so this is it

procrastination levels are high F // 17 // NZ

[makesoneteam]

underrated friendship stage is the "testing the waters to see how much of a freak you are" stage. let me microdose being feral to see how you react. i have one large eye on you at all times waiting for you to give me Secret Permission to be a pervert or a weirdo. when will the shameless whore dam break. The Freak Rituals are sacred and time honoured and their importance cannot be overstated

[soyoumusik]

“Go into the arts. I’m not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something.”

— Kurt Vonnegut (via lazypacific)

[mapsofnonexistentplaces]

leaving out a very vital part of the quote

[auressea]

do you see.. in the above example – how VERY easy it is to spin the meaning of something via censorship?

- remove ONE sentence from a text and the implicit queerness is erased from Vonnegut’s entire piece.

This is where Access to Information, Media Literacy, and Fact Checking, and understanding Bias becomes the most important tools of resistance.

[notjusthespongenextdoor]

For a city to be walkable. It must also be sittable.

[emilybraydenblogs]

I confuse people. i have a happy personality and a sad soul. i'm bold but shy. i love deeply but sometimes i feel heartless. i'm healing and hurting at the same time. i'm dedicated to growth, but i self sabotage

[gallifrey-man]

There's going to come a day when we've all grown up, had a career, maybe got married and had kids, when were all going about our daily routine. Maybe you're driving to work with the car radio on, or you're making dinner with the tv on in the lounge. Life as usual, and then we hear a name. It's the name of the person you had a blog dedicated to when you were 16. The person you had posters of up on your bedroom wall, or as your desktop background. The person off that show you used to watch every week, as soon as it came out, or that band you used to love. The person from the cast of a movie that changed your life, or the character who you scrolled through page after page of fanfiction of. You haven't heard that name in a long time, and it brings everything back. And then the name is followed by three words you thought you'd never hear. Has Passed Away. And then you put down the potato peeler and lean back against your kitchen bench, or you pull over to the side of the road, and tears are streaming down your face. And all over the world, there are people who used to be just like you, with tears marking their cheeks and sobs forcing their way out of their throat, because they remember. Because fandoms never really die out. We never really move on. We never really forget.

[avant-gardevoir-old-deactivated]

introducing the new sport

basketball 2

[hyperchaotix]

What is the objective?

[nibrocrock]

Survive.

[heritage-post]

date of origin: April 25th, 2015

[wellntruly]

Critic Emily St. James on the use of set & space in Everything Everywhere All At Once

[kienava]

"nothing matters so do what you love and be kind" is the single most viscerally impactful message i have ever gleaned from consuming media and i'm going to live every day with that kind of hopepunk nihilism for the rest of my life

[oldschoolvillageidiot]

"You tell me that it's a cruel world... and we're all just running around in circles. I know that. I've been on this earth just as many days as you. When I choose to see the good side of things, I'm not being naive. It is strategic and necessary. It's how I've learned to survive through everything. I know you see yourself as a fighter. Well, I see myself as one, too. This is how I fight."

- Ke Huy Quan, Everything Everywhere All at Once

[luntfontanne]

using a multiverse as a narrative framework to tell an immigrant story really is THE best possible implementation of this concept. like the idea that every time you make a decision in your life a different branching universe splits off where you chose differently, while obviously broadly universal because of course everyone wonders what if (what if i had chosen differently, what would my life look like then), really does hit such a specific core question that is imo fundamental to the immigrant experience

all the time my parents talk about imagining what lives they might have lived if they had chosen differently, if they had never left home, if they had never come here, if they had not raised their daughter in a world and a culture so utterly foreign to their own where she might make her own choices that are painfully incomprehensible to them. it’s all tied up with a sense of grief and loss and regret and almost existential melancholy, not necessarily because they think they chose wrong specifically, not because they think they’d actually choose differently if they had a chance to do it over again, but merely because that choice is such a monumental one and the enormity of it and the ripples it would end up causing are only obvious in retrospect. you make the choice to uproot your life and move to a different world, a different universe, and once you cross that bridge you can never go back. you can never truly go home again. and when we do go back to visit, we see in their old friends and classmates and relatives funhouse versions of ourselves, people we might have been but never were and never will be.

every immigrant story is a ghost story and the ghosts that haunt you are all the people you left behind including yourself—versions of yourself, of your family, of your children, of the people that are you but that you are not, lives that you recognize but are not yours. immigrant stories are ghost stories are multiverse stories and in multiverse stories all of your ghosts inhabit your body simultaneously, everyone who came before you and after you and everyone you left behind, everything that is and everything that never was… it really is everything everywhere all at once i am going to scream

[steveyockey]

jobu tupaki is such an effective way of depicting that specific depression of being in your 20s and knowing you can do anything but also knowing that knowing that means any decision you make cuts you off from an infinite number of possible realities… like every step forward also feels like a step in the wrong direction because it technically is when you’re juggling every potential consequence at once and it narrows your life down to just a matter of surviving and trying to focus on the few things that don’t make you feel like a failure and you start to see the loss of will to really live as the inevitable result to your own unstoppable loss of potential. and of course being a gay child of immigrants makes it even easier for joy to feel like there’s no future she can pursue where everything turns out okay enough to have made the effort worth it. and then contrasting that with evelyn’s reality that she is the version of herself where every decision has been the wrong one that has led her away from doing anything remarkable with her life but it’s still a life where trying is worth something, as long as she can still find people to love and things to fight for… yeah

[kendallroynsfw]

everything everywhere all at once is about intergenerational trauma. about depression and passive suicidality and the gravitational appeal of nothingness. about aging, getting older in your twenties and getting older in your fifties. about the specific hurt mothers can cause their daughters and daughters their mothers. about the harsh reality of the immigrant experience and the american dream. but it’s mostly about kindness and family and it’s about choosing to sit at home talking about taxes with someone who loves you, and it’s about telling your daughter that you’d choose her over the entire universe, and it’s about how even in the universes where life didn’t form, love can still exist. and it’s really all of that at once.

[sludge-world-deactivated2022050]

[academiaipromise]

no because when everything everywhere all at once said “‘alone I’m useless’ ‘everyone’s useless alone. good thing we’re not alone.’” and “in another life, i would have loved to have just done laundry and taxes with you” and “you think i am naive. i’ve been alive just as many years as you. this [love] is how i fight” and “of all the places i could be, I just want to be here with you” and-

[andrewhozier]

Michelle Yeoh for GQ

[revenge-of-the-shit]

Beyond the way that Everything Everywhere All At Once made queer & Asian people feel seen through the beautifully complex way it portrayed generational trauma and the struggle to just get your family to understand, there was also the little details that really stood out to me throughout the movie that made me feel so fucking seen as a Chinese diaspora kid. As much as Shang-Chi and Crazy Rich Asians were milestones in Chinese representation in western media, the way that EEAAO does it is just so much deeper than those two films.

God, where do I even begin? It's in the small the details. It's the way their rice cooker sings at the start of the movie with the exact same tune my rice cooker sings with once it's done cooking. It's the way that Waymond hums Gong Xi Gong Xi (恭喜恭喜) during the CNY party - the exact same song that I was taught in Saturday Chinese school. It's the way they seamlessly switched between Mandarin to English to Cantonese to Chinglish in a way that's completely familiar to me because that's how my household and community spoke. The small details made me feel seen in ways that Shang-Chi and Crazy Rich Asians only touched on briefly.

But there's also other details, too. Small moments. When Waymond looked longingly at the elderly Chinese couple embracing in the IRS building, that brief embrace reminded me of how I would see the same thing in the local Asian grocery stores in my home community. It reminded me of my grandparents, walking hand in hand here in Canada at the mall. It also reminded me of how you never, ever see sweet moments like that between Chinese elders in Western media, ever.

And on top of that, the way it framed the connection to China/HK hit close to home. In the brief shots of Waymond and Evelyn as young lovers, there's something about it that's just perfectly reminiscent of my parents. It's the narrow-ass balcony, the outfits, the grainy footage, the hairstyles. It looks like something straight out of my parent's albums. In addition to this, the way the fights were a tribute to Stephen Chow films and the way that the Wong Kar-Wai universe was shot just pulled me directly back to the times that I'd pass by my parents watching those films in the living room.

The thing I appreciate as well is the fact that it doesn't take the characters back to Asia like many immigrant stories tend to do. Yes, there are parallel universes where the characters never left their homeland, but there's nothing forcing them to go back like in Shang-Chi or Crazy Rich Asians. By keeping the film set in America, EEAAO tells us: here is home. You're still connected to your ancestral roots through family ties and cultural practices, but you've found a new home despite the difficulties living here. Your identity as someone stuck in-between as an immigrant family is valid and your story matters. It's worth telling. You matter.

[milflaszlo]

My dear Evelyn. I know you.