Bergama, Turkey
Sade Olutola
wallacepolsom
Not today Justin
will byers stan first human second

tannertan36

Andulka

Kiana Khansmith

izzy's playlists!

#extradirty
AnasAbdin
we're not kids anymore.
One Nice Bug Per Day

JBB: An Artblog!
Mike Driver
Three Goblin Art
noise dept.
"I'm Dorothy Gale from Kansas"

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@daggersandarrows
Bergama, Turkey

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imagine you're Plato and you get resurrected and the first thing someone tells you is your name now means "not having sex" and you're like haha linguistic coincidences are wild and they're like no it's a direct reference to you as a person
whenever you take too much time to write something know it is because stephen king has been stealing your life force
the grocery store should be open 24/7 but they should let the employees go home and just trust us
Repo! The Genetic Opera is one of those strikingly rare examples where "this would be so good if it was good" does not apply. It would be so bad if it was good. So bad.
But as terribly auto tuned B movie musical (oozing in early 2000s too-edgy-for-you mall goth vibes thats massively influenced by the nu metal era) where paris hilton's face falls off, anthony stewart head is giving his all, joan jett cameo???, and the original lead actress from the phantom of the opera on broadway gouges her eyes out in a costume thats probably the most expensive part of the production?????? Its so good. Its so good BECAUSE its bad.

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Lil Nas X gives a life update.
Posts that just fundamentally misunderstand horror movies like The Thing, that have thousands of notes, are turning me into the joker.
"The thing is only acting in self defense because it gets attacked first"
The very first experience it has with the base crew is that they save it from people shooting at it, give it warm hugs, and kill the people trying to deatroy it. After that it attacks and impersonates an unknown (at the time) member of the crew. After that it gets surrounded by dogs who are angry but too scared to approach, then it changes, then it attacks the huskies, and only then does anyone in the base camp treat it with hostility.
You can imagine anything you want for the unknowns (before the movie starts, whether it can tell animals apart, etc), but you are fully wrong if you characterize its reception as being preemptively attacked. You can interpret things lots of ways, but saying the humans at the camp attack it first is factually wrong.
"None of the men know each other enough to recognize an impersonation."
The entire first act of the movie is devoted to establishing that they know each other with an Intimacy so deep they can anticipate one another's actions and attitudes. They have been in an isolated arctic base for months and months where they can barely leave the same building. They are in one another's personal space throughout the movie. It's a vital plot point that the Thing can immitate people down to memories and personality traits. It's a vital metaphorical point as well. It's so deeply and fundamentally superficial and factually incorrect to call them unfamiliar with each other that it implies total inattention to what is happening on screen.
There are so, so many completely reasonable ways to read ideas of social disaffectation, queerness, and more into the text of the movie without misrepresenting the factual text. I'm screaming and crying and throwing up blood, what else would everyone like to propose about horror movies that sounds great aside from being entirely spurious? Someone told me psychological thrillers are the only good horror movies an hour and a half ago, we could start there. I want people to think in these ways about horror but also talking about it in a way that depends on the the text of the film does require a certain amount of knowing the actual text of the film.
Actually I think this is important tags that speak to a larger idea about horror conversation:
The Thing is, at heart, not a movie about any singular decision or behavior creating a bad outcome. Baked into the 1982 movie is failure, death, entropy, inevitable loss. It's not a movie that's meant to have a right solution, or a right decision - but when someone comes at this very bleak story without a good grounding in horror, there's a kind of urge to treat it like a puzzle. If only they were closer. If only they communicated.
That's not meeting it where it's at, because it rests on a situation where none of those elements really exist. People acted the best they could in the circumstances with the tools and information they had - and it simply was not enough. Nearly everyone dies. Even with the ambiguous ending, whoever is human is going to die, because it's winter in Antarctica and he is hundreds of miles from anywhere with no shelter and no food and no transportation. That's the sort of horror it is, the idea that when faced with extinction humanity's best efforts won't succeed. Creating an interpretation where if we had "just" this or that is shying away from the bleakness. But at the same time, not facing up to the idea that some things really might not be solvable, that the worst can happen in spite of it all, is a necessary skill. Not one we need to indulge in constantly, but we should have that knowledge.
And in a greater capacity, this is where I see things go very wrong when someone unfamiliar with or disdainful of horror tries to expound on the genre. It comes from a place of not wanting bad things to happen - not rose colored glasses or naivete - but not wanting the animal to die, not wanting the house to burn, not wanting the parents to lose a child. Not wanting to feel sick or hurt, a normal and human response to a genre which constantly steps over those lines, and quite often does so artlessly and with nothing but puerile shock at heart. That makes it difficult to examine in good faith, and wanting to see horror as something good for oneself leads most people to look for the places where horror doesn't stray close to the boundaries. Solving the problem of "bad horror" by presenting horror comedy or psychological thrillers as better side of horror, for example. But that's just another case of wanting to solve something that doesn't exist to have a solution. Part of getting the genre is recognizing not only that bad things happen in horror, but the ugly and awful and transgressive side is not a mistaken choice, not an error. It's part of what horror is, like a person, you can't understand it without understanding what you dislike along with what you like. Horror can't be corrected out of a set of flaws, those have to be accepted as part of seeing the genre as a whole.
Also, this isn't meant to suggest all horror is hopeless, mean, and cruel. Plent of horror is actually about having made one bad decision, having acted out of hubris, could have been solved by just talking reasonably and so forth. Those are all their own kind of horror plus loads of others. It's more that you can't fix the genre by decoding a right or wrong horror anymore than you can support an interpretation of The Thing where the base crew would have survived or mediated or so on. It's not a genre where a good version exists, because there's too much in it already which is either awful as a matter of fact like pain and death, or which is morally repugnant like racism and homophobia. It's useless to look for a way all of those things can somehow be retroactively solved. It's necessary to face all those things as a part of life. In horror, we have to acknowledge how much of it sucks (artistically) and was made by awful people and had deeply flawed examples of systemic oppression to actually like see the genre in a clear light. And similarly we also have to recognize how much of it is also necessarily transgressive in a way that cannot be anything except unpleasant, because that's part of things people find horrific. You can't have a respectable horror genre, is kinda the thing. There's too much going on, and trying to solve a flaw in like "too much gore" or "animal death" just ends up cutting off a necessary thing to the whole genre. The absolutely most bloodless zero death zero problematic element in the present day zero conflict good ending horror is still going to be uncomfortable because that's the point. Or it might suck. But lots of horror sucks, also, and sometimes that's also interesting.
Old TV, being reclaimed by nature
If you find the remote (always in the mouth of a deer skull, and its always a different deer skull) you can turn this tv on but it only plays footage of the exact moment no one alive will remember your face anymore
Strawberry banana smoothie
You know that thing would eat you if you died, right? *pointing to the false image of you that others perceive*

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Drinking Fountain, mixed media zine, 2025
Photographs of the Inhabitants of the Sub-Arctic Part of Eastern Canada, Robert Joseph Flaherty, 1884-1951
you're not making enough of stone fruit season. that's another thing you're fucking up. a few dozen stone fruit seasons you get your whole life. you need to take a hard look at your peach and mango consumption.
scrolling tumblr while you're doing bad will have you angry at the stupidest shit.
I really love those posts of people showing their stuffed animals various things and locations, gonna start doing that
showing my giant ground sloth the Feather River and the Feather River Fish Hatchery fish ladder
showing my cat the location of the last stagecoach hold-up in San Mateo County
showing my sockeye salmon The Gates Of Hell
showing my humpback whale Methuselah the coast redwood
showing my banana slug the grave of Emperor Norton
showing my tiger the geographic center of California
showing my elephant seal a spirit photograph
showing my javalina the 1906 earthquake fence

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LOL so the other day I was scampering about squeaking and looking for cheese and such when I saw the farmer out in the field and, get this, he was trying to pull a turnip out of the ground, but the turnip was like really big, right, so he couldn’t do it 😅 like he was really struggling. Weak fuckinh farmer. So he calls over his wife and she holds onto his waist and starts pulling too but the turnip is still stuck. So she calls over their kid and she grabs onto her grandma and now all three of them are huffing and puffing but the damn turnip won’t budge. This is one crazy ass root vegetable. So they call over the dog and I’m thinking, girl, this is not going to work. but the dog bites down on the kids pants and starts pulling. It’s like a damn conga line. No dice. The dog starts whimpering and next thing you know the cat wanders over and bites the mutt right on her tail and starts pulling. So I’m laughing my ass off at this point but the cat starts looking at me. And normally we don’t really get on, the cat and me. But there’s this desperation in her eyes. In all of their eyes, really. Like, if I can’t dig up a damn tuber then who am I. What’s the point of it all, if there’s an enormous turnip that’s stronger than me. And I can see the future unfolding in my mind. The cat will never respect the dog again, and dog will never obey the kid, who will probably run away from home to find a new jacked grandma. And the farmers wife will leave him, and the whole damn charade of masculinity will crumble and fall. And I shouldn’t care right. I have no stake in this. This is some funny shit. But how funny would it be if little old me pitched in and the turnip actually came uprooted. I’ve got no ego. nobody respects a gay little mouse in this city. If I don’t make a difference here, no loss. But if I save the day? Can you imagine? Outdid by a mouse? The farmer would be delivering me fresh brie on the daily and the cat would probably have to move to a different area code to escape the mockery. So, in the spirit of cooperation, I grab the cat’s tail, and I give a little tug. Just the one. And I swear to god, it feels like an earthquake. Up comes the turnip, big as a house, and the farmer falls on his ass, and so does his wife, and all down the line. And I hop up on the cats head and scamper up the backs of the team as they catch their breath, and I leap up onto the turnip itself and I take a big bite out of it. And let me tell you: that shit? Tasted like a turnip
the ideal media diet for a child is books and music from at least fifty years ago so they are always out of touch with the references and allusions of their peer group