Favorite Clip OTD | The Colbert Report | How To Ruin Same-Sex Marriages
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Kiana Khansmith
AnasAbdin
we're not kids anymore.
he wasn't even looking at me and he found me
d e v o n
"I'm Dorothy Gale from Kansas"
Lint Roller? I Barely Know Her

@theartofmadeline
Keni

❣ Chile in a Photography ❣
Alisa U Zemlji Chuda
wallacepolsom
ojovivo
2025 on Tumblr: Trends That Defined the Year
PUT YOUR BEARD IN MY MOUTH
Claire Keane
RMH
seen from United States
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seen from Spain
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@glotr
Favorite Clip OTD | The Colbert Report | How To Ruin Same-Sex Marriages

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Thank you for posting your tweets, I do not enjoy going there.
It’s really not a good or productive website to use at all but it’s my biggest foothold into relevancy because I know sometimes JD Vance sees my tweets telling him that his mom traded him for some pocket lint and a perc 20
Nobody is having fun on that website. One of the nazis who posted my address had a group of even more insane nazis post his birth certificate a couple of days later. It’s like the Abyss Watchers on there, just stupid chuds executing each other over and over out of some ritualized algorithm-induced compulsion. But for some reason the Vice President gets mad and starts twitter arguments with people in his replies. And one time the Iranians shot a ballistic missile at a target in Israel because a guy with an anime profile picture told them to. A japanese guy used the auto translate to call me names for calling the new japanese PM “female hitler” and the japanese government made me take my post down because I just responded with an image of the thing they used to kill Shinzo Abe. Cyberstalking and harassment is openly encouraged by the moderators. It’s the world’s public forum in the most despicable and honest sense of the term.
This is what I’m talking about man why is Hunter Biden name searching on twitter and replying to “Pissvortex”
Starting a collection
hannah posting three selfies in a row and tagging her aksjdjdkfjkfkf ok. gayass.

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I love the midwest so much
When Harry Met Sally turns 36 — July 12, 2025
So the thing about When Harry Met Sally, which you probably know as "the movie with the orgasm scene" and possibly as "the ur-text of the modern romantic comedy" and which Nora Ephron herself came to be slightly annoyed about being primarily known for — it's a 1989 movie about people who graduated from the University of Chicago in 1977, which means it's a movie about a very specific cohort that a lot of people have forgotten existed, which is: people who were born around 1955, missed the actual sixties entirely (you were 13 in 1968, which is the wrong age to have done anything), graduated into the Carter economy, and spent their twenties in the disco-into-Reagan transition that nobody has a good name for because nobody wants to claim it — and the movie is completely about this, it's about what happens when you're old enough that the sexual revolution is just ambient background radiation you grew up in rather than something you fought for, so you get all the license and none of the politics, which means you get to be cynical about sex in a way that would have been unthinkable to someone ten years older and embarrassing to someone ten years younger.
Harry is a political consultant. Sally is a journalist. They are bourgeois in a very particular late-70s/early-80s upwardly-mobile way — the movie is set in New York and the New York is the New York of Ed Koch, not the New York of the 1970s fiscal crisis, it's the city on the way up, and their apartments look like it, their careers look like it, their whole problem is a rich-people problem which the movie never once acknowledges as such because in 1989 this was just what movie people looked like.
The Katz's scene is the thing everyone remembers and it's so heavily mythologized (the "I'll have what she's having" line is carved into the booth) that it obscures what the scene is actually doing, which is a pretty aggressive argument about heterosexual miscommunication delivered in a register — woman publicly simulating orgasm in a deli to prove a point to a man about whether he would know — that in 2025 would read as either radical-feminist didacticism or cringe, but in 1989 was mainstream romantic comedy, this was the Thanksgiving movie, this played in Peoria. The frankness is the artifact. Nobody would make that scene now. Not because it's offensive but because it's too arguing, it's too interested in making a structural point about sex to be allowed inside the genre anymore — the rom-com as it evolved through the 90s and early 2000s (which WHMS basically invented as a genre) systematically removed the sociological content and kept only the meet-cute-to-wedding scaffolding, which is why the Katz's scene feels weirdly unlike the movie it's from if you only know it from clips.
The other thing is that Ephron was writing Rob Reiner's love life — Reiner had just gotten divorced, was depressed, kept telling Ephron horrible things about being a single man in his late thirties in Manhattan — and Ephron took his material and a bunch of her own material and made it into a movie that's structurally a Woody Allen movie (split-screen phone calls, walking-and-talking in autumn Central Park, the Gershwin, Jesus Christ the Gershwin) but with the Allen persona surgically removed and replaced with what is essentially Rob Reiner's therapy, performed by Billy Crystal doing Rob Reiner. Think about that for a second. The film that launched modern romantic comedy is a Woody Allen cover version performed by a director who was working through his divorce via his female friend's screenplay. The whole thing is a hall of mirrors and the mirror at the center is Reiner's loneliness, filtered through Ephron's ear for how men and women actually talk to each other, filtered through Billy Crystal's delivery, which softens Reiner's native abrasiveness into something female audiences could tolerate as a romantic lead.
What the movie argues — and this is where it's dated in the most interesting way — is that men and women can't be friends because sex always gets in the way, and it argues this as if it's a controversial claim that requires 95 minutes of screen time to establish, which tells you how much ambient optimism about post-revolution gender relations was still in the water in 1989. The premise of the argument is that the sexual revolution was supposed to have solved the friendship question — if sex isn't a big deal anymore, why can't men and women just hang out? — and Harry's position is that it didn't solve it, it just made the unsolvability less discussable, and the movie ends by agreeing with him, which is a fairly dark conclusion dressed up in a New Year's Eve kiss. The structural pessimism about heterosexuality is the actual engine of what reads as a feel-good movie, which is probably why it aged better than its imitators — the 90s and 2000s rom-coms inherited the scaffolding and threw out the pessimism, and without the pessimism the form is just machinery.
Another thing: the movie is obsessed with telling the story of how a couple met — the old-couple interviews interspersed throughout are a genius structural device that accomplishes about four things at once (tonal punctuation, thematic underlining, sociological documentary texture, and a running argument that every couple's story sounds stupid when you tell it, which is the movie's actual thesis about itself) — and this device was specifically mining the Studs Terkel-era appetite for oral history, which was a 1970s cultural product that was mostly dead by 1989 but whose aesthetic Ephron grabbed on the way out. Nobody would shoot those interviews now. They'd feel too slow. They'd also feel too real — they have the texture of actual documentary because Reiner shot them with actual couples first and then had actors redo the best ones, which is why they feel weirdly authentic compared to everything around them.
The movie is thirty-six years old. The characters, if they existed, would now be seventy. Their children, if they had any, are older than the movie's main characters are. The sexual revolution they were in the tail-end of is now something that happened in the deep past. And the genre it founded has largely collapsed under the weight of its own conventions, which is maybe just what happens when you strip-mine a specific sociological moment for a genre template and then run the template for thirty years past the moment.
Or maybe the genre collapsed because streaming killed the mid-budget adult comedy and this has nothing to do with the content of the movies at all, which would be a boring explanation but probably the correct one.
I love it when I click on a recipe link because it sounds yummy and instead of a recipe I get a several page dissertation on a food blogger’s boredom with her marriage and lies she was told in childhood
10 years of crème brûlée brownies and wondering where it all went wrong
idk how you’re getting Content from “i fee like i dont know how to be a person properly and i dont know how or what to talk to my husband about almost ever” but she’s now happily divorced so she was in fact Not Content
Scrolled through the reblogs and couldn’t find anyone actually posting the recipe HERE, so I dug it up on the Wayback Machine. Behold! Kristan’s lost brownies recipe:
Créme Bruleé Brownies
Prep Time: 40 minutes Cook Time: 30 minutes Total Time: 1 hour, 10 minutes Yield: 15 servings
Ingredients
Brownies:
1 cup (2 sticks) salted butter, melted
1 cup unsweetened cocoa powder
2 cups granulated sugar
4 large eggs
1 TBS vanilla extract
1 1/3 cups flour
12 oz (ish) jar hot fudge sauce
Créme Bruleé Topping:
¼ cup cornstarch
1 cup white sugar
6 Tablespoons butter, melted
3 ¼ cups half and half cream
2 teaspoons vanilla extract or vanilla bean paste
¼ cup granulated sugar
Instructions
Preheat oven to 350. Line a 9x13 pan with foil and spray thoroughly with nonstick spray; set aside.
In a large bowl, whisk together the cocoa and melted butter. Stir in sugar until combined. Stir in eggs, one at a time, mixing well after each. Stir in vanilla. Fold in flour JUST until you no longer see flour streaks in the batter. Gently fold in hot fudge sauce.
Spread batter in prepared pan and bake for about 20 minutes, until raw batter no longer appears when a toothpick is inserted in the center. Remove from oven and place pan on a cooling rack.
Prepare topping: In a medium-sized heavy saucepan, whisk together cornstarch and sugar. Whisk in the melted butter and half and half. Bring to a boil over medium heat, stirring constantly, until mixture is the consistency of a thick pudding. Remove from heat and stir in vanilla.
Pour custard over the brownies, spreading to cover. Sprinkle surface with granulated sugar, then place under the broiler for several minutes until top is golden (may be dark brown is some spots). Alternately, a kitchen torch can be used.
Let brownies cool to room temperature, then refrigerate until chilled. Remove foil, cut into bars and serve.
Enjoy and have a great day!

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Pierre Bourdieu once argued that the question of whether something is art isn't answered by the artist's intention or even the object itself
Ginger do u still have the tiktok of the guy going « you’re crazy » and the sexy one who followed his beloved for blocks into the library goes : « I’m fucking stupid » in the sexiest way possible
Always
Supermassive Black Hole lends itself to soundtracking one thing and one thing alone and that is a strip club. Supermassive Black Hole is the most perfect strip club rock song I've ever heard. I've heard rock songs *about* strip clubs that feel less suited to a strip club than Supermassive Black Hole. I have heard songs where sex is explicitly described in the lyrics that feel less sexy than Supermassive Black Hole. Supermassive Black Hole is a song so disgustingly, flagrantly, enticingly slutty that I sometimes feel legitimately shocked that it was made by a band that most people make fun of for sounding like if Radiohead sold out after their first album. It is a crowning achievement in stripper music that may never be topped in our lifetime. It is best known for soundtracking the scene in the first Twilight movie where they play baseball.
hands!

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big fan of whatever the youth is doing to torment scientology buildings
they couldnt take the heat
throughout the late 2000s and early 2010s, our generation was inundated with aave. it eclipsed lolcat as the "funny way to talk." ain't nobody got time fo dat turns into dat boi o shit waddup. this is blatantly not an "aracial" or "gen z" way to talk. it IS black english. not to mention the amount of black reaction images!!
WHY, specifically, is it black peoples' facial expressions that are seen as just so comical or exaggerated? analyze the history of this nation's comedy and tell me why you might be predisposed to thinking of black peoples' faces as just, "more emotive" or exaggeratedly funny than a white or nonblack person's
and throughout those years, 00s-10s, many black bloggers -- victims of the mass staff-led purge (under the cover of them being 'russian' while reichblr still exists) -- they DID tell us it was a problem, DID try to educate people who freak out at the insinuation of 'being racist,' DID argue, DID point out the duplicity and the appropriation and the gross equivalence of african american slang with unintelligence, goofiness, etc. and they were ignored, abused, cancelled, chased off, until being eventually mass deleted by our racist transmisogynistic staff.
we didn't do enough, and the generation after us gen z "kids" didn't stop the trend. using the '-ahh' suffix. rizz. no cap. ate. delulu. it's giving. it's serving. crash out. lock in. aura. tea. main character. bruh. slay. real. keep it 100.
all of the following images are or were popular reaction images! what do they all have in common?
it feels like the effort to categorize slang as AAVE and not 'gen z' or 'gen alpha' slang has really petered out. it feels like we stopped talking about digital blackface in an era where the administration is posting ai-generated videos of black women who speak and act like exaggerated stereotypes and it frustrates me because we all have a responsibility to understand our generation's role in normalizing this type of racist shit for kids today. this needs to be addressed!