Tomtit (Petroica macrocephala), male, family Petroicidae, order Passeriformes, New Zealand
photograph by Mike Ashbee
$LAYYYTER
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almost home
Stranger Things
🪼
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Andulka
ojovivo
The Stonewall Inn
YOU ARE THE REASON
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★

ellievsbear
d e v o n
Claire Keane
Sade Olutola

Love Begins
he wasn't even looking at me and he found me
PUT YOUR BEARD IN MY MOUTH

Kiana Khansmith
seen from United States
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@resistancepilots
Tomtit (Petroica macrocephala), male, family Petroicidae, order Passeriformes, New Zealand
photograph by Mike Ashbee
Charles Rafferty, 'The Problem with Early Warning', 2026
"You could get up early and do it before work" I could also wait for a magic beanstalk to start growing in my living room LMAO. Let's focus on things that happen in the real world
I don’t even want to write a review of “Top Gun: Maverick” honestly, I’ve seen 1,500+ movies and I’ve never finished one that left me more depressed about the future of this country. I just want to stop thinking about it
By popular demand:
The White House just shared a video using footage from “Top Gun: Maverick” right before real footage of US bombs hitting Iran. I am sorry to announce that I have been 100% vindicated in my views on this movie.
"hephaistion made this" in a beautiful trompe-l'oeil piece of paper half unstuck by the wind still some of the rawest stuff ever put in a mosaic (2nd century bc, pergamon)
"Between you and me, in a hundred words, where do you think Van Gogh rates in the history of art?"
before i forget!!! cool thing we heard last night at the sinners Q&A: MBJ decided to wear different sized shoes while playing smoke and stack. for smoke he wore a size too large, the explanation being that when you're wearing shoes that are too big, you're less likely to want to move around because of how uncomfortable and clunky it is. as a result, smoke as a character is very still and purposeful with his movements. and then for stack he wore a half size too small because it makes you constantly shift around on your feet trying to find a stance and a position that feels right and takes the pressure off your feet. that makes stack more fidgety and restless. so MBJ said that wearing the different shoes made it a lot easier to embody the twins because he was just reacting naturally to what his body was telling him, rather than overthinking his movements. just the coolest shit. such a neat acting choice. i love movies, man.
Every time I'm forced by circumstance to hand-sew something, I remember a fairytale I once read. There are lead-up shenanigans as the humble protagonist helps small animals and meets the princess and all that, but in the climax, the princess rigs a contest for her hand by setting her own task: sew her a dress in a single night.
The noble suitors, who have never sewn a thing in their lives, sabotage themselves by their own ambitions: they choose difficult fabrics to work with and cut huge, elaborate patterns and select gems and pearls and beads to sew onto it, and snip such long bits of thread that they lose time detangling their stitches, and ultimately resort to pinning bits together as they run out of time, so that their offerings initially look beautiful and flashy, but when the princess tries them on they stick her with pin ends and fall apart as she moves.
The humble protagonist uses a very simple pattern without embellishments and sews using short lengths of thread (snipped off and threaded for him by little birds of course) which don't tangle and therefore save time. His dress is plain by contrast, but holds together and the princess is able to move freely in it, and so he wins the contest and her hand.
I particularly think about the bit about threading the needle with shorter lengths of thread, needing to tie off more often but avoiding tangles and thereby saving time.
I then ignore that piece of wisdom passed down through who knows how many years and proceed to cut the longest damn length of thread I can manage because I hate tying off beginning or ending knots and I will not subject myself to more of that even if it does mean more tangles along the way.
Gustave Caillebotte, The Floor Planers, 1875
All hail Gustave Caillebotte, the only Impressionist who bothered to say “You know what this art movement doesn’t have enough of? Shirtless rough trade, that’s what!” And then he became the change he wanted to see in the world, and I think that’s beautiful.
i saw this in a museum once and i gotta go off on this for a second– not only is it a gorgeous display of technical mastery over light, darkness, composition, form. it’s also a slap in the face to artistic conventions at the time. at the time, you could have nudes but they had to be heroic. they had to be virtuous. 1875, paris– art was supposed to be elevating. it was for the wealthy, it was to be uplifting, it was so everyone who commissioned the pictures could flex their classics education. okay?
so here’s the floor planers. they’re workmen. they’re workmen. they’re not some rent boy you dolled up with a helmet to be achilles or adonis. artists have been hornily painting working-class models (and sex-worker boyfriends) into their portraits forever, but you’re supposed to frame your appreciation for the male form as an intellectually irreproachable appreciation for the heroic body from literature, or, conversely you could depict the humble beauty of peasants, if you must, but it had to be a sort of ode to nature and the simple life. peasants could be art, as long as they were… out there, you know. in a field. being a metaphor. so there’s your options for looking at a shirtless guy: he’s got to be mythic.
but no. look, here, at the workmen. the floor planers. the workmen’s bodies not dressed up in sandals and helmet, in flowers, on a pedestal. the workmen not employed as some distant paean to an arcadian countryside, not stacking sheaves or holding a lamb or elevating the beauty of nature. they’re here, they’re urban, they’re in a room just like you might have. the workers of your world, in your home, in this reality. the male body as a very real, very nonfigurative tool, humble and employed, but still gorgeous. the beauty of the men that the patrician class pays not to see. the men who come into your mansion through the back door and work unseen and leave unseen. those men. there, right there, this painting, glowing and beautiful.
not adonis. but beautiful.
anyway at the time everyone fucking hated this picture because it’s a direct slap across the classist chops. they were BIG MAD, this was filthy, it was an affront. they hated it. the paris salon rejected it. established intellectuals didn’t want anything to do with this kind of confrontation. it wasn’t art.
i just love that.
like, look at those hot guys go. look at the shine on the floor and the way their arms are. no virtuous framing, no classic allusions. just some regular guys making the floors nice for a rich fucker who never laid eyes on them at all. but here they are: look at them.
they’re still beautiful.
#if youd ever walked barefoot on a floor that isnt planed youd think this is heroic too
I've never been able to make my family understand what I do.
Elementary, 1x10 "The Leviathan"
the thing about lotr that the movies don’t convey so fully is how the story is set in an age heavily overshadowed by all the ages before. they’re constantly traveling through ruins, discussing the glory of days gone by, the empires of men are much diminished, the elves (especially galadriel) are described as seeming incongruent, frozen in time….some of the imagery is even near-apocalyptic, like the ruins of moria and of course the landscape surrounding mordor
this is a strange thought to me, somehow: that the archetypal “high fantasy” story is set at the point where the…fantasy…used to be much higher? this is not the golden age; this is a remnant
LotR is Mad Max: Beyond Thunderdome of the elves.
i want to emphasize that people have added excerpts of their theses in reply to this post but this is still my favorite reblog
Honestly I’d take it further than that: it’s Fury Road. And that’s part of what makes Galadriel’s choice so fucking central, and so amazing, and so heartbreaking.
Because she was there. She was there from the BEGINNING. She grew up in the Undying Lands in the light of the Two Trees. She even LEFT the Undying Lands because she could pretty plainly see there was no chance to build great kingdoms or new things there.
She helped lead her people across the grinding ice after Fëanor and his sons abandoned them. She lived in Doriath at its height, her brother created Nargothrond at its height, the peak of cooperation between Khazâd and Quendi, her cousin built Gondolin.
And she watched all of it die.
She lost her brothers, two to war and one to torture and then being half-eaten by a demon-wolf in the depths of Sauron’s first stronghold. She saw Thingol murdered and Melian wrecked. She saw her brother’s shining Nargothrond fall to Glaurung and become a desecrated pit of hell. She saw her cousins die, one by one; then she saw her cousins turn on her own people (again) and murder over half of them.
She saw all of the lands she’d known wrecked and destroyed: some polluted and destroyed by Morgoth, some destroyed in the War of Wrath. She saw Khazad-dûm polluted and destroyed by the Balrog. She saw Númenor - whose royal line were also her kin, via Turgon and Idril - polluted, turned into a brutal hideous empire and tyranny, and then sunk.
She saw Celebrimbor, her young cousin, try to make the rings as tools to make the world better - and saw Sauron use and betray him, and then come back and utterly destroy his kingdom, slaughtering his people, who fled to her, to Thranduil, and to Elrond. She saw Gil-galad’s last kingdom and the very Pyrrhic victory in Mordor, followed by the slow but unstoppable decay of what she in Lorien, Thranduil in Greenwood or Elrond in Imladris could actually protect.
Then she saw her only child captured by orcs and held captive and tortured and gods know what else until Celebrien was incapable of staying in Middle Earth - not for her children, or her husband, or her parents. She saw the rise of the Necromancer and his unmasking.
She has bled and lost and grieved for thousands of years. Not a single person she came to Middle-Earth with still survives. Celeborn is the only person she loved she has ever got to keep with her, and she met him there. She couldn’t even keep her own child safe.
And now she’s being offered the One Ring, the source of more power than even Melian had (and Melian was strong enough for the Girdle to protect Doriath from Melkor). She’s being offered the one thing that exists that could even possibly let her change that, make that not so. The only thing that exists that could keep the final end of all of that being the death of Lorien, the loss of Imladris, the loss of everything she ever wanted or worked for.
Without the Ring, she was strong enough to hold Sauron off. With the Ring she could have erased him. She would have been stronger than Lúthien, who enchanted even Melkor. She could make the whole world like Lothlorien. And Frodo is offering it to her.
More than that, he’s asking her to take it. He’s saying “I’m too weak, I’m too small, I’m tired, I’m scared, it hurts, I don’t want it. Please say you want it and I will give it to you.”
And she says no. She doesn’t take it. She doesn’t ask for it.
She accepts that everything she has ever done is going to die. That she will be forgotten, that her people’s home will decay and disintegrate, that nothing she made or anyone she ever loved made will endure.
She fights the war that comes afterwards (and the movies ALSO mislead like fuck on that: Lothlorien and Rivendell were both under MAJOR siege during the war and a LOT of people died, and that should be even scarier: that Sauron fully felt he had the power to attack not JUST Gondor, but at the same time the Golden Wood, Imladris, the Lonely Mountain … and in all of them come so close to winning that it’s only the Ring’s destruction that saves the world; that’s how strong he was) in order to make sure that this will happen. That exactly the thing that will be the final nail in the coffin - the destruction of the Ring - will come to pass.
And then goes back to the Undying Lands as an exile returning on sufferance, alone, because Celeborn can’t bring himself to leave yet.
Elrond’s story is just about as tragic, and the thing is, this is the context of their last acts: throwing themselves at the war, at death, at the destruction of everything they love, because it’s the only chance that the people who come after them will get anything better than brutal slavery to the Enemy. They don’t get to keep shit. Elrond even loses his daughter - permanently, because her soul goes wherever human souls go. He’s already lost his twin brother like that.
And despite what everyone draws as parallels, Aman isn’t “Heaven”. There’s no guarantee of healing or happiness there. It’s more likely than in Middle-Earth, but Fëanor’s mother effectively died of exhaustion, and even Nienna, one of the Valier herself, lives in permanent shattered mourning for the desecration and suffering of the world. Even as Frodo’s offered the right to go there the wording is always may.
His wounds and weariness may be healed. Not will be. But may be.
There’s no guarantee that Celebrien is there waiting for her mother or her husband when they get there: she may still be the wreck she was when she left Middle Earth. There’s no guarantee of anything.
So it has a lot more in common with Fury Road, and the end of Fury Road - Max having given his all to help someone else win their victory and freedom, and then walking away because he can’t stay - than anything. And that’s pretty heartbreaking.
@soothseay
He said the food overall was truly exceptional. And creative. He said the talent here is undeniable. That there's a scallop dish he hasn't been able to stop thinking about and the hospitality was beautiful. He said the room felt alive without being precious or try-hard.
THE BEAR, 5.08 "The Original Beef of Chicagoland"
can we get anne carson on hot ones
Robin
If someone ever tells you they’ve “reached a good place to stop” in lace they either mean “the thread is running out and I don’t want to do a changeover” or “I’ve done something I shouldn’t and have decided to make it my future self’s problem”
Critical Role (2015-) campaign 1, episode 35//campaign 2, episode 72 bonus:
I finally got around to reading Not Easily Conquered and I'm just about as okay as you'd expect after that
this is one of the fics they're talking about when people say stucky fandom in 2014 was writing beautiful poetry and academic papers in their fanfictions
I am being so, so real with y'all right now
The artistic ecosystem of Bucky Fanfiction is an intricate, fascinating, gorgeous landscape of entwined artistic works that deserves analysis and recognition
Cringe culture, intellectual property law, and the self-destruction of the franchise it was based upon have conspired to isolate and devalue this art-ecosystem, and this makes me want to throw myself in the ocean
Yes, it's a gay love epic for the ages, on par with kirk and spock, or gilgamesh and enkidu, but it's also just fascinating how so many writers took compelling pieces and bits from the source material and formed an interconnected labyrinth of stories, all in conversation with one another and forming new nodes of compelling concepts that were then picked up by further stories
most contemporary storytelling considers "originality" as an inherently good quality. Creators are encouraged to conceal their influences as much as possible, so it should be difficult to trace directly where ideas descended from. It's not spoken out loud but once you see it, you can't stop realizing how weird it is.
An artistic ecosystem that rejects that premise can do some BONKERS stuff.
It's intoxicating to see stories interacting on an ecosystem level so closely, exchanging and circulating ideas, refining and clarifying
And with early Stucky fandom, it's driven by this frenetic sense of passion. I don't think everyone believed that the ship would become canon, but in a way that's hard to describe, you can tell they believed it was real.
There is no self-consciousness. It is blisteringly sincere art
I feel like this kind of Storycosystem can't emerge with a franchise that actually understands what it's doing, or reckons with its own implications, or is actually uncomplicatedly good, because then, the NECESSITY of telling the story wouldn't be burning a hole in our heads.
Once, a painfully mainstream multimillion-dollar media franchise accidentally told like 14% of one of mankind's Great Stories