July 22nd: breakfasted on a lovely array of fresh strawberries and goat’s cheese with honey, oat cakes and barley porridge. For luncheon we feasted on a catch of smoked trout, vegetable stew, and of course a couple of flagons of October Ale
PSA: tumblr user littlefuckinmonster is stealing human bones from cemeteries in Louisiana. Please don’t let them get away with this and spread the word/signal boost!
For anyone who wasnt around when this happened, this was real. Littlefuckinmonster was actually stealing bones from cemeteries. She is the bone stealing witch. She was specifically stealing bones from poor people. She was arrested for it.
“During the investigation, Louisiana enacted the Louisiana Human Remains Protection and Control Act, which increased the penalties for trading human remains and made Louisiana the third state to broadly ban the import and export of human remains.” - Wikipedia
Winter Olympics 2026 uniforms for the Haitian team, by Italian Haitian designer Stella Jean
Haiti was forced to remove an image of revolutionary leader Toussaint Louverture from its Winter Olympics uniform, under IOC rules which ban 'political symbols'.
But designer Stella Jean kept an image of his horse, as a reminder of the slave revolt he led against France.
cheetah in House perfec t size for put inside! inside very Soft and Comfort cheetah sleep soundly put cheetah in House. Put Cheetah In House. no problems ever in cheetah in ho use because good Happy and Satisfy for human where sleep. House yes a place for a cheetah put cheetah in house can trust cheetah for giveing good love to humans in house. friend cheetah
I mean, as someone who as worked in a zoo, this is fairly true.
Obvious disclaimer that you shouldn't have wild animals as pets.
But like, cheetahs are the only large cats that keepers will do free contact with. Hell, even most small cats don't get free contact. (Because small cats can be VICIOUS. They'll have a baby pallas cat wearing thicker gloves than when handling an owl. Because small cats can just be vicious.)
Like I think the only other cat at our zoo where I've seen free contact with was servals? Because I know they've used servals in shows to demonstrate their natural jumping ability. But I know servals can sometimes have a mean temper as well. Meanwhile they'll do the cheetah run and afterwards put the mic by the cheetahs and it's just like an engine with them purring. It's fascinating to watch when the message in every other large animal is "no free contact because it's dangerous even when they're born in captivity".
Legit if any wild animal could be adapted to a pet it would be cheetahs lmao. Only problem is they can be skittish and very anxious and that's why they're often raised around dogs in zoos to gain confidence.
In King Ludwig II’s defense, if I had basically infinite discretionary funds, was accountable to absolutely no one, and was king of a country full of picturesque landscapes, you couldn’t stop me from building myself a big gay fairytale castle on a mountaintop either.
This post is spreading and I feel bad about it because it contains misinformation, so for the record: Ludwig II did not in fact have infinite discretionary funds. He only acted as if he did. He never dipped into the public coffers for his building projects, but he spent his own fortune extravagantly and borrowed heavily from everyone he could think of. By 1885, the year before his death, he was 14 million marks in debt.
I always find this inspiring because try to name another prince of a German state. What did the rulers of Hamberg do? The Grand Duchy of Hesse? Gone with the wind, no one knows them anymore. But Mad Lad Ludwig built a top 5 most famous castle in the entire world. Money is fake, castles are real. Go broke and die like a winner.
Neuschwanstein, literally the inspo for the castles in Disney's Sleeping Beauty and Cinderella
Hohenschwangau, the practical castle
Linderhof, the final, the smallest, and the MOST fab.
Every room is incredible and the park is beautiful, but shoutout to The Bedroom, the biggest room
The Hall of Mirrors, which he probably wandered by candle light because he was a serious night owl
The Dining Room, with a wishing table that lowers to the kitchen, and rises with a crank, returning magically full of food
The Venus Grotto, constructed for the sole use of Ludwig to larp to his heart's content
A full artificial cave, it features a waterfall, fake stalactites, and a custom-designed swan boat floating on an artificial lake. The first electricity in Bavaria was generated here, to change the colors of the stage lights and to power Ludwig's fountain and wave machine.
Nine Inch Nails Are Filling the Hole in Their Souls With Film Music
Photos by Sinna Nasseri for The New York Times
Words by Lindsay Zoladz
Article Posting Date: Nov 1, 2025
Trent Reznor and Atticus Ross’s soundtrack for “Tron: Ares” is their first under their acclaimed band’s name. These days, the project “feels vital and exciting again.”
Since 2011, when their first film score — the striking, unsettling music for David Fincher’s drama “The Social Network” — earned them an Oscar, Trent Reznor and Atticus Ross have enjoyed a remarkably prolific and consistent run as composers for movies and TV.
They’ve showed impressive range across well over a dozen scores, including the kinetic electronic music for Luca Guadagnino’s 2024 tennis flick “Challengers”; their tense arrangements for Guadagnino’s current melodrama “After the Hunt”; and their jazz-influenced work for the 2020 Pixar movie “Soul,” for which the pair won a second Oscar. But their latest, written for the neon-streaked Disney extravaganza “Tron: Ares,” is the first on which they are credited as Nine Inch Nails, the pioneering industrial rock outfit that Reznor founded in 1988 and Ross joined in 2016.
“It really had a significant impact on what ended up happening,” Reznor said in a recent video call. “It yielded something that wouldn’t have happened if it were called Trent and Atticus.”
Full of eerie melodies and warped synthetic textures, Nine Inch Nails’ “Tron: Ares” soundtrack conjures both awe and menace — a perfect fit for a story that explores the potential benefits and dangers of artificial intelligence. The film sometimes has a retro-futuristic aesthetic, which allows Reznor and Ross to create a soundscape that feels at once sharply contemporary and in conversation with early electronic scores from Tangerine Dream, Giorgio Moroder and Wendy Carlos, whose synth-driven symphonies scored the original 1982 “Tron.”
“It yielded something that wouldn’t have happened if it were called Trent and Atticus,” Trent Reznor said of the “Tron: Ares” soundtrack being credited to Nine Inch Nails.
Reznor and Ross spend much of their time working side by side in the seclusion of their Los Angeles studio. But for this interview they were — for once — in different rooms, savoring a rare day off before the two hometown shows that closed out a recent leg of Nine Inch Nails’ triumphant Peel It Back Tour. Though known for their aesthetic severity and surly introversion — “We’re insular people who don’t want to hang out with other people, normally,” Reznor said at one point — the call revealed a flash of whimsy: A signed, framed headshot of a Ross favorite, David Hasselhoff, looked out from a shelf in his office. (“I like to keep treasured things around me,” he said and laughed.)
The Peel It Back shows fuse impressive visuals with some exhilarating reworkings of Nine Inch Nails classics with help from the producer Boys Noize; like transforming the throbbing rocker “Closer” into a relentless club mix. “It’s a rock show, but it feels like it’s constructed in a new kind of way,” Ross said. “I’m not saying that arrogantly, but that’s just how I feel about it.”
The pair had planned a Los Angeles festival focused on film music called Future Ruins for early November, but called it off “to re-think and re-evaluate,” the organizers wrote in a statement earlier this month.
The score and the tour, which will continue next year, represent a new, rejuvenated period in the always-evolving band that Reznor has helmed for nearly four decades. “Nine Inch Nails was stagnant for a while because it didn’t particularly feel that interesting to me,” he said. “It didn’t feel creatively stagnant in terms of what had to be said, but the container it was in felt a little tedious.” Suddenly that has all changed. Now, for Reznor, being in Nine Inch Nails “feels vital and exciting again.”
“Composing,” he added, “and being able to be on those weird assignments has really invigorated us, I think, as artists and people.”
These are edited excerpts from the conversation.
What was the first film score that you remember impacting you?
TRENT REZNOR “Halloween” came out when I was kind of too young to see it, and it scared the living [expletive] out of everybody. John Carpenter’s score crept into what was going to affect my whole musical trajectory. The use of synthesizers and tension and weird dissonance.
“In the days of VHS and being a teenager, films like ‘Midnight Express’ or ‘Blade Runner,’ I was definitely conscious I was being transported to a different world and that music was part of that language,” Atticus Ross said.
ATTICUS ROSS Mine was similar: My dad took me to “Jaws” when I was definitely too young to be there, and I remember how terrifying that was. But film music did transcend the screen for me kind of early. In the days of VHS and being a teenager, films like “Midnight Express” or “Blade Runner,” I was definitely conscious I was being transported to a different world and that music was part of that language.
When you did “The Social Network,” you both went from never having scored a film before to winning the industry’s highest honor. What was that ride like?
REZNOR I know I can speak for both of us when I say we’re uncomfortable congratulating ourselves or believing that we did good at something. It’s just kind of how we’re wired.
ROSS We were so invested in the film from a creative point, and we knew zero about the film business and awards campaigns. So it was kind of like taking acid that lasted six weeks, with those kind of highs and lows. “Now you’re going to a lunch where so and so is going to be talking about this, and now you’re going to a tea, but do I have to wear a suit to that?”
REZNOR The wonderful experience of “The Social Network” was working with an incredible partner, David Fincher, who is one the smartest people I’ve ever met, and was also one of the most nurturing. We felt like, “We don’t want to be the ones to ruin your movie because we don’t know what we’re doing.” Fincher taught us to trust our instinct and lean into that.
To win the biggest award at the end of it was deeply into surreal territory. It felt amazing. And it also taught us that you’re still the same [expletive] the next day, but now you have a trophy on your shelf. The same hole is still inside your spirit. It didn’t fix you, although it felt nice for a minute.
That’s not to downplay it at all, but it trained us in the bigger picture. To come to where we are now, which is: Why are we doing this? What’s the goal? It’s not to have another trophy. It’s to have the experience of working with interesting people that you learn from. That learning and that feeling of doing the best work we can do, that fills that hole up.
“Composing and being able to be on those weird assignments has really invigorated us, I think, as artists and people,” Reznor said.
What about your work on “Tron: Ares” makes it a Nine Inch Nails score?
REZNOR We met [the president of Disney Music] Tom MacDougall when we scored “Soul” for Pixar. He came by a few years ago and said, “Would you be interested in scoring a new Tron film?” Yeah, we would be. Then he said: “Just have a think about this. Would it make sense to be Nine Inch Nails versus Trent and Atticus?” And I said, “Why do you think that would be a good idea?” He said, “I’m introducing the idea because we want to infuse it with personality and we want to take some risks on the film musically, and maybe it would lead to a different place.”
By the time we actually started working on it, what started to reveal itself was that it changed the choices we made in terms of some of the sounds, and the inclusion of vocal songs.
Nothing against Prince, but the last thing I would want to do is, you know, “Music Inspired by Batman.” Like, nothing to do with the film. It needs to feel like the DNA of what the score is. Our role is to help tell the story through score. And it yielded something that wouldn’t have happened if it were called Trent and Atticus. It gave the license to put some actual songs in there.
ROSS The whole of the European tour, every moment we weren’t on a stage, we were in a traveling studio, in a hotel room trying to finish “Tron.”
REZNOR It’s a lesson that’s impossible for us to learn. “Hey, ‘Tron’ is going to be done in February. OK, cool, we’ll start up a tour in May.” What do you think happens? “Now ‘Tron’ is going to be done in July.” You’d think we’d know better, but we don’t.
Has composing scores changed the way you watch movies? Can you still get lost in a film, or are you always picking the score apart?
REZNOR When I’m not on tour, I try to go at least every other week to a theater to watch a film, just because I like to get out of my head for a couple hours and not be me — get lost in something where I feel guilty if my phone buzzes, you know? I don’t pay attention to the score if I’m lost in the movie. I normally only do if it strikes me as: “Wow, this sucks. I’ve been taken out of the story because the music is demanding that.” Or the more rare occasion: “Wow, this is good.” Followed now by a tinge of jealousy. I think the last one I saw that did that was “28 Years Later.” The music for that was excellent.
Have any other recent scores made you feel that way?
REZNOR What Cristobal Tapia de Veer did with “White Lotus” had an incredible effect on how you felt about the show. The playfulness, the mischievousness, the absurdity of it — I think really did a lot to make that show be as effective and beloved as it is.
ROSS “White Lotus” is a good example, because when that show came on — the opening titles — I’m already in.
I feel like people are missing the Very Important reference picture and that's just criminal. Clearly if you look at the dog that inspired the piece, you would understand the inherent validity of the voters' choice.
- Reblogging a post used to require two clicks. The reblog button, and then the post button. Now it takes three to do the exact same thing. This doesn't seem like a lot when stated like that, but it makes me want to reblog less, which is unfortunate as reblogging is Tumblr's core functionality.
- The note count has been removed entirely, separating them into individual reblogs and likes. Before, I could see the number of notes a post had at a glance. Easy. Effortless. Now I have to do math. Bad. Annoying.
- Previously one could go through the activity on a post by clicking the note count. Now, because the note count is gone, viewing who reblogged a post now requires even more clicks. Bad design choice. The location of that information is also not intuitive, particularly if you're used to the old layout.
- Likewise, you could previously view who liked a post by clicking on the note count. Now, unless someone has reblogged the post already, you cannot view the likes on a post AT ALL, because the menu to do so is only available on posts with reblogs. What?????
- You moved the edit and delete buttons from the post footer into the top right corner drop down menu. Unintuitive: why would buttons related to generating content (like the reblog button) be hidden in a separate menu? And again: previously, editing a post took one click. Now I have to go searching for the option.
This is an even wilder choice on Tumblr's part because there's SO MUCH empty space in between icons (bad design choice) so, it's not like there's not space for them.
- Similarly, liking and deleting reblogs is also now unintiuitive. There are two "more option" drop down menus on a reblogged post: one at the top header, and one underneath, next to the body of the original post. That's silly on its own - but even more so because the edit and delete buttons only appear on one menu, and not the other. Confusing!
- It occurs to me that the layout and functionality of the new post header is probably trying to mimic Twitter/Bluesky/etc? I hate this. If I wanted to use Twitter or Bluesky, I would open up Twitter or Bluesky. I come to Tumblr to use Tumblr. Why remove Tumblr's unique, defining features?
He Had A Swtchblade In His Pocket The Whole Time.. @saintmosshart - Tumblr Blog | Tumgag
andulkaphoto
yousharknotpass
kianamaiart
ellievsbear
germansingergirl
origamiaround
