Bit of fan art for Torren’s cooking video
Jules of Nature
h
Three Goblin Art
Misplaced Lens Cap
will byers stan first human second

Kiana Khansmith

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Lint Roller? I Barely Know Her
Keni
macklin celebrini has autism
Show & Tell
Cosmic Funnies

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"I'm Dorothy Gale from Kansas"
TVSTRANGERTHINGS

pixel skylines

❣ Chile in a Photography ❣
almost home
we're not kids anymore.

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@nemasani
Bit of fan art for Torren’s cooking video
The thing about American "leftist" comedians is that they aren't actually leftist, they are the Imperial Court Jesters. They stand on a stage, point directly at the blood-soaked gears of the war machine, make a little tee-hee noise, and the crowd erupts. Not because they are critiquing the machine, but because the laughter is a pressure release valve for the people inside it. Take the video of that stand-up asking the defense contractor if she helped Trump bomb those 160 Iranian school girls, and everyone laughing, including the contractor herself. That laughter is ritual absolution. The contractor laughs because she knows she will never face a tribunal. The audience laughs because they get to feel "self-aware" without having to actually stop anything. The joke doesn't condemn the contractor; it humanizes her, turns her into a lovable scamp who just happens to have a job graphing the velocity of shrapnel through children's bodies. By making it a punchline, the comedian sanitizes the atrocity. The blood is scrubbed off the stage. The audience gets to say "wow, we are so edgy for talking about it" while the person who builds the bombs gets to chuckle and order another drink. It is not satire, it is a team-building exercise for the empire.
Then there is the YouTuber talking about Transformers, casually dropping the "Iraq war aesthetic" like it's a color palette. Desert punk. Military core. A vibe. This is what happens when your country hasn't had a war on its own soil in living memory; the violence becomes media, a backdrop for childhood toys. The explosions are no longer the sound of mothers screaming; they are cool action sequences. They are digesting the visual debris of massacre as a nostalgic fashion choice, scraping the trauma off and compressing it into a genre for their retro-futurist fantasies. The apocalypse becomes a mood board.
And finally, the girl recounting celebrity love triangles from her childhood, flippantly mentioning how the U.S. was "busy with the Iraq war or whatever." Or whatever. That single phrase is the thesis statement of American innocence. Over a million dead, a region destabilized for a century, an endless river of grief; and for her, it was the commercial break between pop culture segments. It didn't raise her rent. It didn't stop her Wi-Fi. The violence is geo-locked to brown skin and distant deserts, just background noise like a refrigerator humming. She has the luxury of forgetting because the machine doesn't eat her children, it eats yours.
Americans don't hate the machine; they love the output. They hate the mess of it. So they turn it into jokes, into aesthetic, into "whatever." Because if they stopped laughing, if they stopped scrolling, if they actually looked at the 4K drone footage of the aftermath instead of the cool explosion CGI in their movies, they would have to realize that the lithium in their phones, the gas in their tanks, and the comfort of their suburban cul-de-sacs are all greased with the fat of foreign children. And they can't handle that. So they laugh. They turn it into a vibe. They call it "the Iraq war or whatever." You can't deconstruct the master's house with the master's jokes, especially when the punchline is the corpses holding up the floorboards.
Y’know, I’ve been thinking about why Jon got the archivist position as opposed to Sasha. And I know that the common idea is more of less that Elias is a sexist bastard — which I don’t disagree with — but I think that it’s more complicated than that. I think, from his point of view Jon fit the bill better. Not because he’s more competent than Sasha, but because he’s not.
See, at the end of the day, I think that Elias was afraid of Sasha. He had just got done with dealing with Gertrude, and whatever else she might have been, Gertrude was not incompetent. And Sasha was aware enough to question why the archives were a mess; had worked in archive storage enough to know that these things were real. She would have found Elias out, and she would have tried to stop him — maybe she even would have succeeded. At the very least she could have put a loop in his plans.
And there is another asset Sasha had: her coworkers liked her. Tim was really close to her, Martin trusted her, and even Jon grudgingly likes her. She would have been incredibly difficult to isolate from the others.
Jon, on the other had, was less competent than Sasha, but he still had the burning curiosity that wouldn’t let him drop a mystery. (Let’s face it, Jon is like a dog with a bone when he’s faced with a mystery, even when the mystery bites him.) In addition to that, Jon has a nice safety blanket that is denial. A few statements might be true, most of them aren’t. And that keeps him from investgating the institute from the beginning. But he believes just enough to try and stay alive.
And Jon is isolated. He’s not really close to any of the assistants, and he’s off putting enough for them to avoid reaching out to him. Martin is the only one that might of tried, but he doesn’t have the confidence in s1, and Sasha and Tim are mad at Jon for getting a position that they rightly think should have belonged to Sasha.
So Jon gets the Archivist position — ironically because Sasha is the one better suited to it.
This is the most common fandom interpretation: that Sasha is superior to Jon, more qualified, and more connected, and that Jonah selected Jon instead of her because he was afraid of her and knew his plans wouldn’t work without her. It’s what you’ll come across more in fanworks, so I don’t blame you for coming to those conclusions.
However, it is 100% contradicted by canon.
Jonah flat-out says the reason he chose Jon in TMA 160; we don’t even need to guess:
I’ll admit, my options were somewhat limited, but my god, when you came to me already marked by the Web, I knew it had to be you. I even held out some small hope you had been sent by the Spider as some sort of implicit blessing on the whole project, and, do you know what, I think it was.
Jonah was looking for a trauma punch card, and Jon came pre-marked with the most difficult one to get. It’s really just as simple as that. Sasha didn’t have any marks that we’re aware of pre-season 1, though given that she had collected THREE before she died, it’s not a stretch to say she would have collected more just as fast as Jon did–or, given that she’s even more reckless than him (see: her running into the worms to tackle Tim in TMA 39), even faster.
But I also want to address this idea that Sasha was superior to Jon in every way, and the tragedy of the story would have been avoided if she had been chosen as the trauma punch card instead. People take Gertrude’s attempt at predicting Sasha as who Jonah will choose next as some sort of “picking her successor” or endorsement. She didn’t have any say! She was expecting Jonah to kill her, and was trying to guess his next move for who he would pick next. So instead of guessing who the trauma punch card would be, she guessed based off of who already had experience with knowing the fears were real: someone with experience in Artefact Storage. Gertrude and Sasha barely met, so all the deep insight and mentor/protégé interpretations that are popular don’t really fall into this. Gertrude was also barely aware of who Jon was.
So, there really isn’t a “Why didn’t Jonah pick Sasha?” because Sasha wasn’t even on Jonah’s radar for consideration, and there isn’t a “why didn’t Gertrude guess Jon?” because Jon wasn’t even on Gertrude’s radar for predicting Jonah’s next move. The whole Sasha vs. Jon thing is 100% fandom-made.
(It’s also 100% not due to sexism; that was supposed to be dramatic irony for our sakes, when we already knew Jonah’s reason since the end of season 4. Tim was just being Overly Aggressive Ally, but more than a bit misguided, given that Sasha was almost as unqualified as Jon was–none of the assistants had degrees in Library Science, Sasha included.)
For your speculation on how close she was to everyone, I would disagree there as well. In the Q&A’s, they talked about how all of the Archives employees are isolated and don’t have close connections with others–it’s one of Jonah’s prerequisites to transferring people there. Dozens of Season 1 Archives Found Family Sleepover Parties has kind of replaced this in fandom memory, but we don’t have any evidence that Sasha would have been impossible to isolate:
She knew Martin was lying on his CV, but not from him. She hacked into his files for the fun of it and then gossiped about it to Tim. If they had a very close and trusting relationship, I wouldn’t see why she’d resort to subterfuge, and I think she’d know how desperate he was to keep it secret.
We don’t see them interact in season 1, and Sasha seems to have a low opinion of Martin’s competence: she thought both Martin and Jon were overreacting to the danger of Prentiss AFTER Martin started living in the Archives. She thought it was silly that Jon was taking Martin so seriously, because if Prentiss was really a threat, there’s no way someone like Martin could have survived her, right? Frankly, even though she’s less snappish with Martin than Jon was, it’s very fair to say she had a lower opinion of him than even s1 Jon did.
She was friends with Tim, but I think even that gets exaggerated in fandom. She loves to gather people’s secrets, but shares none of her own: for instance, Tim told her about Danny, but when Sasha started having encounters with Michael, she kept it all secret from Tim. She said she didn’t want to tell Jon without more evidence, but what was keeping her from giving Tim a call before she ran off to meet a monster by herself in a graveyard? I feel that if she were Archivist, this would have been even more intensified: she would care about him, sure, but that’s nothing new: Jon cared deeply about Sasha and was devastated by her death, but that didn’t prevent him from being isolated.
And I don’t need to put too much here for why she’s just as bad as Jon, if not worse, for needing to solve mysteries and rush into danger for information. Just listen to her statement. Jon spent all of season 1 hiding from the truth, while Sasha met with a creature she knew wasn’t human multiple times, by herself, without telling any of the others, all out of curiosity. Jon started invading people’s privacy in season 2 because he was being driven to paranoia by the presence of the Not!Them, but Sasha was already invading all her coworker’s privacy in season 1…just for fun. She was VERY suited to the Beholding, arguably more than Jon was, and would have been very easy to manipulate throwing herself into mysteries to get more marks.
Frankly, because she only appears in 5 episodes, fandom Sasha ends up being about 99% OC and a bit of a wish fulfillment character; most examples people give for why she’d be better at Jon at everything, find out all of Jonah’s secrets, avoid losing any assistants, and save the world is just….based off of headcanons, vs. the scraps of information we get from the actual episodes.
The reason why I dig so deeply into all of this and care so much about this interpretation is it changes the entire nature of the show if oversimplified. If Sasha really is this ultra-superior being who would have fixed everything with her mere presence, the tragedy gets whittled down to a pretty uncomplicated “everything would have been fine if this Hypercompetent Woman was in place instead of this loser man.” But that’s not the story being told. The tragedy we have is that whoever was doomed with the Archivist position would have been lied to, manipulated, tormented, afraid, isolated, hurt and hurt and hurt again. If Sasha had been chosen, she would have been the one suffering through all that instead of Jon, and that’s the narrow miss that we’re left to realize from Gertrude’s tape.
THANK YOU
Doing some research into ‘praise kink’
Findings suggest maybe I am a good boy
We have no choice but to stan a queen 💪❤️👑
Trying to escape military service like: "Poison Seller, I require your weakest poisons."
it's actually so amazing she helped save the lives of the honorable men who did not wish to fight, while killing the most vile men, that is so fucking based
Girls just wanna have fun
Had to make an accurate mosaic pixel art thingy for the playing cards, thought I’d leave it here if anyone wants to use it! I used as many reference images as possible, the version I made doesn’t have all the little shade changes that the original does.
@dualclock joypost for you
love island should introduce a "scheming eunuch" islander who is like a smart and completely asexual islander exempt from being kicked off or being made to participate in any challenges and they're just there to provide advice and be a sort of sounding board for the other islanders when they need a disinterested party to talk things through with. but the scheming eunuch has secret goals unbeknownst to anyone e.g. a cash prize for talking a certain couple into breaking up etc.
Everyone's Friend
TWO FREE PATTERNS!
For those who don't know, I'm doing my PhD dissertation on 19th-century plus-size fashion, and as part of it I've been patterning larger antique garments.
Last year, I was able to go to Genesee Country Village & Museum in upstate NY and pattern an early 1800s corset as well as an 1830s dress. Full instructions, photo albums, & print-optimized versions up on Etsy if you need more guidance or would like to support my work, but my agreement with the museum was that I would put simple gridded patterns up for free alongside the paid versions. And those are now up!
1830s dress (L/XL) Bust: ~43” (109cm) with the center-front gap Waist: 32.5” (82.5cm)
Last year, curator Brandon Brooks at Genesee Country Village & Museum was kind enough to let me come and pattern a c. 1831 morning dress in
1810s corset (M/L) Bust: 39” (99cm) Waist: 31.5” (80cm)
Last year, curator Brandon Brooks at Genesee Country Village & Museum was kind enough to let me come and pattern an early 19th century corse
Tag me if you use them, I'd love to see!
Thousands of starfish had washed up on the beach, and a little girl was diligently throwing them back into the water, one at a time.
A man came up to the girl and said, "You'll never save all of them. What you're doing is pointless. It doesn't matter."
The girl threw another starfish into the water. "It mattered to that one."
The man snorted and walked away.
The girl kept throwing starfish, one after another.
To throw one starfish back into the ocean takes a trivial amount of effort, but to throw ten, or fifty, is much less so. The girl had not learned much of biomechanics, but she began to feel the strain in her back. Her skin had softened from the seawater, and the starfish themselves were abrasive. Her fingers had pruned. Her shoulder hurt. She was cut, twice, on her fingers, as the same storm that had stranded the starfish had also brought up broken shells and crab carapaces. The skin of a starfish was like sandpaper.
She tried switching hands, and could throw the starfish less well, and it wasn't long before she had mirrored all her injuries. She was bleeding, though the blood wept rather than flowing, briefly staining the starfish pink before they were tossed into the ocean.
It seemed as though there were just as many dying starfish as when she'd started.
After three hours, the girl was sunburnt. A passing man had told her that she should stop what she was doing, and had offered her some water, which she took, but he hadn't helped to throw the starfish back.
The girl's hands were cracked, scraped, and raw. Saltwater found the wounds, but she'd gone numb, and her motions became more mechanical.
"It mattered to that one," she thought to herself, "It mattered to that one," over and over, like a mantra. Her muscles ached, but the ache became familiar. When she'd started, her throws had been beautiful things, guided by purpose, but now they were sloppy and threatened to pull her off balance.
She did fall, more than once, landing on sand that was filled with jagged debris, and sometimes she was slow to get up. But she did get up, because there were more starfish to save, tens of thousands of them.
Night fell, and it was harder to see the starfish, but they were still in need of help. She was tired, and the cuts on her fingers had multiplied. The skin had been wet for too long, and in one place, on her palm, where she had gripped a thousand starfish to throw them, a piece of white skin had come off.
Still, she kept throwing starfish.
Her mother didn't find her until after midnight.
"Hi mom," said the girl. Her voice croaked. She had been saying, "It mattered to that one" under her breath for long enough that her vocal cords had strained. She threw another starfish into the ocean.
"You need to come home," her mother said.
"These starfish will die without me," said the girl.
"I know," said her mother. "But you need to come home, because if you keep doing this, you'll collapse on the beach, and like a starfish, you'll need to be rescued too."
The girl stooped down, back aching, and picked up another starfish. Many of them had died by this point, but there were still uncountably many that lived. The rough skin of the starfish grated at her tender skin, but she rose and threw it, arm protesting, and watched it fall down into the water.
Her mother grabbed her gently by the shoulders. "I'm bringing you home," she said. "It would be better if I didn't have to carry you, but I will if I have to."
"I don't want to be the sort of person who leaves starfish to die," said the girl, shrugging off her mother. But a part of her did want to be carried, because she'd walked for miles along this beach, one stooping step at a time.
"I know," said her mother. "But to survive, you have to be. Save as many as you can, but take breaks, get good sleep, eat well. Then go back and save more."
The girl swayed where she was. She was close to passing out, though maybe it was because her rhythm had been interrupted.
Her mother held out a hand, so they could walk together, like they'd done when she was smaller.
And it was then that she noticed the scars on her mother's hands, the calluses and rough spots, the places where cuts had healed. She had seen her mother's hands many times before, but had never asked why they were that way.
The girl slipped her hand into her mother's and began to cry as they walked back home.
I don't need the chatgpt random algorithm to write emails for me because I already have a custom and 100% flawless algorithm called "writing the exact same three emails with the names changed"
#1: "hi [landlord], hope you're doing well! [apartment thing] is [broken/a problem]. we need it [fixed/replaced/handled] by [date]. let us know when you'll send someone over so we can be here to let them in. thanks so much, [op]"
#2: "hi [professor], hope you're doing well! unfortunately, I'm [sick/stuck at work/dead] and won't be able to submit [assignment] by [due date]. could I please have an extension? if not, is there anything else I could do to make up this credit? thanks so much, [op]"
#3: "hi [customer service person], hope you're doing well! unfortunately, [product] [didn't arrive/is broken/wrong color/gave me a rash/poisoned my crops] and I'd like to receive a [refund/replacement]. here is the documentation of the order and photos of [broken thing/wrong thing/my rash/dead crops]. thanks so much, [op]"
"but op I work in an office I have to write way more emails than you" well that's your fault for working in an office i got nothing to do with that
Writing an email is so easy and I will tell you how it's done. This is the advice is for everyone with an email job, but you can apply it to normal human interaction.
The FIRST SENTENCE is the thing you want the recipient to do. Do not make them guess.
I want to let you know about ... (This email is to inform someone of something not to ask them to do anything)
Could you please do ... (This is a request. You want them to do something).
I'm looking into x and wondering if you can help me (this is also a request but for information instead of an action).
People do not want to read an email and even if they do read it, most people are skimming and not interested. Tell them what you want first, then provide context or other information (when you need a thing is often key). If the email is informational, you can even add "you don't need to do anything, this is just to keep you informed!" People will appreciate not having to figure out what you want from them.
If you can't articulate what you want the recipient to do with the message, you are not ready to email them. I read too many emails where I have no idea what the person wants from me.
Put the most important thing first and everyone will be impressed! AI cannot do this for you because it can't tell what's important! Only you know that, which is why you must write your own emails.
to everyone who wants help with emails: go through the notes of this post. there are ideas I've never thought of and plenty of scripts for all kinds of situations/jobs
Quick doodle of my favourite summer beverage.
Naomi Osaka at 2026 Wimbeldon wearing Hana Yagi
So I was scrolling and saw this image in an article about the European heat wave,
And was like, uh, are you missing something there, buddy? Like all that red in northern Africa? Because that's a lot of red.
And I was going to give them the benefit of doubt, since I don't know much about the climate in Northern Africa, aside from Morroco and Egypt, which seem like really hot places, so you know, maybe it's normal there?
But nope, that's not the case:
Africa is struggling with heat waves and many countries on the continent lack the resources rich economies have to deal with rising temperat
Some selections from the article:
"The region has been experiencing some of the most intense heat waves in recent years, but in many cases they’ve been under-reported due to misconceptions about Africans’ ability to withstand them.
“Africa is seen as a sunny and hot continent,” said Amadou Thierno Gaye, a research scientist and professor at Cheikh Anta Diop University in Dakar, the capital of Senegal. “People think we are used to heat, but we are having high temperatures for a longer duration. Nobody is used to this.”
"The Sahel, for instance, has been heating at a faster pace than the global average despite being hot already. Burkina Faso and Mali, both in West Africa’s Sahel, are among countries that are set to become almost uninhabitable by 2080, if the world continues on its current trajectory, a UK university study found. Its people are especially vulnerable due to shrinking resources, such as water, and poor amenities, and a dearth of trees and parks means there are few options for places to cool off."
Holy mother of curb theory those are GOOD
See what happens when we do things for disabled people? We get shot like this that's just better for *everyone* AND accommodates for wheelchair users
The hoodies are $59. That is straight up a normal hoodie price that is AMAZING
Creating adaptive clothing and accessories designed to bring joy and confidence while increasing your quality of life. Discover products to
Also noting that this line has a lot of clothing that works for people who need easy chest access or have limited upper body mobility, like if you are recovering from surgery or doing chemo