mom's minion memes for real justice
i posted these originally like 9 or 10 years ago or something but I can't find them anywhere, so now you get retortured.
Alisa U Zemlji Chuda
Mike Driver

Janaina Medeiros
trying on a metaphor
he wasn't even looking at me and he found me

@theartofmadeline
NASA

blake kathryn
DEAR READER

titsay
dirt enthusiast
noise dept.
Three Goblin Art
Today's Document

JBB: An Artblog!
Cosmic Funnies

izzy's playlists!
YOU ARE THE REASON

if i look back, i am lost
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@mily-day
mom's minion memes for real justice
i posted these originally like 9 or 10 years ago or something but I can't find them anywhere, so now you get retortured.

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My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.
I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.
This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.
Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.
Being gay and out was career suicide in the 90s.
Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).
Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).
I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.
It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.
hey. you have to love your trans brothers of color okay. and your trans sisters of color. and your nonbinary siblings of color. you have to okay. its simply non-optional
ive said it before and i’ll say it again not enough historical romance focuses on technicalities
really for this kind of thing it’s no use going to published trad romance and i should know that. the really good shit is 400k on fanfiction dot net for a heterosexual pairing you’ve never considered from a piece of media you havent thought about in years written by a bored doctoral candidate who’s read a lot of primary sources from the long 18th century
recently rediscovered my absolute favorite entry in the genre: customs and duties by tortoiseshells, which is an insane technicalityromance set in 1738 boston, ft the stuffy british navy guy from pirates of the caribbean/ofc, smuggling, puritanism in the john calvin sense, the legal realities of widowhood, several real historical governors of massachusetts, debts, accounts, and of course customs regulations
I would also like to nominate and psyche's lamp shall darkling be, a story based on the 2025 Frankenstein movie that gets into the intricacies of 1850s convent school life, the process of Catholic ecclesiastical courts verifying miracles, multiple points of mid 19th century marriage and inheritance laws pertaining to property, and also spells the word connection with an X so you know the author has been in the 19th century literature trenches 
It is a truth universally acknowledged that I’ll never miss a chance to rec Town and Country by @charminglygrouped! Pride and Prejudice is already set historically but T&C engages with some of the contemporary issues the source material doesn’t touch by exploring what might change if, say, the Bennet family were South Asian. The intersection of class and racial privileges, alienation from parents’ cultures, how racism and orientalism mirrored each other in the fashions of the day (and how that is present in p&p’s use of plain vs opulent attire to signal virtue), with relevant boilerplates on every chapter, fantastic dialogue, citations to make your head spin, and a genuinely compelling relationship at the heart of it.
you have to be kinder to people with memory issues.
you have to be kinder to people who are slow processors.
you have to be kinder to people who don't understand your jokes.
you have to be kinder to people who forget important dates.
you have to be kinder to people with cognitive decline.
you have to be kinder to people who were always this way, too.
you have to be kind. you have to be kind.

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it's hard being a polyamorous action hero because whenever i have flashbacks to all my dead wives it takes like 20 minutes to get through all of it
it kind of sounds like youre just feeding local women to the deadwife montage
i love you archival work. i love you alphabetizing. i love you sorting. i love you reshelving. i love you document restoration. i love you shelf reading. i love you inventorying. i love you analysis. i love you archival work.
Tips for Writing Grief! (AGAIN)
the five stages of grief were never meant to be a checklist your character moves through in chronological order across three chapters. Let me save you from writing a grieving character who is simply having scheduled emotions:
⊹ Grief is not primarily crying. i know that sounds wrong but hear me out. a lot of grief looks like doing laundry. cooking something the person liked and then not being able to eat it. watching a show they recommended and never told anyone you finished it. grief goes very quiet and very domestic for long stretches and then ambushes you at completely unreasonable moments like a petrol station or a Friday at 4pm for no reason at all.
⊹ people who are grieving often seem fine. not because they're suppressing or being brave or in denial, but because humans are genuinely capable of functioning and being devastated at the same time. your grieving character can make jokes. can go to work. can have a good day. can feel guilty about the good day. can feel guilty about not feeling guilty. grief has a very active internal bureaucracy that has nothing to do with what's visible on the outside.
⊹ Grief also changes shape over time in ways that aren't necessarily about getting better. the first year is often adrenaline, there are things to do, people around, ritual and structure. year two is frequently harder because the adrenaline is gone and the world has moved on and expects you to have moved on with it. your character being more visibly undone eighteen months later than at the funeral is not a pacing problem. it's accurate.
⊹ The relationship with the dead person doesn't stop. this is the one writers get most wrong. your grieving character is still in a relationship , still arguing with the person in their head, still updating them on things, still furious about something left unsaid, still finding out new things about them from other people and having to integrate a version of them they didn't fully know. grief is not the end of the relationship. it's the relationship continuing without any new information coming in.
The reason why so many of y'all's feminism sucks is because you still believe deep down in your hearts that there are only two kinds of people in the world: precious, ethereal, fragile dollthings called "women", and violent, lustful, rage-fueled apes called "men". Until you throw that idea away, 3rd-grade-tier "girls rule boys drool, girls are princesses and boys are stinky :(" is as feminist as we'll ever get-- and I hope it's obvious that that's lightyears away from the bare minimum of where we need to be.
the problem with autism is sometimes you want to do something (brave) but you need someone to gently walk you through each step so you know what will happen. and people don’t like doing that
i had to phone a taxi today, scary
every time i see this post i think of that person who posted on reddit that they wanted to go to subway for the first time but they were scared they would say the wrong thing so someone gave them step by step instructions for the entire process and what all the choices would be and when they would ask what question and i just think
someone will
someone out there will see you and say "yes. the world is scary. but let me hold your hand and show you how to do it anyways"
everyone needs that someone, and everyone can be that someone
The subreddit r/explainlikeimscared is a surprisingly good resource for this. People are always very kind and thorough from what I've seen, and I spend a decent amount of time there giving walkthroughs and answering questions when I know the process.
SHARING TO HELP SOMEONE ELSE OUT!

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every time a female character gets called the mom friend i shoot another hostage
i agree so much about making your blorbos pathetic but i do fear that many take this to mean 'make them more traditionally feminine/submissive' which genuinely hurts my soul. make your blorbos pathetic in interesting character-oriented ways. understand their neuroses and turn the dials up to eleven. juxtapose the parts of life they handle extremely well with the parts of their lives that make them eat shit. make them angry. make them cold. make them pave their own way to hell while building walls preventing them from seeing any other way. please i'm begging you no more pathetic as an euphemism for bottoming im gonna mclose it.
it's very frustrating seeing otherwise well-structured posts about media literacy and critical thinking bookended with statements about "nowadays", "nobody has literacy anymore", "this generation is so anti-intellectual", and the like, unquestioningly falling into better past fallacies.
Do we really think the 80s and its Satanic Panic were better at critical thinking? what about the 40s? the Victorian era? societies have always had problems with critical thinking and literacy, because most societies have dealt with propaganda, corrupt leadership, difficulty providing education (due to poverty or discrimination or other issues), and/or people who resist critical thinking (due to privilege or circumstance or what have you). we can criticize media trends without pulling a "well back in the GOOD OLD DAYS" about it.
CRITICAL ROLE 4.28 Chasing Shadows
this post is waaaay too loud.

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I got a lot more support than I thought so here’s just a little doodle I did of three of em for the first episode of cr4 campaign a bit ago👉👈
I really love how Thaisha turned out!! She is so cute.
“I think she hated us.” Couldn’t get this conversation out of my mind holy crap I need more Vaelus lore