Show & Tell
almost home
sheepfilms
will byers stan first human second

bliss lane

izzy's playlists!

@theartofmadeline
ojovivo
he wasn't even looking at me and he found me
Noah Kahan
PUT YOUR BEARD IN MY MOUTH
Claire Keane
The Stonewall Inn

if i look back, i am lost
2025 on Tumblr: Trends That Defined the Year
untitled
taylor price
todays bird
$LAYYYTER
macklin celebrini has autism
seen from Algeria
seen from United States
seen from Uzbekistan
seen from United States
seen from Saudi Arabia
seen from Brazil

seen from Brazil

seen from Brazil
seen from United States
seen from Venezuela

seen from Colombia
seen from United States

seen from Russia
seen from United States
seen from United States
seen from Algeria

seen from France

seen from United States
seen from Brazil
seen from Bangladesh
@unnez
Inappropriate: Bill x 人良土兀 (Jao Chihwei) by JAOfilm (2022)
I started a first playthrough of Elden Ring a few weeks ago and I fell in love with the game!! I’m currently on the last boss of the DLC before I finish the base game. Here’s my Mallow as a tarnished 🥹
The only fromsoft game I’ve played before is Nightreign so I wanted to play the source material!!! And I love Nightreign so so much, I’ve gotten to depth 5 and have so much murk I don’t know what to do with.
Some in game screenshots of him! I found it easy but also difficult to create a human version of Mallow bc that’s just a guy with brown hair 😭!! Mad bc I had to choose between scars or freckles but I chose scar.
well ,,,
Policing the use of sanist language has got to be the most useless and counterproductive way to be anti-psych.
Tbh, I'm significantly less concerned with people casually using the word crazy to mean busy or overwhelming or something than I am with people adopting clinical psychiatric language in an attempt to appropriate the pathologizing function of psychiatry for themselves (as in the case of people using "narcissist" to essentially mean "evil person" and diagnosing everyone in their life as a narcissist).
Everybody is anti-DSM until they want to diagnose someone they dislike with ontologically evil disorder (aka rancid bitch disease).
My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.
I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.
This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.
Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.
Being gay and out was career suicide in the 90s.
Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).
Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).
I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.
It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.
Gideon the Ninth naming system notes appreciation post
dying in the hospital with a duel disk on my arm
this is why you shouldn't swear
this is my impression of what it would look like if the toddlers at my job could make traumacore edits about me
alright by popular demand here is more toddler traumacore
compilation
materialist-scumbag
THE TICK THAT DREW THE MAP OF THE WEST June 28, 2026
So the longhorn was a garbage animal. Stringy, mean, half-feral, descended from Spanish cattle that had gone loose in the brush country for a couple centuries and bred for survival rather than meat. In Texas after the war it was worth maybe three or four dollars a head, because there were millions of them and nobody to eat them. The local market was Texans, and Texas was broke. Up in Chicago or New York the same animal was worth thirty, forty dollars, because the Union had spent four years eating its way through the eastern cattle supply and the cities were short on beef.
That spread is the whole engine of the cattle drive. You don't need a tick to explain why a man would walk a cow a thousand miles to multiply its value by ten. The arithmetic does it.
What the tick explains is the SHAPE.
Because the thing about the longhorn nobody in the romance mentions is that it was a carrier. Centuries in the brush had given it a shaky immune truce with Babesia bigemina, a protozoan that lived in its blood and rode around on a tick that dropped off into the grass wherever the herd went.
The longhorn itself looked fine. Walked fine, sold fine, butchered fine. But the cattle it walked past, the fat improved Midwestern stock that had never met the parasite, those animals would start pissing blood and die at a rate that touched nine in ten. The Texans, reasonably, refused to believe their healthy-looking cattle were doing it. They took it to the Supreme Court in 1877 and won, on the entirely correct observation that their cows weren't sick. The cows weren't sick. The cows were Typhoid Mary.
(The disease disappeared every winter, too, north of a certain latitude, which baffled everybody for thirty years until somebody worked out that the tick just froze to death up there, no vector, no disease, the whole thing seasonal in a way that made it look like a moral judgment on Texas cattle specifically. It wasn't anybody's leading hypothesis that an insect was committing the murders. The leading hypothesis for a while was that the longhorns were poisoning the grass.)
So now run the two facts together. The cow is worth ten times more up north. The cow kills every other cow it passes on the way up north. What do you get?
You get a line.
You get a bunch of lines, actually. Quarantine lines, drawn and redrawn by Missouri and Kansas legislatures and eventually by the federal government, declaring that Texas cattle could not cross at all, or could only cross in winter when the tick was dead, or could only cross by rail if they were going straight to slaughter and never touched dirt that a local cow might later stand on. Missouri shut its border. Farmers formed Vigilance Committees (which is a polite nineteenth-century way of saying armed men) and turned the herds back at gunpoint. Kansas banned Texas cattle outright in 1885. And every one of those legal and shotgun-enforced lines was a wall the drive had to find a gate in.
The gate was the railhead.
This is the part that rewires the map. The famous cattle town (Abilene, Dodge City, Wichita, Ellsworth, the whole gunfighter pantheon) is not a town that grew up around ranching or water or gold or a river crossing. It's a point where the trail coming up out of the quarantine zone touched a railroad that could take the cow east to the slaughterhouse without it walking through anybody's protected pasture.
Abilene gets invented basically from scratch in 1867 by a man named Joseph McCoy who looked at the map, found a spot on the Kansas Pacific that was far enough WEST that the trail in from Texas could swing around the settled farm country and its quarantine, and built stockyards there. The town is a loading dock. The cowboy at the end of the trail, in the saloon, shooting the place up: he is a longshoreman who has just finished a shift, and the shift was getting the cargo to the one point where it could legally change from hooves to wheels.
And the cargo had to keep moving west precisely because the tick kept the settled east closed. As Kansas farmers spread and the quarantine line marched west with them, the railhead had to march west too. Abilene to Ellsworth to Wichita to Dodge, each town flaring up and dying back as the line of legal infection-free transfer slid across the state. The towns weren't competing on amenities. They were competing on being the current solvent point in a chemistry problem about where a tick could and couldn't survive the trip.
(Dodge City lasts longest because it's furthest out, last to get caught by the advancing farms, sitting out where the quarantine couldn't reach it yet. Its whole mythological career (Wyatt Earp, Boot Hill, the Long Branch) is a few years long and happens because of an agricultural-settlement frontier creeping toward it at the speed of homesteading. When the farms arrive, the party's over. The party was always a function of the farms not having arrived.)
So the geography of the Wild West, which towns exist and why they're where they are and why they boom for five years and empty out and why the trail bends where it bends, is not topography and not destiny and not the romance of open range.
It's the intersection of a price differential and a quarantine map. The price differential said go north. The quarantine map, drawn by the tick, said you may only go north HERE, and HERE, and now not there anymore, here. The cow drew the route and the parasite drew the borders and the men with the guns were just enforcing a public-health regime they didn't know was a public-health regime.
And it all gets zeroed out, eventually, the same way these things always do, not by a hero but by a logistics upgrade. They build the Kansas City stockyards and the packing plants, and then the rail net gets dense enough that the cow doesn't have to walk to the train at all, the train comes to the cow. Refrigerated cars mean you slaughter in Chicago and ship the meat instead of the animal. The long drive, the trail town, the whole apparatus that existed only to get a tick-bearing animal across a quarantine line to a loading point, it just stops being necessary, and the gunfighter towns settle down into being ordinary Kansas, dry and flat and law-abiding, within about a decade of their own legend.
The cattle tick itself they finally beat in 1943, dipping every cow in the South in arsenic for forty years to break the lifecycle. Nobody made a movie about the dipping vats.
Same as it ever was.
The Locked Tomb is a story about one girl's body being passed around by a bunch of souls like a blunt
"She wants the D," I said. And: "The D stands for dead."
I find it very telling that Tamsyn Muir, who came up through this hellsite, wrote books where the evil emperor starts out as a basically okay leftist millennial tumblr user.
What makes the villain the villain (inasmuch as it's useful to examine TLT characters through that kind of simplistic lens) is that when the chips are down and he has to choose, his priority is punishing the wicked, not saving the people left behind.
I would invite anyone whose engagement with their cause consists of finding the 'correct' group of people to hate, to consider whether 'evil emperor' is the next career move you see yourself taking, and if it isn't, to gently suggest disembarking from the hate train.
Because no one wants their God King to be a tumblrina called John.
Unfortunately for everyone who would like the world to be simple, it's not. People are messy and complicated and they create things that are messy and complicated. You can't destroy evil. Not really. Not with a sword, or a gun, or cleansing fire. Building a better world means building, means creating, empowering, standing for something instead of against it.
You're willing to fight for your cause. So many people are. Are you willing to labor for it? We don't need more soldiers. We need artists. Engineers. Orators. People with dreams.