#I am so sorry for making you read this

[deancrowleycas]

If I tell you. This i a line that I wrote in the year 2020. Would you laugh at me. I made the mistake of looking at old stuff and I'm screaming

[inkskinned]

this is just my opinion but i think any good media needs obsession behind it. it needs passion, the kind of passion that's no longer "gentle scented candle" and is now "oh shit the house caught on fire". it needs a creator that's biting the floorboards and gnawing the story off their skin. creators are supposed to be wild animals. they are supposed to want to tell a story with the ferocity of eating a good stone fruit while standing over the sink. the same protective, strange instinct as being 7 and making mud potions in pink teacups: you gotta get weird with it.

good media needs unhinged, googling-at-midnight kind of energy. it needs "what kind of seams are invented on this planet" energy and "im just gonna trust the audience to roll with me about this" energy. it needs one person (at least) screaming into the void with so much drive and energy that it forces the story to be real.

sometimes people are baffled when fanfic has some stunning jaw-dropping tattoo-it-on-you lines. and i'm like - well, i don't go here, but that makes sense to me. of fucking course people who have this amount of passion are going to create something good. they moved from a place of genuine love and enjoyment.

so yeah, duh! saturday cartoons have banger lines. random street art is sometimes the most precious heart-wrenching shit you've ever seen. someone singing on tiktok ends up creating your next favorite song. youtubers are giving us 5 hours of carefully researched content. all of this is the impossible equation to latestage capitalism. like, you can't force something to be good. AI cannot make it good. no amount of focus-group testing or market research. what makes a story worth listening to is that someone cares so much about telling it - through dance, art, music, whatever it takes - that they are just a little unhinged about it.

one time my friend told me he stayed up all night researching how many ways there are to peel an orange. he wrote me a poem that made me cry on public transportation. the love came through it like pith, you know? the words all came apart in my hands. it tasted like breakfast.

[xxplastic-cubexx]

[right to left]

finally finished This Wip from Ever ago and so now i ask you ever look into another dudes eyes and suddenly want to do whatever he wants

[mothwingwritings]

Zayne goes back to work the day after his birthday and everyone takes note of the pep he has in his step. The usually stern, down-to-business doctor has been grinning ear to ear since he stepped through the door, and all the patients, doctors, and nurses can't help but notice how vibrant he is. Zayne is positively beaming- his grim aura nonexistent through the brilliance he is currently exhibiting

Most people are confused by this sudden and aggressive shift in his demeanor, but chock it up to Zayne just being in a particularly nice mood after his trip. Whatever happened on his leave must have been truly wonderful for the doctor, and that happiness was contagious. The residents of the hospital can't help but be pleased that Asko's pride and joy finally seemed to get a moment of blissful respite.

Only Greyson and Yvonne exchange knowing looks, understanding the truth of the situation immediately. Hit with the realization of just how good his mini-vacation was (and how most of that was thanks to you), they can't help but tease their friend a bit, taking turns asking prodding questions, snickering when the only response he provides is clearing his throat and demanding they get back to work.

However it's up to Yvonne to break the news to Zayne, as it became apparent that while Greyson noticed it as well, he was too flustered by seeing it to say anything. Zayne probably thought he was being safe wearing that turtleneck under his lab coat, despite the fact that it was still far too hot aside for such attire. Unluckily for him the signs of your affection would not be so easily contained, and the large red and purple splotch the crept past the hem of his collar was not something that could be played off as a simple wound-the teeth marks made sure of that.

She had never seen Zayne turn quite so red as the moment she pulled him aside and told him, and for a moment she felt almost bad for telling him, wondering if maybe she should have let him figure it out on his own to save him from the awkwardness. However when she looked back on the man as she was departing, watching as he gingerly touched your mark, a roguish smile dancing on his lips as it no doubt made him reminisce about the moment he received it from you, that she realized his blush was not from embarrassment alone.

[andsewingishalfthebattle]

Novice sewing pattern: Cut out shapes. Line up the little triangles on the edges. Stitch edges together. We've also included step-by-step assembly instructions with illustrations.

Novice knitting pattern: yOU MUSt uNDerstANd thE SECret cOdE CO67 (73, 87, 93) BO44 (63, 76, 90) 28 (32, 34) slip first pw repeat 7x K to end *kl (pl) 42 * until 13" (13, 13, 15) join new at 30 pl for 17 rows ssk 27 k2tog mattress lengthwise BO and sacrifice a goat to the knitting gods. WHAT DO YOU MEAN YOU WANT "INSTRUCTIONS," I JUST GAVE THEM TO YOU

[buckysteve]

art/patrick + old childhood best friends motif

[meamiki]

silly comic based on a time i struggled to read live on stream :thumbsup:

context clip compilation below ASDASDFASA

(cw for brief mention of hospitals/strokes)

[saragrosie]

I have been sketching. So much tma. Here's some expansions on my Jon and Martin designs I've been doing.

Another note I forgor to mention is I love how after hearing Simon go "it's enough to make your hair turn white" about Martin's office in s4 many of us collectively agreed his hair turned white because of his association with the Lonely. The shared consciousness is real and we use it to play hot potato with the communal brain cell dedicated to the sillies.

Closeup of apocalypse boyfriends (also to the person who said they love my s5 Jon's fancy white girl updo: I think about that every day)

[chickenchirps27]

hello denizens of tumblr i come with humble offerings

they wish to romance you

[mossy-aro]

ultimately i think my insistence on aro positivity honestly is as much a political stance as a personal one.

when i say aro positivity is crucial and that i dislike doomer-ist posts that express sentiments like 'I hate being aro so much I wish I was dead instead’ it's not because I don’t think there can and should be a space for negativity and acknowledging self-hate, or the many ways being aromantic can really suck sometimes. i find that to be very important!

that being said. there is smth here about how self-hate posts are sometimes just arophobia that we inflict on ourselves. and when we put that out into the ether it (intentionally or not) can become arophobia that we inflict on other members of the community. i think there absolutely needs to be a place for negativity and the expression of anger and frustration and self loathing even - these are all good things to talk about because these are things that we experience. that being said, it can also be genuinely upsetting and triggering to people to have what is essentially arophobia shown to them and then have that be validated by other aspec people. your personal thoughts can affect your wider community on a level you may not anticipate. and i understand it i truly do! it took me so long to be able to recover from accepting being aroace - it threw my entire world off kilter and made me question everything about my place in the world.

but my insistence on aro joy and positivity is because ultimately i do believe that building is at the core essence of it all. that ultimately discussions and the purpose of community should be about construction, not destruction. and this is both a personal and a political stance. talking about how much you hate yourself and cultivating online discussions/spaces where negativity about aspec identity is the main and only theme is destructive - if that’s where we let the conversation end. these thoughts can and should be used as a vehicle to look for a path forward!

joy and positivity create a space where the focus can become on forging a path forward, on construction, on community building instead of tearing ourselves and others down with negative thoughts. it’s not productive or healthy when it stops at a place of negativity - it becomes actively destructive to the essence of community.

and i do think that this is especially poignant considering the fact that being any kind of queer, but especially aromantic (and/or asexual) means forging a path for yourself and making your own happiness where there is no obvious way forward. our communities exist mostly online (right now, anyway), there is little recognition of our existence in the real world, the effects of amatonormativity are both pervasive and actively dehumanising, and there are legal, economic and social structures in place actively making our lives more difficult. yes that all sucks! it’s good to acknowledge that. we need to in order to change it. but more importantly, that’s not the end. we are still here and our happiness, our future is for us to determine. even if we can’t change the laws or society, loving yourself and understanding aromanticism as a political identity (as well as personal), as a radical worldview, and as a protest against amatonormativity is essential for both community and personal well being. the personal is political.

tldr. i guess my point is that as a community, we should focus on building, improving, and nurturing ourselves and each other (construction) as opposed to destruction. we should recognise aromanticism and asexuality as political identities as well as personal ones and rely on community and self-love in the absence of anything else as a form of protest and political power. destruction (the recognition of everything that is wrong) is essential as a starting point - but where do we go from there? we rebuild.

[coddda]

Light's relationship with his father is such a heartbreaking multi-faceted tragedy to me I hate it so so so much.

Soichiro loves his son so much, and while he's certainly not a perfect father I know that he cares deeply about Light. He wants to prove Light's innocence so badly but he can't let go of the underlying doubt that he might really be Kira and it gnaws at him. He does not know that from the very beginning he was being used by Light, whether it was to obtain information about the investigation, or to get to L, or to strengthen the foundations of his own lie that he wasn't Kira, this entire time he was simply another resource. He'll hang onto this doubt for years, even after L is dead, even if he doesn't express it in the latter half of the series, until he himself is on his deathbed, with what he believes to be undeniable proof that Light isn't Kira. (It's a lie, of course.) He dies happy, but it's on the foundations of blissful ignorance. His own son brought him here, brought him to the point where he had to sacrifice half of his own remaining life span, to his own death march, and was still trying to use him even now to kill someone else, but he doesn't know that. Soichiro said that what was evil was the power to kill others, and that whoever used it was cursed. Light was that cursed man, of course, and he tried to bring that curse onto Soichiro too by making him kill in his last moments. Soichiro was happy regardless, because he didn't know. He'll never know. (In the manga/anime at least. More on that later).

Light loves his father but it's not enough to turn him away from the terrible decisions he's made, if anything it only fuels them. His idea of "justice" is a twisted model of what he parroted from Soichiro, and he uses his father as another pawn (and a powerful one at that) in his plans. If he can prove that Kira is justice then perhaps his father will no longer call Kira, and therefore Light, evil, so he just needs to ensure that Kira becomes justice, right? It's Light's own actions that land his own father in the hospital for a stress-induced heart attack and yet he says only a few minutes later that he's the happiest he's ever been in his entire life. Even after Soichiro denounces Kira by calling him evil, even after he calls the Death Note's power evil, even after he unknowingly tells Light that he is cursed. When Soichiro dies Light is too deep in his own plans to actually properly process the fact that his own father is dying past what it means for his goals, but at the same time he still cares enough that after the fact he'll genuinely cry, only to brush it all away later. (Personally, I don't have a single doubt in my mind that Light's crying in that scene was genuine and I Will die on this hill). Soichiro had unknowingly denounced Light one last time just before his death, openly relieved that he "wasn't Kira after all", which also reveals that he has had doubts about Light this entire time, even after L died. By the time he's caught at the Yellow Box Warehouse Light will have denounced his father too, seeing him as someone who was made to be a fool, someone who was naive, even, too earnest for his own good. He won't realize that part of this description of his father might have applied to Light himself, back when this all started. Light takes after his father so much in so many ways already, so why not in this way too?

Ough. And honestly the other adaptations never miss out on this tragedy either, and I love them for that. (spoilers for the musical and 2006 live action movies I guess?)

In the musical we see Soichiro express his doubts and conflicts about who to believe, Light or L, if the son he raised really is a murderer, if everything he knows about him is just a lie. Like, there's an entire song about this, and you can tell how torn he is about it all, how badly he wants Light to be innocent but about how he also needs to face the truth no matter what it is, but at the end of it all he doesn't even get the answers he wants. At the end of the musical the only thing he finds is two corpses, Light's and L's, with no answers. No last words, no closure, only dead ends and a dead son and a grieving daughter. It's so awful I hate it here.

And the live action movie is fucking Insane. Like, wow. Okay. (Spoiler for the ending of Death Note The Last Name I guess) In the 2006 movies/novels Light writes Soichiro's name in the Death Note himself, and it's such an inconcievable move that it leaves even Misa shocked; Light tries to make Soichiro give him the Death Note for the last part of his plans, seeing his death as a "necessary sacrifice" (insert tangent essay about why I think 2006 live action movie Light is actually the most "coldhearted" Light Yagami, despite how infamous anime Light is). It doesn't work, and Soichiro does end up finding out that Light is Kira this time, and they have a confrontation, but he doesn't even sound truly hateful towards Light for it. He Never seems to outright hate Light for it, even after Light calls the whole confrontation a waste of time and instead tries to continue killing with the piece of the notebook in his watch, even after he tries to get Ryuk to kill everyone. When Ryuk inevitably writes Light's name and he collapses, Soichiro still reaches out for him and holds onto him as he's dying. Light literally dies in Soichiro's arms, still looking for the validation that he was right, that this wasn't all for nothing, that he was doing the good thing, trying to make Soichiro understand that he was trying to enact justice based on what he learned from him in the first place. Soichiro not only learns but sees for himself what his son has become, and Light dies in his arms leaving no closure for either of them. Soichiro will announce Light's death in L Change the WorLd on the news without saying his name, saying instead that it is only Kira who is dead, even though he and Light are one in the same. Sachiko and Sayu will never get to know the full truth about what happened to Light, instead Soichiro will lie and instead tell them: "Light was killed by Kira."

And then holy Shit the jdrama. If I write about it here this post is gonna literally double in length and also I don't really wanna spoil it but. Man. Man. If you watched it you know. Holy Shit dude I Cried.

It's the fact that, canonically, Soichiro will die oblivious to what Light has done, but even in the instances where he does find out, it doesn't make it any better, and it doesn't make him love Light any less, it just gives him more to grieve.

It's the fact that there isn't a single universe where Light doesn't use his father for his own gain, whether to gain information, or to try and control him with the Death Note, or make him write in the Death Note himself, and not a single time will he realize just how far he's strayed from Soichiro's ideals, and not a single time will he not forsake him for it by the end of the story.

It's the fact that, despite everything, Light will always refers to Soichiro as "dad/my dad" (informal) rather than "father/my father", even after he has been "denounced" (and this is true in every language that Death Note has been translated in, as far as I could find. Man, isn't that so cool! :) <- Through tears).

Anyways that's what I've been thinking of how's your guys' days going

[cobaltfluff]

suuuuper late pocky day akeshus ;w;

[fatehbaz]

patience being tested. being forced by a bizarre unfortunate situation to adhere to university requirement technicality by taking this simple basic elementary "introduction to environmental history" class.

this class is from facilitators/program which do, like, "history of the American frontier" or "history of fishing and hunting" and still basically subscribe to that old-school twentieth-century idealization and celebration of characters like Teddy Roosevelt and reverence for a mythical arc-of-history-bent-towards-justice narrative of the often-clumsy but ultimately-benevolent US federal government and its mission to "save nature" through the miracle of "sustained yield," while heroic federal land management agencies and "heritage" institutions lead to way, staffed by exceptional individuals (appeals to nostalgia for the frontier and an imagined landscape of the American West; ego-stroking appeals to flattering self-image that center the environmentalist or academic). where they invoke, y'know, ideas like "ecology is important because don't you enjoy cross-country skiing in The Woods with your niece and nephew? don't you like hunting and fishing?" which makes it feel like a time capsule of appeals and discourses from the 1970s. and it invokes concept of "untouched wilderness" (while eliding scale of historical Indigenous environmental relationships and current ongoing colonial violence/extractivism). but just ever-so-slightly updated with a little bit of chic twenty-first-century flair like a superficial land acknowledgement or a reference to "labor histories" or "history from below," which is extra aggravating when the old ideologies/institutions are still in power but they're muddying the water and diluting the language/frameworks (it's been strange, watching words like "multispecies" and "Anthropocene" over the years slowly but surely show-up on the posters, fliers, course descriptions, by now even appearing adjacent to the agri-business and resource extraction feeder programs, like a recuperation or appropriation.) even from a humanities angle, it's still, they're talking at me like "You probably didn't know this, but environmental history is actually pretty entangled with political and social events. In fact, we can synthesize sources and glean environmental info from wacky places like workers' rolls in factories, ship's logs, and poetry from the era." and i'm nodding like YEP.

the first homework assignment is respond to this: "Define and describe 'the Anthropocene'. Do you think 'the Anthropocene' is a useful concept? Why or why not?" Respond in 300 words.

so for fun, right now in class, going to see how fast i can pull up discussion of Anthropocene-as-concept solely from my old posts on this microblogging site.

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ok, found some

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I think that the danger in any universal narrative or epoch or principle is exactly that it can itself become a colonizing force. [...] I’m suspicious of the Anthropocene as concept for the very reason that it subsumes so many peoples, nations, histories, geographies, political orders. For that reason, I think ideas like the Anthropocene can be a useful short-hand for a cluster of tangible things going on with the Earth at the moment, but we have to be very careful about how fluid and dynamic ideas become concretized into hegemonic principles in the hands of researchers, policymakers, and politicians. There’s so much diversity in histories and experiences and environmental realities even between relatively linked geographies here in Canada [...]. Imagine what happens when we try to do that on a global scale - and a lot of euro-western Anthropocene, climate change and resilience research risks doing that - eliding local specificities and appropriating knowledge to serve a broader euro-western narrative without attending to the inherent colonial and imperial realities of science and policy processes, or even attending to the ways that colonial capitalist expansion has created these environmental crises to begin with. While we, as a collective humanity, are struggling with the realities of the Anthropocene, it is dangerous to erase the specific histories, power-relations, political orders that created the crisis to begin with. So, I’m glad that a robust critique of the Anthropocene as a concept is emerging.

Text by: Words of Zoe Todd, as interviewed and transcribed by Caroline Picard. “The Future is Elastic (But it Depends): An Interview with Zoe Todd.” 23 August 2016.

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The Great Acceleration is the latest in a series of human-driven planetary changes that constitute what a rising chorus of scientists, social scientists, and humanists have labeled the Anthropocene - a new Age of Humans. [...] But what the Anthropocene label masks, and what the litany of graphs documenting the Great Acceleration hide, is a history of racial oppression and violence, along with wealth inequality, that has built and sustained engines of economic growth and consumption over the last four centuries. [...] The plantation, Sidney Mintz long ago observed, was a “synthesis of field and factory,” an agro-industrial system of enterprise [...]. Plantation legacies, along with accompanying strategies of survival and resistance, dwell in the racialized geographies of the United States’ and Brazil’s prison systems. They surface in the inequitable toxic burdens experienced by impoverished communities of color in places like Cancer Alley, an industrial corridor of petrochemical plants running along the Mississippi River from New Orleans to Baton Rouge, where cotton was once king. And they appear in patterns of foreign direct investment and debt servitude that structure many land deals in the Caribbean, Brazil, and sub-Saharan Africa [...]. [C]limatologists and global change scientists from the University of London, propose instead 1610 as a date for the golden spike of the Anthropocene. The date marked a detectable global dip in carbon dioxide concentrations, precipitated, they argue, by the death of nearly 50 million indigenous human inhabitants [...]. The degradation of soils in the tobacco and cotton-growing regions in the American South, or in the sugarcane growing fields of many Caribbean islands, for example, was a consequence of an economic and social system that inflicted violence upon the land and the people enslaved to work it. Such violent histories are not so readily evident in genealogies that date the Anthropocene’s emergence to the Neolithic Revolution 12,000 years ago, the onset of Europe’s industrial revolution circa 1800, or the Trinity nuclear test of 1945. Sugarcane plantations were already prevalent throughout the Mediterranean basin during the late middle ages. But it was during the early modern era, and specifically in the Caribbean, where the intersection of emerging proto-capitalist economic models based on migratory forced labor (first indentured servitude, and later slavery), intensive land usage, globalized commerce, and colonial regimes sustained on the basis of relentless racialized violence, gave rise to the transformative models of plantations that reshaped the lives and livelihoods of human and non-human beings on a planetary scale. [...] We might, following the lead of science studies scholar Donna Haraway and anthropologist Anna Tsing, more aptly designate this era the Plantationocene. [...] It is also an invitation to see, in the words of geographer Laura Pulido, “the Anthropocene as a racial process,” one that has and will continue to produce “racially uneven vulnerability and death." [...] And how have such material transformations sustained global flows of knowledge and capital that continue to reproduce the plantation in enduring ways?

Text by: Sophie Sapp Moore, Monique Allewaert, Pablo F. Gomez, and Gregg Mitman. "Plantation Legacies." Edge Effects. 22 January 2019. Updated 15 May 2021. [Bold emphasis added by me.]

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Geologists and other scientists will fight over [the definition of the beginning start-date of the Anthropocene] in scientific language, seeking traces of carbon dioxide that index the worst offenses of European empire which rent and violated the flesh, bodies, and governance structures of Indigenous and other sovereign peoples in the name of gold, lumber, trade, land, and power. [...] The stories we tell about the origins of the Anthropocene implicate how we understand the relations we have with our surrounds. In other words, the naming of the Anthropocene epoch and its start date have implications not just for how we understand the world, but this understanding will have material consequences, consequences that affect body and land.

Text by: Heather Davis and Zoe Todd. On the Importance of a Date, or Decolonizing the Anthropocene. ACME An International Journal for Critical Geographies. December 2017. [Bold emphasis added by me.]

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From Aime and Suzanne Cesaire, C. L. R. James, Claudia Jones, Eduoard Glissant, through Sylvia Wynter, Christina Sharpe, and so many others, critical anticolonial and race theory has been written from the specific histories that marked the Black Atlantic. [...] Glissant also reminds us, secondly, of how cunning the absorptive powers of [...] liberal capitalism are - how quickly specific relations are remade as relations-erasing universal abstractions. [...] This absorptive, relations-erasing universalism is especially apparent in some contemporary discourses of […] liberalism and climate collapse - what some call the Anthropocene - especially those that anchor the crisis in a general Human calamity which, as Sylvia Wynter has noted, is merely the name of an overdetermined and specific [White] European man. […] [T]he condition of creating this new common European world was the destruction of a multitude of existing black and brown worlds. The tsunami of colonialism was not seen as affecting humanity, but [...] these specific people. They were specific - what happened to them may have been necessary, regrettable, intentional, accidental - but it is always them. It is only when these ancestral histories became present for some, for those who had long benefitted from the dispossession [...], that suddenly the problem is all of us, as human catastrophe.

Text by: Elizabeth Povinelli. “The Ancestral Present of Oceanic Illusions: Connected and Differentiated in Late Toxic Liberalism.” e-flux Journal Issue #112. October 2020.

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The narrative arc [of White "liberal humanism"] [...] is often told as a kind of European coming-of-age story. […] The Anthropocene discourse follows the same coming-of-age [...] script, searching for a material origin story that would explain the newly identified trajectory of the Anthropos […]. Sylvia Wynter, W.E.B. DuBois, and Achille Mbembe all showed how that genealogy of [White subjecthood] was [...] articulated through sixteenth- through nineteenth-century [historiographies and discourses] in the context of colonialism, [...] as well as forming the material praxis of their rearrangement (through mining, ecological rearrangements and extractions, and forms of geologic displacements such as plantations, dams, fertilizers, crops, and introduction of “alien” animals). […] As Wynter (2000) commented, “The degradation of concrete humans, that was/is the price of empire, of the kind of [Eurocentric epistemology] that underlies it” (154).

Text by: Kathryn Yusoff. “The Inhumanities.” Annals of the American Association of Geographers, Volume 11, Issue 3. November 2020.

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As Yarimar Bonilla suggests in regard to post-Irma-and-Maria Puerto Rico, “vulnerability is not simply a product of natural conditions; it is a political state and a colonial condition.” Many in the Caribbean therefore speak about the coloniality of disaster, and the unnaturalness of these “natural” disasters [...]. Others describe this temporality by shifting [...] toward an idea of the Plantationocene [...]. As Moore and her colleagues write, “Plantation worlds, both past and present, offer a powerful reminder that environmental problems cannot be decoupled from histories of colonialism, capitalism, and racism that have made some human beings more vulnerable [...].” [W]e see that contemporary uneven socioecologies associated with the rise of the industrial world ["the Anthropocene"] are based [...] also on the racialized denial and foreshortening of life for the sacrificial majority of black, brown, and Indigenous people and their relegation to the “sacrifice zones” of extractive industry. [...] [A]ny appropriate response to the contemporary climate emergency must first appreciate its foundations in the past history of the violent, coercive, transatlantic system of plantation slavery; in the present global uneven development, antiblackness, and border regimes that shape human vulnerability [...] that continues to influence who has access to resources, safety, and preferable ecologies [...] and who will be relegated to the “plantation archipelagoes” (as Sylvia Wynter called them) [...].

Text by: Mimi Sheller. “Thinking Beyond Coloniality: Toward Radical Caribbean Futures.” Small Axe (2021), 25 (2 (65)), pages 169-170. Published 1 July 2021. [Bold emphasis added by me.]

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Indigenous genocide and removal from land and enslavement are prerequisites for power becoming operationalized in premodernity [...]; it was/is a means to operationalize extraction (therefore race should be considered as foundational rather than as periphery to the production of those structures and of global space). [...] Wynter suggests that we […] consider 1452 as the beginning of the New World, as African slaves are put to work on the first plantations on the Portuguese island of Madeira, initiating the “sugar-slave” complex - a massive replantation of ecologies and forced relocation of people […]. Wynter argues that the invention of the figure of Man in 1492 as the Portuguese [and Spanish] travel to the Americas instigates at the same time “a refiguring of humanness” in the idea of race. [...] The natal moment of the 1800 Industrial Revolution, […] [apparently] locates Anthropocene origination in […] the "new" metabolisms of technology and matter enabled by the combination of fossil fuels, new engines, and the world as market. […] The racialization of epistemologies of life and nonlife is important to note here […]. While [this industrialization in the nineteenth century] […] undoubtedly transformed the atmosphere with […] coal, the creation of another kind of weather had already established its salient forms in the mine and on the plantation. Paying attention to the prehistory of capital and its bodily labor, both within coal cultures and on plantations that literally put “sugar in the bowl” (as Nina Simone sings) […]. The new modes of material accumulation and production in the Industrial Revolution are relational to and dependent on their preproductive forms in slavery […]. In 1833, Parliament finally abolished slavery in the British Caribbean, and the taxpayer payout of £20 million in “compensation” [paid by the government to slave owners for their lost "property"] built the material, geophysical (railways, mines, factories), and imperial infrastructures of Britain and its colonial enterprises and empire. [...] A significant proportion of funds were invested in the railway system connecting London and Birmingham (home of cotton production and […] manufacturing for plantations), Cambridge and Oxford, and Wales and the Midlands (for coal). Insurance companies flourished [...]. The slave-sugar-coal nexus both substantially enriched Britain and made it possible for it to transition into a colonial industrialized power […]. The slave trade […] fashioned the economic conditions (and institutions, such as the insurance and finance industries) for industrialization.

Text by: Kathryn Yusoff. "White Utopia/Black Inferno: Life on a Geologic Spike". e-flux Journal Issue #97. February 2019. [Bold emphasis added by me.]

[egophiliac]

Waittt, what did you mean with your last post?? I don't want to spoil myself so I'm waiting for the nightmare before christmas event to arrive on the eng server before diving deep into the wiki. But I HAVE to know; were there hints of Lilia joining in for a rerun or a sequel ??? Your big "OR IS IT???" filled me with way too much hope !! please tell me it wasn't a bit : (

there was a little teaser at the end that implied there'll be a sequel event, though we don't really know anything beyond that! I do think it's likely we'll get the other half of the cast in it, even if it's just wishful thinking on my part. 🤞🤞 NIGHTMARE SUITS FOR EVERYONE!!!!

as far as I know there's been no confirmation on whether it's going to be next year's Halloween event or a separate thing (the snow makes me think it'll be more Christmas-themed, or otherwise more related to the plot of the original movie) so. we're probably going to have to wait quite a while before we find out anything solid. :') they really do love just dropping these things on us and then watching us go absolutely wild with speculation while they watch like

[nedlittle]

need the historical romance girlies to go back to their roots and read forever amber (1944)

[luminique]

Imagine Lighter proposing to his s/o. He wants to be with his beloved for all eternity but he’s so afraid of ruining the proposal that he had to ask the girls, Big Daddy and Billy for help with the proposal.

Cue the most anxiety ridden and beautiful moment of Lighter’s life as he tries to propose to you (probably at Cheesetopia) while his team/family are helping him behind the scenes with everyone having earpieces. Everything was going smoothly until he can’t find the box. He’s shaking and losing his composure as he tries to find the box containing the engagement ring, he finds it but drops the box a few times with Billy having to distract his s/o from noticing that he dropped the box, and then he finally gets down on his knees to propose because Caesar and Lucy were screaming in his ear to just get down on his knees and tell his s/o that he wants to marry them.

Cue you looking at Lighter and seeing him propose to you. You’re seeing that ring, a beautiful ring with yours and his birthstones shaped into an infinity symbol, and the flashbacks of the first day you met him to the day you knew you were always going to be his are running through your mind. You knew the answer right away. You and Lighter were forever ride and die. Literally.

Now, cue the tears of joy down his face when you screamed “Yes!” and him twirling you around in pure joy as the Sons of Calydon are celebrating their Champion getting married. All that’s left is figuring out how to have a wedding.

THIS IS YUMMY ??!! I AM EATING IT UP !!

i fear i have a lot of difficulty writing prompts like these but this is so good on its own, i feel like i have nothing to add and will just share this to all the lighter enjoyers !!

hes so loveable boyfailure. i think that initially, he was just planning for a simple and quiet proposal but the SoC girls protested. a simple proposal FOR YOU ?? no. it HAS to be perfect. even the days leading up to it, he’s an absolute wreck that he could barely get a wink of sleep the nights before. what if you reject him? what if you’re not ready? what if it all goes wrong?

while he’s worrying about everything, you’re literally going about your day. i think the whole of blazewood would be in on the plan and you’re the only one who doesn’t know.

lighter had told you to meet up with him at cheesetopia, there was a new dish on the menu he wanted to try (he made up this excuse). so you get there and the exterior is decorated beautifully but no lighter in sight. he’s busy fumbling with the ring box while billy is just making some small talk. once billy gets the cue to leave, you’re still walking around a little, looking for lighter.

a tap on your shoulder, the sound of pebbles crunching under his shoes. you turn around and see lighter on one knee, he’s taking off his shades and pulling out the small box from his pocket. you could see the clear blush on his face and a little sweat glistening on his forehead from the anxiety of it all.

you knew the words that would come out of his mouth before he could even say it. the response came out faster than he anticipated, making a sigh of relief escape his lips. it takes him a moment to actually register your reply but once it did, it took no time for him to get up and give you the tightest hug before twirling you around in his arms.

everyone else were practically celebrating along with lighter. billy was already crying even before you said yes, burnice’s flamethrowers were acting up like fireworks, caesar and lucy were exhausted but looked proud, and piper was clapping to show her sleepy excitement. it was a momentous occasion for the SoC, and especially for you and lighter.