Wonderland.

A thing of beauty is a joy forever.

[goth-queen]

[wizardpotions]

You all need to understand that autonomy and especially bodily autonomy NEEDS to include being allowed to do things that are bad for you. True bodily autonomy includes being allowed to do things that are risky, drugs, cosmetic procedures and the like. Bodily autonomy needs to include being allowed to get high or smoke or get a BBL. The important part is education about the risks

[metamorphesque]

  — Clarice Lispector, The Passion According to G.H.

[text ID: It is because I dove into the abyss that I am beginning to love the abyss I am made of.]

[rivaloli-deactivated20210928]

“I LOVE that game!” (watched a letsplay and commentary about it)

[khaleesi]

this counts and i’ll hear nothing against it

[queerasflux]

if watching sports counts as enjoying the sport, then watching video games counts as enjoying video games.

[harostar]

And literally a huge part of gaming has ALWAYS been the experience of sitting around together, watching one person in the group play while everyone else cheers, heckles, shrieks, and generally has a good time.

[plur1bus]

Pluribus— “The Gap” (1.07)

[disruptiveempathy]

People put so much into seeing Stonewall as this symbol. And at the time we just thought, ‘Oh, I guess it’s just that time of the month when cops raid the bar, so they can make their numbers for arresting fags for the month of June.’ But people get so concerned about the details. I don’t know about all the crap I’ve heard all these years. Sometimes it’s ‘Oh, someone threw a high-heel shoe.’ Sometimes it’s ‘No, gurl, it was a Molotov cocktail,’ or ‘Somebody slugged a cop.’ All I know is that night, they came in, and nobody budged. I guess we were just sick of their shit. And suddenly we were fighting, and we were kicking their ass. The cops had to back up into the bar. We had them cornered. Next thing you knew, the riot squad was there, and baby, it was on. ‘The night of Stonewall’ is how people talk about it, but it was more like a week. People want to know the little details, but what I remember most is being scared as hell. We were fighting for our lives. They’re still killing us; they’re still not giving us the respect we’re due for putting up with their shit all these years. I’m giving you the facts about how shit’s been from the beginning, and what’s gone on, how the law was in our daily lives—the facts! And so with regard to that producer lady, the whole time I just thought to myself, ‘There’s gonna be so much of me on the cutting-room floor.’

—Miss Major, from Miss Major Speaks: Conversations with a Black Trans Revolutionary

[toiich]

The Green Ray (1986), dir. Éric Rohmer

[weedstoner]

fyi was watching the news at my parents' house and the way he's being described by mainstream news outlets is as "someone who reached across the aisle to try to engage progressives in healthy debate" and it's absolutely imperative that we do not let him be remembered in this way. we are not going to revise history and pretend he has ever done anything other than lob logical fallacy after logical fallacy at a bunch of college kids so he can clip it into flashy videos for his youtube channel. he did not argue in good faith, he did not try to find common ground with liberals or lefties, he would sit in an auditorium for hours dodging questions or making ad hominem arguments or bringing up non sequiturs until his time was up. there was no intellectual engagement happening here. I think it was probably a fun debate exercise for the college students to be able to identify logical fallacies in action, but nothing of substance was being argued or discussed or acquiesced upon. his two goals were to make fun of libtards and to give young white men nazi talking points coated in a veneer of social acceptance.

[sternfleck]

Let’s not forget his third goal: to groom and indoctrinate girls and young women into becoming submissive wives and willing victims of domestic abuse, including reproductive coercion. Source

[spillways-mp3]

[exeggcute]

I feel like anyone who calls the dialogue in kojima games "contrived" or any variation thereof is simultaneously missing the point and denying themselves the fun of watching an extremely long game-movie, but also, the man literally just tweets like this

[exeggcute]

exhibit B

[domicileensnared]

Please know that second one is about him being locked out of his instagram account for 15 minutes

[queersatanic]

Tweet

[yimra-deactivated20250209]

What the fuck

[screampotato]

This is absolutely fascinating. I've now been looking at Alex Colville's paintings and trying to work out what it is about them that makes them look like CGI and how/why he did that in a world where CGI didn't exist yet. Here's what I've got so far:

- Total lack of atmospheric perspective (things don't fade into the distance)

- Very realistic shading but no or only very faint shadows cast by ambient light.

- Limited interaction between objects and environment (shadows, ripples etc)

- Flat textures and consistent lighting used for backgrounds that would usually show a lot of variation in lighting, colour and texture

- Bodies apparently modelled piece by piece rather than drawn from life, and in a very stiff way so that the bodies show the pose but don't communicate the body language that would usually go with it. They look like dolls.

- Odd composition that cuts off parts that would usually be considered important (like the person's head in the snowy driving scene)

- Very precise drawing of structures and perspective combined with all the simplistic elements I've already listed. In other words, details in the "wrong" places.

What's fascinating about this is that in early or bad CGI, these things come from the fact that the machine is modelling very precisely the shapes and perspectives and colours, but missing out on some parts that are difficult to render (shadows, atmospheric perspective) and being completely unable to pose bodies in such a way as to convey emotion or body language.

But Colville wasn't a computer, so he did these same things *on purpose*. For some reason he was *aiming* for that precise-but-all-wrong look. I mean, mission accomplished! The question in my mind is, did he do this because he was trying to make the pictures unsettling and alienating, or because in some way, this was how he actually saw the world?

[xradiorental-deactivated2025072]

omf i never thought i'd find posts about alex colville on tumblr, but! he's a local artist where i'm from & i work at a library/archives and have processed a lot of documents related to his art. just wanted to give my two cents!

my impression is that colville did see the world as an unsettling place and a lot of his work was fueled by this general ~malaise?? but in a lot of cases, he was trying to express particular fears or traumas. for instance, this painting (horse and train) was apparently inspired by a really tragic experience his wife had:

iirc she was in a horrible automobile crash, as the car she was in collided with a train. i find it genuinely horrifying to look at, knowing the context, but a lot of colville's work is like that? idk he just seems to capture the feeling you get in nightmares where everything is treacle-ish and slow and inevitable.

[ey-yaar-deactivated20131103]

Tehran, Iran - Early 1990s.

[theblacknessdyer]

Teenagers who were following bands, and especially certain bands like Depeche Mode, who has, like, Martin Gore, has a crossdressing thing going… at that time was really forbidden. And people like us, who were following the band, and we were having the same haircut and, you know, wearing the leather jacket and stuff like this, we were in the spotlight. We used to get caught and beaten by police.

I know people in America and Europe, they take it as granted that they can get the records anywhere and can listen to anything they want. They go to concerts. But it was really difficult for me to find just a single poster of Depeche Mode, or just a single music of Depeche Mode.

- Andy (pictured), interviewed in Our Hobby Is Depeche Mode by Jeremy Deller & Nicholas Abrahams

[noah-wyles]

i love london

[ryan-sometimes]

It’s wild to me to see transvestigator conspiracy theories online that could be so easily explained by natural human variation. That woman has a deep voice? Yeah, sometimes they do. A woman has broad shoulders?? Maybe she plays rugby or hits the gym a fuckton. There’s a “bulge” in her tight pants?? Maybe her vulva is just fat. All the “markers” of trans woman that transvestigators use to harass any woman aren’t even things unique to trans women.

[ryan-sometimes]

Transphobes talk about women like they’re Barbies. Have you forgotten the existence of cameltoe? Tiny boobs? Narrow hips? Broad shoulders? Why do you think choirs have altos and not just sopranos? What do you think female athletes look like? Do you think a woman that lifts weights and plays contact sports will look like a 90s supermodel? At what point in history did we collectively forget that human bodies have natural variability???

[ryan-sometimes]

[anti-terf-posts]

official anti terf post

[princess-rosiebird]

[ellies-knife]

Reddit wins this one

[xjdkg89q]

[everyframeapainting20]

Miyazaki’s visual storytelling thrives on a sense of flatness that doesn’t diminish but rather enriches his worlds. By compressing the layers of his compositions—merging the foreground’s details, middle ground’s action, and background’s context—he crafts images that feel like living illustrations. Take the Warawara swarming with dishes in "The Boy and the Heron" or the jubilant feast scene in "Spirited Away" : both are packed with vibrant details, yet the visual plane feels collapsed, like a tableau unfolding all at once. This "flatness" isn't a flaw but a deliberate technique, pulling us into the frame as if we’re unrolling a scroll of visual wonder. It’s not depth that Miyazaki aims for—it’s a sheer density of storytelling in every frame, a reminder that 2D animation’s strength lies in its ability to immerse without imitating.