hans memling, scenes from the passion of christ, circa 1470.
RMH
Fai_Ryy
"I'm Dorothy Gale from Kansas"

oozey mess
Sweet Seals For You, Always
noise dept.
let's talk about Bridgerton tea, my ask is open
Monterey Bay Aquarium
Cosmic Funnies

Love Begins
Aqua Utopia|海の底で記憶を紡ぐ

if i look back, i am lost

⁂

❣ Chile in a Photography ❣
Stranger Things
h
Peter Solarz
TVSTRANGERTHINGS
Xuebing Du
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@cardinalvalentino
hans memling, scenes from the passion of christ, circa 1470.

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To Bruce, Dick is both the clever fairy tale heroine who has the ingenuity to civilize him and the power to redeem him through love and the chivalric knight in shining armor who can liberate him from captivity and protect him from physical threats and in all of this Bruce is kind of a useless lug but we love and forgive him for that because he’s very sensitive and cares deeply and it’s not completely his fault he’s a useless lug and he knows he doesn’t deserve it and Dick loves him
Things worn down by people.
this is unironically one of the most beautiful photo sets i've ever seen

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Lesbians hate him! Local man is irritating
hi!! i was wondering if you’d be willing to help me to better understand the incest/rot conversation and why it’s a poorly suited metaphor (at least on the context of asoiaf/hotd)? i hope this isn’t too ignorant of a question <3
one big objection is that “rot” is a natural and totally neutral-to-good process. rot is a part of life on earth. things die and rot and from that rot new things are born and grow. the perspective of rot as negative is a very anthropocentric one, really: obviously, we have all had to throw out some rotting leftovers in the fridge, and it’s unpleasant; a house can having rotting walls, in which is becomes hard to live a human life within them. but to pick up the metaphor in the latter, the fault is not the rot itself, which is a natural process, but in the fact that human social structures mean that if you have a house that is rotting and can’t afford to remove said rot so your own life can flourish, that’s a problem for you that human social structures should be altered to fix to allow for human flourishing. but it is a human problem, and so is incest. incestuous abuse is a product of man-made, human social structures and concious human actions, which makes such a natural process an ineffective metaphor for me.
this metaphor grows out of deep roots in western literature; the idea of the cannibalizing process of incest in a degenerating, aristocratic house as symbolizing a privileged, hermetic class eating itself is all over gothic literature, and what people are picking up on when they talk about the “rot” of the targaryen family - a royal dynasty that practices incestuous marriage (brother-sister, avunculate, and cousin-cousin) as a tool of maintaining its own feudal power, and then periodically destroys itself through things like interceinine succession conflicts and addiction to messianic prophecies that kick off massive bloodline-eradicating subject rebellions.
so one problem with using “rot” here relates to the above: this is not a reflexive, unthinking process. there were good reasons for the incest marriage in the early targaryen dynasty in terms of practical power politics: if your power and authority derives from being the only family that can wield huge dragons capable of leveling cities, you do not want to dilute that exclusivity by allowing girls to marry exogamously and perhaps put their dragons in the power of their husbands who might oppose you. the solution is then to marry those girls to their brothers or uncles or cousins. then there is the religious justification that grows up around, or with, this marriage strategy. sibling marriages are taboo in the dominant faith of the realms you have conquered, the faith that you (house targaryen) have in turn adopted. so you have to say, well we have dragons. no one else has dragons, and the fact that we have dragons means we are special and unlike other people. unlike other people, we can marry our sisters. and even after the dragons have died out, the sibling marriages will remain, as ideology that justifies targaryen rule. attributing this all to “rot” is lazy to me. it offers no room to analyze the intersections of patriarchy and power that produce this as an experience or think about how those who experience it conceptualize it.
another problem with “rot” is it totally uncritically uptakes one of the most suspect aspects of the series to me, which is how disability is used as sign and symbol of excesses of power - from aerys’ “madness” to viserys’ leprosy in the show, this universe, both books and adaptations, often externalize the unjust power targaryen kings enact on others as mental or physical illness, where these ailments of the mind and body act as metaphor for wrong action. the ableism here should be quite obvious. i do think the source texts sometime complicate this. for example, although i object to how viserys’ abuses of women, starting with the murder of aemma in 1.01, are externalized by his body bearing the signs of such moral rot by physically “rotting” - the correlation is made clear in the show, as his illness is tied both to aemma’s death scene and his marriage to and rapes of alicent in various ways, and then this is confirmed by showrunner commentary - paddy considine’s wrenching performance of viserys’ dying, the visible agony it causes rhaenyra and alicent and daemon, the heroism and dignity of his surprise appearance in the throne room in 1.08 adds up to a real narrative compassion for his suffering and contradictory refusal to moralize it that winds up in a far more ambivalent place for me than it could have been. so how disappointing to watch the fandom, en masse, take up this kind of framing without any questions at all!
lastly, to return to the issue of “thinking about this as an experience,” which is the most important one to me here - such language casts those who experience incest as outside the human community. firstly, it buys into the targaryens’ own propaganda, which even rhaenyra at 14 sees through quite clearly (“people say targaryens are closer to gods than to men. but without [dragons; and so implicitly justifying and supporting incest], we’re just like everybody else.”) which is quite silly when such framing is purporting to critique their use of power. they are not people who arrange their intimate lives in a particular way that we can ask questions about and try to imagine, who are also thereby subject to specific manifestations of and excuses for violence because of such arrangements that we should have more empathy for than to imagine it makes them human black mold. the fandom frames them instead as themselves rot, and also pure symbol.
but though it does not occur within the context of dynastic incest marriage practiced by dragonriders, real people in the real world experience incest. they experience it for reasons that often, from the inside most of all, feel beyond the reach of comprehension. but like the targaryens, those reasons in fact are not inexplicable, not an act of god or nature. it is in fact vitally important to try to comprehend incest as a lived, human, social experience, not evocative metaphor. even when people are wacky blood-soaked royal dynasts from magic dragon incest atlantis, they do not experience their own lives in only this way. they are born, and grow up, and marry, and have children, and raise those children, all within this family structure. they love and are loved and are hurt and hurt others within this particular relational structure. for me the most important thing with fiction is the very unchic one of simply asking the one question: how is it, to live any life? this has urgent moral and political and artistic import for me. it is when that answer does not seem obvious or is most difficult to bear asking that it is most vital to ask it rather than mystify or reflexively condemn the experience activating that refusal, and the ubiquity of “rotposting” is a constant aggravation because it brings home how much easier it is to so many not to ask.
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.
HOUSE OF THE DRAGON 1.05 // 3.04
“No, Superman—No!”

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LAWRENCE OF ARABIA AFFIRMATIONS
DREAMERS OF THE DAY ARE DANGEROUS MEN
THE TRICK IS NOT MINDING THAT IT HURTS
MY FEAR IS MY CONCERN
THE DESERT IS CLEAN
I SHALL HAVE MY RATION OF COMMON HUMANITY
THERE IS ONLY THE DESERT FOR ME
a quirk of sexting while british is switching from arse to ass. i would never fuck someone in the arse. its impolite.
Ponder like an uncle but post with a nephews spirit
okay, for those interested, here is a full timeline of how we got to Count Binface:
1977: Star Wars is released, featuring, of course, Darth Vader
(Pictured: Darth Vader)
1984: Director Todd Durham releases his Star Wars parody movie, Hyperspace, featuring Darth Vader inspired villain Lord Buckethead.
(Pictured: Hyperspace poster featuring two Jawa-esque aliens flying through space in a shopping trolley.)
1987: Hyperspace is released on video in the UK, under the new title Gremloids.
(Pictured: Gremloids cover in the style of the original Star Wars poster, featuring Lord Buckethead.)
To promote the film, Mike Lee, the owner of the distributing company, ran for parliament as Lord Buckethead. He ran in Margaret Thatcher's constituency, Finchley, in order to get on TV. Lord Buckethead was representing the Gremloids party.
(Pictured: Lord Buckethead on TV with Margaret Thatcher.)
1992: Gremloids is re-released. Lord Buckethead rides again, this time against prime minister John Major in Huntingdon. (Here's a fun fact about Huntingdon: I was born there! :D) 87/92 Buckethead seems to have leaned pretty hard into the space supervillain thing, with campaign promises including 'demolish Birmingham to build a spaceport'.
(Pictured: Lord Buckethead on TV with John Major. Other notable candidates include Screaming Lord Sutch of the Monster Raving Loony Party.)
2017: comedian Jon Harvey, having recently watched Gremloids and learned of Lord Buckethead's candidacy for parliament, decides it's a great bit. He runs against Theresa May in Maidenhead. 2017 Buckethead seems to have a wackier and also more political approach, with campaign promises ranging from nonsense like 'nationalise Adele' to gesturing at actually sensible policies with stuff like 'lower the voting age to 16 and restrict voting after age 80'.
He also made an appearance on Last Week Tonight with John Oliver. As with his previous incarnation, he was a member of the Gremloids party.
(Pictured: Lord Buckethead dabbing on stage with Theresa May.)
2018: Director Todd Durham asserts his legal ownership of Lord Buckethead. Jon Harvey opted not to go to court over Buckethead and handed over the reins. Todd Durham extended an invitation to anyone who wanted to be the 'authorised' Lord Buckethead.
(Pictured: the new Lord Buckethead.)
2019: Lord Buckethead, now played by journalist David Hughes, stood against Boris Johnson in Uxbridge and South Ruislip. He ran for the Monster Raving Loony Party, the UK's pre-existing gag candidate party. He ran with a similarly silly manifesto as the 2017 incarnation, but with a bit less of a political edge. His promises included 'All doorways to be increased by 1 foot (30 cm) in height' and 'Nigel Farage to be sold for parts'.
(Pictured: Lord Buckethead and Count Binface square up.)
Meanwhile, Jon Harvey in his new persona Count Binface, also ran against Boris Johnson. Buckethead and Binface face off! Binface ran as an independent with a manifesto once again blending silly and semi-serious promises such as 'nationalising model railways' and 'giving £1 trillion a week to the NHS'. This was also I believe the debut of his promise to 'move the hand dryer in the men's toilet at Uxbridge's Crown and Treaty pub to a more sensible position'.
(Pictured: Count Binface presenting the offending hand dryer, inconveniently close to both the sink and the urinals.)
He has a point.
2021: Count Binface runs for the position of Mayor of London for the first time, with promises such as 'London to join the European Union'. He notably finished ahead of far right party UKIP.
2023: Count Binface runs in the Uxbridge and South Ruislip by-election following Boris Johnson's resignation. He once again gets more votes than UKIP.
May 2024: Count Binface once again runs to be Mayor of London, debuting his now iconic 'build at least one affordable house' promise. Notably, he finished ahead of far right party Britain First.
(Pictured: Count Binface with Rishi Sunak. Also pictured: Monster Raving Loony Party candidate Sir Archibald Stanton with a ventriloquist's dummy.)
July 2024: Count Binface stands in the general election, running in Richmond and Northallerton against prime minister Rishi Sunak. He debuts his promise to cap the price of 99p flakes at 99p. This is his most successful election to date with 308 votes.
(Pictured: Count Binface with Andy Burnham. Also pictured: independent candidate Robert Pownell, dressed as a fox for his own reasons.)
June 2026: Count Binface stands in the Makerfield by-election against Andy Burnham, (recently) former Mayor of Manchester running for parliament with the intention of standing in the Labour Party leadership contest.
(Pictured: Count Binface on BBC's Newsnight.)
July 2026 (this week): Count Binface announces his intention to run against Nigel Farage in the upcoming Clacton by-election. He is briefly the only other candidate in the race and by the time other candidates announce themselves the narrative of 'Nigel Farage vs Count Binface' has already bedded in. And then it was now, and then I don't know what happened.
i was with my friend at a jewelry store (not fancy, think of like a slightly classier claires) cause she was getting her helix pierced and i was looking at some piercings i thought looked cool. she saw them and she said if you wear that you legally have to change your name to gennaro. what dat mean
the sequel: i was with my mother in a sunglasses store i tried on a pair asked her what she thinks and she said you need to change your name to kevin

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Connected
Batman (Bruce Wayne) & Robin (Dick Grayson)
everyone in the world needs to disappear for a moment. give me time to recuperate