styofa doing anything
Xuebing Du
★
roma★
Game of Thrones Daily
⁂
Claire Keane
Janaina Medeiros
blake kathryn
occasionally subtle
Discoholic 🪩
Sade Olutola
shark vs the universe
Kiana Khansmith
noise dept.
ojovivo
Kaledo Art
trying on a metaphor
Show & Tell
TVSTRANGERTHINGS
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@nyantara
its really nice to be back
there will be more #fandom #sportsblogging #rpf and #haterism than before that were previously cordoned off to their own blogs. content purged irregularly.
you will not call me desi or a person of colour.
ko-fi
A daily game that challenges our understanding of human cultures. Ten objects. 5,000 years of human history. Guess where and when each artif
An interesting game where you are presented with 10 artifacts from the MET. You have to place where the artifact is from and what time period it is from. Each artifact scores up to 10,000 points, and you lose points the further away your guess is and how far off in time you are. You can only play once a day. Thanks to @baebeylik for showing this to me.
Today I scored really well. Yesterday ... not so much.
Anthropeum.com · Jun 8 2026 🟩🟦🟦🟩🟩🟩🟥🟦🟦🟩 79,001 · top 3% of players today!
Brian McFadden: Is Google Cooked? (via Daily Kos)
The funniest thing in superhero comics is not, in fact, when an outgoing writer on a title decides to break their toys by killing off the lead, and the next writer has to figure out how to bring them back.
The actual funniest thing in superhero comics is when a new writer decides to kill off the lead's entire supporting cast because they wanted to "go in a different direction", and the writer after that has to resurrect like half a dozen random people because that new direction sucked.
@pomrania replied:
And like, seriously, "the lead decides to ditch everything and travel the world, only to eventually come back home hat-in-hand because it turns out they canNOT do everything on their own" is WAY funnier and also easier for the next writer to pick up after, so they should be doing THAT instead.
It's my understanding that many writers for the Big Two have developed the habit of killing off established supporting characters they're uninterested in including in their storylines as a sort of pre-emptive defence against potential editorial interference. It's not unheard-of for the editor to stick their oar in and demand that you put more focus on a supporting character who's currently dead, but it's historically rare.
It's interesting to compare this with French-language comics where often the rights to the series are tied to a publisher who will have different authors work on it over the years, but the rights for secondary characters created by that author remain with the author, which if no agreement is reached can result in an entire roster of secondary characters dropping out of existence with no explanation between two stories as the previous author leaves and takes their characters with them. Thus the series Spirou and Fantasio's most iconic run was that of Franquin (from 1948 to 1968) (the character of Spirou was first created in 1938), who created most of the series's iconic secondary characters, including the marsupilami, their weird monkey-marsupial-like animal companion. Then when Franquin was succeeded by Fournier, none of the secondary characters created by the former could be used, so they just stopped appearing. There was no explanation or even mention of them, the comic was now effectively taking place in a different reality with an entirely new cast of secondary characters that everyone acted as if they were already established. Then after Fournier left in 1980, this happened again with his characters, and so the new authors Nic & Cauvin had to create again a set of secondary characters from scratch and act as if they had been there all along with no acknowledgement of previous characters. However, when Nic & Cauvin left in 1984 and Tome & Janry took over, Dupuis managed to negotiate with Franquin (who was still alive and doing his own stuff) for the right to re-use most of his secondary characters, so at that point the comic reverted, again with no explanation, to the "classic" cast — except for the marsupilami who Franquin wanted to keep the rights of because he had his own standalone series, and would not appear in another Spirou story again except for a one-off in 2016.
Historically, one of the most reliable sources of widespread banditry was rulers ramping up military recruitment for major wars, then cutting their soldiers loose afterwards without pay, leaving a bunch of heavily armed men with military experience floating around broke and homeless.
Knowing this, whenever someone jokingly refers to raccoons as "trash bandits", I get a vivid mental image of, like, a raccoon succession crisis leading to a raccoon civil war, the aftermath of which forced the former soldiers of the losing side (who are all raccoons) to take up the life of the raccoon outlaw.
a good single from charli and i've forgiven her for subjecting me to brat summer. im excited for music fashion film because of the straight talking in ss26 and rock music.
My favorite category of government program to run across is "program you've never heard of doing extremely important work to solve a major problem which you have also never heard of." On that note, the US drops millions of pounds of sterile bugs over Panama each week in order to prevent a parasite infestation from moving into North America. Everyone say thank you to the Panama-United States Commission for the Eradication and Prevention of the Cattle Borer Worm (COPEG)
This program had its funding cut during the DOGE cuts last year and now the parasitic worm they were trying to slow the spread of has officially arrived in the United States.
Yvonne Jacquette (USA b.1934 ) Night Wing: Metropolitan Area Composite II (1993) oil on canvas 204.8 x 144.1 cm
What are the values that are paramount in the institution of sport and how have they affected disclosure and scrutiny of sexual abuses within it? How have such values been dominant enough to supersede and suppress the stories of sport-based sexual abuse and harassment? How is it that sport has resisted vast social changes in attitudes and values surrounding sexual abuse in general? As Celia Brackenridge states in our preface (p.11), "recognizing that sexual abuse occurs in sport requires no more than recognizing that sport is simply part of society." Why, then, has sport proven so resistant to the trends in other social institutions? How is sport different or more complicated? What is the place of sport in our culture and how has this insulated sport from analyses of sexual violence?
Sandra Louise Kirby, Lorraine Greaves and Olena Hankivsky, The Dome of Silence: Sexual Harassment and Abuse in Sport (Fernwood, 2000), 21.
Goodreads reviews are a sort of inoculation against the notion that reading is a particularly more thoughtful means of engaging with shit vs like, watching or playing or whatever.
URGENT: MAN HEARD MOANING WHILE EATING RICE
it’s that time of year again: our little thermometer says “WET 😐” next to the humidity%, as though resigned to its fate
it is genuinely funny that of all the free trade rhetoric that is spouted by the nation state, american sports leagues are disproportionately anti-competitive monopolies. they are closed systems insulated from the pressures of market or sporting "merit." what with no pro/rel meaning teams can be as badly run as owners like without losing access to the top flight tv money and exposure, being protected from their own bad decision making with draft systems guaranteeing you good and even generational young amateur athletes every few years. collective bargaining and salary caps prevent athletes from really getting their salaries worth as a percentage of revenue. its also why such systems can't maintain their primacy when there's international competition – basketball, american football, baseball and ice hockey have no equivalent for revenue elsewhere in the world. but footballsoccer? yeah, the nwsl wanted to be the top flight for women's soccer and it had to end the draft in 2024 and moved to free agency.
the talk i'm seeing re: knight is that vegas likelefo-ed her but she didn't want to go to vegas hence the sign and trade deal, so she didn't have the choice to stay in seattle...
i hate draft and expansion systems in pro sports... i really do not cope well with my favourite players leaving already like i have not emotionally recovered from sam kerr leaving chelsea after 6 years. but to know its not even her choice makes it so much uglier. labour rights now!!! i hate that hockey is such a small market that there's no pressure like there was in the nwsl in moving to a player contract system
Times That Copyright Expansion Has Historically Fucked Over Artists On An Institutional Level:
Sampling rights becoming prohibitively expensive to use by small artists
Musicians being forced to sign over sampling rights to their record company, making any benefits they would hypothetically gain moot.
The Digital Milennium Copyright Act leading to the vidmaker-stomping nightmare that is ContentID
The DMCA leading to making it harder than ever to preserve media due to the way it prohibits tinkering with any locks the megacorps put on it, meaning it's way easier for artists' hard work to end up vaulted and lost.
The way basic chord progressions and musical styles have become copyrightable thanks to various lawsuits by the Marvin Gaye estate
The fact that the artists of the past used to be able to remix; adapt and iterate on art made within 56 years of them, likely created in their lifetimes, and now artists can only do those things with art produced nearly a century ago by people long dead.
New and independent artists being crowded out of the market by megacorp-owned IPs that would be public domain (and thusly convey less of an overwhelming advantage-via-marquee-value to megacorps) if the US had its pre-1976 copyright laws.
Times That Copyright Expansion Has Actually Materially Helped Artists On An Institutional Level:
????????
Times that Copyright Expansion Resulted In Something Kinda Funny:
When Metallica did a twitch concert and got a copyright strike on their own music as a direct result of their lobbying for copyright expansion
