WIP Sneak Peek Revealed!
Warm light flows over their joined hands.
We're so excited for this ethereal soukoku print by Luneat!
YOU ARE THE REASON

Origami Around
Claire Keane
i don't do bad sauce passes

ellievsbear
ojovivo

roma★

JVL
he wasn't even looking at me and he found me
sheepfilms
Alisa U Zemlji Chuda
Peter Solarz

blake kathryn
trying on a metaphor
I'd rather be in outer space 🛸
NASA
art blog(derogatory)
d e v o n
$LAYYYTER
Game of Thrones Daily
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@psi-neko
WIP Sneak Peek Revealed!
Warm light flows over their joined hands.
We're so excited for this ethereal soukoku print by Luneat!
Who's in the mood for summer?? I AM!!! Thank you so much for this fun prompt @thecryptidpagan I had an absolute blast with this!!! =D I hope you like it!!! ♡♡♡♡ (logoless, censored inspiration (better Tumblr? :'3) and prompt under the cut!)
Another secret santa gift for a Discord member from last December.
Eyes on Chuuya the prize!!! 💕👀✨ Happy to get to finish the print and share all of this month’s rewards! Signup for this month’s mail club will end in 2 days (end of March 31st), you can join on my K0-Fi:
Ko-Fi
Consider this a spiritual sequel to the one I made back in 2024 (last pic). Dazai is getting away with his treasure!! (I love this AU so much, can never get enough of it ✨ thanks for voting for this theme again)
Last day to join for this month’s mail club
March’s mail club prints have arrived! I’ll be packing everything over the next few to have them all ready to be shipped out by next week 💌
🌟🎂
To the beloved birthday boy
i got possessed by a profound sense of longing.
I see posts go by periodically about how modern audiences are impatient or unwilling to trust the creator. And I agree that that's true. What the posts almost never mention, though, is that this didn't happen in a vacuum. Audiences have had their patience and trust beaten out of them by the popular media of the past few decades.
J J Abrams is famous for making stories that raise questions he never figures out how to answer. He's also the guy with some weird story about a present he never opened and how that's better than presents you open--failing to see that there's a difference between choosing not to open a present and being forbidden from opening one.
You've got lengthy media franchises where installments undo character development or satisfying resolutions from previous installments. Worse, there are media franchises with "trilogies" that are weird slap fights between the makers of each installment.
You've got wildly popular TV shows that end so poorly and unsatisfyingly that no one speaks of them again.
On top of that, a lot of the media actively punishes people for engaging thoughtfully with it. Creators panic and change their stories if the audience properly reacts to foreshadowing. Emotional parts of storytelling are trampled by jokes. Shocking the audience has become the go to, rather than providing a solid story.
Of course audiences have gotten cynical and untrusting! Of course they're unwilling to form their own expectations of what's coming! Of course they make the worst assumptions based on what's in front of them! The media they've been consuming has trained them well.
I mean... it's a lot more complicated than this. First of all, if we're talking solely about big budget TV shows from back in the 22-25 ep season era of TV, those were created under very different circumstances than how TV production works now. Part of the reason you didn't get satisfying endings to arcs is that episodes were being created on the fly from week to week. There are a thousand problems with the current era of TV we're living in, the whole institution is burning down lol, but many of those shorter seasons that landed on streaming before the current chaos? They were allowed to create a whole season story BEFORE production. So... yeah, this varies very widely depending on what era of TV production we're talking about, which networks (like FX famously had that run in the 2000s where creativity and experimentation was king), what showrunners, etc.
Also, cherry picking JJ Abrams as an example when he's a really specific type of creator, one who has a shitload of money and leeway and notoriously does NOT know how to write on his own but piggybacks off the work of the people he surrounds himself with is like... That's like talking about Stephen King's career as though it's indicative of the way the rest of the publishing world runs.
Which brings me to my next "it's more complicated than this" point: this post is chiefly talking about big mainstream creations. And I'm sorry, but there is a whole category of audience member who ONLY watches big budget capitalist products like franchise films and corporate TV and then complains about "no original ideas" and "no satisfying endings." My guy, of COURSE the corporate product will always betray you??? It never had art as its main objective to begin with??? Like, as I mentioned, we're now living in an era where things are starting to burn down and shows are getting cancelled left and right, but before that, I can name many shows from any era that cared about story and satisfaction and did it artfully. Idk... if you're watching JJ Abrams's output and expecting it to be on the level of Hannibal or Six Feet Under, that's part of how you're getting mismatched expectations.
I'll add that I came up in that prior era. It was rare for series to get finales; your M.A.S.Hes and DALLASes were exceptions born or raw popularity and creator desire, in most cases.
The vast majority of what we watched in the 20th century...just ended. And even the most beloved shows got to that ending with barely a whiff of a narrative arc or character development. BABYLON 5 and DEEP SPACE NINE were wild exceptions that paved the way for modern serialized storytelling, both on TV and in the movies. And yeah, so did the Trek movies, which basically just did movies-as-episodes, especially after VOYAGE HOME. There's a direct line from that to the MCU that Feige was acknowledged.
But we're still pretty young in this wild new era of storytelling, in some ways. Really, telling stories in this format of 6-15 episodes cast onto a streamer is new for Hollywood, especially as they tend to be very different stories than the kind of similar setups that, say, UK Television has run with for decades, now. In a lot of ways, we're finding it's hard as fuck to write compelling works in this format that don't lean on prior art and/or nostalgia to draw audience/media attention.
Add to that we've in a potentially transition period around who leads these stories, both in front of and behind the cameras. It's no coincidence that the MCU's Phase 4 has come under so much fire, AND that it's the Phase that really broadens the context of who gets to tell stories. And that said effort wasn't well supported when it needed strong backing. It has other issues, such as also trying to map the movie success onto episodic streaming, but the above -- and the lack of recognition that the above would happen -- did not help.
This is where I differ from the prior poster -- media has always been "corporate" . No work gets onto your screen without someone paying for it. Even if it was a pirate broadcast, that takes money!
If you want to critique media, you have to under what motivates making and publishing media. And yeah, different corporations will have different desires, even outside "making money". Even within that -- Gene Roddenberry hated the Trek moves from 2 on, because he was locked out from their creative process. Feige fought for years to get full creative control over the MCU.
There is so much nuance and complexity about what we're shown, and why. We need to have a caution about assigning nebulous concepts like "capitalism suz" to all this; just look at the wild spectrum, over decades, around Star Wars as an example.
The FBI cut the phone lines during the 1977 disability rights sit-in. Then they turned off the hot water.
They locked the doors from the outside. One hundred and fifty people were trapped on the fourth floor. Half of them used wheelchairs. The government assumed they would leave.
Kitty Cone was thirty-three. She had muscular dystrophy. Her muscles were failing, but her logistics were flawless. She knew how to organize people.
The federal government had promised to sign regulations protecting disabled Americans from discrimination. The policy was known as Section 504. They printed the promise on paper. Then they stalled. Without a signature, it was just typography.
The protesters entered the regional Health, Education, and Welfare building in San Francisco on a Tuesday morning. They took the elevators to the director's office. They brought sleeping bags and catheters. They informed the staff they were not leaving until the law was signed.
By sunset, the police surrounded the exits. Kitty sat near the windows. She organized the floor plan. She assigned committees for security and sanitation. She kept her medication in a small cooler.
According to federal memorandums released decades later, the strategy to end the occupation relied on medical attrition. The building was not equipped for long-term habitation. The FBI calculated that a population requiring ventilators, specialized diets, and daily medical aides would voluntarily evacuate if the environment became sufficiently hostile. They instituted a blockade.
The blockade went into effect immediately. No food deliveries allowed. No medical supplies permitted through the lobby. Guards stood at the main doors checking identification.
Kitty's muscles deteriorated faster under the physical strain. She couldn't walk. When the phone lines went dead, the fourth floor lost contact with the press. The government waited for the quiet.
Kitty dropped to the floor. She realized the barricades were designed for standing adults. The police had blocked the hallways at waist height. They hadn't blocked the linoleum.
The floors were covered in cigarette ash and spilled coffee. She dragged her body through it. She crawled under the barricades to reach the restricted elevator shafts and unguarded offices.
She carried notes in her pockets. She found a single working payphone the FBI missed. She called the local news desks. She called the mayor's office.
She crawled back. When her arms failed, someone pulled her by her ankles. The Black Panthers heard the news reports. They crossed the police lines with hot meals. The FBI could not stop them without a riot.
They shut off the elevators, so she crawled.
The occupation lasted twenty-five days. It remains the longest non-violent occupation of a federal building in American history. On April 28, the Secretary of HEW signed the regulations without a single alteration.
The protesters left the building the next morning. They went back to their apartments. The Rehabilitation Act regulations laid the groundwork for every accessibility law that followed. The HEW building still stands on United Nations Plaza. The elevators run on a schedule. The doors are heavy glass.
Kitty Cone: the woman who crawled under the barricades.
Source: Kitty Cone's oral history, Bancroft Library.
Verified via: National Museum of American History.
(Some details summarized for brevity.)
WIP Sneak Peek
Mist shrouds a secret from view.
Is that a washi tape we spy? Let's reach the stretch goal together to see what Luneat has in store for us!
Is it possible that I can’t lead a full life? Am I nothing but a floating weed sprouting in a bog of decadence, a weed which can only have a pale illusory flower even if it blooms?
Mori Ōgai, “Youth” from Youth and Other Stories
Eurovision, while a completely tasteless, kitschy, and tone deaf feast of vanity, is fascinating because after a wave of "yeah, this would be a song in this", the very end is basically that final fight in a movie where a completely milquetoast, boring hero stands against an irredeemable demon king and wins by a hair's breadth, preventing an apocalypse.
What made me laugh most is that the post just days "sponsored by parmesean cheese." Not a cheese brand. Parmesean itself as an entity and business.
Big Parma, if you will.
Villa began working with Parmigiano Reggiano—the official consortium of authentic parmesan cheese producers—in 2021
She is actually literally sponsored by big Parma
You ever see a picture and you realize it's only like two steps away from being someone's weird fetish art commission?
Anyway she's an artistic gymnast for anyone who was wondering.
(Also the Olympics has, at times, featured some unusual "sports", like poetry and architecture. Cheese making isn't that strange of an idea. Olympic cheese making.)
*Sheogorath approves this message*
Cheese….
ive always been willing to die on the hill of cis women being able to beat cis men in sports so nobody will ever ever make me concerned about trans women in womens sports even if i was delusional enough to believe that was a comparable situation. do i think a cis woman could beat a trans woman in fucking pickleball or whatever? Buddy I think a cis woman could beat a cis male bodybuilder in sports. You will not get me
many people in these notes are revealing how they truly don't believe afab people are capable of beating amab people at Any sports due to their fragile bird bones delicate skin and and trying to make it seem like i'm feeding afab people to lions in the coliseum. you people are not only wrong but more importantly you are Stupidt
"Of course, I'm in a ponytail. I always wanted to wear a ponytail because the hours were so long and anything that I could to cut down and they used to bribe me by buying clothing that I wanted to wear if I would not wear my hair in a ponytail."
"So that was usually the agreement. So, if you see, like a really cool outfit with my hair down, you know it was a barter for it."
Sarah Michelle Gellar || Allure
Chill bro, it's just a very questionable 10ft tall moth demon, no stress.