oh sweet 70%, those are bedroom eyes

USA folks, that is a consistent temperature range hitting 113°. Death Valley temperatures. In Banda, it hovered between 116°-118° (47°-48° C) for a week straight.

Television producers who find their message ‘failing to get across’ are frequently concerned to straighten out the kinks in the communication chain, thus facilitating the ‘effectiveness’ of their communication. Much research which claims the objectivity of ‘policy-oriented analysis’ reproduces this administrative goal by attempting to discover how much of a message the audience recalls and to improve the extent of understanding. No doubt misunderstandings of a literal kind do exist. The viewer does not know the terms employed, cannot follow the complex logic of argument or exposition, is unfamiliar with the language, finds the concepts too alien or difficult or is foxed by the expository narrative. But more often broadcasters are concerned that the audience has failed to take the meaning as they — the broadcasters — intended. What they really mean to say is that viewers are not operating within the ‘dominant’ or ‘preferred’ code.

Once on IMDB I saw a “goof” which was that during a scene set in India(?), the light flicker was at the wrong frequency (in hertz). I wish I knew what movie it was to show you guys, I want to say it was some Marvel shit.

It was The Bourne Supremacy @garbage-empress​

*punching propane tank in a video game*

niceys ask :) what do u like about 4k

A cultural system of significance seeks to avoid events that are disruptive for a given system of significance or seeks to downplay or explain away the phenomena that are unavoidably disruptive . . . If we accept this general distinction, then we might explicate the exact nature of the “confusion” that induces horror in the following way. The backrooms start being terrifying not just when I find myself surrounded by the cultural cavities, i.e. by the disorder and decay of meaningfulness. It occurs when I obtain a first unclear feeling that here cavities are not anomalies but the constitutive principles of organization of this situation. A horror-situation, i.e. a setting where horror can meaningfully appear, is characterized by an inversed setting where something like a cultural cavity takes the position of cultural height and cultural heights are moved to the status of an anomaly that themselves call for an explanation and rearrangement; in backrooms, I myself become an anomaly.