Old habits!
Really enjoying totk so far

@theartofmadeline
"I'm Dorothy Gale from Kansas"
NASA

Love Begins

izzy's playlists!

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Jules of Nature
Aqua Utopia|海の底で記憶を紡ぐ
Lint Roller? I Barely Know Her
will byers stan first human second
Game of Thrones Daily
Stranger Things
h
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Claire Keane
trying on a metaphor

tannertan36
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@kienu
Old habits!
Really enjoying totk so far

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“He never forgot. He just put the memories away, like old silverware that you didn’t want to tarnish. And every year they came back, sharp and sparkling, and stabbed him in the heart.” ― Terry Pratchett, Night Watch
Every year May 25th comes around and every year I have the need to put into words just why this book stayed with me for so long. But mostly it comes down to this: despite Night Watch’s sudden shift to a darker, heavier tone, it avoids being unnecessarily cruel to its characters just for the sake of plot. And of course, this is true of all the Discworld books, people striving to be better, to do better, but I think it’s significant in context of how dark this book is - especially since going by chronological reading order, this is the bleakest book we encounter up until this point.
This Ankh-Morpork that we’re submerged in is so alien at that point in her timeline, it’s gruesome and cruel and oppressive because it’s under a gruesome, cruel and oppressive tyrant. Yet despite that, there is still kindness in the heart of the book - it values old Vimes’ mercy and young Sam’s innocence, it values the fact that Vimes wants to avoid undue violence, to save as many as he can, and shield people from the tyranny for as long as he can.
It’s such an emotionally charged book and there is a lot of darkness in the story itself- a blood-thirsty serial killer, power-hungry men, ruthless paranoia, and the awful, inhumane underbelly of a regime - but where most other books would have done so, it avoids traumatizing its characters just to establish that. Darker shifts in tone so often entails that the narrative doles out meaningless suffering and trauma just to establish itself. Night Watch ultimately avoids that, because it uses other means to make the text feel heavy and oppressive. Part of it is from the plot itself, in that Vimes knows what happens behind closed doors, he know what Swing is capable of and the knowledge of that threat is high-risk enough to let readers know of the stakes.
The main emotional conflict instead comes from Vimes battling with himself, reconciling with wanting to go home versus, well, Sam Vimes being Sam Vimes, which means doing his best at saving everyone, history, timeline and causality be damned. We know that young Sam will become cynical and bitter and drunk somewhere down the line, we know that half the Night Watchmen will die, we know that the city will remain cruel despite this Hail Mary attempt at revolution. Which is why the narrative is so intent on telling us that Vimes’ kindness matters - in mentoring young Sam, in getting the prisoners off the Hurry-Up Wagon, in preventing undue riots and undue brutality, in keeping the fighting away from Barricade as long as possible. The city’s going to hell in a hand basket, might as well make people’s lives easier.
Vimes can’t save Ankh-Morpork from history taking its due course, but the powerful emotional catharsis is seeing him coming to the decision to try and save everyone anyway – simply because he can’t envision himself not doing it. So he digs his heels in and makes whatever difference he can in the moment.
Because Night Watch in an inevitable tragedy - only one of the two stories can have a happy ending and in order for Sam Vimes to go back to the present, to his wife and his son and his Watch and his city, the revolution has to fail or else that timeline ceases to exist. There is no way for him to save both his men and his future but he’ll be damned if it doesn’t try - he wouldn’t be Sam Vimes otherwise. Every time it I re-read it still feels like he’s that close to succeeding.
It could have so easily been grimdark and ~gritty~ but ultimately it avoids because it centres on a few basic themes that forms the core in the story. The heart of it is about camaraderie of a handful of men too weird and incompetent and ugly, the tentative hope in the uprising, and the sheer bloody determination of Sam Vimes’ refusal to give up on the people around him.
Vimes comes to understand that it’s not a choice between happy endings–past revolution or future family. As a grown man with a better understanding, he sees 1. the revolution is bound to fail, but it plants important seeds for the people to demand more from their City and 2. if he focuses on getting out alive, he won’t have a future to come back to, and most importantly, 3. not only will Sam not grow into the man Sybil falls for, who can look himself in the mirror, Vimes will have decided not to be that man.
And the revolution still fails, but it fails differently, in a way that plants more seeds for a better City, in a way that saves his future family as a side-effect, because it’s not about the future as a thing that justifies your choices, it’s about making the present you’re in count as much as it can, mucking out the torture cells, forging community from distrust, bringing another block inside the barricades. That’s what saves you, in the end.
I put this in the queue a year ago to remind myself of these thoughts about a book, these truths about life, and damn, past me really did future me a solid here.
Bunnies for Chinese New Year/Spring Festival (Chunjie) by 东予薏米
@iridylailic ❤️
Funny Chicken Socks (Link)

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loving the lord of the rings so far
Fascism sells a synthetic nostalgia.
As good a time as any to remind folks of the 14 properties of "ur-fascism" (described by Umberto Eco, who grew up in Italy under Mussolini, in his 1995 essay Ur-Fascism). Not all need be present for single regime to be fascist, but a Venn diagram of all fascist regimes will cover them all.
CULT OF TRADITION. The old ways are best. The New is not worthwhile.
REJECT MODERNISM The development of Western philosophy post-Enlightenment is seen as a descent into depravity. See also : Reject post-modernism, which is seen as an even greater descent into irrationality.
ACTION FOR ACTION'S SAKE. Action is to be taken without reflection or introspection - that's for weaklings and degenerates. Often seen in a derision of "intellectual elites".
DISAGREEMENT IS TREASON. Analytical criticism cannot be allowed. A pantomime of discourse may be allowed, but only within the accepted framework and only if reaching the foregone conclusion.
FEAR OF DIFFERENCE. Outsiders are your enemy. Those who are different are evil and want to corrupt you and destroy all you hold dear.
APPEAL TO A FRUSTRATED MIDDLE CLASS Capitalising on genuine frustrations by pointing them toward convenient scapegoats. Real concerns used a recruiting tools.
OBSESSION WITH A PLOT. There is a conspiracy run by THEM. You are besieged by THEM. THEY are behind all your ills. THEY are working in the shadows to enslave and destroy you.
THE ENEMY IS BOTH STRONG AND WEAK. When rhetorically convenient, THEY are all-powerful. When rhetorically convenient, THEY are feeble, stupid, weak. The rhetorical focus shifts regardless of self-contradiction, because all that matters is positioning the enemy where the speaker's goal requires them to be at any given moment.
PACIFISM IS THE ENEMY. LIFE IS ETERNAL WAR. There must always be an enemy to fight. When that enemy is defeated, another must be found. When they cannot be found, they must be created, even from within. There is always the promise of a Final Solution bringing Ultimate Triumph, but it can never be achieved.
CONTEMPT FOR THE WEAK. Elitism disguised as populism. Everyone of US is superior to THEM, cockroaches and drains on society that they are. But people are sheep who require strong leaders, who are by their nature superior to others.
EVERYONE IS TAUGHT TO BE THE HERO. A CULT OF DEATH. Where in myth the hero is exceptional, in fascism everyone must be the hero. They crave heroic death, the reward for heroic life. In seeking it, they send others to die. (See also: Militarism).
MACHISMO. Disdain for women and femininity. Intolerance of non-standard sexuality and gender expression.
SELECTIVE POPULISM. The People are viewed as a monolith with a single will, as interpreted (in reality, determined) by the leaders. Democratic institutions are viewed as illegitimate because they run counter to the narrative of the existence of a single Voice Of The People.
NEWSPEAK. Vocabulary cannot expand. If anything, it must shrink. Variation and nuance in dialogue means variation and nuance in thought. This cannot be allowed. Therefore categories must be binary. Definitions are simple and limited. If it cannot be boiled down into snappy catchphrase it does not exist.
Beware of anyone that tells you:
"we have to oppress some people to make things right but don't worry, we're not talking about you"
They're not talking about you YET.
Oppression never stops when its just oppression for others. It doesn't stop until its oppression for all.
Anastasia Trusova, “Somewhere in Alsace” Acrylic on canvas / 100 x 140 cm / 2022
people online will just say "I don't trust the Chinese" as if that's normal and not the sort of thing a cartoon racist would say out loud

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The best part of this:
“Should I risk my life?”
Then, Slavically, “Yeah, I will do it for you.”
I hope she knows how much we all adore her
Who is this woman I must tell her that she has restored my awe for physics at the (my) age of 35 years in the span of one 2 minute video
Her name is Tatiana Erukhimova, and she works for Texas A&M University.
Ok so I was looking for historical slang terms for penis (gotta be era-accurate when writing vintage dick jokes) and I came across….something
some linguist compiled a literal timeline of genitalia slang–a cock compendium, if you will–that dates back all the way to the fucking 13th CENTURY. This motherfucker tracked the evolution of erection etymology through 800+ years, because if he doesn’t do it, who else will? Thank you for your service, Johnathon Green.
Some of my favorites include:
Shaft of Delight (1700s)
Womb Sweeper (1980s)
Master John Goodfellow (1890s)
Nimble-Wimble (1650s)
Corporal Love (1930s)
Staff of Life (1880s)
Spindle (1530s)
As good as ever twanged (1670s)
Gaying Instrument (1810s)
Beef Torpedo (1980s)
and last but not least, the first recorded use of the word Schlong, which was in 1865 CE. Tag yourself, I’m Nimble Wimble
And are the lovely ladies feeling left out? not to worry! Johnathon’s got you covered, gals, because he also made one for vaginas. Highlights:
Mrs. Fubb’s Parlor (1820s)
Poontang (1950s)
Spunk Box (1720s)
Ringerangroo (1930s)
Ineffable (1890s)
Itching Jenny (1890s)
Carnal Mantrap (1890s - a busy decade apparently)
Bookbinder’s Wife (1760s)
Rough Malkin (1530s)
Socket (1460s)
and a personal favorite, crinkum-crankum, circa approximately 1670.
@antique-symbolism
this alone has justified the internet
@deadcatwithaflamethrower Thought you’d appreciate this (if you haven’t seen it before)
I have had this useful reference bookmarked for a while now. :D
Ringerangroo
Nah son, I'm this old
The duality of nature
it fucken wimdy ||| ydmiw nekcuf ti

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Get on the Bus, Zhang Jia Wu