if i look back, i am lost
macklin celebrini has autism
$LAYYYTER
❣ Chile in a Photography ❣
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tannertan36
KIROKAZE
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art blog(derogatory)
titsay
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noise dept.
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2025 on Tumblr: Trends That Defined the Year
The Stonewall Inn
tumblr dot com
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@toobadyoudontplaybanjo
after stede and edward stop fighting eds gonna be like "fuck.. sorry about all your books.." and stedes gonna be like "oh no matter i have secondary copies of every one" then he's gonna open another secret passageway and lucius is gonna be in there eating paper
Plants are just like… Too much sun. Not enough sun. Ground too wet. Ground too dry. The pH balance is wrong. There’s not enough drainage. I don’t like terracotta. Feed me. Stop feeding me. God was killed here. I do not vibe with this soil.
then plants in nature be like… OWO .. is that a crack in the concrete?
Where do you think teen wolf jumped the shark? Also, non-specific, but do you have a favourite (and least favourite) TV finale? Thanks!
I heard a TV writer once discuss shark-jumping in terms of suspension of disbelief. “You get one buy,” is how he put it. On Psych, we’ll buy into the idea that Shawn does wacky hijinks in pursuit of convincing the police that he’s a psychic, because that is the show’s central premise. But if you try to add one more unbelievable thing on top of that (say, werewolves) the high-wire act fails. You’ve asked the audience to believe too many things, and now their faith in the show has collapsed.
But as even that writer acknowledged, it doesn’t usually work that cleanly. Shows rarely jump the shark all at once. Even seemingly obvious cases like, I don’t know, Bones, usually show some cracks in their foundations before they do whatever massive thing it is that completely fucks over their show. And often, it’s not a case of so much doing something that breaks the suspension of disbelief as it is breaking your contract with the audience. We agreed, implicitly, that we were going to be this kind of show—but now we’re this kind of show, instead.
The weird thing about that is that, in theory, that doesn’t have to be a bad thing. The Good Place broke its contract with its audience at the end of season one in a pretty major way: A lot of the twist of the first season of that show only works if you assume that it’s the kind of show that doesn’t have twists. (And despite it being one of the best first seasons of a comedy in years and years, I know people who felt betrayed by that twist!) Agents of SHIELD, as I wrote about earlier today, broke its contract with its audience massively at the end of its first season—it spent 18 episodes establishing a world, and character dynamics, and operating procedures, and then not gradually, but all at once, said, “Okay, none of that is what we’re doing anymore”—and became a much better show for it. Sometimes, you just have to say, “Screw the old world order,” and let people come along or not.
So anyway, when I ask, “When did Teen Wolf jump the shark?” I’m asking both, “When did it stop being the show it agreed to be at the outset?” and also, a little bit, “When did it get bad?” And there are two assumptions built into those questions: 1) That Teen Wolf at some point stopped being the show that viewers first signed on for, and 2) That Teen Wolf was ever good.
And, okay, I don’t think that Teen Wolf was a bad show, clearly, because I have watched seasons one through three… a lot. There is something compulsively watchable and fitfully well-observed, about that show. The scenes between Scott and his mom, or Stiles and his dad, or of just Allison, alone, are often shockingly well-observed on a human level. There is some great, almost melodic dialogue, performed by really good actors.
But also, I mean, it’s really silly. The first season is paced atrociously. There are all of these over-the-top cinematic sequences of lacrosse. The mythology is incoherent, even before they start piling stuff onto it. And it doesn’t seem to have a central theme until well into its third season, at which point its central theme is extremely ethically questionable.
But I think the thing is, that’s the show that viewers signed on for! They signed on for this silly, heartfelt, overly cinematic, occasionally weirdly insightful, sometimes very funny werewolf show, that couldn’t pace a 12-episode story arc to save its life. And there was no one moment where that show transitioned into being a different thing. It would be really easy to point to Allison’s death, but honestly, I think her death was fairly in keeping with the kind of show Teen Wolf had been up to that point; one thing that the show had always handled pretty well was teenage heartbreak, and although the ramifications of Allison’s death were handled weirdly, when they did pop up, they tended to be some of the better bits of late-season Teen Wolf.
I will say that season 3B was a huge tonal shift from previous seasons. It’s significantly darker than anything that came before it—not just at the end, but all the way through. It’s not really goofy the way that previous seasons were. On the other hand, 3B is a really good season of Teen Wolf. In many ways it’s the show firing at all cylinders. They’ve got their formula down. (Teen Wolf at its best is a villain + a secondary villain who’s hunting the main villain and making trouble for the good guys in the process + a handful of emotional throughlines.) They’ve got a genuine atmosphere going. They’ve got a tremendous central performance from Dylan O’Brien. And the plot completely tracks!
The problem is that 3B leads into season 4, which maintains the tonal shift—it is literally, physically darker, as all of the ensuing seasons are—but is also bad. There are moments of season 4 that I like, but it’s also the point in time when Teen Wolf gives up on the “two villains” model in favor of the “five hundred villains” model, and also introduces a bunch of new characters, which it is absolutely not capable of dealing with. Also, at around this point, Teen Wolf stopped plotting logically and started plotting thematically. What I mean is that, for instance, in season four, suddenly Lydia, Stiles, and Scott all have massive, encroaching financial issues. Of these, Stiles’ are the only ones that are connected to any previous plot point on the show itself. Lydia’s are, if I’m remembering correctly, introduced mid-season for like two episodes. But more to the point: These financial issues don’t go anywhere. There’s like a running bit with a duffel bag of money from the Hale vault, or whatever, but it’s ultimately meaningless, because the financial issues are not there to either move the plot forward or elucidate character. They’re supposed to be a thematic counterpoint to the hired assassins who have shown up in Beacon Hills.
That kind of theme-based plotting is a) not Teen Wolf, and b) completely outside of Teen Wolf’s skill set, and as soon as the show started working that way, it immediately became an incomprehensible mess. I reviewed every episode of season 5A, and I still could not tell you what the fuck was happening in that season.
But that can all be walked back. I’ve watched shows that got bad—sometimes in ways that made them feel completely unfamiliar to themselves—and then got good again. (For example, Community‘s season four finale is a shark-jumping moment if I’ve ever seen one, and season five, though it had Harmon back at the helm, still didn’t feel like Community in some vital way—but season six is my second-favorite season of the show, and keeps trying to sneak its way into being my favorite.) The moment that I think of as being the point of no return, for Teen Wolf, is when they wrote Kira off. When Allison died, at least it felt meaningful, and like it was part of the natural progression of the show saying something. When Derek and Isaac left, it was due to the actors understandably moving on, and came about in ways that felt like natural exit points for the characters. But Kira’s exit was just Teen Wolf flailing, getting rid of characters who felt like likeable, old-style Teen Wolf (and who the show had put three seasons of development into) while filling up the cast with a bunch of mostly bland next-generation people. After a season with no Danny and no Coach, writing Kira out was really Teen Wolf just intentionally burning its bridges.
And actually, if you go back, it all starts even earlier than 3B. I think the cracks in Teen Wolf’s foundation start in 3A (a season I’m generally fond of!) with the introduction of the capital-M Mythology: the True Alpha stuff, which ended up really fucking with its ethics and the way that Scott functioned on the show long-term; and also Lydia’s banshee stuff and the Nemeton stuff, which ended up just being incredibly confusing. Season 3B is remarkable, in hindsight, for how comparably well it deals with those elements, when they all ended up being a huge drag on the show, in the long run.
So my short answer is that Teen Wolf jumped the shark in season 4, but my longer answer is that it was a process, starting in season 3A, and not really ending until season 5.
My favorite TV finale is, I think, the Lost finale, although the Community finale is certainly high up there. (Controversial, I know, but I will stand by this opinion til the end of time.) My least favorite, though I know it’s practically a cliche, is the How I Met Your Mother finale. When my sister was helping me brainstorm to figure out my answer to this question, she noted that a unifying factor among many terrible series finales is that they undo major aspects of the show that preceded them, and she is completely correct. This is the same reason that, even though it’s unusual for people to stay with their high school sweethearts, Harry/Ginny and Ron/Hermione had to be together in the Harry Potter epilogue; if you want to make that point, you had a whole series to make it. Trying to be clever and pull a fast one with the ending is just irritating.
Send me meta prompts to distract me from my migraine!
To people who use "þ" as an aesthetic "p"
þink again.
getting thorny in the linguistics fandom
þorny*
That also goes for using ß as an aesthetic B.
On my old server, there was a character named ßillyßadass.
This never failed to make me laugh, because that letter is not pronounced like B. It is a sharp S.
That guy named himself SsillySsadass.
Also to people who you Σ as an aesthetic E
that’s an S too, Σo maybe check next time
oh boy
Д as an aesthetic A? Дon’t be a дumbass.
И as an aesthetic N? don’t be sillи.
П as another aesthetic N? stoп it.
У as an aesthetic Y? ty bad.
Ш or Щ as an aesthetic W? nope. it’s “sh” and “shch”!
Я as an aesthetic R? surprise! it’s “ya”.
ah yes, that classic horror film SNYEYAPOVUL DIAYAIES
This is pronounced Stargoat.
Reblogging for Stargoat.
STARGOAT
Hello Muddah, hello Á é í ó ú . Here I am at Camp Granada. Camp is very entertaining. And they say we’ll have some fun if it stops raining.
That’s the Camp Granada song, sung with an Irish accent.
THE Irish accent…
…which is called a fada…
(hides)
I don’t want to be a fuck-up anymore.
God’s Own Country (2017) dir. Francis Lee
ceilidh gothic
You are the last person without a partner for the first dance. You are the last person not on the dancefloor. More and more couples join the floor. You are still the last person not on the dancefloor. The music gets faster.
How many glasses of water have you drunk? five, ten, a hundred, three hundred and seventeen… Your mouth is parched and dry. The music gets faster.
Your partner is someone you’ve not seen at the ceilidh up to this point. after one dance together, you never encounter them again. The music gets faster.
The ceilidh band calls for groups of five couples. There are no more people sitting by the side, but groups of four couples keep joining the floor. The music gets faster.
There is a dance where you swap partners. Again and again and again and again… Each time a new face, new colours, a new scent… how many people are at this ceilidh? You guess that the hall couldn’t hold more than a hundred. The music gets faster.
The music is a blur of rhythm and the screeching of blazing fiddles and discordant accordions. The music gets faster.
It is the last dance. The Orkadian Strip the Willow. How long has it been the last dance? How long have you been spinning? How long is the hall? You keep spinning. The music gets faster.
Urban Weed Awards (continued and complete)
A Rainbow of Light Diffracts Through Hummingbird Wings in Photographs by Christian Spencer
When STEM people have fun.
anyways the version of much ado about nothing starring catherine tate and david tennant as beatrice and benedick is a Classic. david tennant’s benedick is FULL chaotic dumbass, and catherine tate’s beatrice is past being full of rage and is completely done with everyone from the very beginning. plus, they just work off each other so well.
not to mention the costumes and props. benedick in drag? BENEDICK IN JORTS AND A SUPERMAN SHIRT? beatrice wearing a suit? beatrice swaggering around with a beer in her hand, while benedick sips on pink, fruity cocktails? benedick writing his love song to beatrice on one of those stupid little electric keyboards? unparalleled artistry.
nothing makes me happier than this moment
oh absolutely ICONIC. and the fact that he gives his whole monologue after whilst covered in paint. “love me? [beat, looks down at his paint covered self] why?” truly how shakespeare intended it
I also love this. what a way to kick things off.
[Image Descriptions: Three images of David Tennant as Benedick in Much Ado About Nothing. Two gifs of him wearing cut-off jean shorts and a superman shirt, smearing paint all over his chest and face. One still image of him sitting in a golf cart covered in union jacks with his feet up on the steering wheel, sort of hanging off the thing. He’s wearing a military uniform. This is Benedick’s entrance in the play. End description.]
#anyone got a link?
Part One
Part Two
Enjoy!
@toobadyoudontplaybanjo wanna get plastered and watch this sometime?
fucking YES!!!
Australia right now:
Thought: I do NOT think that 50% of the world’s billionaires should be women. I think there shouldn’t be any billionaires at all.
So you are saying 0% of the world should be billionaires?
Why shouldn’t their be billionaires? That makes no sense.
Because the existence of billionaires is predicated on the exploitation of human labor and unsustainable environmental harm. That level of wealth hoarding is harmful to economies, as it reduces the amount of money in circulation. No one person, no family, could ever conceivably even SPEND a billion dollars anyway, and it is inherently immoral to accumulate wealth so narrowly while so much of the world lives in abject poverty.
Better then to create a wealth ceiling, a point at which all wealth over a certain point is taxed at or very near 100% to incentivize people to actually spend their money rather than hoard it, stimulating the economy and bettering the lives of far more people. Better even still to create and regulate economic systems that protect workers and the environment in a way that such extreme levels of wealth accumulation aren’t even feasible.
The problem with this is that it reduces the incentive to actually do fiscally well. What’s the point of starting a business if you can’t become wealthy?
There is a very real difference between “reasonably wealthy” and A BILLIONAIRE
No one is saying you shouldn’t have a nice house, we are saying that having multiple really, really ridiculously nice houses while your employees are either homeless or at serious risk of becoming homeless is immoral.
I’ll never understand why this concept is hard for people. I think it’s because they can’t actually fathom how much $1 Billion is.
Seriously.
Let’s say you have a badass job. A great job. You make $100 AN HOUR. You work 10 hours a day ($1000 A DAY), 5 days a week ($5000 a week!!!), every week ($20,000 A MONTH), thats $240,000 Every Year.
It would take you 4,167 years to make a billion dollars.
I actually saw a really good visual representation of how large a billion actually is in comparison to the poor, the middle class, the rich, and the wealthy… I am legit going to find it again and post a couple of the visuals:
What folks tend to think a chart like that would look like, verses… A more accurate one to visualize just how big of a margin there is:
That dark green bar on the right is the 1%. Literally off the scale. A tax will hardly dent it, but it will mean the world to those who are considered the poor; fast food workers and struggling college students among them. Here’s the original post I got these from; it’s worth a read. https://elodieunderglass.tumblr.com/post/174386361596/bernie-sanders-voters-be-like
Can’t believe we’ve got a PM who has no spine
Buttercream Succulents Decorate Edible Planters by Leslie Vigil
