Janaina Medeiros
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Origami Around
shark vs the universe
d e v o n
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Game of Thrones Daily
JVL
Sade Olutola
One Nice Bug Per Day
we're not kids anymore.
Love Begins
Cosimo Galluzzi
2025 on Tumblr: Trends That Defined the Year
Three Goblin Art
let's talk about Bridgerton tea, my ask is open
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Xuebing Du
Misplaced Lens Cap
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@lcorpstan
someone started reblogging your rizzles one shots and i just would like to thank you cuz they were amazing 🥺
im almost never on this account anymore and its been centuries since i wrote all of those who is reblogging them omg??
this is a really sweet message, thank you so much! i havent written anything in a while and question those one shots tbh lol so i appreciate it! glad to hear they still read well!
You still believe what the media says about pewdiepie?
if by “the media” you mean “his own videos which he himself makes and are viewable by anyone in which he makes no effort to hide the type of person he is” then… well yeah
What Nestle also did was file a lawsuit against activists and researchers who saw what it was doing, and said it can’t be held responsible for the deaths of millions because this was caused only by contaminated water. Recently enough, Nestle milk powder had larvae found in it and it’s instant noodles had lead in it
Also Johnson and Johnson have been fighting and losing cases about their powder causing cases about their powder causing cancer. They’ve denied that and links to asbestos (which means they were lying as people died) and the cancer disproportionately effected Black women
nonblack lesbians arent studs
Look at this. Read it. Then read it again.
Ok actually I’mma add something, as there are people confused in the tags about what this means. “Stud” (in the context of lesbianism) is a black identity identity akin to what butch would be considered. It’s a unique role and identity that originated from black lesbian communities (same as AG/aggressive(s) girls/stem/boi). There has been a problem with white lesbians in particular putting themselves in the stud tag and plastering their faces all other spaces/media made for STUDS (a specific group of GNC black lesbians). It’s really annoying and tiring because most of these white self pro claimed “studs” end up emulating masculine coded behaviour that is found in black (Specifically African American) culture, which literally makes y’all look like fools. Black identities and cultural mannerisms are not for your consumption or appropriation.
imagine hating brown people so much that you think your poverty justifies the killing of people (who are probably poorer than you!! Lol!!) overseas??
I’m poor so it’s justified I join what I *know* to be an imperialist force that is destabilizing foreign nations?? For the sake of my own upward mobility I must enable foreign invasion??
would love to see Americans/Canadians/Brits stand up for this logic if it was poor Iraqis or Syrians coming HERE to bomb the shit out of their hometown. ‘It sucks they killed my family but !! They needed college tuition so I totally get it’
real talk though jewish fans always get treated like shit okay, we rarely ever get jewish characters being played by jewish actors, and we have so few jewish characters as it is, and the characters either end up a horrible stereotype or mentioning their judaism only in passing and never again. and this was a chance for us to get a jewish actress playing a jewish main character in a superhero show. like queer jewish women deserve so much better than what we got today.
Queer Jewish women are being told we have to choose between our identities. That as queer women, it is our duty to celebrate the casting of a queer woman, but to ignore that erasure of the character’s Judaism,which the showrunners have yet to confirm. Keep in mind that the arrowverse has already explicitly turned one canonical Jewish superhero Christian. If they would do that to Ray Palmer, they’ll do it to Kate Kane.
I need some quick help someone doesn’t believe that Kate is Jewish so can you help me with some pics please
hey yall im not here that often anymore but if ur curious, i wrote a couple fics after uhhhhh maybe six yrs not posting any?? i hated them five secs after posting them but if u like astra/alex or supercorp, maybe check em out. here u go
Almost Adults: I want my two hours back
i want to preface this to say: this is NOT a call out post. i have already attempted to engage in a conversation, obviously, at the q&a. as well as bringing it up again at the after party. the purpose of this post is for people, both involved with the movie and uninvolved, to understand where i’m coming from and engage in an actual conversation about it.
i don’t condone sending any hate to anyone involved in the making of this movie.
okay so, as some of y’all know i was at the almost adults screening at the inside out LGBT film fest. as fewer of y’all know, i, during the Q&A session asked a question to the cast and crew of AA about their reasoning/justification for using ableist language in the film.
at first, while adrianna (the person who spoke to this the longest) “answered” my question she talked about how everyone swears and it’s humanizing to make them curse in a movie. i didn’t get a direct response about their ableist language, maybe because they didn’t want to answer it or pretend they didn’t hear it. instead i was told that they “like to push the envelope” and “play with stereotypes”
the producer, rebecca swift, also brought up that they ALMOST didn’t leave the joke they made about priests raping children in the movie but “the fresh prince did it” so they thought it was okay.
i later approached adrianna at the after party, twice, probably a bit annoyingly but what can you do when something’s weighing heavily on you. she was a lot more direct one-on-one. i’m sure it was a thing about the pressure of feeling publicly put on the spot.
she talked about wanting to make the cast feel like “real people” where everyone has learning and unlearning to do. which i can understand. but the thing i posed to her was that there was never anything that challenged them. no one ever said anything about their behavior/language and why it needs to change. especially when, while talking about the r word, just dropping it like it’s nbd.
it was brought up, by adrianna that one scene in particular did have a direct comment about not doing something. in this scene they had mackenzie on the phone with her mom. and she was calling something so gay. her mom was like i don’t think you should say that, to which mackenzie replied with something along the lines of: well sure i can just like black people say the n word. and like i forget the mom’s exact response but it was framed in the way where Both things sounded like a problem and not the fact that this was an extremely white interaction and there were other ways to bring up reclamation (in an extremely white film)
here’s all my issues with the film. if you watch it i hope you think about these things.
the only poc were introduced to create conflict, and in the case of matthew’s girlfriend, were hypersexualized.
the joke about priests raping kids
the usage of the r word
the numerous jokes about mackenzie being so stupid that she “needs to be tested” (ugh this isn’t an exact quote but she talks about taking a test or something just because she doesn’t know that a tumblr gf is a real gf like bruh stop)
i don’t know who gets the final say in what happens, but i do know a lot of people worked on that movie. while the writer is the person responsible for the joke itself and certain issues surrounding the plot, i’m sure producers, executive producers, and even actors could challenge something. and so, i want everyone who looked at it and was like yes this is good leave it in, or yeah i’ll act out this bit, to think really hard about what sort of message you’re sending to the LGBTQ+ community, a community that we know already has its issues around intersectionality.
this movie uses stereotypes in a way that doesn’t critique the existence of them, rather, it justifies them. making jokes at the expense of people who are part of an oppressed group is so fucked up, it’s lazy writing and everyone involved SHOULD know better, though i can’t say i’m surprised by it.
@almostadultsmovie @thegaywomenchannel
They are trying to ruin his character so hard like how dare Lebron help Black kids get a decent education and go to college for free…🙄🙄
8 million….You mean what they already pay? Since he’s covering all the auxilary costs while it’s being treated as just another building, it’s just being folded in as the 33rd school of the district. Taxes won’t change at all.
^^^^^^^^^
We’re detaining Miss Quinn as a material witness.
kate isn’t “preferably” jewish just like she isn’t “preferably” a lesbian. she’s a jewish lesbian. a gay jewish woman. a lesbian jew. that’s what she is. casting needs to reflect that. i don’t care if “it’s all acting anyway.” straight goyim (and at least we know the actress won’t be straight) will never be able to play the character like a jewish lesbian would. ever.
San Junipero (2016)
How Watermelons Became a Racist Trope
The stereotype that African Americans are excessively fond of watermelon emerged for a specific historical reason and served a specific political purpose. The trope came into full force when slaves won their emancipation during the Civil War. Free black people grew, ate, and sold watermelons, and in doing so made the fruit a symbol of their freedom. Southern whites, threatened by blacks’ newfound freedom, responded by making the fruit a symbol of black people’s perceived uncleanliness, laziness, childishness, and unwanted public presence. This racist trope then exploded in American popular culture, becoming so pervasive that its historical origin became obscure. Few Americans in 1900 would’ve guessed the stereotype was less than half a century old.
Not that the raw material for the racist watermelon trope didn’t exist before emancipation. In the early modern European imagination, the typical watermelon-eater was an Italian or Arab peasant. The watermelon, noted a British officer stationed in Egypt in 1801, was “a poor Arab’s feast,” a meager substitute for a proper meal. In the port city of Rosetta he saw the locals eating watermelons “ravenously … as if afraid the passer-by was going to snatch them away,” and watermelon rinds littered the streets. There, the fruit symbolized many of the same qualities as it would in post-emancipation America: uncleanliness, because eating watermelon is so messy. Laziness, because growing watermelons is so easy, and it’s hard to eat watermelon and keep working—it’s a fruit you have to sit down and eat. Childishness, because watermelons are sweet, colorful, and devoid of much nutritional value. And unwanted public presence, because it’s hard to eat a watermelon by yourself. These tropes made their way to America, but the watermelon did not yet have a racial meaning. Americans were just as likely to associate the watermelon with white Kentucky hillbillies or New Hampshire yokels as with black South Carolina slaves.
This may be surprising given how prominent watermelons were in enslaved African Americans’ lives. Slave owners often let their slaves grow and sell their own watermelons, or even let them take a day off during the summer to eat the first watermelon harvest. The slave Israel Campbell would slip a watermelon into the bottom of his cotton basket when he fell short of his daily quota, and then retrieve the melon at the end of the day and eat it. Campbell taught the trick to another slave who was often whipped for not reaching his quota, and soon the trick was widespread. When the year’s cotton fell a few bales short of what the master had figured, it simply remained “a mystery.”
But Southern whites saw their slaves’ enjoyment of watermelon as a sign of their own supposed benevolence. Slaves were usually careful to enjoy watermelon according to the code of behavior established by whites. When an Alabama overseer cut open watermelons for the slaves under his watch, he expected the children to run to get their slice. One boy, Henry Barnes, refused to run, and once he did get his piece he would run off to the slave quarters to eat out of the white people’s sight. His mother would then whip him, he remembered, “fo’ being so stubborn.” The whites wanted Barnes to play the part of the watermelon-craving, juice-dribbling pickaninny. His refusal undermined the tenuous relationship between master and slave.
Emancipation, of course, destroyed that relationship. Black people grew, ate, and sold watermelons during slavery, but now when they did so it was a threat to the racial order. To whites, it seemed now as if blacks were flaunting their newfound freedom, living off their own land, selling watermelons in the market, and—worst of all—enjoying watermelon together in the public square. One white family in Houston was devastated when their nanny Clara left their household shortly after her emancipation in 1865. Henry Evans, a young white boy to whom Clara had likely been a second mother, cried for days after she left. But when he bumped into her on the street one day, he rejected her attempt to make peace. When Clara offered him some watermelon, Henry told her that “he would not eat what free negroes ate.”
Newspapers amplified this association between the watermelon and the free black person. In 1869, Frank Leslie’s Illustrated Newspaper published perhaps the first caricature of blacks reveling in watermelon. The adjoining article explained, “The Southern negro in no particular more palpably exhibits his epicurean tastes than in his excessive fondness for watermelons. The juvenile freedman is especially intense in his partiality for that refreshing fruit.”
Two years later, a Georgia newspaper reported that a black man had been arrested for poisoning a watermelon with the intent of killing a neighbor. The story was headlined “Negro Kuklux” and equated black-on-black violence with the Ku Klux Klan, asking facetiously whether the Radical Republican congressional subcommittee investigating the Klan would investigate this freedman’s actions. The article began with a scornful depiction of the man on his way to the courthouse: “On Sabbath afternoon we encountered a strapping 15th Amendment bearing an enormous watermelon in his arms en route for the Court-house.” It was as if the freedman’s worst crime was not attempted murder but walking around in public with that ridiculous fruit.
The primary message of the watermelon stereotype was that black people were not ready for freedom. During the 1880 election season, Democrats accused the South Carolina state legislature, which had been majority-black during Reconstruction, of having wasted taxpayers’ money on watermelons for their own refreshment; this fiction even found its way into history textbooks. D. W. Griffith’s white-supremacist epic film The Birth of a Nation, released in 1915, included a watermelon feast in its depiction of emancipation, as corrupt northern whites encouraged the former slaves to stop working and enjoy some watermelon instead. In these racist fictions, blacks were no more deserving of freedom than were children.
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During his interview with Hot 97, director Ryan Coogler touched on the stereotype of Black people in America eating watermelon and discovering it’s importance in South Africa while making the movie, Black Panther:
“When I was in the Kingdom of Lesotho [a country surrounded by South Africa], I took a little drive up a mountain and a woman was handing out slices of watermelon to the shepherds. The shepherds would take them, wrap them up, and treat them like they were gold or diamonds or something. I was like, ‘What is up with y’all and the watermelon?’ She was like, ‘Oh man! This is the most important food out here. It’s the only food you can eat that’ll fill your stomach up, and give you the hydration and nutrients when you’re out here in the sun.’ And I was like, ‘Yooo, where I’m from, they make fun of us for eating that to the point that we don’t even want to eat it in front of people.’ [She couldn’t understand it.] She was like, ‘Why wouldn’t you want to eat something that’s so important to your culture? How can somebody tell you not to do that?’”
