PUT YOUR BEARD IN MY MOUTH
shark vs the universe
TVSTRANGERTHINGS
almost home
Love Begins
Keni
sheepfilms
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Kiana Khansmith
Xuebing Du
$LAYYYTER
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Misplaced Lens Cap
Andulka
DEAR READER
will byers stan first human second
Stranger Things
JBB: An Artblog!
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@pinkflowerpotter
btw you will miss this in 5 or 10 years. memory will smooth these circumstances down like a river stone, and you will find yourself longing for a shade of light or a moment of this particular innocence. you don't know about what happens next, and one day that will be the most alluring thing of all. don't leave it all for nostalgia. have a nice night now, whatever night it happens to be.
I’m rereading the Hunger Games books after not reading them since they first came out and man, 15 year old me did not realize how much of a dumbass Katniss was because 15 year old me was the same breed of dumbass.
A new analysis of National Highway Transportation and Safety Administration auto crash data shows that Tesla has the highest rate of fatal a
holy shit
i knew teslas were bad but "literally twice as deadly as the average vehicle" is something else
everything going downhill but at least there’s still phone in bed time am I right.. ahah am I right
samira went out with a bang and not a whimper.
duke mentioned this phrase earlier in the season. it means not going softly, not fading quietly. i have to believe it was intentional with the season centering these loud explosive devices.
she called robby a dick, told him he was projecting. samira admitted that she didn’t quite believe a thing he told her. she extended an apology, acknowledged her faults, showed a level of introspection that robby can’t really access, and she didn’t let robby get away with a thing. she showed her sensitivity while maintaining her strength. she left it unsatisfied, she left with him knowing he ruined the relationship.
and then, the last shot we were shown with samira was her watching the fireworks with a resolved expression. the booms were ringing out, the light was reflecting in her eyes. she went out with a bang, not a whimper.
When in public areas such as public transportation avoid playing music and videos out loud. If there's a song you really want to listen to or a video you really want to watch but you don't have headphones, it can wait until you get somewhere private.
Phone and tablet speakers aren't exactly the best quality speakers which makes the sounds played out loud on them anywhere from unpleasant to painful to listen to, and this only gets worse if someone has sensory issues. When sharing public areas you need to be mindful that not everyone wants to listen to the same videos or music you do and it's unfair for you to impose your music and videos on strangers in public.
If I may add something - Be courteous about what you watch in public, even with headphones. In mixed-ages company, something that has visual adult humor can be seen by anyone surrounding you.
In a public place open to all, you're a public citizen, and a general, friendly atmosphere is all of our responsibility.
It's also an issue in national parks. I understand wanting to hike with music, but people go to these places to hear the birds and the bugs, not your Bluetooth speaker. Noise pollution also effects the habits and patterns of animals in the parks. The national park service and many individual parks have been asking for a while, please do not play music out loud in national parks and other wild areas. You may not think you're bothering anyone, but sound carries and everyone else hiking within a mile or two is getting snippets of your music carried on the wind and wants to smash your speaker against a rock.
Tldr: use headphones!!!!!
i'm literally begging people to relearn how to use earbuds and headphones. i don't wanna hear your fucking tiktok while im waiting for my flight.
100% this.
If someone sat next to you on the bus/in a coffee shop and sang bullshit in your ear all the way home/while you were trying to work you'd be rightfully pissed off.
If you're playing shit on your phone out loud you're just doing the technology equivalent of ranting in a stranger's ear. You're being an ass and you need to fucking stop.
#I'd rather people sing#sing so loud#put your phone away
Same. I'd much rather share a waiting room or a bus with someone actually singing than someone blasting TikToks out loud on their phone.
I don't want my cellphone to have AI I want it to have 3 days of battery time. I don't want my computer to have AI preinstalled I want it to have seven usb ports and high ram at affordable price. I don't want my games to have AI built levels I want them to be so optimized I could run them on a nokia.
you do not have to want to be a parent or caretaker. but you do have to see children as full human beings with an indisputable and universal right to a safe, healthy, and loving environment in which to grow up. and to be in all the public spaces you are. including the crying baby on the bus, and the toddler on the ipad in the restaurant, and the group of teenagers at the shops who may not be buying anything. and you have to be prepared to be a safe adult in whatever way you can. if you support any social-justice-oriented movement whatsoever—if you profess to be a feminist, or an environmentalist, or anti-carceral, or land back, or antiracist, or anything else—and then say you hate kids, your support for your cause has a great big hole at its center. and this is non-negotiable.
before the toxic season three polin fans start blabbering about benedict’s mistress offer to sophie and comparing his confession to colin’s (they’re already buzzing on twitter regarding the difference between colin’s proposal and benedict’s) *biggest eye roll*
sophie baek is a maid. that distinction is not cosmetic, it is the foundation of her entire story. comparing her to penelope featherington ignores the central class divide that defines benedict and sophie’s relationship. penelope is from a reputable family. she is a known, present member of the ton. she is a debutante. ON TOP OF THAT ELOISE’S DEAR BEST FRIEND because of that, colin can bring her through the front door of bridgerton house without any bloody hesitation. he can present her directly to his mother. and violet, the family, and society can accept that union with joy and pride. their love fits within the rules of the world they live in. its two privileged people coming together.
benedict and sophie do not get that luxury. benedict cannot bring sophie through the front door. that is not a minor obstacle, it is the entire point of their story. sophie’s class is mountains lower than the bridgertons’, they are aristocrats, and the ton will never accept her as his equal. their union will be whispered about, shamed, and resisted at every turn. loving sophie is not socially safe for benedict; it is a risk, a defiance, and a dream he is not supposed to be allowed. where colin’s love is sanctioned by society, benedict’s is fundamentally transgressive. penelope’s story is about being seen within the system. sophie’s is about surviving outside of it. collapsing those two dynamics flattens the stakes and erases what makes benedict and sophie tragic, radical, and powerful.
benedict is an aristocrat. his family is close to lady danbury who’s the queen’s closest confidant, his brother is a viscount, one sister is a duchess, another a countess, his sister in law is THE lady whistledown who controls the entire ton, to sophie, benedict is untouchable, an impossible dream. he feels unreal to her, like someone she should never even look at too closely. he’s almost like a prince in her eyes, and the idea of being involved with him any deeper terrifies her.
their love is not meant to be easy, public, or instantly accepted. it is meant to be impossible.
couldn't be me
you can tell jud is a catholic because he keeps feeling guilty and confessing to stuff he's not responsible for
Taylor Swift’s portrayal of Ophelia represents a fundamental misinterpretation of Shakespeare’s character, one that collapses a deeply political and psychological tragedy into a sentimental narrative of romantic loss. In Hamlet, Ophelia’s descent into madness is not simply the result of unfulfilled love, but rather the culmination of systematic silencing and subjugation within a patriarchal framework. Her sense of self is continually diminished by the men who assert control over her life: Polonius infantilizes her when he instructs her to “think yourself a baby”, while simultaneously manipulating her affection for Hamlet to serve in his courtly ambitions; Laertes polices her virtue, warning “Then weigh what loss your honor may sustain,/If with too credent ear you list his songs,/Or lose your heart, or your chaste treasure open/To his unmastered importunity”; and Hamlet himself oscillates between tenderness and cruelty, shifting from “I did love you once” to “Get thee to a nunnery”. These conflicting imperatives erode Ophelia’s sense of agency, rendering her madness less a symptom of emotional fragility than a revelation of the oppressive forces that confine her. Her disjointed speech through which she laments death, betrayal, and lost innocence, constitute a form of resistance, a final expression of identity denied coherence by patriarchal control.
Taylor Swift’s reinterpretation, however, reframes this psychological and political complexity as a consequence of romantic abandonment. By centering Ophelia’s tragedy on unrequited love, Taylor Swift effectively erases the structural and social violence that precipitate her collapse. The result is a sentimentalized narrative in which female suffering is reduced to the absence of male affection, implying that Ophelia’s fate might have been redeemed through love or the presence of a male savior. This interpretation inadvertently reproduces the very logic that Shakespeare’s text critiques: that a woman’s worth and survival depend upon the men who govern her.
In my opinion, if what Taylor Swift sought to explore through her song was the pathos of doomed love, a narrative such as Romeo and Juliet—where romantic passion itself drives the tragedy—would have provided a more appropriate framework. In Hamlet, love functions not as a redemptive or destructive force, but as a pillar in a broader web of political machinations, manipulation, and loss of control. By conflating Ophelia’s potential reclamation of agency in death with mere romantic despair, Taylor Swift’s portrayal neutralizes the subversive facet of Shakespeare’s Hamlet. What was once a tragic critique of patriarchal authority becomes, through Taylor Swift’s rendition, a love story domesticated for palatability. In transforming Ophelia from a figure of resistance into one of sentimental victimhood, Taylor Swift’s not only diminishes the complexity of Ophelia’s experience but also perpetuates the very systems of domination that ultimately destroyed her.
you are loved. on quiet days that feel meaningless, during long nights when loneliness consumes you, when you’re reminiscing and grieving the past, on good days that feel like warmth and light, always remember that you are loved.
to the girl that got up to go to the bathroom during “as long as you’re mine”, i know what you are
