booty banquet

diana. 26. she+her. aroace icon. nosepicking poetry snob. that rough beast whose hour has come round at last.

[vicariousvalerie]

Guyon gives the Child to Old Palmer; A Nymph of Diana’s chang’d into a fountain - William Kent

[babsi-and-stella]

Marianne Faithfull and her mother by Terry O'Neill, 1970.

[azspot]

“Because the truth is, tech doesn’t have an image problem. It doesn’t have a message problem. It has an intention problem. What’s wrong with the axe murderer who broke into my house is not that he hasn’t successfully persuaded me to buy into his narrative. What’s wrong is that he’s trying to kill me with an axe. Similarly, when you launch a product that’s designed to put millions of people out of work, block access to sources of verifiable truth, replace human creativity with slop, and lower the barriers to every sort of atrocity, the problem isn’t that you haven’t told the public a good story about those things. The problem is that you are trying to do them.”

— The 40 Most Rage-Inducing Problems in Tech

[santhipoma]

[glasshomewrecker]

Everyone should be aware of nitter.net

for any address to twitter you can replace the “x.com” with “nitter.net” and you will be able to browse as if you have an account. Lifesaver.

Similarly, imginn.com works for most Instagram addresses. I still haven’t found one for Facebook.

[pinkatto]

we love Big Challenges in this profile 💖💖

[godbearinghips]

I want to briefly (finally) talk about why some Greeks are upset about the Nolan Odyssey casting, because I think the actual reasons are getting buried under the racist and transphobic backlash that doesn't deserve the time of day. There's some crucial historical context that a lot of people are missing, and I want to lay it out.

The core of the grievance is that Greek antiquity has been narrated on screen overwhelmingly by British and American actors for the better part of a century, for stories that belong to a culture that is very much still here. The Odyssey production, funded in part by several million euros in Greek government subsidies, produced a cast that is, to my knowledge, entirely non-Greek.

Why does this matter, though? Greek epics are part of the Western canon and taught everywhere. Doesn't that make them fair game, free to be reinterpreted by anyone without a second thought? To answer that, it helps to look at how they got folded into that canon in the first place.

Firstly, this is not a new phenomenon so much as the latest iteration of a much older one, traceable at least back to the eighteenth century, when parts of Europe began constructing ancient Greece as their own intellectual inheritance. The claim, in essence, was that the intellectual and aesthetic achievements of classical Athens flowed forward not into the Greek-speaking, Orthodox Christian, Ottoman-ruled population actually living on that land, but into contemporary Western Europe.

That claim required a certain amount of erasure to hold together. The people constructing "Greece" as a philosophical and aesthetic category in Weimar, Paris, and London were doing so entirely without reference to, or need for, actual Greek input. Fortunately for them, at that exact moment, Greece was under Ottoman rule, and had no institutional voice in how its own antiquity was being interpreted by people who had never set foot there.

The consequences of that arrangement outlasted that moment. Modern Greeks have been forced to inherit both the prestige of their ancient ancestry and the burden of never quite living up to a version of themselves invented for them by outsiders -- a mismatch so pronounced that foreign visitors to Greece were frequently disappointed to discover that the Greeks they encountered bore little resemblance to the imagined version of Greeks dreamed up by the West.

This is the deeper structural issue underneath something as seemingly trivial as film casting. Greek antiquity has functioned, for two and a half centuries, as cultural material seemingly available to the West precisely because Greece's own claim to authority over it was never taken seriously to begin with.

[weepingwidar]

Giulio Noccesi (Italian, 1996) - A Letto con il Telefono (Bedtime with a Telephone) (2024)

[bodhrancomedy]

Look, it’s a weird hill to die on, especially when I don’t really explain, but children deserve to experience fear, disgust, and discomfort in safe scenarios where they can process those sensations.

Media for children used to be scary and that’s important.

[the-davest-of-uncles]

“Since it is so likely that (children) will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” ― C.S. Lewis

[grace-in-the-wilderness]

"Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed."

-- G. K. Chesterton

[urgetocreate]

Andrea Calisi (Italian b.1968), The Bridge and the Blue Knight, 2026, Illustration

[catilinas]

honorable eldest son

[mrsterlingeverything]

Um actually scrub daddy is my comfort character and it physically and psychically hurts me to see you chop him up and eat him after freezing and cracking him up with liquid nitrogen while naked with big boobs?

[mousemilf]

dont worry abt it, you just keep reading your lines and well take care of the rest. you'll be a star.

[mrsterlingeverything]

Ill be a star

[britneyshakespeare]

Fuck it's been a long day (takes the first lick of a soft serve ice cream cone)

[i-was-today-years-old-when]

TIL a family in Georgia claimed to have passed down a song in an unknown language from the time of their enslavement; scientists identified the song as a genuine West African funeral song in the Mende language that had survived multiple transmissions from mother to daughter over multiple centuries (x)

[ancestralia]

In 1997 Amelia’s daughter, Mary Moran, and other members of the Moran family were invited to Sierra Leone, West Africa, where they were welcomed in Freetown by Sierra Leone’s President and then flown by helicopter to the country’s interior.  There, in the small village of Senehun Ngola, Mary and Bendu Jabati met and sang this song together for the first time.  Years earlier, Bendu’s grandmother had told her that this song, which had been passed down in her village from mother to daughter for centuries, would one day reunite her to long-lost relatives.

In addition to finding out where in Africa her ancestors were abducted into slavery, Mary Moran discovered the meaning of the Mende song: a processional hymn for the final farewell to the spirit, it was sung in Senehun Ngola by women as they prepared the body of a loved one for burial.

(The OP's link leads to a site with a recording of the song sung by both Mary Moran and her mother, Amelia)

[serregon]

I know we make jokes about the proverbial asexual pervert who has written hundreds of thousands of words of smut on ao3, but also shoutout to the aces who aren’t perverts. to the aces who skip the sex scenes and wince at sex jokes and awkwardly leave the conversation when your friends start talking about sex. your boundaries aren’t childish and fuck anyone who says otherwise.

[torstherapy]

[a-book-of-creatures]

Is it socially acceptable to use opaque watercolors, or is that considered gouache?

[clowngirrl]

[babsi-and-stella]

Marianne Faithfull by Giancarlo Botti, Paris, March 1966.