#✪ near

[i01-xcl]

[siorca]

this is so fucking funny I love sharks

[skipppppy]

This has to be an AU already right? I’ve never seen it. I’m doing it. My city now

The angst potential alone haunts me. How long do you think he waited for Ford?? When did it start to sink in that nobody was coming to save him, that nobody would miss him? Would anybody even want him back? How long did it take for his anger, his heartbreak, his grief to turn into acceptance and a belief that this was divine retribution? How long did he work, how many jobs did he take, how much wealth did he accrue, how many brushes with death did he have until he believed he’d “earned” the right to go home and see his brother?? Many such questions. I need to go deeper

[soranker]

laios985

[celeste-tyrrell]

is it really true that the average person's pain level is a 0?

[pippindot]

take that thing back to the baby store!!!

[stellalights]

I’m obsessed with turnabout airlines’s insistence that edgeworth is only into guys

[pangur-and-grim]

this is a nothing photo, but Pangur in the corner has eyes so full of hate

[beif0ngs]

THE BOY SAVIOR ⏱️ THE BOY WHO SHATTERED TIME

[i01-xcl]

[c-rowlesdraws]

Ratatouille would have been a better and potentially much more interesting story if Remy had partnered with Collette instead of Linguini. Two underdogs with talent and passion forced to maintain a dangerous ruse. Fiercely independent Collette giving up temporary control of her body to a creature who, despite the insanity of a rat wanting to cook professionally, she can relate to on a personal level and who she does want to teach. The inner conflict of wondering if Remy’s growing talents are eclipsing her own, if the praise their food is earning belongs more to him than to her. Her guilt over feeling resentment and jealousy towards this little guy who wouldn’t have a hope of realizing his talents if not for her trust and protection. Both of them unraveling the mystery of that sweet but bumbling kitchen boy with the obvious crush on Collette being Gusteau’s secret son, and working together to thwart the new evil owner’s plans to stop Linguini from claiming his birthright. The message of the movie not being this weird, almost smug “some people are born with talent, some people aren’t, and that’s how being a ~great artist~ works”, but something more like, “if you have a dream, you deserve to pursue it, and be supported and encouraged in your pursuit of it, even if other people tell you that, because of some intrinsic aspect of yourself or the circumstances you were born in (like being a human woman in the restaurant industry, or being a literal rat), you have no place pursuing this dream. Also, raw talent can only get you so far, and skill and passion existing in the right balance is key.” I’ve been thinking about this for seventeen years. I’m breaking my silence

[angelofdumpsterfires]

how i feel about all the changes in s3

[sourkreem]

apparently, dick and jason's love language is to crash their baby brother's first date

[artifacts-and-arthropods]

Child's Writing Exercises and Doodles, from Egypt, c. 1000-1200 CE: this was made by a child who was practicing Hebrew, creating doodles and scribbles on the page as they worked

This writing fragment is nearly 1,000 years old, and it was made by a child who lived in Egypt during the Middle Ages. Several letters of the Hebrew alphabet are written on the page, probably as part of a writing exercise, but the child apparently got a little bored/distracted, as they also left a drawing of a camel (or possibly a person), a doodle that resembles a menorah, and an assortment of other scribbles on the page.

This is the work of a Jewish child from Fustat (Old Cairo), and it was preserved in the collection known as the Cairo Genizah Manuscripts. As the University of Cambridge Library explains:

For a thousand years, the Jewish community of Fustat placed their worn-out books and other writings in a storeroom (genizah) of the Ben Ezra Synagogue ... According to rabbinic law, once a holy book can no longer be used (because it is too old, or because its text is no longer relevant) it cannot be destroyed or casually discarded: texts containing the name of God should be buried or, if burial is not possible, placed in a genizah.

At least from the early 11th century, the Jews of Fustat ... reverently placed their old texts in the Genizah. Remarkably, however, they placed not only the expected religious works, such as Bibles, prayer books and compendia of Jewish law, but also what we would regard as secular works and everyday documents: shopping lists, marriage contracts, divorce deeds, pages from Arabic fables, works of Sufi and Shi'ite philosophy, medical books, magical amulets, business letters and accounts, and hundreds of letters: examples of practically every kind of written text produced by the Jewish communities of the Near East can now be found in the Genizah Collection, and it presents an unparalleled insight into the medieval Jewish world.

Sources & More Info:

Cambridge Digital Library: Writing Exercises with Child's Drawings

Cambridge Digital Library: More About the Cairo Genizah Manuscripts

[kodasea]

Son of Gondor