daily Dracula flow affirmation:
This shit ain’t nothing to me, man
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@peresephoknee
daily Dracula flow affirmation:
This shit ain’t nothing to me, man

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every time i read some ethnography stuff about villagers (h-g's, agriculturalists, it doesnt matter) i am reminded of how bad it is to live in a village. your PARENTS or your INLAWS get to TELL YOU WHAT TO DO (who to marry!!!). everyone is in your BUSINESS. if you try to just leave you will probably DIE. it sucks!!!!! i am so glad we don't live in villages!!! rootlessness SWEEP
Do you look more like your…
Mom
Dad
Other family member
Even mix of traits
Not enough bio family to say
vanilla extract
Bill Miller — Feathered Canyon (pieces vintage linoleum on panel, 2024)
imagine u meet louis de pointe du lac at the club and u offer him a sip of ur white monster and he says No thanks I already have one of those

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The social forces that prevent you from being able to admit to your own desires in the safety of your own mind are far more evil than any desire you could have.
Unacted desires are fundamentally neutral, and you can't decide what to do about the things you want unless you can admit to yourself what they are in the first place. Everyone has desires that would hurt other people if they acted on them, but most people would not actually go out and do anything they know would cause harm. Far more harm is done in this world by people who are trying to pretend they can't possibly want anything they think is bad than people running around going "ehehehe I love hurting people!"
Providing people with a way of exploring the dark parts of ourselves in a way that cannot hurt anyone is one of the purposes of both fiction and kink.
All of us have a hungry, horny, angry, scared animal inside ourselves. You do not need to excuse or justify what that animal wants, it simply is. You cannot escape it. Lying to yourself about the animal that you are will only give you less control over it, not more.
Mel Brooks on taking studio notes:
Here is another instance of rememory [in Beloved] that makes use of quiet language:
"There it was again. The welcoming cool of unchiseled headstones; the one she selected to lean against on tiptoe, her knees wide open as any grave. Pink as a fingernail it was, and sprinkled with glittering chips. Ten minutes, he said. You got ten minutes I’ll do it for free.
"Ten minutes for seven letters. With another ten could she have gotten 'Dearly' too? She had not thought to ask him and it bothered her still that it might have been possible—that for twenty minutes, a half hour, say, she could have had the whole thing, every word she heard the preacher say at the funeral…engraved on her baby’s headstone: Dearly Beloved. But what she got, settled for, was the one word that mattered. She thought it would be enough, rutting among the headstones with the engraver, his young son looking on, the anger in his face so old; the appetite in it quite new."
Only when we reach rutting—an old term for animals mating—do we realize Sethe is having sex with an engraver in exchange for carving the seven letters of “Beloved” into her dead daughter’s headstone. This scene’s obscure language draws us in, while veiling the unbearable experience it depicts.
Morrison once said in an interview: “It’s very important to be as discreet as possible, that the writing be as understated and as quiet as possible, and as clean as possible and as lean as possible in order to make a complex and rich response come from the reader.” This quietness invites us to participate in the text, while reminding us of the responsibility of acts of witness. The prose in effect enacts William Wells Brown’s wish: “Were I to tell you the evils of Slavery, to represent to you the Slave in his lowest degradation, I should wish to take you, one at a time, and whisper it to you.”
Namwali Serpell, On Morrison
my music shuffle decided to summarily execute me as I drove home today
project hail mary time travel fic but it's stratt. and she has to do it again.
the thing here is of course that it worked. it worked, so she has to do it again. she has to send him again. she's not even going to save dubois and shapiro, she's not going to save yao and ilyukhina, she's not changing anything, it worked.
except maybe she adds some supplies, to the ship. increases the amount of food, includes some organic compounds. more painkillers. and maybe she spends more time in proximity to grace. not working with him, not talking to him, just doing what she'd be doing anyway, what she's already done, with him in her line of sight
and he notices, because that's his job. was his job. that was the point of him, to know her well enough to notice something has changed. and he doesn't say anything, isn't going to say anything, and in fact maybe nothing gets said. neither of them say anything and the lab explodes and she sends him to die and she waits and waits and waits and the beetles come back and he doesn't. and then she wakes up again on an aircraft carrier off the coast of china
and it WORKED. and she's here AGAIN, because maybe this is just what happens to you when you are the final signature on a mass extinction event. maybe this is her penance. maybe the world continues on without her, warmer and brighter, but she has to stay here in the worst of it and hold it all together.
she did better. she tried. she knew more. once she'd killed him, once he was out her reach, she could change more. maybe less people died. maybe different people died.
she looks at him as long as she's able and she packs him more vitamins and she doesn't say anything and the lab explodes and she waits and the crops fail and she waits and the wars start and she waits and the beetles come back and she wakes up again on an aircraft carrier and she rolls over to press her face into the mattress and she screams
the fifth time, she promotes him. six months from launch, that's when she wakes up, and she gets out of bed and gets presentable and walks to his door and says You're the primary science officer now. and he says What? No. No, it can't be me. and she says It has to be you. and she's not trying to do anything with her face, with her voice, but something must happen anyway because he looks at her and says You're sure? You're really sure? and she says It should have been you from the start. and he says Okay, let me– Gosh, okay, I have been awake five minutes and all I've eaten since yesterday is candy, but sure, yeah, I'll go on the suicide mission. Are you– We're getting breakfast, c'mon.
she packs him vitamins. she looks at him. he gets mildly obsessed with a different c-drama every time, somehow. maybe that's the linchpin, maybe he just has to make it through them all. she fills a harddrive with them. she tells him she's never been more sure of anything than she is of him. she waits and she waits and she waits. the beetles come back. he doesn't. she wakes up on an aircraft carrier.
she stops the lab explosion. she keeps him out of prison by the skin of her teeth. the beetles don't come back.
she lets the lab explode. she lets him hate her for killing him. she's going to be older than his alien, soon. she's on the aircraft carrier, watching him breathe, for six months. and then she's waiting, and waiting, and waiting, for twenty seven years. twenty seven years is too long for any neat little montages of her catching things before they fall. the weather isn't even the same. it depends who wins the war for the sahara. she's sisyphus, she's prometheus, she's atlas. she kills her only warmth and it gets colder and colder and colder until she wakes up again and there he is. maybe it's a gift. six whole months of him breathing

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Nathaniel Oliver (US-American, 1996) - So You're the Captain (2023)
I don’t know where I’d put it but if I had the privilege of making a Persuasion adaptation my one added scene would be Wentworth crying so hard he throws up
Cecil Beatons photo of Alec Guinness as Hamlet in 1951
There is a quality of books (or movies or shows) that I can best describe as “stickiness,” which is separate from being good or even enjoyable: a sticky book is one I just keep thinking about. Sometimes it’s because a book is very good (e.g. The Locked Tomb), and sometimes it’s because a book is very bad (e.g. ACOTAR), but there are also very good and very bad books that are slippery, such that when I’m done reading them they slip from my thoughts like water from a hydrophobic surface.
i think abt anne rice’s answer to “what are your work habits for a novel?” probably every single day

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history fucked me up
oxford was built and operational as a college before the rise of the mayans and cleopatra lived in a time nearer to pizza hut’s invention than to the pyramids being built
I need a noncomprehensive history book that covers Known World History in time periods, like “in this century, all this shit was happening concurrently” and not just all spread out so I have to piece it together like some unpaid uneducated scholar
You mean like this?
The Timetables of History by Bernard Grun
I grew up with this book, which is frickin’ enormous, and it was endlessly fascinating to young me to pour over the side by side comparison of events taking place concurrently under different headings and in different parts of the world.
Or if you want something you can put on your wall, there’s this:
World History Timeline
I had this book! My grandpa gave it to me and it was really freakin useful!!
I loved this book! Same for The Timetables of Science: A Chronology of the Most Important People and Events in the History of Science.
Same for The Timetables of Technology: A Chronology of the Most Important People and Events in the History of Technology. Great references!
okay but here’s an even cooler (free!) visualization that goes a step further and tracks ideas, devices, infrastructures, and systems of power
Calculating Empires: A Genealogy of Technology and Power Since 1500
✨️with a special focus on colonialism, militarization, automation, and enclosure✨️
You can spend hours upon hours exploring this
A HANDY CHART FOR THOSE OF YOU WONDERING WHAT THE FUCK IS UP WITH THESE. NOTE THAT THESE ARE ALL THE INFORMAL AND YOU IS THE FORMAL SO LIKE YOU WOULD ALWAYS ADDRESS YOUR SUPERIOR/ OLDER PERSON/ SOCIAL BETTER WITH YOU BUT WITH YOUR BUDS YOU CAN USE THESE.