[image ID: a tweet by user Xiel @lumiexalt that reads “nonblack people, remember the main driving force behind our activism should be compassion for black people and not merely hatred for the system. practice love, compassion, and kindness, extend that kindness to those who need it – not your romanticized revolution fantasies.” /end ID]
[image ID: a twitter thread by user kada @sunlightvveins. the first tweet reads “spreading community bail funds and prison abolition resources is a lot more helpful in these scenarios. rting change dot org petitions has the right motives but black people need & deserve more than those. please Please support COMMUNITIES and abolition materially.”
the second tweet reads “i can’t speak for all black people but i see my community every day and i know these petitions are not the beginning of enough. we need yall to organize and/or just support the organizers. we need people/money/resources. spread THOSE. idk man” /end ID]
here are some places to donate to support the movement right now.
matthew rushin: info + gofundme fundraiser + paypal + cashapp $LavernRushin
keith lamar: info + paypal + venmo @justiceforkeithlamar + cashapp $justiceforkeithlamar
rocky myers: info + podcast + petition (via aclu) + contact governor of alabama
pervis payne: info + petition (via innocenceproject)
jennifer jeffley: info + mightycause fundraiser + contact governor of texas & district attorney
please feel free to add more. if signing petitions, you must be from the us and use a valid zip code; please do not use a fake address as that could be considered fraud and may void the petition.
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“And if you’ll give me 40% of the MOST POPULAR VOTE, I’ll give you my SPECIAL REWARD... A year’s supply of NON-GLOOBY SLIME!!! Never or BARELY used!!!” Tenna concluded his speech with a huge smile, jetting his hands up in double peace signs.
The crowd roared in confused enthusiasm as Tenna gave a gracious flurry of low-FPS bows, pausing only for the occasional stink-nose at his audience plants who weren’t throwing enough 3D roses.
Eventually, the room fell silent. It was Senshi’s turn to speak.
He puffed out his chest, took a long, sweeping look over the audience… and shook his head.
“I can see not all of you are eating properly.”
The crowd murmured with embarrassment.
“I don’t know who needs to hear this, but it’s time to take the turkey out of your icebox. I have seen the ingenious technology with which your people store food... and I have also seen the waste which results from such convenience.
“The food you take had a life. Beasts grew fat on the grass of the field, plants grew from the sun’s rays, and mushrooms grew from minerals in the cracks of caves. And yet, it sits in your iceboxes, collecting moisture until it perishes.
“Eat what is given to you. Because its life will make you stronger, too.”
Without another word, Senshi left his podium and stepped away from the stage. The crowd murmured in confusion. “Is he really like that?” somebody said. “I only remember reblogging the photosets of him tripping and showing ass.”
--
Back in the Green Room, Tenna wrung his antennas nervously.
“Y-y-you think they liked me!? They HAD to!! I mean, I don’t know what Asgore was thinking, getting that weird haircut and running that food waste campaign, but… YOU thought I did good, didn’t you, Kris?”
Laios nodded aggressively, a streak of blue face paint peeling from his forehead.
“You did AMAZING, Tenna! By the way, now that we’ve seen all your insider campaign secrets, do you have any more videos of Susie? Especially her tail... If I could get a look at that, I could finally tell if she’s a dinosaur or --”
THWACK. Fake antlers butted Laios’s head.
“LAIOS?? Weren’t we dressed up to help SENSHI???” Marcille hissed, gesturing awkwardly with her hooves.
Suddenly, Tenna turned to the two adventurers.
“Hey, WAIT a second. SOMETHING’s not right here...”
Laios and Marcille held their breath.
“Where the heck are my POINTS!?”
Just then, the door opened. Chilchuck took one step into the room, whistling and holding a large bag.
Everyone turned to him.
Chilchuck paused, took a step backwards, and closed the door.
“CHILCHUCK!!!” yelled Tenna.
“How come Chilchuck got to stay Chilchuck!?” yelled Marcille at the same time.
--
Meanwhile, in outer space somewhere, some guy was making out with a rock.
I think we should take a moment to thank the production people who presumably spent HOURS meticulously counting out and separating different amounts of rice into individual baggies for Count the Rice
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Please save and share this info where possible. This report has since been removed by Amnesty International due to legal threats of libel from JK Rowling. This information is no longer easily accessible.
As today is the 50th anniversary of the moon landing, it’s a great time to revisit Dinah from Devon’s memory of this historic event. And yes, still makes me laugh.
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Scrolling through the Police Story 1985 tag is a confusing experience. There’s remarkably little posts about Police Story (1985). There’s a lot of slashfic cop AUs for fandoms you’ve never heard of. All the posts about the actual movie Police Story directed by and starring Jackie Chan are still images, which make the film look like a moody atmospheric drama. No one is posting gifs of the pole slide. What’s going on
You know it's a Gothic Horror show, and you're supposed to feel uncomfortable, right? I do. But do you? Do you, Rolin, and Hannah understand that? Because from where I stand, only the Black characters seem to be trapped in a horror story. The others appear to be in a completely different genre.
The issue isn't that viewers like myself don't want to feel uncomfortable. The issue is that, in this Gothic Horror show, Black characters disproportionately bear the brunt of the violence.
Take this season finale as an example.
At the end of Episode 6, two characters are beheaded. Yet in Episode 7, we are shown the severed head and mutilated body of the black character in explicit details, while the white character's mutilated body is shown only briefly and out of focus, and his severed head is hidden from us.
Louis's arc is presented as a parallel to Lestat's. Both characters are placed in situations where they must confront people they have wronged, or at least people the narrative insists they have wronged, as well as their pasts, relationships, and mistakes. (Personally, I don't believe Louis owes Armand anything, but the narrative clearly wants the audience to think otherwise.🙄🙄🙄)
Yet the way these parallel journeys are depicted are drastically different.
Lestat's reckoning unfolds in beautiful rooms, elegant spaces, and dreamlike settings. He sits comfortably while listening to the grievances of the people in his life. He argues back. He reflects. He moves through beautiful environments, from grand rooms to forests and back again. Even when he is forced to confront painful memories, the experience is framed as introspection. The focus remains on his emotional and psychological journey.
Meanwhile, Louis is placed in what looks like a torture room straight out of a Saw movie. His severed head sits on a table, hooked up to a machine. His body is positioned across from him, forcing him to stare at it. His suffering is not just physical; it is public and humiliating. His torture is broadcast for others to watch and study. His pain becomes both spectacle and data. He is joined by Regina, another Black character, whose torture is used as leverage against him.
The man torturing Louis demands an apology, not for any genuine wrongdoing, but because Louis failed to love him the way he believed he deserved to be loved, and failed to show enough empathy for his trauma. This is the same man who murdered Louis's daughter in a lynching and attempted to murder Louis in that same lynching, and who, only minutes earlier, boasted that he took aesthetic pleasure in making Louis's death visually exhilarating as part of that lynching.
And so the torture continues. Louis is pushed to the brink of death. Regina is slicing her wrist. Eventually, Louis gives in. He apologizes. He accepts responsibility not only for hurting his torturer's feelings but for the torture itself. He tells his torturer that his coldness and denial drove him (the torturer) to these actions (the torture). The torturer receives the apology he wants, ends the torture, heals and frees Regina, and leaves, but not before carving the letter "A" onto Louis's mutilated body.
Meanwhile, Lestat is still moving through beautiful settings, confronting his past, and listening to others condemn him for the failures of his life. His story reaches its climax in the final act, when he is surrounded by the people in his life and the people he has wronged, some of whom are cheering him on. Rather than being subjected to physical degradation, he is given space for self-reflection. The focus remains on his memories, his relationships, his mistakes, the horrors he has committed, and his regrets. He eventually acknowledges some of his mistakes and even apologizes to one of his victims. Instead of fleeing from his past, he chooses to face it. His reckoning culminates in understanding, and the arc ultimately ends with imagery that evokes transcendence, as though he is ascending to heaven.
Both Louis and Lestat are given parallel narrative arcs centered on confronting their pasts, their relationships, and the harm they have caused. Yet the show presents those reckonings through vastly different visual and narrative lenses. Lestat's journey is psychological, reflective, and aesthetically beautiful. Louis's journey is a sustained ordeal of physical and psychological torture, humiliation, and degradation. One character is invited to examine himself; the other is turned into a spectacle of suffering. While Lestat is afforded reflection, Louis is afforded degradation.
And I'm supposed to look at that contrast and just shrug and say, "Well, that's Gothic horror for you"? Really? Take the blinders off. Look at what is being asked of Louis and compare it to what is being asked of Lestat. One is granted introspection, reflection, and, ultimately, transcendence. The other is subjected to torture, humiliation, and spectacle. The genre does not erase that disparity. If anything, it makes it more obvious.
My issue is not the horror. My issue is who is repeatedly asked to embody that horror, whose pain is treated as spectacle, and whose pain is afforded dignity, nuance, and care.
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The kid next door (talking toddler age) is playing outside and just wiped out in his Fisher Price car, and I just heard the babysitter say, “oh no, your insurance premium is definitely going to go up!” And the kid who had only been mildly sniffling before made the most confused, but startled sound you’ve ever heard.
Just very clearly an attempt at saying, “my what?”
He straight up forgot about his scraped knee and is now worried about whatever the fuck an insurance premium is.
like. i don't think any of the women in the odyssey are treated well by nolan (penelope and circe in particular have their characters ruined to make odysseus seem smarter and more honourable) but there's something so nasty about casting a black woman as athena, goddess of wisdom, war, and handicraft, the character who arguably drives most of the post ogygia plot in the poem, and choosing to ignore all of that in favour of a mute hallucination of a girl who was raped and murdered whose only function in the film is to add to the guilt the white male lead feels over the atrocities he committed. or casting a dark skinned black woman as the most beautiful woman in the world, and then having her husband carve up her face to disfigure her as punishment for being so beautiful that she was kidnapped
