Weed often is for stoners that want to feel strange when they want to get weird
"I'm Dorothy Gale from Kansas"

#extradirty
official daine visual archive
tumblr dot com

Product Placement
TMBGareOK. The Official They Might Be Giants tumblr
Today's Document
d e v o n
noise dept.

Jar Jar Binks Fan Club
macklin celebrini has autism
Xuebing Du
Noah Kahan
Lint Roller? I Barely Know Her
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Fai_Ryy
Color Me Curious

@theartofmadeline
Mike Driver
Game of Thrones Daily

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@kahtiihma
Weed often is for stoners that want to feel strange when they want to get weird
Dont ask me whats up i have done nothing since we last talked 3 years ago
My Guardian Angel Is Transsexual (2025)
This review is nonsense
House 1977 has not one but two horses featured over its 88 minute runtime.
First, one that’s easy to miss is this small horse outside of the shoesmaker’s workshop seen here next to Mr. Togo’s car. (And sharing the scene with director Nobuhiko Obayashi’s daughter Chigumi Obayashi, a cowriter of this film.)
This horse is shown a second time when Mr Togo returns to use the shoesmaker’s phone a few beats later.
Now I could forgive you for considering this to be a pony as it’s quite small and therefore not quite fulfilling the horse quota. But what I can’t forgive is blatantly ignoring this
The beautiful white horse featured in one of the most iconic moments of the film, Fantasy’s fantasy about being rescued by Mr Togo in which she imagines him riding in on a white stallion to save her from the titular House.
In conclusion this letterboxed review is pure bullshit made up for attention and you all fell for it because you don’t know anything about House 1977
IT'S GETTING COSMIC AT EXCALIBUR CON 🏙️ 🧡
The magnificently MIDST-erious narrators of #UNEND are heading to Excalibur Con this August 15th and 16th... Meet Xen, Sara Wile, and Matthew Roen as they momentarily materialize to head to Duluth!
LEARN MORE ⬇️
critrole.com/event/third-person-at-excalibur-con
I'm going to *remembers that suicide jokes are bad for my mental health* do some light spring gardening
every day i tell myself i need to leave the disco elysium subreddit then someone is really funny on there and i’m forced to keep going
Me and "The Fonz" at premiere of Goncharov (1973) at Grauman's Chinese Theatre.
I get in theory why people complain about het ships or whatever, I get wanting to watch queer media I really do, but I guess where y’all lose me is like. I saw some asshole on a post about Sinners complaining it was “hetslop”—this person was specifically doing so while also claiming Remmick was a queer character and thus they were justified in caring more about him than the Black protagonists. which is a whole other disgusting can of worms that has been well addressed by others at this point. but even in the absence of that part of the argument, like, no, i actually don’t think that a hunger for queer stories is an especially good excuse to deride and dismiss a piece of landmark Black filmmaking, especially as a non-Black person. I have a post that’s been going around encouraging folks to engage with more Native stories and characters, and I had someone come onto that post saying in the tags that they’d need these stories to be queer in order to care. and I just think that, you know, sucks! like obviously as a queer Native I also want to see more of those stories too. but idk how else to put it other than to say that Black people and people of color shouldn’t have to be like you in order for you to care about our narratives and experiences. and I think some of y’all are using this disdain for heterosexuality as a cover for your unexamined racial biases. it’s not okay to be racist to people just because those people happen to be straight, and you continue to be white before you are queer.
on an even more basic level than that, also, I simply just think some of y’all NEED to learn how to interact with media and storytelling without ships and fandom in mind. like if not being able to write fic about two men kissing is genuinely going to be a dealbreaker for you I think that’s actually something you need to work on within yourself because at that point I think you’re no longer really interacting with art and themes and narrative so much as just kind of playing with toys. which is, like, fine I guess. have fun. but it wouldn’t kill you to disengage from that from time to time. especially if would allow you to actually appreciate rich and deeply moving cultural stories from communities of color that you desperately need to learn how to see as human
Will we see you at Excalibur Con?
Location is subject to change because my Midst friends and I have never been to Excalibur Con, so we may learn of a better meetup spot. Check the instagram page on Saturday morning for any updates, or just find us at the Third Person panel right before the meetup!
Hey question!! Is there a second Third Person panel on Saturday? I only saw the Sunday at noon panel on the schedule and was planning a one day trip because of that but now I'm not certain!!
edit: oh I'm a fool and just needed to scroll the tag a little longer. silly me for only going off the convention website scheduling!!
thrifted this shirt for $3 months ago and it’s become my autism shirt. would wear it every single day if i could.
That's a Life Is Good shirt! I have a couple of theirs, and they're great. The company was founded by two brothers selling T-shirts from a van in the 90's, and it's all about wholesome optimism.
I just looked them up after many years, and I'm pleased to see that while they do have some patriotic stuff, it's not catering to the bad crowd -- it's "happy 250th birthday" type things, with a lot of shirts for the "dad who likes fishing" demographic.
Also their pride collection is charming.
And good news: I found your autism shirt! If that one tragically wears out and you feel like spending a bit more than $3, the new model is easily acquired.
Here are a couple of highlights from the pride collection, because they're great too:
Hooray. Life Is Good.
regret
Hey so I'm gonna be very very honest here.
And this is going to make a lot of people very angry to hear.
But a lot of y'all on this website are truly deeply genuinely never going to be capable of any kind of real narrative analysis--and I don't mean 'being right all the time' I mean 'meaningfully engaging with the text in any way'--
Because you are, fundamentally, incapable of comprehending that writers usually do things on purpose.
The themes are there on...purpose.
The match cuts were meticulously designed and put there to communicate something.
The VA's delivery of a line was being directed. Inflection and tone change the meaning of dialogue. This is intentional. There are entire teams of people shaping those choices and deciding which take to use based on what works best for the story.
Information is being revealed in a specific order, on purpose, to craft an emotional arc and guide the audience's understanding.
A character's romantic preferences are only, and SHOULD only be, their primary motivation if the genre is romance. That is why there is a genre called that. Most stories are other genres.
Creators who dislike a character generally give them LESS attention, MORE boring storylines, and LESS screentime.
Sometimes curtains are just blue. But if the shot composition or written narration takes time to HIGHLIGHT, especially more than once, that the curtains are blue, then the blueness of the curtains is by definition narratively important.
"Cite your sources" is not a witch's curse that banishes People With Different Opinions to the shadowrealm of Being Wrong. Someone making points that challenge your perceptions, while including screenshots and explicit examples, cannot be dismissed with "cite your sources" because they are literally doing that. Don't @ me on this one I've seen shit in the wars, y'all.
Failing to understand these things WILL bar you from ever really engaging with or understanding any narrative more complicated than Paw Patrol for the rest of your life.
I am very sorry if that makes you angry.
This post is fantastic. The notes are truly incredible.
OP: you guys are never going to be able to meaningfully engage with story and character analysis if you cant understand or aren't willing to even consider the context within writers create their stories and the intention behind characters actions and motivations, which are intentional and complex. Not everything begins and ends with romance and relationships, in fact most stories outside of the romance genre feature more complex themes and motivations than straightforward romance and romantic love. Sorry if that makes you mad.
Everyone in the notes: ... I am overwhelmed with fury over this ridiculous and incomprehensible statement, how dare you. Many genres focus on romance, have you never watched a movie? There is always romance. Why would you say only the romance genre should include romance. I will not engage any further with what you said or consider additional context.
Shout-out to the person who said that romance is the primary motivation of many characters outside of the romance genre, and the example that they gave for this was.... Glenn Close, in Fatal Attraction.
.... you know I do think there may have been something more significant than romantic attraction motivating this character, who is a violent obsessive stalker. In fact, it could be something a little more... fatal?
Part of me wonders what they thought of the movie Obsession, but mostly I am too afraid to ask.
Wild boars ❤️🐽
I need a Thank u Mr Terry tag
#thank you mr terry#thinking something isn't doing it and doing is all people see#and deep down it means that when the ugly thought reared its head to be realized#you stood up in front of that ugly hurtful thought and said 'sit down'
Pardon me, but I needed to read your tags tonight.
New fave show
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papers—and every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed it—her husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"—essentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official histories—those same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gage—a 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structure—credit went to Watson and Crick.
Lise Meitner, who explained nuclear fission—omitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomes—received little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogen—initially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.