we're not kids anymore.
h
Not today Justin

d e v o n
Show & Tell

if i look back, i am lost

shark vs the universe
hello vonnie
Cosmic Funnies

⁂
Monterey Bay Aquarium

Discoholic 🪩
Keni
Xuebing Du
One Nice Bug Per Day
Acquired Stardust
i don't do bad sauce passes
seen from United States
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@pinan-stutor

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anyway i bought pokemon moon the other day and its been a really emotional time ever since
Pokemon Heritage Post
should i eat first or shower first *has phone in couch time for another 3 hours due to choice procrastination, a behavioral phenomenon observed in pigeons and rats as well*
i' m something of a pigeons and rats myself
from 'kaffe's classics: 25 favorite knitting patterns for sweaters, jackets, vests, and more' kaffe fasset, pub. 1993.
It's good color theory

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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beauty and the beast (1946) is kinda lit
jean cocteau was so real for this
women have always wanted to fuck the beast
Her name was Judy-Lynn del Rey. And she became the most powerful editor in science fiction history.
Born in 1943 with achondroplastic dwarfism, Judy-Lynn grew up devouring science fiction in New York City's public libraries. At a time when the genre was dismissed as pulp fiction for teenage boys, she saw something else entirely: the future of storytelling.
She started at the bottom—an office assistant at Galaxy, the most prestigious science fiction magazine of the 1960s. Within four years, she was managing editor.
Then Ballantine Books came calling.
When she arrived at Ballantine in 1973, science fiction and fantasy were afterthoughts in publishing. Fantasy in particular was considered unsellable—unless you were Tolkien. Judy-Lynn thought that was nonsense.
Her first major move was audacious: she cut ties with one of Ballantine's bestselling authors, John Norman, whose "Gor" novels were popular but notoriously misogynistic. It was a risk. She didn't care.
Then came the gamble that changed everything.
In 1976, someone brought her an opportunity: the novelization rights to an upcoming space movie by a young director named George Lucas. Hollywood thought the film would bomb. Studio executives were skeptical. Most publishers passed.
Judy-Lynn said yes.
The Star Wars novelization sold 4.5 million copies before the movie even premiered.
She would later call herself the "Mama of Star Wars."
In 1977, she launched Del Rey Books—her own imprint, with her husband Lester editing fantasy while she oversaw everything else. Their first original novel was Terry Brooks's The Sword of Shannara. It became a phenomenon.
She didn't stop there.
Remember The Princess Bride? The original 1973 novel had flopped. It was headed for obscurity. Judy-Lynn rescued it, reissuing it in 1977 with a striking gate-fold cover and an aggressive marketing campaign. Without her intervention, there might never have been a movie.
She published the Star Trek Log series. She championed Stephen R. Donaldson's Thomas Covenant trilogy—convincing Ballantine to release all three books on the same day from a completely unknown author. Unprecedented.
She published Anne McCaffrey's The White Dragon—the first science fiction novel ever to hit #1 on the New York Times bestseller list.
And she did all of this while competitors called her imprint "Death-Rey Books"—because she was utterly dominant.
Between 1977 and 1990, Del Rey Books had 65 titles reach bestseller lists. That was more than every other science fiction and fantasy publisher combined.
Arthur C. Clarke called her "the most brilliant editor I ever encountered."
Philip K. Dick went further: "The greatest editor since Maxwell Perkins"—the legendary editor of Hemingway and Fitzgerald.
But here's what burns: the science fiction community never nominated her for a Hugo Award while she was alive. Not once. The men who ran the industry praised her in private and overlooked her in public.
In October 1985, Judy-Lynn suffered a brain hemorrhage. She died four months later, at 42.
Only then did the Hugo committee vote to give her the Best Professional Editor award.
Her husband Lester refused to accept it.
He said Judy-Lynn would have objected—that it was given only because she had just died. That it came too late.
He was right.
Judy-Lynn del Rey transformed science fiction from a niche hobby into a cultural force. She made fantasy into a mainstream publishing category. She bet on Star Wars when no one else would. She saved The Princess Bride from oblivion. She published the first #1 New York Times science fiction bestseller.
She did all of this standing 4'1" tall in an industry run by men who underestimated her at every turn.
The next time you pick up a fantasy novel, or watch a Star Wars movie, or quote The Princess Bride—
Now you know who made it possible.
@lily-leaves
environmental storytelling

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Actually, if you have a dynamic disability or if you are an ambulatory wheelchair/mobility aide user it IS okay to lie. As someone who has had surgery if you need the lift/ramp etc or someone is giving you shit for not looking disabled tell them you just had surgery, theyre more likely to give it to you (ask me how I know 🙄). Tell them you're recovering from a car accident. Tell them youre dying. Whatever. You don't owe prying ableist strangers your actual medical history. Do whatever you need to get accessibility and whatever you need to get to safety if someone is harassing you.
Baby Kookaburra
(via)
This is an awesome use of what is probably a master's degree if not a doctorate and I am 100% thrilled that she shared it even though it was embarrassing and she squeaked.
Kingdom Hearts Title Screens Part I: (2002-2011)

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ca. 1858, uncut sheet of eight carte de visite portraits of Prince Lobkowitz, by André-Adolphe-Eugène Disdéri
via the Metropolitan Museum of Art, Photographs Collection
Surely one of the greatest 19th-century photographs I’ve ever seen. Seven pictures for well-meaning relatives, one for the laydeez. Or indeed the chaps.
Still the greatest photo series of the 19th century. I love how the Met’s description of this image calls the last pic “less formal attire”.