looking at wikipedias list of obsolete jobs and dreaming of a better life
we used to be a real country
One Nice Bug Per Day

ellievsbear
Claire Keane

if i look back, i am lost
Stranger Things
Today's Document
"I'm Dorothy Gale from Kansas"

@theartofmadeline
styofa doing anything

Product Placement
Aqua Utopia|海の底で記憶を紡ぐ

PR's Tumblrdome
Alisa U Zemlji Chuda

Love Begins

Discoholic 🪩

roma★
Xuebing Du

❣ Chile in a Photography ❣
i don't do bad sauce passes
I'd rather be in outer space 🛸

seen from Japan

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seen from United Kingdom

seen from Malaysia
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seen from United States
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@zodiarch
looking at wikipedias list of obsolete jobs and dreaming of a better life
we used to be a real country

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I think it’d be a good idea to let people from the Middle Ages use tumblr
anti vaxxers
look into my eyes and tell me a person from the Middle Ages who lost 3 kids by the time they are 25 and coughs up blood every now and then would be against a vial with a heaven-sent potion that can protect you from the demons that plague the Earth with just one small prick. look into my eyes and lie to me
Finally I can use this.
They would love vaccines.
re: this post, would you perhaps be able to reword it? i understand the words you're using individually, and i think i might kind of get what you're trying to say, but it's just one very long sentence and so i'm having trouble parsing it! (wait--i just reread it. initial question canceled, mostly--now: what alternatives might we have available to us?) and what does this section: "it feels all too easy to jump from that to then just stymieing our ability to actually describe the textual violences necessary to the discursive construction of that normativity in the first place" mean, exactly? thank you as always for running this blog. :-)
What I’m describing is a critical phenomenon wherein people will approach (usually canonical) horror texts which reify hegemony by ‘identifying’ with the monster who is generally figured in terms of alterity in some capacity; by extricating, for example, a queer narrative out of what is in fact a homophobic one, and treating this as something of a ‘reclamatory’ practice in which one ‘relates’ to that which the text figures as monstrous. The most common instance of this which I see is people’s discussion of Carmilla as an erotic lesbian romance; other examples include Dracula, or Frankenstein, or the socially currency invested in the idea of a ‘madwoman in the attic’ (ie. Jane Eyre).
I don’t think this is like, a practice that we need to do away with entirely, lol – but I do think that a) there are marginalised writers + filmmakers who are making horror with actual teeth, with actual radical edge, and we don’t need to keep pretending like this approach of reclamation-through-identification with a monster in a v normative work is all we have available to us when politically subversive horror does very much exist, and b) this critical practice is often vvv limited in its discursive scope, and tends to lack the kind of materialist analysis that I would consider necessary in talking about literatures of alterity/marginality/violence.
When I talked about stymieing our ability to describe the textual violences necessary to the discursive constructions of that normativity in the first place, I meant that overfocusing on these texts as “reclaimed” articulations of an essentially queer (or otherwise ‘othered’) imaginary can inhibit our ability, as critics, to describe how those texts in fact do not think of their monstrous figures as worthy of a sympathetic or appreciative narrative. I mentioned Carmilla above – we can talk about Carmilla as erotically lesbian, sure, but how far down the line in talking about it as a Queer Narrative do we lose track of the fact that the text itself asserts the sexual norms of white Christian hegemony to necessarily succeed over the perversion of the corruptive, predatory lesbian, or as an Anglo-Irish work positing Carmilla as an Irish woman (and thus a contaminant threat to Anglo-Irish society)? At what point in adulating Dracula as articulating a particular form of queer, effeminate Jewishness destabilising and threatening Jonathan and Mina’s persistent heterosexuality do we lose track of Dracula as having grown out of the fear that the new waves of Jewish immigration in London’s East End were vampiric sources of contagion, or its possible relationship to the antisemitic smears that grew out of the Jack the Ripper murders? Or like, taking Bertha Mason (or ‘the madwoman in the attic,’ because truly, v few people using this phrase are actually thinking about Bertha Mason lol) as a kind of feminist paragon – at what point do we begin to overlook the fact that Jane Eyre is a v racist text?
These aren’t necessarily contradictory approaches – like, for example, you can talk about ‘identifying’ with Dracula as emblematic of British Jewish assimilation and the discontents thereof whilst also talking about Dracula as an antisemitic text, even if the analysis in the former isn’t especially coherent – but the focus of the ‘identification’ treatment is often incredibly limited in its scope, and those limitations can often be detrimental to one’s ability to talk frankly and honestly about what a text actually says and does. A very good example such limitations is that of Frankenstein; an identification with Frankenstein’s monster as an entrypoint for textual analysis obfuscates the way in which Frankenstein constructed a discursive template by which the ameliorationist argument against the immediate abolition of slavery could be argued for. (The linked post lays this out v clearly, but the cited source is Mary Mulvey’ Roberts’ ‘Mary Shelley, Frankenstein, and Slavery,’ in Dangerous Bodies: Historicising the Gothic Corporeal). What I basically mean is, when we talk about relating to, identifying with, ‘reclaiming’ the monster, we have to have a real grasp on what it is we’re trying to impose such a practice on, and what the actual substance of the source text has to say for itself. I’m not one for assuming a text as a body with a set of metaphysical properties that we as critics are tasked to find – I think the relationship between text and reader ought to be dialectical – but part of that dialectical process means situating the text in its material social context and responding appropriately.
peeling those sour rainbow gummy strips into long thin strings and putting them into cheap energy drink to create something im calling battery acid spaghetti will update once ive finished it
dont do this
I really hope its not too bad bc i actually love both components.
it forms a dry skin at the top made of the sour pellets. not a great start.
tastes really good actually. i also feel like i am about to explode.
do not do this.
Speaking of therapy, I say, as though we're old friends, and you're not a stranger trapped in this metaphorical elevator with me and you can hear the suspension wires starting to fray.
I've been doing a lot of work recently that's focused on imposter syndrome and the feeling that no matter how well or how much I do, I'm not good enough. That I'm somehow tricking everyone into thinking my work is actually good.
Some days it's a minor niggle in my head that I can gentle and soothe with logic and affirmations. Or smother, depending on the mood. Other times it's loud and all-consuming and the mental anguish it causes me is so real I can feel it twitching in my muscles. This desperate fight-or-flight instinct with nowhere to go and nothing to fight but myself.
Anyway, because I'm several types of Mentally Unwell™, I was switching between workshop sheets ahead of next week. Filling in different forms. (Trying to get a good grade in therapy) And I got my "recognize your harmful ADHD coping mechanisms" worksheet mixed in with the "you're not actually lying to people, you just feel like you are because your brain is full of weasels" worksheet, and seeing them side by side made something go topsy turvy in my head, and I just had to sit and breathe for a couple of minutes until the urge to scream passed. Because it clicked, it all suddenly clicked.
The reason the imposter syndrome workshops and therapy sessions aren't sticking was because I do routinely trick people into thinking I'm someone I'm not.
Because I'm masking my ADHD for their convenience.
I've always known there was something wrong with me. My neurotypical peers made it abundantly clear I didn't fit in or was failing in some way I couldn't see nor remedy, no matter how hard I tried.
So I compressed myself into a workaholic box of hyper-competence in the hopes they'd stop noticing the flaws and exploit like me instead. And then subsequently lived with the daily fear that if they looked too close, they'd realize I'm a monumental fuck up with enough personal backage to block the Suez Canal.
If you ever need someone to burn themselves to ashes for your comfort and convenience, I'm your gal.
Or I used to. Until I had a bit of a breakdown, and the rubber band holding my brain together snapped and pinged off into the stratosphere, never to be seen again.
Unfortunately, the trauma of living like that didn't also fuck off and instead left a gaping maw where my personality ought to be, so now I get to deal with that aftermath.
And it's that aftermath that's affecting the imposter syndrome shit. Because yes, I am hyper-competent and good at what I do-- but it doesn't feel real because that is how I mask.
And the truly frustrating thing is I am good at what I do. I am not pretending. I worked hard to be good at this. It just feels like I'm dicking around because 90% of my personality turns out to be trauma masquerading as humor in a trenchcoat, and having people genuinely like something weird I'm doing is so foreign my brain has decided it's just another form of masking.
I'm pretending to be a good author so people will think I'm a good author, and my brain thinks we are in Danger of being found out. We are in Danger, and writing is Dangerous because then people will know I'm Weird and not whatever palatable version I've presented myself as for their NT sensibilities.
Like the neurotic vampire with a raging praise kink wasn't an obvious giveaway.
Anyway. I got nothing else. Thanks for listening.
I'm going to go be very normal in another room and not stare into the abyss of my own soul for a bit.

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“Wait, there are people blaming the writers?”
Are you surprised? Fandoms have become notorious anti-writer spaces. Studios love you guys. They can cut the budgets, cut the number of writers, cut the wages of the writers, and you guys always blame the writers. “The writers ruined the show!” It’s never “the studios ruined the show.”
I hate to break it to you: more than half the shows you complain were “ruined by the writers”, were ruined by the studios. Studios cut the scenes and arcs you were excited for. Studios cut the budget of the show, or even raise the budget of the show and force a “bigger, louder, bolder” tone on shows that were unexpected hits (this is where we get “the Netflix look” on every show post-Stranger Things and Queen’s Gambit).
You guys do not do your research. Half your fanfics are tagged with bad faith digs at the writers, when a few searches would reveal how strapped that show was and how poorly the writers were treated. Writers are being given a single week to write each episode—I’m not kidding, one-week-per-episode is one of the reasons for the strike. How are good arcs and scenes supposed to happen under that time limit, with a max of only four writers?
Tumblr, the self-proclaimed “pro-union, pro-worker, pro-artist” site is also a major fandom site. You guys rarely practice good faith consumer etiquette for television and film writers, because your fandom salt always turns you against writers. And studios love you for it.
Yeah, individual writers do create bad writing from time to time. But so do painters, chefs, and musicians. Directors and actors sometimes refuse to film certain scenes or follow a show’s projected style and arc, and the writers always get the crap for a bad performance or a poorly directed episode. This isn’t to blame actors or directors; it’s to point out that you guys have one villain, and it’s always the writers. You guys never give writers the same grace you give animators, designers, directors, actors, composers, and editors.
Studios love you every time you say “the writers ruined the show.” Every single popular fandom is guilty of this. View any of the “why did the writers cut this scene, they hate my characters” talk when leaked scenes hit the internet. Writers barely get paid for what they do write. You think they’re writing scenes and then happily throwing them in the shredder? You guys just eat the talk that studios put out. Always have.
Hey y'all. With the Writer's Guild of America on strike, you might be hearing a lot more about something called "residuals," which are payments that the writers get for the studios continuing to air their work on reruns and such. Already I'm seeing people trying to frame the union trying to bargain for better residuals as greedy and unreasonable, so I just wanted to give you guys a peek into my dad's full, 100% real residual payments for writing some of the most watched episodes of American late night television.
Yeah lol. If u hear anyone trying to frame the conversation around residuals as writers being greedy, please do me a favor and punch them straight in the face ❤️🙃🙃
Tolstoy was right
One of my favorite apocryphal stories of the American Revolution that I love so much is that on the morning the war started, Anna Munroe, wife of one of the soldiers, said that she kneaded her bread while crying, because she was convinced that her husband would be dead before she would have to knead it a second time.
It's poignant but easy to overlook, I think, what she's really saying there. Anna's husband walked out the door the night before, leaving her with no certainty that he would ever walk back in again. Soldiers were marching through the streets. She could hear gunshots. And through all of it, she was at home alone with three small children, with no choice but to go through the motions of a normal day. Bake the bread. Feed the baby. Milk the cow. She couldn't just curl up in a corner with her head in her hands, because despite the battle, life was still going on around her, other people depended on her, and she had to keep on living.
reminder to
only listen to official WGA affiliated social media accounts about strikes, boycotts, etc
no matter what! you do not know who is secretly scabbing or busting. if the union has requests for people outside the union to show solidarity, they will say as much on their OFFICIAL channels
Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?
Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).
So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.
Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.
But for most of us, unless we're actively working as writers in Hollywood, most that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/steeaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.
That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the case and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.
The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

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comfy bed. take me home. to the place. where i belong. pillow blanky. sleeping soundly. take me home. comfy bed
As a bisexual person I'm keenly aware of how such stereotypes are inevitably harmful to us, but unfortunately when I see bisexuals in fiction who are Evil and stylish and fuck like champions I can't help but go "oh work" for a sec. It's a difficult conundrum
The Great Lakes and Saint Lawrence River superimposed on a map of Europe
…OH.
During my latest play trough of AC3, I've thought a lot about the reasons Ratonhnhaké:ton has remained my favorite through the years. Since I first played the games, he has been my favorite of the entire cast of main characters- a fact a few friends of mine don't understand. He does differ from most video game protagonists, after all. He lacks the usual charm and witty humor that often make a main character likable. Actually, he talks very little and most humor is created by other characters and their reactions to Ratonhnhaké:ton's seriousness or him not following the western social norms (I laugh out loud each time I see the cutscene of Washington shaking his hand, and looking horrified when he doesn't let go). This considered, it's not surprising at all that he often gets overlooked by fans as the "bland protagonist." Even in-game there is Haytham taking his spotlight as a wittier, more traditionally likable (as in charismatic with funny one-liners, rather than being a good person).
Actually, my revelation came from the game the Long dark I have been playing religiously over the winter. Especially from this specific poem, which can be found as a collectible from the big, empty map, where the player has to survive alone against the Canadian winter.
(Sorry for the terrific photo. I looked for ages for an actual screenshot, but couldn't find one)
The poem reminds me a lot about Ratonhnhaké:ton's dialogue in the epilogue of Forsaken, which was cut off the game for whatever reason, which still drives me mad (the book sucks otherwise. Not even sorry).
"Mother, Father, I am sorry. I have failed you both.
I made a promise to protect our people. I thought, I thought if I could stop the Templars. If I could keep the Revolution free from their infulence, that those I supported would do what was right, they did, I suppose, do what was right, what was right for them.
As for you Father, I thought I might unite us, that we would forget the past and forge a better future. In time I believe you could be made to see the world as I did, to understand. But it was just a dream. This to I should have known.
Were we not meant to live in Peace then? Is that it? Are we born to argue, to fight? So many voices, each demanding something else. It has been hard at times but never harder than today. To see all I worked for preverted, discarded, forgotten. You would say I would have described the whole of history Father. Are you smiling then? Hoping I might speak the words you long to hear, to validate you, to say all along you were right. I will not. Even now, faced as I am with the truth of your cold words, I refuse. Because I believe things can still change. I may never succeed. The Assassins may struggle another thousand years in vain, but we will not stop.
Compromise, that is what everyone has insisted upon. And so I have learned it, but differently than most I think. I realize now that it will take time. That the road ahead is long and shrouded in darkness. It is a road that will not always take me where I wish to go. And I doubt I will live to see its end, but I will travel down it none the less. For at my side walks hope, in the face of all that insists I turn back, I carry on. This, this is my compromise. "
Both the poem and the epilogue both have this strange, melancholic kind of hope, for a better future, one, that you might not live to see, but which is still worth the trouble, since even if you might not be there, someone, your children and children's children will.
Ratonhnhaké:ton's story is about hope, and it is about kindness. He is a rare character in a way that even after everything that happens, everything he does, each time other people use him for their own gain, he refuses to lose his way. At the end he is still defined by his kindness, one he was ridiculed throughout the game, but which he hung on to. He has grown and matured, less naive, but he is still willing to fight for the world and a better tomorrow, however far that might be. He wasn't beaten into submission, but he saw the bad and the evil, and he decided not to let it change him.
The ending is also the beginning of Ratohnhaké:ton's healing. I truly love, how the game ends with him completing his ultimate quest, and moving on. There is no more Assassin's creeding: there is the rest of the world, his life, the future.
AC3 is a game that teaches, that people and the world will wrong you, the older generation isn't always right, your parents can be wrong. Blood doesn't make a family. You are allowed to hold on to your anger, but don't let it change you. Face the world and decide that it is good enough to fight for. There is always room for dreamers, for the ones chasing butterflies and building castles in the sky.
And the best thing about his story, of course, that in the end, he did have a family, and he did see his daughter have it better than he did. His hope walked him home.

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i was trying to collect more shitty ms paint doodles we all use and vibe with and then i realize i also have ms paint and can just MAKE some
i think “the way the fandom distorts the boys” is going to outstrip “the way the canon disrespects the girls” for the top reason why i’m not watching trigun stampede