtle
Monterey Bay Aquarium

Product Placement
let's talk about Bridgerton tea, my ask is open
RMH

titsay
Cosmic Funnies
$LAYYYTER
Sweet Seals For You, Always

roma★
macklin celebrini has autism
we're not kids anymore.
PUT YOUR BEARD IN MY MOUTH

pixel skylines
YOU ARE THE REASON
todays bird
Not today Justin
Noah Kahan

seen from Israel
seen from United States

seen from United States

seen from United States
seen from United States
seen from Brazil
seen from United States
seen from United States
seen from United States

seen from United Kingdom
seen from United States

seen from Greece
seen from Belgium
seen from United States
seen from Croatia
seen from United Kingdom
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seen from T1
seen from France
seen from United States
@baking-brad
my otp is jesse pinkman x getting to be happy
crackship
When Walt Lies to Jesse
(A follow up for @znailss)
I saw a sign at a nearby village advertising a "veillée", a storytelling evening, which sounded intriguing, so I went out of curiosity—it turned out to be an old lady who had arranged a circle of chairs in her garden and prepared drinks, and who wanted to tell folk tales and stories from her youth. Apparently she was telling someone at the market the other day that she missed the ritual of the "veillée" from pre-television days, when people would gather in the evening and tell stories, and the people she was talking to were like, well let's do a veillée! And then she put up the sign.
About 15 people came, and she sat down and started telling us stories—I loved the way she made everything sound like it had happened just yesterday and she was there, even tales she'd got from her grandmother, and the way she continually assumed we knew all the people she mentioned, and everyone spontaneously played along; she'd be like "And Martin, the bonesetter—you know Martin," (everyone nods—of course, Martin) "We never liked him much" and everyone nodded harder, our collective distaste for Martin now a shared cultural heritage of our tiny microcosm. She started with telling us the story of the communal bread oven in the village. The original oven was destroyed during the Revolution; people used to pay to use the local aristocrat's oven, but of course around 1789 both the aristocrat and his oven were disposed of in a glorious blaze of liberty, equality, and complete lack of foresight.
Then the villagers felt really daft for having destroyed a perfectly serviceable oven that they could have now started using for free. "But you know what things were like during the revolution." (Everyone nodded sagely—who among us hasn't demolished our one and only source of bread-baking equipment in a fit of revolutionary zeal?)
The village didn't have a bread oven for decades, people travelled to another village to make bread; and then in the 19th century the village council finally voted to build a new oven. It was a communal endeavour, everyone pitched in with some stones or tools or labour, and the oven was built—but it collapsed immediately after the construction was finished. Consternation. Not to be deterred, people re-built the oven, with even more effort and care—and the second one also collapsed.
People realised that something was amiss, and the village council convened. After a lot of serious discussion, during which no one so much as mentioned the possibility of a structural flaw, people reached the only logical conclusion: the drac had sabotaged their oven. Twice. (The drac, in these parts, is the son of the devil.) The logic here, I suppose, was that no one but the devil's own child would dare to stand between French people and their bread.
The next step was even more obvious: they passed around a hat to raise money, assuming the devil’s son was after a cash donation. But (and I'm skipping a few twists and turns of the story here) the son of the devil did not want money, he wanted half of every batch of bread, for as long as the village oven stood. Consternation.
People simply could not afford to give away half of their bread, and were about to abandon the idea of having their own oven altogether—but then Saint Peter came to the rescue. (In case you didn't know, Saint Peter happens to regularly visit this one tiny village in the French countryside to check that its inhabitants are doing okay and are not encountering oven issues.) Saint Peter reminded them of one precious piece of information they had overlooked: holy water burns the devil.
People re-built the oven, for the third time. The son of the devil returned, to destroy it and/or claim his half of the first batch—but on that day, the villagers had organised a grand communal spring cleaning, dousing every street and alley in the village with copious amounts of holy water. The poor drac simply could not access the oven; every possible path scorched his feet for reasons he couldn't quite explain. So he was standing there, smouldering gently and wondering what was going on, when some passing tramp seemed to take pity on him, pointed at his satchel and told him to turn himself into a rat and jump in there, and the tramp would carry him where he wished to go. The devil's son, probably a bit frazzled at this point, agreed without much thought, became a rat and jumped in the satchel, and of course that's the point when everyone in the village sprang from the shadows, wielding sticks, shovels, pans, and started beating the devil's son senseless. (Old lady, calmly: "You could hear his bones crack.") So the son of Satan slithered back to Hell and never returned to destroy the village oven again—and the spring cleaning tradition endured; the streets were washed with holy water once a year after that, both to commemorate this glorious day of civic resistance when the village absolutely bodied the devil's offspring and to maintain basic oven safety standards. (Old lady: "But we don't bother anymore… That's too bad.")
She told us five stories, most of them artfully blending actual local events or anecdotes from her youth with folk tale elements, it was so delightful. She thanked us for coming and said she'd love to do this again sometime. I went home reflecting that listening to an old lady happily tell stories of dubious historical veracity involving the Revolution, property damage, demonic mischief and baffling municipal decision-making is literally my ideal Saturday night activity.
this sims 2 ad has like such deep gay energy to it. Like this feels like queer history to me
The funny thing is that it wasn't even an intentional stance taking. They just forgot to code a check to make sure characters genders "matched", resulting in that characters could get into relationships regardless of gender.
What the hell are you talking about? They didn't forget anything. A programmer for the sims 1 was a gay man who programmed gay relationships into the game and they kept adding it back, intentionally, in each game.
Actually, you’re both correct. It was an accident and a deliberate decision by one gay developer:
“During The Sims’s protracted development, the team had debated whether to permit same-sex relationships in the game. If this digital petri dish was to accurately model all aspects of human life, from work to play and love, it was natural that it would facilitate gay relationships. But there was also fear about how such a feature might adversely affect the game. “No other game had facilitated same-sex relationships before—at least, to this extent—and some people figured that maybe we weren’t the ideal ones to be first, as this was a game that E.A. really didn’t want to begin with,” Barret told me. “It felt to me like a fear thing.” After going back and forth for several months, the team finally decided to leave same-sex relationships out of the game code.
When Barrett joined the company, in October, 1998, he was unaware of the decision. A fortnight into his new job, he found himself with nothing to do when his supervisor, the game’s lead programmer, Jamie Doornbos, took a short vacation. Jim Mackraz, Barrett’s boss, needed a task to occupy his new employee, and he handed Barrett a document that outlined how social interactions in the game would work; the underlying rules for the game’s A.I. that would dictate how the characters would dynamically interact with one another. “He didn’t think I could handle it with Jamie off on vacation, but he figured that at least I’d be out of his hair,” Barrett told me. “Neither he nor I realized that he’d given me an old design document to work from.”
That design document predated the decision to exclude gay relationships in the game. Its pages described a web of social interactions, in which every kind of romantic relationship was permitted. That week, Barrett confounded the expectations of his disbelieving boss. He successfully wrote the basic code for social interactions, including same-sex relationships. “In hindsight, I probably should have questioned the design,” Barrett, who is gay, said. “But the design felt right, so I just implemented it. Later, Will Wright stopped by my desk,” Barrett said. “He told me that liked the social interactions, and that he was glad to see that same-sex support was back in the game.” Nobody on the team questioned Barrett’s work. “They just pretty much ignored it,” he said. “After a while, everyone was just used to the design being there. It was widely expected that E.A. would just kill it, anyway.”
In early 1999, before E.A. had a chance to kill the design, Barrett was asked to create a demo of the game to be shown at E3. The demo would consist of three scenes from the game. These were to be so-called on-rails scenes—not a true, live simulation but one that was preplanned, and which would shake out the same way each time it was played, in order to show the game in its best light. One of the scenes was a wedding between two Sims characters. “I had run out of time before E3, and there were so many Sims attending the wedding that I didn’t have time to put them all on rails,” Barrett said.
On the first day of the show, the game’s producers, Kana Ryan and Chris Trottier, watched in disbelief as two of the female Sims attending the virtual wedding leaned in and began to passionately kiss. They had, during the live simulation, fallen in love. Moreover, they had chosen this moment to express their affection, in front of a live audience of assorted press.”
- from The Kiss That Changed Video Games by Simon Parker
in love with this threatening yet promising sentence from some random sports post. yes. step into the water and grieve for your maker for you will become unrecognisable. submit yourself to the reckoning of the depth. abandon hope
Stumbled upon this at a used book store yesterday - 1897 edition, only $4 (???), and they’d just gotten it in the day before so it was clearly meant to be!
I know this poem becomes important in Breaking Bad via Gale, and Gale clearly has an attachment to it, but on a broader scale I never thought it was actually about Gale, or even Walt… not really.
Walt is represented by the astronomer, of course - the scientific approach to understanding nature, the focus on charts and graphs and emotional detachment, the admiration of (most) of the lecture’s audience - on the surface, it’s about Gale’s reverence for Walt’s work.
But unbeknownst to Gale or Walt, I really do think the poet himself is supposed to be Jesse within the context of the show’s narrative. The poet’s emotional journey is what the poem is really about, not the intelligence of or respect for the astronomer.
The poet listens to the astronomer’s lecturing, sees the display of knowledge and expertise, notices the way the audience applauds him, and then feels suddenly ill and walks away, thereby rejecting the ‘science’ of it all in order to return to nature and see the beauty of the stars as a wonder in itself, an artistic achievement of the universe that can’t fully be quantified or explained by science.
Jesse has always been an artist at heart, has an appreciation for nature and the creative process. He’s a perfectionist, too, at times, but he’s also able to see the bigger picture in moments of clarity. Almost right after Gale introduces Walt to this particular poem, Jesse has one such moment of clarity and sees Walt for what he is. He’s able to outright reject him, though it’s a weak rejection underneath the rage because what he really wants, even still, is for Walt to show that he cares - he’s not ready to fully walk away yet, as the poet does.
But later down the line, there are other instances of Jesse directly rejecting not just Walt but the chemistry itself, the money that comes with it, and the life he’s been subjected to because of it. Two of these moments are accompanied by the stars in some way, as they are mentioned in the closing line of the poem.
Jesse’s version of ‘rising and gliding out’ because he can see that ‘the astronomer’s’ lecture isn’t where he truly wants to be, is by actively throwing away his money in an attempt to free himself of the weight of it and what it represents now - his guilt, his complicity, his dynamic with Walt. After he finishes throwing it away, he lays back on the playground carousel and watches the night sky in silence. Looking up in perfect silence at the stars, just as the poet does.
Later, in a less direct parallel, he uses his desire to see the stars as a way to manipulate Todd. This attempt to escape is another way of rejecting what his relationship with Walt ultimately resulted in - endless days of chemistry and horror. Of course it doesn’t work. Things just get much worse. But the clarity is there, again, in that moment, and though he does resign himself to his fate at the time, when the opportunity does eventually present itself to fully and completely leave Walt behind at last, he is able to.
Anyway… all that is to say, that Gale saw the poem as pure admiration, but it’s really about the poet opening his eyes to the limits of scientific understanding and ultimately rejecting that perspective. Gale is just another audience member applauding the astronomer’s knowledge. The poet, the one who was able to walk away, was always Jesse.
Breaking Bad + Random Text Posts I Found on Pinterest (pt. 2)
That was the last sunrise I ever saw. Perhaps the kindest thing the dark gift has given me. // It was the last time I saw my brother. It was the last time I saw the sun. It was the only time I ever felt free.
Interview with the Vampire (2022 - ) // Sinners (2025)
ew yea i used to m*sturbate 🤢 to p*rn 🌽 but now i'm 2 weeks clean and every part of my mind and body is clea-(sees a pebble that looks like a ass and my dick goes off like a shotgun) ouuuuuugggghhhhhhh
Fish resemblance
I finished Severance
my contribution to the 50th, or whatever 20 minutes we have left of it, is this 2000 word beginner's guide to the show and what makes it so damn special (hyperlinks no longer work??? this site is a hellhole)
"women are always like—"
"men are always like—"
shut up shut up shut up shut up shutupshutupshutupsHUT UP 🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄🐄 gender essentialism-hating herd of cows running you over
sorry I’m not leaving this in the tags
this image came to me in a dream
guess
Teeth weak as fuck why can't you be like bones
Bones: with time I will mend this fracture stronger then ever. You were wise to put your faith in me.
Teeth: auuggh pleeasseee get this granule of sugar awaaayy from meee I am MELTING and BURNING nnnNNOOO you are cleaning me TOO HARD;! aaaiughh my fucking enamellll one billion cavities for you!!! Your sins against me are PERMANENT you SICK BITCH
Tapping the sign.