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It is, by any metric, a small country masquerading as a city.

It governs more lives and more wealth than most nations. If democratic socialism — housing reform, public banking, equitable taxation — functions here, it obliterates the myth that such governance can’t work at scale. The fear isn’t ideological. It’s empirical. Because if Mamdani can keep the lights on, reduce homelessness, and maintain economic growth without catering to Wall Street, then the capitalist gospel collapses under its own dead weight.

What terrifies the establishment isn’t failure. It’s feasibility.

If it works in New York, there’s no reason it can’t work in Nebraska. If it works in Queens, it can work in Kansas City. And once proof exists, belief becomes irrelevant. The ship of democracy, fully refitted, will keep sailing — and no one can claim it isn’t American."

This is a man who is VIOLENTLY aware that when it comes to conservatives, he is a Muslim first, a Brown Man second, an Immigrant third, a Socialist fourth, and a human a very distant fifth, if considered at all. He was also a young adult during the Obama Years and will have seen Republicans rip Obama to shreds for wearing a tan suit instead of a dark one and use literally ANY excuse they could to try and degrade his image.

Films reflect the time period in which they were made.

Our most popular films right now are all reboots, sequels, and reused IPs.

On one hand, you could make the case that our generation is being deprived of its place on cultural timeline, because (as far as the mainstream goes) all we're being given is rehashed ideas from other time periods. Seems rather boring to analyze.

But on the other hand, I think future film historians will find that this era is culturally fascinating. Not because of the "nostalgia bait" itself, but because it represents the emergence of independent cinema and streaming.

When TV was invented, people could watch filmed media at home. You no longer had to go to a theatre just to watch cartoons or comedies.

So the studios responded with a wave of epics in the 1950s. They said "Okay, you can get Dick Van Dyke at home, but you can't get Ben-Hur." Television couldn't compete with the budget, big name stars, or visual tech that film studios could offer. They were financially incentivized to blow your socks off with visuals and big name stars.

But with the emergence of streaming and independent film, that's no longer the case. A-listers are happy to take TV roles, and TV offers Hollywood-level visuals. You don't need to mess with the theatre system at all. It's easier than ever to make good-looking movies and share them with the masses with no major studio backing.

So what's the one thing that studios still have going for them? What's the one thing that Disney can give you that an independent filmmaker can't? Yoda. The Little Mermaid. Iron Man. Fucking brands. That's all they have, so that's all they sell.

Here’s HSTHETE, the 24 hour comic I drew this year!  Thanks to everybody who followed along on twitter this weekend as I posted these pages <3

kermit: *stunned open mouth silence*

miss piggy: yet every day since i first saw you at the dance all i have been able to think about is how you are suitable for nothing in life but to be my bride! you are below me in every possible way but you simply must let me marry you!

might there be a reason this post resonates with a lot of women?

can you describe the phenonemon of learned helplessness? give an example.

in what ways might the gender pay gap have influenced this post?