SHAWN HATOSY as SAMMY BRYANT SOUTHLAND: S1E1—Unknown Trouble
noise dept.
PUT YOUR BEARD IN MY MOUTH
Not today Justin
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Monterey Bay Aquarium
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Kaledo Art

Origami Around

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One Nice Bug Per Day
i don't do bad sauce passes
Lint Roller? I Barely Know Her
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@sasakisniko
SHAWN HATOSY as SAMMY BRYANT SOUTHLAND: S1E1—Unknown Trouble

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Every Charles Rowland Scene (46/?)
That’s it, that’s the story.
This design is utterly amazing and deserves to become a cover for the actual book.
Sophie Lamont as MAID CELIA 4.04 | “An Offer From A Gentleman”

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somehow instead of saying "as a treat", I've started using the phrase "for morale", as if my body is a ship and its crew, and I (the captain) have to keep us in high spirits, lest we suffer a mutiny in the coming days.
and so I will eat this small block of fancy cheese, for morale. I will take a break and drink some tea, for morale. I will pick up that weird bug, for morale.
I'm not sure if it helps, but it does entertain me
We often eat pie at work...for morale.
"As a treat" implies a special occasion, a temporary state. "For morale" makes the joy essential, because you have to have good morale to keep going.
liking a ship but disliking the distinct set of stock fanon that they have been assigned is like one of those punishments dante came up with when he wrote the worldbuilding for hell in inferno
Matthew Perry and Matt LeBlanc as Chandler Bing and Joey Tribbiani FRIENDS (1994 – 2004)
God, it's gonna so weird like when I come home and you're not here.

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insp. 1, 2
one of my favorite posts of all time
Audre herself faced similar circumstance in 1979, when she was invited to speak in the “only panel at [Second Sex Conference, held at New York University] where the input of Black feminists and lesbians is represented,” despite the fact that she accepted the invitation “with the understanding that [Lorde] would be commenting upon papers dealing with the role of difference within the lives of american women,” which would not be possible “without a significant input from poor women, Black and Third World women, and lesbians.” Her talk, titled “The Master’s Tools Will Never Dismantle the Master’s House,” which is included in Sister Outsider, is not nearly as well understood as the title is known. When Audre said “master’s tools,” what she was referring to was white, middle-class, straight feminists’ unwillingness to recognize the differences among women along the lines of race, class, sexuality, etc. By failing to seize the strength that could come from the acknowledgement of differences, not just between white and Black women, but also among Black women–why did the organizers fail to involve more Black women, as if expecting Audre to represent all Black women?–she alleges that many white feminists are complicit in maintaining the racist, homophobic patriarchy. In a different text, also part of Sister Outsider, Audre once declared that she would never talk to white women about racism again. Obviously that was not the last time she did, but I have no doubt that she frequently struggled with the urge to give up. Part of the reason I decided finally to attend the conference and to speak at the tribute was the recognition that I stand on the shoulders of Audre Lorde and her contemporaries, many of whom are still alive but many are gone. The panel was successful, and the discussion involving three panelists and the audience lasted almost three hours even though it was originally scheduled for only 75 minutes. [...] In a sense, the tribute panel turned out to be the perfect commemoration of Audre’s legacy. It exposed the ugly reality of what Audre calls “racist feminism,” which was lurking behind the superficial public rhetoric of anti-racism. It brought up intense emotions, including anger, and we sought to channel them for constructive uses. We paid tribute to Audre the best way we could, which was not by reading some academic papers about her, but by being passionately engaged in the struggle against the oppression of all people. I hope that I did my part to make her proud.
from Racist Feminism at the National Women’s Studies Association (2008), attached to the The Transfeminist Manifesto by Emi Koyama.

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everyone loves to hate terfs until they realise that it actually entails rejecting bioessentialism entirely and then suddenly you’re “taking things too seriously” and you “don’t have a sense of humour” like i’m sorry but saying protect the dolls doesn’t make you immune to terfism it has seeped into every corner of mainstream feminism and unless you’re actively searching it out and checking your own biases you will always be at risk of sharing a space with terfs
“Only women can—” nope. “But all men—” nah. “The divine femininity of—” gonna stop you right there. “Everyone born ama—” if you finish that sentence I’ll kill you. “Men don’t experience—” you’re wrong. “Gender isn’t real but sex is imm—” *loud incorrect buzzer*
It also goes without saying that bioessentialism inherently can’t be trans inclusive no matter how hard you try. “All men including trans men—” probably not. “This is only a woman’s issue—” is it really? “Afabs only—” why? “All trans men are like—” what? what are they like? finish the sentence i dare you.
Take a photographic journey through the iconic artist’s life, including snapshots from Casa Kahlo, a new book authored by her descendants