"you already left kudos here"
And??? Let me like it again??? Clearly it deserves more??
Cosmic Funnies

izzy's playlists!

JVL
"I'm Dorothy Gale from Kansas"
$LAYYYTER
todays bird
Today's Document

pixel skylines

⁂
DEAR READER

Janaina Medeiros
ojovivo

❣ Chile in a Photography ❣
noise dept.
Three Goblin Art
YOU ARE THE REASON

Product Placement
TVSTRANGERTHINGS
occasionally subtle
Mike Driver
seen from Canada

seen from Türkiye

seen from New Zealand
seen from United States

seen from United States

seen from United States
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seen from Ukraine
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seen from Netherlands
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seen from United States
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seen from Türkiye
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@savedbythedawn
"you already left kudos here"
And??? Let me like it again??? Clearly it deserves more??
Happy Pride!
Every pride, you must reblog this. No exceptions
i rly don't follow that much people on here so that means the posts i like are usually reblogs by the same few accounts..... im so sorry i promise im not a stalker y'all are just the only ones in my feed😭😭😭
sports should be free and easy to watch for everyone everywhere
they should invent a body that feels normal to be inside of
it's almost summer do you guys want my stupid hyperoptimized lemonade recipe that takes half a day to make and whips absolute ass
Fruited Lemonade That Makes You Reconsider It All
ingredience:
lemons/limes (this needs to make up the bulk of the fruit being used, like at least 80%)
whatever other fruits or fruit scraps you want, plus any herbs/other flavorings you want to try. by fruit scraps I mean things like cherry pits, apple peels, pineapple cores, strawberry ends, things like that.
granulated white sugar, the coarser the better, 50% by weight of total citrus rinds + 100% by weight of any additional fruit. you'll measure this after you prep the fruit.
water as needed
equipment:
a few nonmetallic mixing bowls
a mesh strainer
a chinoise, ricer or some cheesecloth
a kitchen scale
a citrus juicer or reamer (manual or electric)
a potato masher
juice the citrus through a strainer - saving all rinds - and refrigerate the juice for the time being. dice the rinds and other fruits if any, keeping the rinds separate. make note of weights, and measure your sugar.
Place sugar in a large nonmetallic bowl. If using non-citrus fruits and/or any other flavorings, mix them in with the sugar and mash with potato masher. add diced citrus rinds, mix thoroughly, and mash again. cover and let stand at room temperature for at least 4 hours. this allows the sugar to draw out flavors that would otherwise get discarded with the rinds, and the rinds' acids should be enough to dissolve the sugar into a syrup.
Afterward, mash one last time, then collect the syrup by pressing the macerated mixture through a strainer/chinoise or ricer, or squeeze it through cheesecloth. if you want, this can be saved as a standalone syrup at this point, for use in cocktails or desserts. if not, slowly pour the reserved juice through the solids to to help get the remaining syrup out, and squeeze/press again. do the same thing one more time with warm water (roughly the same amount of water as juice). discard solids (or try making sangria with them!).
taste the mixture and add more water if necessary. a stronger mix is totally fine if you anticipate serving over ice on a hot day, or adding booze, or if there was a lot of non-sour fruit. keep in mind that it will taste a bit less sweet once it's chilled. pour into a pitcher and refrigerate.
citrus oils will float to the top, so stir/shake before serving. love you. enjoy.
some tried and true flavor combos:
straight lemon or lime, or any combination of the two, is of course an untouchable classic
lemon & strawberries (that's pussy babe!)
lemon & orange with a hint of vanilla (creamsiclemonade...?)
lemon & apples or apple peels with cinnamon/ginger/allspice (for late summer)
some cocktail type combos, booze optional:
lemon or lime & berries with basil + gin
lime & mint + white rum
lime & ginger + dark rum
lime & cucumber + gin
lime & orange (berries optional) + tequila
lemon, orange & cherry + brandy, bourbon, or rye whiskey
holy gods
wish ppl understood the power nowadays in not giving something attention. things today are so focused on attention and reaction and #memes that the best way to shut literally anything down is simply not give it exactly what it wants. like you arent going to own that bigot on twitter youre going to boost their original message whether thats your intent or not and you arent just playing with ai for shits and giggles you are giving it free learning and data. just stop engaging with things that dont deserve it
Agreed!
treat rage bait like cops
SHUT THE FUCK UP
<insert lawyer shut the fuck up video>
this is about how opening up the portal was actually the logical and, by some frameworks, moral choice, but im gonna talk about the thoughts i have leading to it first before we get to expanding on the tags from my post where i got emo over catra smiling in season five lmao
i've been rewatching she-ra with the flex server and we're doing it in a weekly format (2 eps each) which has been a suuuuuuuper interesting way to engage with the show, and really makes certain story beats hit different. like rewatching it made me realize how truly Okayest Parent and Failing Monarch angella is. i remembered her inaction and her harsh moments but ultimately remembered her as someone loving, but rewatching it this way it becomes obvious that the only time she really makes the correct call - tactically or emotionally - is when she doesn't stop someone else from doing it. and that's rare, she watched over a standstill for twenty years for a reason and she tried to stop them from rescuing glimmer from being tortured in the fright zone because she was too afraid. but that's not the point of this post, actually, because the point is the rewatch stopped just before Remember/The Portal last week and oh goddddddd did it make me stew
just rewatching all of season 3 again, you're sitting there every week watching catra attempt to commit suicide over and over. the thing i've always said about catra is that she's a survivor, but this rewatch has really highlighted that she's a survivor because of the sunk cost fallacy. that term comes up a lot when people are talking about her actions in season four or why she didn't defect, but it comes up so much earlier than that, because season 3 demonstrates it's the only reason she's alive.
catra has gone through physical, mental, and emotional torture at the hands of just about everyone in her life (like, i think the only one who has never harmed her is kyle and MAYBE rogelio). like adora literally breaks her ribs in the battle of bright moon. entrapta befriends the man who has been torturing her for years and stays friends with him as he leaves her to die in the desert (i know catra did so wrong by entrapta, but if you look at the timeline entrapta chooses hordak over her, and without any of the provocation catra has. love that purple girl just like my catgirl tho). if a man did the things scorpia does to catra, you would want him in jail, but everyone looks the other way because scorpia is a "nice girl" ("good guy") so her actions aren't examined as closely as catra's, which is where the thesis of this post is going so hang on a second
catra was "spared" her execution by having it merely extended to dying of exposure in the desert, but every "bold" move she makes in the waste that lets her rise to power is just her not caring if she dies, because she thinks she's dying anyway, and she thinks there is nothing worse than this. the other outlaws of the waste aren't scared of her because she's powerful, they're scared of her because they think she's fucking crazy - because they know there's no one more dangerous than someone with nothing to lose.
and then you get to the moment where opening the portal was actually decided: when shadow weaver tortures her during the invasion of the fright zone. the way catra started blacking out, blinking in and out of reality as her body moves on autopilot, the moment that adora mentioned shadow weaver was in bright moon (never said she was a prisoner btw, she in fact immediately shows that they trust her information at the least) back in the crimson waste, shows how deeply shadow weaver has traumatized catra.
the show just kind of moves past the torture because it has to or it would be rated r, but catra was physically tortured, electrocuted, magically thrown around, and told she was only alive because adora liked her since she was a little kid by shadow weaver. even hordak isn't creative enough to be that cruel. but, like scorpia, shadow weaver can win people over. like to be clear people do fucking hate her but she knows how to talk smooth enough that people still form emotional attachments to her and she gets away with it (it's how catra got betrayed and executed, after all, a fact shadow weaver immediately dismisses as catra failing at the start of this scene).
the moment the lever got pulled is before catra actually made it to the sanctum, and it's also that moment where the morality shifts to actually justify it, too, because it's the moment shadow weaver tortures catra, in front of the rebellion, using the rebellion's own magic, and no one protests. bow does say to stop, but he says shadow weaver is taking too much magic because he's worried about glimmer. no one says don't torture. not even don't torture catra - don't torture people on principle, something bow once claimed they had
that's supposed to be the good guys? the people who take in - literally - a baby torturer who leaves people for dead? the people who let shadow weaver hurt not only catra but glimmer too just so she can have more power to hurt catra with, proving that being part of the rebellion doesn't even make you any safer from your fellow soldiers than being part of the horde? the people who, as far as catra knows, let shadow weaver walk around freely despite claiming they had some kind of moral high ground?
there are no good guys left in the world from catra's perspective. the rebellion is just the horde in another coat of paint if they'll let shadow weaver in. yes, catra knows there are civilians that get hurt in the war and she knows the horde is evil because she has experienced that evil, but she also has experienced evil at the rebellion's hands, and this is the moment where she decides there is nothing left to fight for. there is no promised land. this is the moment where the fallacy hits the bottom of the floor.
there are only three options in this scenario, with this knowledge. you roll over, and you let the people who have tortured you win and put the most vile of your tormentors in a position of power over you before you get lined up for an execution right after fighting your way out of the last one, or you activate your secret not-weapon (cannot emphasize enough it's not a weapon, catra is not pulling a trigger when she turns on the portal) and you win and at that point it doesn't matter that both sides are wrong because at least the fighting is over, or... option three. it's just option two, but the warning was right and you all die. and if life is being tortured on every side no matter what, only a select few saved from the pain by virtue of just being so special that everyone loves them, is that even a bad outcome? is it?
yes, it's murder-suicide. but at that point it makes perfect sense with the outlook and facts she has, because don't forget, she has no reason to think adora is right. adora doesn't know shit about tech, much less portals. light hope catra already knows is full of shit. entrapta and hordak are the only ones who should know anything about this, and when catra decides to pull the lever, neither of them have expressed ANY concern about the portal. entrapta doesn't say anything until after catra has already made her decision. you don't see the shots from catra's pov of her blacking out and her body moving anyway like you do in the crimson waste when she decides to go back to the horde, but you actually see it happening still, just from the external pov. her body moves to taze entrapta and she only sees what has happened after entrapta falls, and then she completely panics and makes the wrong, wrong, wrong choice, but continuing forward to activate the portal? it's as much the sunk cost fallacy as it is downright logical with the facts she has at the time. entrapta already picked hordak over catra, of course she would pick the rebellion over catra now, even shadow weaver did. maybe she's wrong too. she's not, and on some level catra's subconscious knows that or she wouldn't rightfully panic, but it's too late and that's what she tells herself to quiet the bad feeling as she moves forward. she doesn't care which option it is anymore, as long as it's two or three, it's finally over.
we know she shouldn't have done it ("it" being pretty much anything she does), so it's easy to look at her actions and see them as wrong, but a lot of the time i think catra feels what she's doing is wrong on an emotional level but doesn't know what the safe alternative is, so she just keeps going, because who would think it's honestly putting down her weapon and walking into the rebellion with her hands raised, that would be way more illogical than opening the portal. adora and shadow weaver got to defect because they're special and magical and catra sincerely believes she wouldn't get that treatment if she even wanted to try, and she's not wrong to think that. glimmer literally outright says adora is different and the rest of the horde can't be trusted - not in front of catra, but it's proof that catra's view is based on observations and logic.
she's never happy with the bad decisions she makes and thus she has to find joy just in the concept of winning, which season four will see her deconstruct, but we're not there yet, so here, in season 3, she just has to react as fast as she can before she gets killed or tortured again. she can't hesitate so she panics and she makes the wrong choice every time, but it is perfectly written to build to that conclusion. the guts it takes to do something as dark as, well, catra's entire character, but the portal especially is a once in a lifetime thing for this medium. earlier today someone was recommending another animated show to me "because i watch she-ra" and when i said "okay where's the murder-suicide story arc" the way their face immediately changed shows that truly, no show is doing it like she-ra, because you know what comes after the murder-suicide? adora and catra waking up in the same bad, roughhousing and laughing and teasing each other and smiling like a breath of fresh air. you know what happens after adora feels like she's having a psychotic break in the portal and decides she needs to do something about it? her and scorpia having a petty little slapstick slap fight. the show doesn't miss a beat with the comedy swings lifting it up somewhere lighter even as it destroys its characters on a psychological level. god i love she-ra so much
Patchwork - Catradora fic on AO3 by n7punk
Pairings: Adora/Catra (Catradora). Fandom: She-Ra and the Princesses of Power (2018).
Rating: E. Chapters: 1/?. Words: 4.6k so far.
Summary:
If getting a tattoo wasn’t so complicated for magicats, Catra might have gotten one by now just to feel more normal, but she often has to use her lack of a soulmark to get girls’ attention when her cycle rolls around and sharing a dorm with Adora becomes torture. Everybody can see she’s not worth loving, so they’re willing to give her the one thing she needs and get a little practice in for their future soulmate. The only thing Catra has waiting for her in the future is her shared dorm becoming an empty one-bedroom apartment. Adora doesn’t feel right about her soulmark. The idea that fate has lined up some stranger for her that she’s supposed to be closer to than her best friend that she lost her baby teeth together with just sounds impossible, and she doesn’t have it in her to trust a system that has left Catra this hurt and angry. She knows she’s going to meet them, and she knows she’s supposed to be excited and care, but all she can do is think about how Catra is never going to get that excitement and it really, really hurts her. (A Catradora soulmate AU where Catra doesn’t have a mark)
Note: This fic is archive-locked, which means you will have to be logged into an AO3 account to read and view it.
Item: The Great Mole Rarity: ✦ Uncommon
Best video game underground level?
Feed your dashboard by answering my question, blogger.
well im obsessed with hades now so...
Speaking of books it's been a while since I've seen one of these posts going around & I'm curious so everyone could you tell me what you are reading rn in the tags please
I think a lot about how in Ice Age 1 a huge theme is the slow but unstoppable advancement of the human species as they start to threaten previously unchallenged megafauna (hunting the pack of the antagonist sabertooth and killing Manny the mammoth’s family) and then in all the sequels they just fuckin disappear
I think a lot about how the first movie was actually pretty somber and dark with moments of lightheartedness and comedy, about three animals who had lost their own families finding family in each other while trying to return this baby to his own family… The first sequel, while wackier, touches on the existential dread and loneliness Manny feels at being the apparent last of his kind, his exhilaration at meeting another like him, and the question of “be together because we want to be, or we HAVE to be?” as well as Ellie having been part of a found family herself… ….and then the franchise from then on out turns into “wacky animal hijinks.”
OKAY FOR REAL i rewatched the original ice age a little while ago for nostalgia and this movie is GOOD you guys—i literally rewatched it all over again the next day. there are a couple of key things i noticed:
1. they know how to shut up. the animals know how and when to shut up. yes, even the comic relief one. do you have any idea how important this is? yes, they play it for laughs when diego first confronts manny and they fight and then diego stops, clears his throat, and asks manny politely for the child (which was brilliant, by the way, i laughed aloud), but aside from that, when there’s a serious moment, they let it be serious. when manny accepts the baby from the mother, when he sees the paintings of the mammoths on the cave wall, when he returns the baby to its father, these are moments where everyone is dead silent, even sid, and the music is soft and heartwrenching and the next line is rarely, if ever, a joke that undercuts the prior moment. they let these scenes linger and it really makes this feel like an emotional, somber, serious movie with fun character interactions rather than a comedy that makes cheap appeals to emotion.
2. the way they characterize manny at the beginning is SUPER interesting to me. by the end of this movie, we know manny is a big softie who was deeply wounded by the loss of his family. we as the audience don’t know this yet, though, and the first time we catch a hint that there’s something deeper going on here, it’s when manny firmly, sharply insists to sid that partners should be loyal to each other. it’s not an obnoxiously blatant “hey i have trauma” flag, since it could be interpreted as the writers playing with the monogamy of mammoths and promiscuity of sloths, which i’m fairly certain they bring up in this movie, if not one of the others. still, though, it strikes that perfect balance of not making the Oh Frick Manny Had A Family reveal later on completely blindside us while also not telegraphing it too obviously. at the beginning, manny is clearly a loner who wants nothing to do with sid, but to avoid making him come off as a straight-up jerk, they make it abundantly clear in the introductory sequence that he has a strong moral code that he holds himself to (”I don’t like animals that kill for pleasure”). i just thought this was really well done, opening the movie with a scene that demonstrates both that manny is a complex character who comes off as cold but cares deeply (which sid basically sees straight through and i love it) and that sid is incredibly unlikable and as such nobody likes him. i didn’t realize it at first, but that’s such an interesting move. we open the movie with sid getting abandoned by his family, but then we find out how annoying he is and go “oh, well that explains it.” but then he tells manny all about how they regularly do their best to ditch him and it’s so clear that he’s just too pure and innocent to hold any malice towards them. under it all, though, it’s clear that he’s lonely, too, and has been for a while. these characters have depth, and feel like people, and every quiet moment just drives it home even more that they really don’t have anyone except each other.
3. DIEGO! we stan. i think it’s really interesting how instead of just throwing these characters into the world together, the writers make it clear that they had other people, before, but those people either were toxic and ditched them (sid’s family), were toxic and needed to be ditched (diego’s pack), or were loving but torn away by circumstance (manny’s family). i dunno, it just adds a really interesting layer of depth here. but anyway, diego’s arc was just really well done. he’s only there to get the kid, and though he does start to enjoy himself, he still has his mission. but when manny risks his life to save diego’s and sid makes that comment pointing it out, you can SEE how he starts to linger, starts to dread, the guilt builds up until he TELLS THEM. that’s so important! he tells them!!! there’s no stupid, “liar revealed” plotline where they figure out that he’s been tricking them because he comes clean himself, without provocation or pressure, and they do eventually forgive him and that’s SO important. diego wasn’t being honest with them, was living a lie and planning to betray them, and he made the incredibly difficult decision to stop in his tracks and come clean on his own terms because he knew it was the right thing to do. there were So Many Ways the writers could have handled that reveal, but to have diego just stop, think, change his mind, and confess was SO GOOD. also the dynamic between the three of them was just really, really great. i’m so emotionally attached to these early-2000′s CGI creatures okay.
4. speaking of which, this movie is surprisingly good-looking. like it came out in 2002. that is IMPRESSIVE. manny’s fur holds up shockingly well and my suspension of disbelief was never fricked up by poorly rendered CGI graphics. props to blue sky, man.
5. okay point five is lowkey the whole reason for this rant because it’s a really really cool point i only noticed on my second watch through: the parallelism. why does diego have to kidnap this baby? because his pack’s leader (soto, apparently) wants to eat it alive as revenge for the humans killing half of his own. why does manny want to rescue this baby? because he, too, is a parent who lost a child and doesn’t want the humans to go through that. but, wait, hang on a minute, how did he lose his child? oh, yeah, the humans killed it and his wife right in front of him. both soto and manny lost most of the people they care about to the humans—these humans, specifically, since they seem to be the only community in the area—but where soto swears revenge, manny doesn’t want them to go through what he went through, even though this very act could be what perpetuates that. and they acknowledge it in the movie. diego mentions how this baby is gonna grow up to hunt them and sid counters that maybe the fact that they saved it means it will remember their kindness and things will change. but the whole movie carries the somber atmosphere of a tragedy because, as someone else mentioned above, the humans are steadily encroaching and all of these creatures are going to go extinct, and this one act of kindness may not have the intended effect and may soon be lost to the uncaring tides of history, but that doesn’t make it any less worth it. manny isn’t doing this to try and make a statement or change the humans’ behavior, he just wants to prevent them from going through what he did. calling this story one of “breaking the cycle of violence” cheapens it, i feel, because the humans are hunting the mammoths, not out of malice, but out of necessity for furs and meat and bone and tusk. it’s nothing personal—they’re predators. but still, manny seeks them out to return their baby to them. and when the baby’s father is raising his spear at manny when he’s trying to return it, you can just see that look in manny’s eyes, that he’s begging this human to understand, but he’s prepared to get speared if it means this kid gets to be with his father and MY HEART, YOU GUYS.
6. FOUND FAMILY FOUND FAMILY like i know found family isn’t really all that hard to come by, but this movie is REALLY explicit about it in a good way! they make the distinction between a pack—a group who wants you for what you can do for them—and a herd—a group who regularly looks out to see what they can do for you. and a saber-tooth tiger leaves his PACK to join this HERD! and they joke that this is the weirdest herd they’ve ever seen, but a carnivore has just joined a herd and that makes me feel SO MANY FEELINGS
ultimately, ice age is a movie about choices. manny’s choice to return this kid to its parents, even though he lost his own kid to those very parents, diego’s choice to come clean about his betrayal and his choice to join a herd even though he’s a carnivore, manny making the choice to risk his life to save diego, diego making the choice to return the favor, and all three of them making the choice to not give up hope that they can find a new family again after losing what they had before. this is a movie in which characters are more than the way they were born, are more than the circumstances of their lives, are more than what happens to them. they make choices and their choices matter and they choose to be kind, even when they have absolutely nothing to gain from it and everything to lose from it.
i guess you could say this movie aged nicely.
thank you and good night
So we're all gonna let the new Harry Potter show die on the vine, right? No hatewatching. No thinkpieces. No videos about how bad it is. Deprive it of oxygen and let it wither away unremarked-upon and unprofitable; make HBO lose their entire investment and prove to the corporate entertainment sphere that the entire IP is poison. And spend that time doing something that brings you joy instead.
The Death of the Digital Ecosystem: Why Decoupling Notes Destroys Tumblr
@staff
For years, the total note count on a post served as a universal metric of a piece of content's impact. Whether a user liked the original post or a reblog fifteen branches deep, that engagement flowed back to the source. This ensured that the original artist, writer, or editor received the full credit for the viral success of their work.
Under this new system, engagement is trapped within the specific reblog a user happens to see on their dashboard. If a massive, high-traffic blog reblogs a piece of art from a small creator, every like and reblog that occurs through that larger account stays with them. The original creator is left with a stagnant note count on their own dashboard while their work generates thousands of interactions for someone else.
Erasure of Creator Visibility
Instead of seeing one post with 10,000 notes, a creator may now have to hunt through dozens of different reblog chains to find where the conversation is actually happening.
If the notes no longer flow back to the original post, the creator loses the ability to see who is enjoying their work, what the tags say, and how the community is responding.
On a platform where engagement often dictates visibility, splitting that engagement into tiny, unlinked fractions makes it significantly harder for original works to gain momentum compared to the high-reach blogs that reblog them.
Incentivizing the "Big Blog" Monopoly
This system rewards accounts that have already established a large following at the direct expense of the smaller accounts that actually produce the content. It transforms reblogging from a method of sharing into a method of acquisition.
When a reblog functions as its own independent post with its own note count, the incentive to click through to the original source disappears. The platform is transitioning from a collaborative ecosystem into a standard social media feed where the person who posts the content last—not the person who made it—reaps the rewards.
Impact on Collaborative Conversations
Tumblr’s unique culture is built on the reblog chain: a chronological, evolving conversation. By allowing users to like or reblog "any part" of the chain as an independent entity, the platform is breaking the narrative thread.
If engagement is siloed into specific branches, the incentive to add to a conversation is replaced by an incentive to simply own a piece of the engagement. This change doesn't encourage conversation. It encourages the commodification of individual posts within a chain, making it harder for the original voice to ever be heard over the noise of the rebloggers.
The Disincentive to Create
Perhaps the most damaging aspect of this update is the psychological toll on the creative community. When the platform actively diverts credit and engagement away from the source, it destroys the motivation to share original work at all.
For many, the reward for posting is seeing how far their work travels. If that travel is now invisible or attributed to others, the labor of creating becomes thankless.
This system makes creators want to share nothing. If the platform is built to harvest a creator's effort for the benefit of curator blogs, the logical response is to stop providing the raw material. I am one leaning into this category. Without us creators, the curator blogs have nothing to curate.
By making it harder to protect and track one's own work, the platform is effectively telling creators that their presence is secondary to the conversations happening around their work: conversations they may no longer even be able to find.