EVERY. SINGLE. FRANCHISE.
Jules of Nature
KIROKAZE

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Misplaced Lens Cap

if i look back, i am lost

tannertan36
d e v o n
wallacepolsom
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YOU ARE THE REASON
Stranger Things
Peter Solarz
AnasAbdin
styofa doing anything

Discoholic 🪩
Three Goblin Art
Aqua Utopia|海の底で記憶を紡ぐ
tumblr dot com
Keni
seen from Brazil

seen from United States
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seen from T1

seen from Uruguay
seen from Peru
seen from United States
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@vallisagarwaen
EVERY. SINGLE. FRANCHISE.
Jack Rollins is an omega, y’all. Don’t try and fight me on this - you damn well know I’m right
vallisagarwaen said:
Just cause he’s tall and huge and looks like he could strangle you with his eyes doesn’t me he doesn’t become gooey in the hands of his alpha
Oh, you… :) :) :)
But, I’ll be honest; my mind was planted firmly in the gutter when I thought of this (you’re surprised right? yeah course you are lol)
Because I just love the idea that STRIKE’s second - the guy that probably works the hardest out of all of them; the guy who never stops working; who never takes holidays; who’s dedicated his entire life to Hydra’s vision of a perfect world to the exclusion of friends, family and fun…might one day mess up and end up in heat whilst on a mission.
His first ever full-blown heat, in a shambling safehouse in the middle of nowhere, surrounded by men and women he works with every day but barely knows on anything other than a professional level. He’d be scared, and ashamed of that fear, and of how powerless he feels to control his own emotions and reactions. A man who is constantly striving for control and mastery of himself, losing it little by little, and hating that he can’t do anything about it.
Before he gets fucked into the goddamn floor by his obliging teammates.
And that just hits every button I have.
Idea rejig:
Jack’s not been in the team for very long at all when his heat hits. He’s a ‘transplant’ from another Hydra cell, and that means a lot of longer serving STRIKE members were passed over for a promotion–against the Commander’s wishes, too.
He’s an effective SIC, but he doesn’t fit with the team. He doesn’t try to get to know them, and doesn’t let anyone get to know him.
So when he gets caught out on their mission, he’s forced to rely on and trust a bunch of people who don’t like him to help him through it and not take the opportunity to hurt him.
but someone does. or tries to at least. bcuz even if brock didn’t want jack on the team at first he’s still a decent commander and he’s not gonna have his men hurt one of theirs. and ofc he claims that’s just how he runs things and would look out for anyone like that and refuses to admit that mayhaps he has a soft spot for jack. it might show a bit tho, cuz no one tires to lay a finger on jack ever again.
Oh yesss. I love Brock acting all protective over Jack; even if he rips him a new one every time he thinks Jack’s done something stupid—which includes not doing things the way Brock would do them, mind you.
But consider this: Jack stripping off his clothes in front of a group of his teammates. They have all agreed to fuck him through his heat, and *he doesn’t even know their names*. None of them look particularly keen on having him as a partner—although they’re all pretty excited about getting laid—and Jack is just…fucking terrified.
He can’t defend himself against all of them—not when he’s seeing double and close to crying. He’s six feet two inches tall and he feels *so tiny*, trying not to curl in on himself on a ratty little mattress.
(Nobody hurts him in this scenario; although some of them do take the opportunity to mildly humiliate him a bit.)
((Okay, it’s Brock. Because what better way to teach the stuck-up prick a bit of humility than by teasing him mercilessly until he’s literally begging for his Commander’s cock?))
Is this about Seattle’s recruitment dropping almost to 0 after the implementation of the living wage? Does anybody have a link?
YES! it is!
"Since the Army is not subject to local minimum wage laws, Seattle pay now outstrips what locals could earn by signing up for the Army. $15 per hour is not only more than the base pay for privates, but corporals and specialists as well."
-Newsweek
Fuck this article for trying to make me sympathize with the military complex tho. Boo-hoo, Sargent Bootlicker won't get Friday off for failing to sign up new recruits
turns out the gif ‘glitch’ where the gifs look ugly as hell and artefacty is a new feature they added, they change the .gif to .gifv which in turn makes it look super ugly, the reason it stays normal on themes is because they cant force the .gif extension to .gifv on others pages cause they aren’t coded that way
so guess gifs will look like shit puke quality from here on out cause gifv is much more manageable on servers…
I’ve been fuckin wondering about this, but no one else mentioned it so I figured it was just my shit internet
“That’s your otp”?
“They’re just friends”
“That’s your otp”?
“But they hate each other.”
“That’s your otp?”
“But they’re not gay.”
“That’s your otp?”
“But they are like 2 feet apart in height.”
“That’s your otp?”
“But one of them is dead.”
Just because this is a classic.
Well i still hope they crash amd burn. But they won't, because the world is apparently full of idiots...
if peter is not in the mcu, then what did tony stark die for?
For Disney's greed.
Car sex just got a helluva lot easier.
or homelessness
two kinds of people.
you could put a dead body there and put a blanket on it and people would think they were just sleeping and it would be a great way to transport dead bodies inconspicuously.
* three kinds of people.
HOW CAN YOU EVEN HAVE A GIF THAT’S THAT SPECIFIC?
I agree, it is highly unnatural…
You might even say it’s ….. “Supernatural”
I haven’t seen a supernatural reaction pic exchange since the dark ages
This post has the same energy as 2012 Tumblr, and while it brings back ancient, strange memories, it also feels reassuring that some things will never change.
Disney:
Well Disney, nice to see that your greed finally cost you something.
steviefinegan And as I think we’d always suspected, it turns out the world was saved by fanfic. So many congrats to AO3 and all who sail in her #HugoAwards
dublin2019 "All our work would be meaningless without the uncountable fan creators who share their creativity freely,“ — @AO3 acceptance speech. #hugoawards2019 #HugoAwards #Dublin2019
ruthejbooth Best Related Work is… unsurprisingly… Archive of Our Own!! "Art happens not in isolation, but in community”, and what a great tribute to that this is! They raise the lights and ask community members to share this win with them! #Dublin2019 #Worldcon2019 #Worldcon #HugoAwards
constablewrites Members of AO3 standing to be recognized #hugoawards
werthead #hugoawards Every fanfic writer in the audience was asked to stand & co accept the award for Best Related Work.
So is it just me, or does every new owner of Tumblr getting announced feel like we’re getting a new Defense Against the Dark Arts teacher?
memeception
WE’VE HIT TERMINAL MEME
@caesarianconfection
I’ve said “I hate this” so many times on this website, and never actually meant it, because “I hate this” is just shorthand for ‘this is an example of a meme given a twist I wasn’t expecting with intent to surprise’. Which is, in of itself, a meme on this site. God damn it.
But this… This is something else.
The rapidity of a meme’s introduction to its zenith to its decline is so rapid that in ten years, you’ll need a damn twenty-page manual to explain this. It’ll be as unfunny and hard to explain as jokes in Shakespeare plays, except even more inexplicable because fuck, at least Shakespeare’s jokes are usually about anal or fucking your mother, good wholesome sex jokes we can all get behind.
For the love of fuck, how do you explain loss.jpg? How do you explain gun?
….I THOUGHT THIS WAS A YMCA REFERENCE
it is a YMCA reference - that’s one of the 6 memes being represented here
ok let me see if i can break this down easily. YMCA is the easiest place to start - the song itself has become a meme over time with people changing the lyrics to reference other pop cultural events. so YMCA is meme one (1)
this first lyric replacement (”take the breadsticks and run”) is a reference to the tumblr meme ‘stuffing breadsticks into my purse’. i think everyone remembers that one so i wont bother to explain it. that’s meme two (2)
“man door hand hook car door” is a meme of its own, a creepypasta from i dont remember when. it was a terrible stupid retelling of the generic ‘stuck in a car while hook handed man tries to kill us’ story so the stupid title caught on for memorability. that in and of itself is meme three (3)
‘gun’ is… yeah i dont know how to explain gun. long story short you add gun to the end of a phrase instead of what you expect the last word to be. its shock funny. its everywhere but its popular to add to “man door hand hook car door” for.. some reason? gun is meme four (4)
and the thing is, this four meme combo is something thats gone around before. meme combos are, itself, a meme. which means taking this meme combo and mixing in another meme actually becomes meme five (5)
which leaves us at loss.jpg. loss.jpg was a terrible bad comic supposed to be about some tragic event, but it was presented so poorly literally no one takes it seriously, and for some reason recreating the four-panel setup has become popular. so thats meme six (6)
(but i need to add that this is the greatest version of loss.jpg i think i’ve ever seen. the initial ‘young man’ lines up with the guy bursting through the door, and the shock meme ‘gun’ matches the shock scene of the woman in the hospital and idk if OP even thought about that but it makes this just so much better)
I wasn’t going to reblog this, but @pagesofkenna‘s comprehensive meme-by-meme annotation is a thing of beauty and should be shared.
average tumblr post contains one meme, this post, which contains six, is an outlier and should not be counted
it might also just be a coincidence due to loss.jpg’s format but the whole white minimalist four-panel setup is also suspiciously reminiscent of those early 2000’s rage comics
I was getting a political compass vibe too
tag urself im man door hand hook car gun
This works better than I thought it would.
This was in my senior project
I’m not sorry.
EIGHT MEME COMBO
FATALITY
We have officially created a new language
I just had to do it to em
THIS FUCKING THREAD I’M GONNA CRY
I LOST IT AND MAN DOOR HAND HOOK CAR GUN AND DIDN’T EXPECT MORE I’M SOBBING
M E M E T E N
W o w
You know I had to
I hope you know this is the most cursed addition to my post, and I love it
THIRTEEN!?
SOMEONE EDIT THIS FROM THE ORIGINAL PHOTO SAYING “this one does not spark joy” TO THIS VERSION SAYING “this one sparks joy”
well i added my contribution : )
why—
IM SCREAMING
This is the most elaborate meme I have ever seen and damn am I concerned by how it makes sense.
“You’re in your 30s, but you still understand all this meme stuff?” “Oh yeah, sure.” “Can you explain it to me?” “I absolutely fucking cannot.”
AO3 won the 2019 Hugo Award for Best Related Work!
Here’s the speech given by Naomi Novik when the award was accepted:
All fanwork, from fanfic to vids to fanart to podfic, centers the idea that art happens not in isolation but in community. And that is true of the AO3 itself. We’re up here accepting, but only on behalf of literally thousands of volunteers and millions of users, all of whom have come together and built this thriving home for fandom, a nonprofit and non-commercial community space built entirely by volunteer labor and user donations, on the principle that we needed a place of our own that was not out to exploit its users but to serve them.
Even if I listed every founder, every builder, every tireless support staff member and translator and tag wrangler, if I named every last donor, all our hard work and contributions would mean nothing without the work of the fan creators who share their work freely with other fans, and the fans who read their stories and view their art and comment and share bookmarks and give kudos to encourage them and nourish the community in their turn.
This Hugo will be joining the traveling exhibition that goes to each Worldcon, because it belongs to all of us. I would like to ask that we raise the lights and for all of you who feel a part of our community stand up for a moment and share in this with us.
These two excessively handsome acting men in peak physical fitness are are at their oldest in their early 30s. Their higschool and early college years were the height of Dragonball Z’s popularity.
Coraline is a masterfully made film, an amazing piece of art that i would never ever ever show to a child oh my god are you kidding me
Nothing wrong with a good dose of sheer terror at a young age
“It was a story, I learned when people began to read it, that children experienced as an adventure, but which gave adults nightmares. It’s the strangest book I’ve written”
-Neil Gaiman on Coraline
@nightlovechild
This is a legit psychology phenomenon tho like there’s a stop motion version of Alice and Wonderland that adults find viscerally horrifying, but children think is nbd. It’s like in that ‘toy story’ period of development kids are all kind of high key convinced that their stuffed animals lead secret lives when they’re not looking and that they’re sleeping on top of a child-eating monster every night so they see a movie like Coraline and are just like “Ah, yes. A validation of my normal everyday worldview. Same thing happened to me last Tuesday night. I told mommy and she just smiled and nodded.”
Stephen King had this whole spiel i found really interesting about this phenomenon about how kids have like their own culture and their own literally a different way of viewing and interpreting the world with its own rules that’s like secret and removed from adult culture and that you just kinda forget ever existed as you grow up it’s apparently why he writes about kids so much
An open-ended puzzle often gives parents math anxiety while their kids just happily play with it, explore, and learn. I’ve seen it so many times in math circles. We warn folks about it.
Neil Gaiman also said that the difference in reactions stems from the fact in “Coraline” adults see a child in danger - while children see themselves facing danger and winning
i never saw so much push back from adults towards YA literature as when middle aged women started reading The Hunger Games. They were horrified that kids would be given such harsh stories, and I kept trying to point out the NECESSITY of confronting these hard issues in a safe fictional environment.
Also, in an interview, he said that Coraline was partially based on a story his not yet 6 year old daughter would tell him
SAGAL: No. I mean, for example, your incredibly successful young adult novel “Coraline” is about a young girl in house in which there’s a hole in the wall that leads to a very mysterious and very evil world. So when you were a kid, is that what you imagined?
GAIMAN: When I was a kid, we actually lived in a house that had been divided in two at one point, which meant that one room in our house opened up onto a brick wall. And I was convinced all I had to do was just open it the right way and it wouldn’t be a brick wall. So I’d sidle over to the door and I’d pull it open.
(SOUNDBITE OF LAUGHTER)
SAGAL: Right.
GAIMAN: And it was always a brick wall.
SAGAL: Right.
GAIMAN: But it was one of those things that as I grew older, I carried it with me and I thought, I want to send somebody through that door. And when I came to write a story for my daughter Holly, at the time she was a 4 or 5-year-old girl. She’d come home from nursery. She’d seen me writing all day. So she’d come and climb on my lap and dictate stories to me. And it’d always be about small girls named Holly.
SAGAL: Right.
GAIMAN: Who would come home to normally find their mother had been kidnapped by a witch and replaced by evil people who wanted to kill her and she’d have to go off and escape. And I thought, great, what a fun kid.
It’s anxious adults who desperately want to “soften” stories. Kids prefer the real thing: with monsters, bloodthirsty ogres and evil murderous stepmothers; where the littlest brother always wins and all the villains are horrendously punished in the end. The world is threatening to the eyes of a child, so they need a fictional universe where the little people have a fair chance against the big and strong.
This isn’t specifically about stop motion but it is about how sad or scary parts of movies aren’t really all that bad- IE the 80′s movies, particularly Don Bluth’s films. (X- The Melancholy of Don Bluth, by Meg Shields )
How the children’s animation of the 80’s made room for sadness, and what that taught us.
There was a time when McDonalds used to give away VHS tapes with happy meals, and by some stroke of luck, one day my mom picked The Land Before Time. It was the first film to etch itself onto me ‐ the way film tends to with kids. I would recreate the plot with stuffed animals and parrot the lines to whoever would listen; I pawed that VHS box until the cardboard went soft.
A couple years ago, I saw that Land Before Time was playing on t.v. and couldn’t remember the last time I’d watched it all the way through. Within five minutes I was completely obliterated and sobbing into a throw pillow. This is a shared experience for children raised with Don Bluth: that as a kid, I could only clock a hazy sense that his films felt different from Disney fare, but that the articulations of this difference, and their ability to emotionally floor me, are something I’ve only become aware of in retrospect.
There was a regime change in animation during the 80’s. Quite literally in the form of Bluth’s official break with Disney in ’79, but in a more elusive sense with the landscape of what children’s animation during that decade felt like. For whatever reason, be it Bluth’s departure or a diseased managerial ethos in the wake of Walt’s passing, the 80’s were a mixed bag for Disney. Don’t get me wrong, they’re amiable and charming films, but The Fox and the Hound and The Great Mouse Detective are not classics. And for all its ambition, The Black Cauldron cannot be redeemed on technical merit. Disney would eventually yank itself out of its slump in ’89 with The Little Mermaid ‐ but animation during the 80’s, along with the childhoods of a slew of millennials, were definitively shaped by Bluth.
That there is a dark tenor to Bluth’s work has been thoroughly, albeit perhaps vaguely, noted, often citing individual moments of terror (cc: Sharptooth, you dick). While I don’t doubt that frightening and disturbing scenes contribute to an overall sense of darkness in Bluth’s work, I’m unconvinced that they’re at the root of what distinguishes his darker tone. There is, I think, a holistic sadness to Bluth films; a pervasive, and fully integrated melancholy that permeates his earlier work.
These stories are full of crystalline moments of narrative sadness; specific story moments at which I inevitably mutter a “fuck you Don Bluth,” and try not to cry. There’s Littlefoot mistaking his own shadow for his dead mother; Fievel sobbing in the rain (a Bluth mainstay) convinced that his family has abandoned him; Mrs. Brisby shuddering helplessly after she and the Shrew temporarily disarm the plow. Other plot points are less tear-jerking so much as objectively miserable: the cruelty of the humans in The Secret of NIMH; An American Tail’s intelligent allegory for Russian Jewish pogroms and immigration; Carface getting Charlie B. Barkin drunk and murdering him at the pier.
You know — FOR KIDS!
Thematically, there is an ever-present air of death about Bluth’s work that is profoundly sad. Bones litter certain set-pieces; illness and age are veritable threats (shout out to Nicodemus’ gnarly skeleton hands); and characters can and do bleed. Critically, Bluth films don’t gloss over grief, they sit with it. From Littlefoot’s straight up depression following the on-screen death of his mom, to Mrs. Brisby’s soft sorrow at finding out the details of her husband’s death.
There is a space for mourning in Bluth’s stories that feels extra-narrative, and unpretentious. Critically, this is distinct from, say, wallowing. Bluth’s films have a ridiculously productive attitude towards mourning, most lucidly articulated through Land Before Time’s moral mouthpiece Rooter: “you’ll always miss her, but she’ll always be with you as long as you remember the things she taught you.” Disney meanwhile, tends to treat death as a narrative flourish, or worse, a footnote. And in comparison, even notable exceptions like Bambi and The Lion King seem immaturely timid to let palpable grief linger for longer than a scene, let alone throughout a film’s runtime.
Look at all the fun times they’re missing.
Musically, James Horner and Jerry Goldsmith’s impossibly beautiful scores are laced with a forlorn undercurrent. In particular, Horner’s tonal dissonance in The Land Before Time theme punches the Wagner-lover in me in the throat (admittedly, a good thing). Further to this, the first half of Goldsmith’s “Escape from N.I.M.H,” is reminiscently Tristan and Isolde-y. And while I’m here, I would also like to formally issue a “fuck you for making me cry in public” to American Tail’s “The Great Fire,” which when combined with visuals, is nothing short of devastating.
Speaking of visuals, backdrops of grim and vast indifference dot Bluth’s work; from the twisted Giger-esque caverns of the rats’ rosebush, to the urban rot of a thoroughly unglamorous New York and New Orleans. That these landscapes are in a state of decay is particularly dismal; there is a tangible barrenness, a lack of the warmth our characters are desperately hoping to find by their film’s end. These are depressed and morose spaces ‐ and that they are so seemingly unnavigable and foreboding makes them all the more compelling, and narratively resonant.
The way Bluth uses color is also notable, with dark, earthy tones prevailing throughout only to be blown out quite literally with the golden light characteristic of Bluth’s hard-earned happy endings. Before Littlefoot and friends reach The Great Valley, an event marked by gradually illuminating god-rays, they must slug it out through the parched browns, blues and pitch of their prehistoric hellscape. Like Charlie’s final ascendance into heaven, Fievel must endure similarly muted shades until he is finally (finally) reunited with his family and soaked in glitter ‐ a level of Don Bluth conclusion-sparkles perhaps only rivaled by the radiance of Mrs. Brisby’s amulet as she Jean Grey’s her homestead to safety at the end of NIMH. Because Bluth leans into darker, less saturated tones, these effervescent conclusions are all the more impactful, which speaks in part to the methodology of Bluth’s melancholy.
The plucky leads of Bluth’s early films are all fighting for the same thing: family. From Mrs. Brisby’s persistence to protect her children, to Charlie’s (eventually) selfless love for Anne-Marie, these are characters in search of home. Invariably, each of these characters gets their happy ending, but they have to go through hell to get there, literally in Charlie’s case. In a recent interview, critic Doug Walker asked Bluth if there was any truth to the rumor that he thinks you can show children anything so long as there’s a happy ending, to which Bluth replied:
“[If] you don’t show the darkness, you don’t appreciate the light. If it weren’t for December no one would appreciate May. It’s just important that you see both sides of that. As far as a happy ending…when you walk out of the theatre there’s [got to be] something that you have that you get to take home. What did it teach me? Am I a better person for having watched it?”
Melancholy isn’t just a narrative device for Bluth, it’s a natural part of navigating life, of searching for wholeness, and becoming a better person. Bluth acknowledges sadness in a way that never diminishes or minimizes its existence; he invites melancholy in, confesses its power, and lets it rest. Sadness is, for Bluth, an essential characteristic of the world and living in it. That is a wholly edifying message for kids, delivered in a vessel that is both palatable and unpatronizing. For this reason, among innumerable others, Bluth’s work has immense value as children’s entertainment…even if it means crying into a throw pillow twenty years later.
Reposting, because the value of sorrow is drastically underrated.
now that ao3 has won a hugo award...
my future employer, at an interview: hmm it says here on your resume you ‘contributed to a hugo award-winning project’
me: that’s right
my future employer: may i see your contribution
me: …no
Regarding the Amazon Rainforest
I barely have followers here, but here we go:
The Amazon Rainforest has been burning for the last 16 days straight. The Brazilian government says the wildfire is caused by the winter itself, since it doesn't rain a lot there... in a rainforest. It is actually, partially true. Winter is indeed a dry season and wildfires may happen, specially close to the Cerrado (a brazilian biome similar to the african Savanna), but what they're not telling us is that:
The deforestation has increased 80% since last year
The native peoples and animals are being slaughtered for their lands (legally protected green areas)
The government is hiding and lying about scientific data, saying that environmentalists and NGOs are communists trying to destroy the nation. They are brainwashing people to think that sustainability is terrible for the economy
Our Minister of Environment is couldn't care less about the environment and is only there to support the livestock producers and give them what they want. The President and his Minister won't put a single dollar on environmental safety
The wildfires are just so huge that its black smoke and ashes reached the skies of São Paulo, a state over 2.000 kilometers away from the Amazon.
We are hostages or our own government
I could just keep going all night about how our environment is being threatened by this new government. We need every single help we can possibly can.
Please don't let this go unseen. Search for yourself, talk to people about it, make noise, be angry and be scared. Let the world know about it and demand action. This is not about Brazil, is about the planet. The Amazon Rainforest is one of the most important biomes in the world, being responsible for the climate, rains, biodiversity, carbon sequestration and life itself.
I didn’t hear of that. until today