Whenever I hear someone say "the woke mob" I have to stop myself from laughing because even today all I can think of is this fucking tweet
Happy Pride to the Woke Mob


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Whenever I hear someone say "the woke mob" I have to stop myself from laughing because even today all I can think of is this fucking tweet
Happy Pride to the Woke Mob

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That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:
1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.
2) the people who run Disney would be the first to fall in line with a fascist regime.
3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.
4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.
J. Michael Straczynski, creator of Babylon 5, was before that a producer and writer for a number of cartoons in the late ‘80s/early ‘90s (The Real Ghostbusters and the original She-Ra, most notably). After a few years of dealing with the censors and their obsession with finding Satanism (or at least looking for Satanism to further political agendas) he wrote an article about the whole corrupt and bullshit system.
And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?
That one is from his autobiography, Becoming Superman. See also:
(As he goes on to say, he’s never worked in animation again–he’s effectively been blacklisted by the cartoon industry.)
Every time something like this comes up, I remember two stories about making media. The first is about movies, and comes from Quentin “Feet Man” Tarantino.
When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.
The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.
The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.
There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.
This is true of all censorship.
Official silly sign
(Arcane Meta) Zaun Died with Silco
I want to open this by saying I understand people who are upset that there isn't more Piltover/Zaun conflict and resolution in S2 of Arcane. However, I'm going to argue here that the reason it's not in S2 after 2.03 is because the conflict is over. Piltover won. There is no more Zaun anymore as a potential political player and, ultimately, this comes back to haunt Piltover in their hour of need.
Overall, while I am invested in the Piltover/Zaun conflict, especially in S1, I'm less focused on Caitlyn and Vi's story which is our main lens for the conflict, or rather the end of the conflict, in S2. Still, I hope to offer my more Arcane worldbuilding-focused perspective. And just to get it out of the way, here are a few things I had trouble with:
I too was puzzled that anyone from the Undercity would join Piltover in the defense of the city.
I also thought it was strange to have Jayce focus on the threat that Viktor posed with his robots while soliciting help from the undercity, instead of on Ambessa, the more clear and understandable threat that would have made a better rallying point and allowed for a final discussion about the Noxian occupation of the undercity and how Noxus turning on Piltover was just them reaping what they sowed.
I was certainly taken aback when everyone was given Enforcer uniforms for the final fight.
That said, I believe there are answers to all three of these. From there, I want to dive into what exactly happened in S2 with Piltover vs. Zaun, to my eyes. Short version: there is no more "Zaun" as a potential nation or political player by 2.03 when the Chem Barons are taken out by Cait's forces, but it really died before that with Silco, who was already in a precarious negotiating situation himself and he knew it.
This is an excellent Watsonian explanation of the end of the class war.
From a Doylist perspective, I think there are 2 important points:
The show was always written to highlight the relationships between characters in the game League of Legends.
The story of the oppressed lower class rising up against their rich oppressors is old and done, and the story of Arcane is not.
To point 1, the creators always set out to make a show about the characters of LoL, not about its locations. And they absolutely did! The relationships between and among these people are what makes the show compelling. It's why there are thousands and thousands of fics for a whole slew of ships with fun names.
To point 2, I think it's so incredibly valuable that they didn't simply write Les Mis, But With Magic. Sure, you want to see the oppressed underdog beat the rich, powerful overlords. Feel free to watch Les Mis, or The Hunger Games, or Mad Max. That story can be great when done properly but it has definitely, exhaustively been done.
A much, much less common story is what we got: a messy, chaotic fight that culminated in a victory not through physical or mental or even magical prowess, but through enduring, unwavering love. An entire world's destruction and salvation built around the fact that two people couldn't accept being apart from each other. Wins for a whole bunch of underdogs, and a message that says, "It's never too late to try to do better."
I know a lot of people were disappointed by S2, and I understand those feelings (you have no idea). But personally, I loved it. I think it's very clear that the show was headed toward the finale it gave us from the very beginning, but it's also so original it was never predictable.
It's not perfect, no, but it's interesting, and that, to me, is so much more valuable.
I'm gonna split the difference between your Watsonian and Doylist takes and say a little about each.
As someone who is ALWAYS down for a story about the oppressed rising up...I personally would have been disappointed if what seems like generations of inequality had been magically (ha) solved in 18 episodes. I don't think there's a way to do that without it feeling cheap and fake--even if any of the show's other plotlines were sacrificed to give the class struggle story elements more screentime. I also think that expecting that from a show called ARCANE is setting yourself up for disappointment. Magic was always going to be the main plotline. The inequality between the two cities is a backdrop for stories focused on the characters and their relationships, as @thetardigrape says. And given that (in my understanding) that inequality still exists in the world of the game, it seems unrealistic to expect it to be resolved in the show.
Sevika taking her one (1) token Council seat for the Undercity under the stink-eyed gaze of all the old money Pilties was a great moment, actually. That's fucking real, man. It's gonna suck so so much for her both politically and personally and I tend to think it will be nothing but ineffective and frustrating as a strategy for change, but that door toward more equality between the two cities has been shoved open a tiny bit and someone's gotta stick their foot in the gap. Within the world of the show, a tiny, imperfect and resentfully acknowledged crack in the status quo honestly feels way more real to me--and consistent with the tone of fragile hope that most of the storylines end on--than a more decisive political victory would.
And within the world of the show...I mean. Class struggle is never over. As long as there is inequality there will be new rounds of social upheaval, and there are many forms of struggle in between fighting the police and becoming a politician.
I do think that Silco's (and young Vander's) framing of the conflict in nationalist/separatist terms seems to be a very small minority position in their time, and that specific political project dies (for now) with Silco. I have a lot (like a LOT) more to say about this but it does not seem like most residents of the Undercity think of themselves as having a shared national identity. Maybe there is some vague sense of a shared class identity but there is certainly no sense of unified class power. (Again...a lot more to say about this that really deserves its own post.) In general, people's group loyalties seem to be to (1) their families (both bio and found) and informal networks of mutual support for basic survival, (2) gangs and networks of criminal enterprise, which can overlap with (1), and maybe in certain limited senses (miners, probably) to their fellow workers.
This doesn't mean that trying to cohere a national identity for Zaun is an objectively incorrect political strategy (my answer on that is a big fat "it depends!") just that it's not popular. The Undercity is not united at all during the timeline of the show. We're seeing it in a moment of division and defeat and I have a whole theory about exactly why but that's really getting into the other post I just need to sit down and write now.
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Oh no…
Zelda Heritage Post
can I make a confession that might get me in trouble
I save scummed through every variation of this guy’s dialogue tree because I really, really wanted him to perform unethical surgery on me. like I’m still so angry about this. WHY have the gross knife hand doctor if he can’t pull out your appendix and laugh about it??? what is the POINT
wait hang on I’ll post a pangur photo. don’t unfollow
My favorite trope is “janitor in headphones continues cleaning through extreme action”
I’ve been the janitor in headphones and trust me it’s an act we just don’t wanna be involved in the nonsense
happy pride month for it/its users, polyamorous people, xenogenders, non-transitioning trans people, and other "weird" identities. btw
The more I get back into doing creative stuff the more I understand that one Fujimoto quote
for anyone wondering about the second quote:

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Imagine saying this to the Robin Hobb who published her first book while financially struggling as a waitress and post lady with 4 children to take care of alone because her husband was an offshore fisherman in Alaska
i had a dream where tornadoes were made illegal or something i just remember like a dozen police cars driving directly toward a tornado with their sirens on and all getting sucked into the tornado
In Scooby-Doo 2002, one of the clues they find is that the Daemons are poorly taught what they believe to be the slang of the era (much of which is shoddily replicated AAVE) in an attempt to blend in while in their college kid disguises\
This is a subtle reference to how white people who misuse AAVE to "seem cool" are actually demons from hell, and should be exploded
im watching a little doc on youtube about an 11th century castle, and theres a bit where they are talking to a group of older women who are working on a large hand embroidered tapestry commemorating its nearly 1000 years of history & into the modern era.. and off on the border they show a bit where the women have stitched themselves working on it into the piece itself, and it made me kinda emotional
how amazing to have a visual depiction of the women who spent literal years painstakingly stitching such a wonderful piece of art that historically would have gone uncredited
alright I've got to do some quick math to explain attitudes towards AI to my boss.
we're looking to create an AI policy, and when we were talking about this, my boss (older millennial) was genuinely shocked to hear that younger people do not (seem) to view AI positively (a la the recent commencement speakers being booed)
please rb for larger sample size!
Question 1/3
What is your age, and do you feel AI is a net positive or net negative in our lives today?
under 18, AI is a net positive
under 18, AI is a net negative
18-29, AI is a net positive
18-29, AI is a net negative
30-45, AI is a net positive
30-45, AI is a net negative
46-60, AI is a net positive
46-60, AI is a net negative
over 60, AI is a net postive
over 60, AI is a net negative
Question 2/3
How often do you visit or interact with museums/archives (whether in person or online)?
Frequently (multiple times per month)
Often (multiple times per year)
Occasionally (a couple times per year)
Rarely (once every couple of years)
Never :(
Question 3/3
If you saw a museum was using AI in exhibits, marketing, research, etc., would you be more or less inclined to visit that museum?
under 18, more inclined
under 18, less inclined
18-29, more inclined
18-29, less inclined
30-45, more inclined
30-45, less inclined
46-60, more inclined
46-60, less inclined
over 60, more inclined
over 60, less inclined
Thank you for helping with this data collection. Please rb for as big a sample as possible!
🫶

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that gum you like ... !
wow this pizza is great it's so good it's unreal *remembers the unreal engine is dogshit* I mean uh it's Source how good this pizza is