New Sherlock Holmes adaptation idea: Watsondoes a voiceover narration of the story and it frequently contradicts what’s happening onscreen. Sometimes it’s literally just blatant lies. Watson also frequently looks into the camera like he’s on the office. It’s set in the original Victorian era so this should not be possible. He’s the only character who does this.
@hamletthedane’s tags:
#Vincent Van Gogh is crying somewhere in the after and I’m crying just thinking about that#you knew!! you saw the patterns!! there is a whole planet painted in the oils from your brush!!#TIL that the craft Juno went as close as 4000km from Jupiter’s weather surface#for context: the craft was closer to Jupiter than NYC is to LA#which is space terms is like. basically being on the planet#holy shit
That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:
1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.
2) the people who run Disney would be the first to fall in line with a fascist regime.
3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.
4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.
J. Michael Straczynski, creator of Babylon 5, was before that a producer and writer for a number of cartoons in the late ‘80s/early ‘90s (The Real Ghostbusters and the original She-Ra, most notably). After a few years of dealing with the censors and their obsession with finding Satanism (or at least looking for Satanism to further political agendas) he wrote an article about the whole corrupt and bullshit system.
And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?
That one is from his autobiography, Becoming Superman. See also:
(As he goes on to say, he’s never worked in animation again–he’s effectively been blacklisted by the cartoon industry.)
Every time something like this comes up, I remember two stories about making media. The first is about movies, and comes from Quentin “Feet Man” Tarantino.
When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.
The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.
The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.
There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.
I went digging and couldn't turn up anything, substantial or otherwise, about Matt Moylan. I need to know how low to place my expectations for my second favorite mega men, because it sounds like "pretty damn low"
Matt Moylan is the Director of Publishing over at Udon. He's been there for ages. He's also a total reactionary.
To give full context, this is gonna get a little long.
Moylan is perhaps best known for the Transformers fancomic Lil Formers, which was popular in the '00s and is still the namesake of his Twitter account to this day. This isn't super important here, but allow me to go on a tangent because it's where a lot of people know the guy from, and it's mildly more entertaining than just screencapping his tweets. The comic was basically just an excuse for him to draw a bunch of chibi Transformers that people would then use in forum signatures and whatnot. Sometimes he would attach his cranky old geewunner opinions and complain about art style changes or new female characters in the dialogue, if he wasn't just making a generic joke about Wheelie being annoying or Seaspray having a silly voice or whatever.
Comedy gold, I know.
Lil Formers was well known within the fandom. Geewunners and kids who didn't know any better and just liked the chibi Transformers (guilty) loved it. Other fans grew more annoyed by Moylan's schtick. As far back as 2009 TFWiki contributor David Willis mocked it in a strip from his own webcomic, Shortpacked:
His wiki page on TFWiki also recounts a bizarre old bit of fandom drama. Moylan had previously worked for the defunct comic publisher Dreamwave, who published the Transformers comics in the early '00s, and in 2006 he went on popular Transformers forum TFW2005 to make several claims about behind the scenes conflicts and unfulfilled story plans. Most bizarre was a claim that Autobot Sunstreaker was supposed to be gay in the Dreamwave comics, which was written off as a childish attempt to rile up the fandom. His claims were all disputed by the Dreamwave writers he was shit talking, who would also accuse Moylan of anonymously slandering them and sending them threatening emails. Swell guy!
Anyway, hopefully this isn't surprising to literally anyone who's been on a forum in the last decade, but this nerd who won't shut up about the Good Ol' Days of the '80s is now a reactionary conservative who complains about how they're making everything "woke." And unfortunately he's no longer just some guy drawing dumb little one-panel comics about Transformers, he's now overseeing all of the output at Capcom's go-to comic and art book publisher in North America.
Here's some of his tweets to illustrate what he's like these days.
Yes, that's a reply to Mark "Grummz" Kern. He's also chatted up accounts like Libs of Tiktok and Comicsgate ringleader Ethan Van Sciver. Also note the reply in which he tries to tell Greg Weisman himself that Gargoyles had "not an ounce of woke." This guy's brain is fucking cooked.
Here's a take he posted about The Boys, too, just because it's really fucking funny to me:
After I and several other people posted about his behavior over on Bluesky and expressed disinterest in buying anything from Udon (such as the new Mega Man comics), he deleted his Twitter for like a week. He's since restored it, the tweets in question now long gone. Clearly it wasn't a good look for him to be making statements about his employer's values like this, sometimes in the same breath as announcements about new comics. That being said, he's issued no actual apology for his statements, and Udon hasn't acknowledged it at all. There's no reason to believe he's had a change of heart. They're just gonna pretend he never said any of this. And as of a few days ago, he's been announced as the writer for the one-shot Mega Man ZX comic that Udon is putting out later this year. Yaaaayyyy
I know there are a lot of cool people working on stuff for Udon, but Moylan being in a position of power there means I have zero interest in giving that company money. When your Director of Publishing is over on Twitter trying to court an audience of reactionary nerds and proudly proclaiming that Udon is "anti-woke, anti-DEI," and then you go to their website and the first image you see is this...
...Look, I love huge boobs as much as the next bisexual furry pervert, but this particular image in conjunction with his tweets paints a pretty clear picture of what sort of values Moylan is pushing at Udon. He wants to cater to nerds who will buy softcore Street Fighter hentai thinking it'll own the libs.
So hey, if he doesn't want my dirty woke money, fine by me. I'm not touching anything Udon publishes as long as Matt Moylan still works there.
EDIT JULY 25th, 2026: This post is still getting passed around as a source on why people hate Matt Moylan and Udon in the wake of the news that Udon is reviving Archie Mega Man, so I might as well add some more recent developments here, in case there was any doubt what kind of person Moylan is and what kind of company he wants Udon to be.
On the same day as the Archie Mega Man news, Udon also announced they were going to Kickstart a crossover comic between Street Fighter and a series called Kamen America.
You probably haven't heard of Kamen America. To put it bluntly, it's some right wing Comicsgate bullshit courtesy of Timothy Lim and Mark Pellegrini, two names you surely don't know because they exclusively make bullshit like Kamen America. It tells the story of a woman named Carly Vanders, who looks like this:
Yes, this is literally just an anime-ified, extra horned up expy of Carol Danvers created by some losers who are still bitter that her modern Captain Marvel costumes show less skin than her old Ms. Marvel one with the sash.
The opening scene tells an origin story about how as a kid her evil feminist teacher told her that girls can do all the same things as boys (the horror!) and forced her to play sports instead of sewing or baking like she wanted to, because if she did traditionally feminine things she'd set a bad example blah blah blah, I checked out there. Later she gets superpowers and starts fighting in a skimpy outfit. It's complete drivel from a team of flagrant misogynists. The icing on the cake is the opening quote about "serving truth, goodness, and beauty" from none other than Doug TenNapel, the creator of Earthworm Jim who in recent years is mostly known for being a huge MAGA bigot on Twitter.
The entire thing is just in-group signifiers for Comicsgaters, but in case that's too subtle for you, they also made this:
No, this is not just a joke drawing. It's the cover of a whole comic depicting Donald Trump as "Wall-Might." It has five whole ratings on Amazon and they made two more issues after that.
So yeah, Moylan is using his position at Udon to try and throw the weight of the Street Fighter brand behind this no-name softcore hentai MAGA bullshit to legitimize it and give his Comicsgate buddies a bump.
I don't begrudge Ian Flynn for taking the paycheck to continue Archie Mega Man at Udon when times are so tough for freelancers, but all of this means I can't in good conscience give Udon my money. Every dollar they make is leverage for Moylan to turn Udon into a safe haven for the bigots that the rest of the comic industry has disowned.
In case you're wondering why I'm not giddily celebrating the unexpected return of Archie Mega Man, here's a newly updated rundown on why the specific publisher it's happening through makes it feel like the result of a monkey's paw wish
Marc Hempel ‘Spaceman: Daydreaming Can Be Dangerous’. I originally posted only the first page of this brilliant comic. Now here is the full illustrated story. Scanned from short lived sci-fi magazine Questar, February 1980.
This image captures the Tarantula Nebula in all of its cosmic glory. Astronomers study nebulae like this one to learn about how elements form and disperse throughout the galaxy, seeding space with planetary building blocks.
Clouds of dust and gas called nebulae speckle our galaxy. Some are ferocious cosmic factories that churn out baby stars by the hundreds of thousands, while others are grave markers of stars long dead. Astronomers study them to learn about how stars and planets form, and how ingredients are recycled in space.
But all that dust is difficult to see through, and nebulae are often so large that today’s most powerful space telescopes can only realistically study tiny patches of them. That’s where our soon-to-launch Nancy Grace Roman Space Telescope comes in.
This video of the Eagle Nebula showcases Roman’s superb resolution and wide field of view. It begins with a Hubble image of the famous Pillars of Creation superimposed on a ground-based image. The view then zooms out to show the full field of view of Roman’s Wide Field Instrument. Roman’s images will have the resolution of Hubble while covering an area about 100 times larger in a single pointing.
Roman will pair a large view of space with infrared heat vision. That combination is a game-changer for studying nebulae.
Here’s how it usually works. Ground-based telescopes take large but somewhat blurry images of a nebula. Then space-based observatories like our Hubble and James Webb space telescopes zoom in on small patches to show us the details of particularly interesting regions. But with Roman, we’ll get the big picture and incredible detail all in one.
That saves astronomers a lot of time, which opens up new avenues of exploration. For example, instead of spending several months stitching together hundreds of individual images of the Orion nebula with Hubble or Webb, Roman could cover it in a matter of hours in just a few snapshots.
Roman’s vast surveys will give us a census of stellar nurseries, where fledgling stars are being born from parent clouds of gas and dust. Studying these nebular nesting grounds will reveal millions of stellar embryos, newborn stars still swaddled in shrouds of dust, toddler stars that throw tantrums and flare unpredictably, and young stars that may have planetary systems forming around them.
A single Roman survey of our Milky Way galaxy will capture thousands of nebulae, unveiling planet formation and the full lifecycle of stars like never before. That includes their spectacular final acts.
This Hubble image showcases the Hourglass nebula, a young planetary nebula located about 8,000 light-years away.
Garden-variety stars like the Sun live fairly placid lives, casually churning out heat and light for billions of years by fusing hydrogen into helium. That nuclear process creates a lot of energy and outward pressure. For a long time, it’s held in check by the inward pull of gravity. But when a star runs out of fuel to fuse, gravity takes over.
Their cores shrink so fast that their outer shells of gas are left behind, which puff out and transform into unique and often psychedelic works of art called planetary nebulae (so-called because they looked similar to planets in early telescopes). Heftier stars meet more dramatic fates, with a runaway reaction that leads to the star’s detonation: a supernova explosion! Both result in nebulae that look like kaleidoscopic dreamscapes.
This image of supernova remnant W49B combines X-rays from NASA’s Chandra X-ray Observatory in blue and green, radio data from the NSF’s Very Large Array in pink, and infrared data from Caltech’s Palomar Observatory in yellow.
Star deaths create conditions so extreme that it can form new elements. The iron, oxygen, magnesium, silicon, sulfur, and nickel that together account for around 96% of the Earth's bulk were flung into space by supernova explosions. And some of the elements that make up your DNA, like carbon and nitrogen, were forged by smaller dying stars. You are literally made of stardust!
Roman will help us learn more about how elements were created and distributed throughout the galaxy, all while exploring many other cosmic questions.
This artist’s concept visualizes visible light in blue, showing how its short wavelength means it will easily run into dust particles. Longer wavelength infrared light, visualized in orange, can more easily pass through dust.
Roman’s infrared vision is key, because it will allow astronomers to see through the dust that often blocks telescopes that view other types of light. It’s hard for visible light to penetrate this dusty haze because the particles are the same size or even larger than the light’s wavelength. Since infrared light travels in longer waves, it hardly notices the tiny particles and can pass more easily through dusty regions.
By seeing through dust, we'll get a far better view of stars and other objects that are in nebulae and the cosmic structures that lie behind them. Astronomers will soon be able to chart our galaxy like never before!
An artist’s concept based on the final design of NASA’s Nancy Grace Roman Space Telescope.
We’re only about a month out from launch, and so close to a completely new understanding of the universe and our place within it. Follow along with Roman’s road to launch at nasa.gov/roman, and virtually tour the Roman observatory here.
Make sure to follow us on Tumblr for your regular dose of space!
ChibiTabatha's Loves @chibitabathasloves - Tumblr Blog | Tumgag
romaincrisis
snowghoul
theartofmadeline
pixelskylines
2087
