#ITS NOT THAT FUNT

[4arconinoma]

bfor like 3 days straight thsi image has mademe bust out laughign every time i rememerb it

[bedforddanes75]

sooo tired i cant wait to sleep bruh

[oury-boros]

anyway what does he have against mustard AND mayo on one sandwich 🙄

[ilyhaitanii]

save me aaron hotchner, save me…

[the-pigeon]

im going to sleep. we have two hours. VOTE SCAR, SCAR SWEEP CMON GUYS true to form lets go cmon

[cloudstongue]

literally so tired rn and I have no one else who laughs at my jokes so

HAHHSHAHSHS ITS FUNT. TTHOUGB ACTUALLY? ill call him that now ❤️

[thedarkangelpuppet]

fnaf deathorder redo for real this time

1983 most likely October

Charlie (dying on the night of CC's birthday aka. Halloween a bit after the bite)mentioned in the novel

“My mother,” Charlie said. “She was dressed up as a princess. It was a Halloween party. John, go to November first.”

John struggled briefly with the controls, and then it was there. The headline was small, but it was on the front page of the paper on Monday, November 1: TODDLER SNATCHED. Charlie turned away. John began to read aloud, and Charlie cut in, stopping him.-

CC (dies later in the hospital) thanks to the cake the two halloween dlc's that followed and , the its me easter egg and everything we see in the dreadbear dlc. we can assume his party was on Halloween and thats where Charlie was killed and that he was bitten by golden freddy at the time died later in the hospital went to posess his golden freddy plush based on what happend to Jake in Real Jake only to later posess golden freddy

1985

Susie's dog

Susie

Jeremy

Gabriel

Fritz

Cassidy

note in that order because in fnaf vr we see Freddy being posessed and Chica and Bonnie were already there proped up. Chica was the first as we know from Custom night and so on

and the last of the order is revealed by the Balloons.

purple - Bonnie is second

Foxy is fourth

golden freddy is five.

???

Elizabeth is a bit more confusing.

she has to die after Charlie (mainly course baby in that universe is made to be an adult Charlie)cause thats what the novel hints at but we don't have a specific date.the ball needle things are there like the novel and theres also the whole the 'baby is not mine' thing that could refer to Circus Baby not being William's creation. even if it follows all of William's way of designing animatronics. Even if the game timeline has it be William's creation I think its more of the hint that the timeline would still place Elizabeth's death after Charlottes

also pointing out that both Vanessa and abby in the movie are alive while Garret is already dead which supports the Elizabeth dies later than CC.

Micheal and William are another odd one.

does Micheal die first or William? we know William has to be springlocked when he destroyes the animatronics. Micheal has to be scooped before he can start his journey of freeing the souls.

I feel William died before Micheal. but god the timeline is so weird when it comes to this. William was locked in the storeroom for 30 years.

but i also think that this theory makes a good point

that also means that Micheal dying has to happen after fnaf 3....which is so confusing. lets assume that fnaf 3 takes place 2015ish maybe like 30 years after the missing kids thats the earliest fnaf 3 could be. the other idea is 30 years after fnaf 1 i guess...?

so lets figure out the dates of fnaf 1 and fnaf 2.

fnaf 1 has no specific date listed (interesting through is that in the fnaf movie its 2000 and the pizzaria is abandoned and the tapes are old)

lets assume the odor is not because mike is dead yet but because he is tempering with the animatronics and gets the odor of the corpses on him.

to note is fnaf 2 has two guards one is not Micheal but Jeremy.

Jeremy's shifts are in 1987 he also doesn't temper with the animatronics. I personally like the Idea that Jeremy is either Micheal's friend the bonnie bully or William trying to sneak into Freddy's to do the whole destroying the animatronics thing. (aka in the books he was a guard named Dave) if this is there freddys shut down it would make fnaf 3 take place 2017ish i guess

Micheal is Fritz who we don't have a date for the slip for him has no date.

so heres the order I am proposing>

Charlie first (makes sense for Henry's speech aswell but still sorta after CC's accident giving William a motive besides Jealousy)

CC

Susie's dog and Susie

Jeremy as in the Bonnie Spirit

Gabriel

Fritz

Cassidy

( Elizabeth's death) I guess if your on board with the Molten Freddy aka the funtimes are remains of the Missing kids after being melted down)

William

Micheal

Henry

[kwebtv]

TV Guide -  June 22 - 28, 1963

Homer Durward Kirby (August 24, 1911 – March 15, 2000)  Television host and announcer. He is best remembered for The Garry Moore Show in the 1950s and Candid Camera, which he co-hosted with Allen Funt from 1961 through 1966.

Allen Albert Funt (September 16, 1914 – September 5, 1999)  Television producer, director, writer and television personality best known as the creator and host of Candid Camera from the 1940s to 1980s, as either a regular television show or a television series of specials. Its most notable run was from 1960 to 1967 on CBS.  (Wikipedia)

Marilyn Elaine Van Derbur (born June 16, 1937)  Author, motivational speaker, and beauty pageant titleholder.

In July 1957, she was crowned Miss Colorado 1957. On September 7, 1957, she was crowned Miss America 1958 in Atlantic City, New Jersey.

After graduation, she moved to New York City where she was the television spokeswoman for AT&T's The Bell Telephone Hour and hosted 10 episodes of Candid Camera. She was the television hostess for the Miss America Pageant for five years.  (Wikipedia)

[gomjabbar]

(guy who spends all their free time hating on a piece of media and seeks out arguments with its fans): "i'm just tired of saying i didn't like Tisk's Flaccid Funt and having all the Funtfans jump down my throat"

[sloanaffirmations]

🤟🤩🤟Like,Share,or type "LET IT SHINE" to affirm💖💿🎧🎵

✅️I was able to bring myself to do it🤩🤟

✅️I have not avoided reblogging things until I got it done🙅‍♀️

✅️I spent more than 2 minutes making this Slaffirmation 👍

Never in my life did i think i would keep making so much slontent this long. It has been alongg time. Ns and im still here! Let me say it again. Im still here!!!!!!!!!

And you might be wondering why I have not been reblogging as much slontent recently. Well it sis hust just because of all of yiu psoting so much slonetent on t hus this app!+!!!!! When I first joined thrre was obl n only so much sloan enthusiadts enthusiats. Enthusiasts.

My dear firene first and foremost my dear friend Sloanzoan!!!!!!!!!!!!! With the Sloan contejt content!!!!!! I jsut want to thank Sloanzoan Mmy fdear friend for the lifechanging inspirigng pf me posting sloan content on tumblr. Because if it were not for seing my friend Sloanzoan on tumblr I would have posted thsus stuff on Instagram!!! Whwre Chris can see itt!!!! Sloanzoan thank you for keeping the Sloan community on Tumblr alive and for being funt!!!!!!!

Casablancamoon another Andrew scott pioneer of that man!!!!! Comicalsansfont with the normal Sloan-related content woohoo!!!!!!! Queer Geddy Lee!!!!!! Therw was Rush!!!! Rush follows this account!!!! Some people with Sting profile pictures!!!!!!!!! A PAUL MCCARTNEY enthusiast (like Sloan on their album one chord to another ememerb) a JOHN CALE enthusiast (we know about that because of andrew) And even somebody named Jay (Not Jay ferguein()!!!!!! But noe the now the slommunity has grown, with 52stations and even this other person u i just saw today who likes Beck a lot. And tgats awesome. I want to thank you all :)

Andnmost importantly i want to thank Sloan theband. Thanks!

I have extereme bouts of hard times but its iokay because I make all pf thisnmem3s. I just sit andnmake thwse these pictures :) on picsart btw :) thank you everyone i could not dream of a better community. I am so glad i lesrned what tumblr was

[thatonegaybastard]

I should make pc voice claims i have affew already but not many. anyways time to ibfodump uh

pascal has two one is like more close to what I actually imagine bim sounding like and rhe other is a good bit less accurate then the first one but its funny um. the more serious one is he sounds like morty from rick and morty. its basically spot on just I inagibe his voic elieke a tiny bit higher. the second one is jason funderburker from dover the garden wall msotly because jason looks sonmuch like. pascal. and I never watched over the garden wall (or rick and norty) but from what I xan tell jason is like a lot like pascsl too. what the heck

I imagine each channel sebastian has has a different voice. i have a speciifc voice for sebastian main channel thing but I cant think of anyone who sounds like it its like kind of deep or like. average deepness. and like very slightly british. rex (very angry channel) sounds like cave johnson from portal. ruby (very sad channel)bsounds like sad ena from ena or misery from ruby gloom either works. I want to use funt I'll me foxy but isk what channel itd be for. maybe the news but idk if ill even have the news

spidey has a voiceclaim bit its kiterally just a voice I made for her. idk how to describe it. spideryish. high pitched. Its my voice but im making it sound different

same with honeycrumbs as spidey but i trie dtk make honeycrumbs sound more like a bee

I have never mentioned this oc on this account before but socks sound slike blakc crow by girl rituals its litetally perfect for them thats exactly it

kohaku sounds like spike from my little pony friendhsip is magic. I dont make the rules.oh wait yes I do

I am having so much trouble with this one. at first since I based rieki on a song sung eith vflower I made reikis voice vflower then I changed it semthing else I dont rem m ber because vflowrrs voixe is a bit too rovotic it has a little bit of a robot effect like all vocaloids then i changed it to airy from hfjone but I ewalized that was a bit too monotone for her so I have no idea im just go i ng with vflower until I think of something good

alsodont know for taira. I eant his voice kore high pitched. and I think eggman in the snaocuhe fandubs fits him but poo bly specifcally when hes having A Moment�� also i ahd some ither ideas but I forgot actually ibjust thougjt maybe liam from hfjone. maybe.

I wanna use meanie ena a s a vocieclaim someday but idk who to do it for.

[nurseshannansreviews]

🍎 The Cider Swig Festival is celebrating its 11th year tasting event on September 28, 2024 in Tacoma, Washington! Each year, the Festival showcases more than 130 varieties of Northwest-crafted ciders, wines, mead, spirits, beer, and more. This event raises funds for environmental education, conservation, and stewardship in our watershed. Beyond sharing cider and other regional handcrafted sips, Washington’s largest single-day cider-centered festival highlights their region’s agricultural heritage, reinforces community friendships, promotes local businesses and agricultural and environmental organizations, and showcases regional talent throughout the day.

🍎 Come get your Swig on, meet the Makers, and indulge in over 100 exceptional NW ciders and a wide range of other handcrafted libations. Festivate the day away with great live music, delicious food, and friendly competitions like the Battle of the Pies, keg toss, stein holding, and more.

🍎 Tickets are limited, and Cider Swig sells out every year! Get yours today and join the funt at Washington’s largest 1-day cider-centric event! Tickets are available now. 

https://gghf.info/swig

https://gghf.info/swig

Check out the Vendors - ciderswig.org/cideriesandfood

Check out the Music Line Up - ciderswig.org/entertainmentlineup 

Limited time BOGO special. Limited to 50 tickets or to 9/22/24 (ends when sold out).

[emblematik]

That original sin points to another of reality TV’s defining characteristics: its semi-fictionality. Across its varied subgenres and iterations from Candid Camera to Vanderpump Rules, reality television depends on the fusion of authenticity and contrivance. The setup is inherently manufactured, even in programs that feel more naturalistic (although many programs forgo naturalism to deliberately construct over-the-top scenarios such as strangers surviving naked in the wilderness with each other, prospective couples going on blind dates while wearing elaborate animal prosthetics, hot single moms dating each other’s sons, etc.).

And yet, under such conditions of contrivance, shows often produce off-kilter moments with a kinetic realness hard to find in other genres. This is what Mark Andrejevic calls “the lab-rat element of reality television: the promise that certain forms of artifice are necessary to get to something authentic and true.” I’d argue that this lab-rat element—the semi-fictionality baked into reality TV from its earliest iterations—not only sets the genre apart but also keeps audiences coming back. To my mind, reality TV hooks its audiences with both its outrageous antics and its invitation for viewers to dissect what is real and what is not—what is another feature of the genre and what seems to exceed it.

For Nussbaum, reality TV capitalizes on the idea that “if you could knock your subjects off balance, they’d reveal a moment so shocking and, sometimes, so tender or surprising, that it would shatter viewer skepticism.” This destabilizing moment, Nussbaum writes, creates “the quality that Allen Funt liked to describe as being ‘caught in the act of being yourself,’ the fuel that fed the reality engine, at both its loftiest moments and its lowest.” There’s something compulsively watchable about these shocking, tender, or surprising moments. There’s also something compulsively discussable. Moments when people are caught in the act of being themselves become, as Ashley Rattner identifies, moments in which “the audience toys with the power to judge the characters at hand while reflecting on the contours of acceptable social behavior.” We can’t help but talk about such moments; in doing so, we also talk—and learn—about ourselves and each other. Reality TV has always functioned, Nussbaum writes, as “a mirror of the people who watched [it]—and if that reflection was sometimes cruel, it was also funny, riveting, outrageous, and affecting, even if—maybe especially if—you found it disturbing.” As Nussbaum sees it, the reality format has produced such riveting and affecting moments by placing ordinary people in front of the camera and asking them to “be themselves.” I was particularly struck by Nussbaum’s attention to Lance Loud—American Family’s oldest son, one of the firstopenly gay people on US television, and, I would argue, the first true American reality star. To watch Loud’s interviews with Dick Cavett from the early 1970s is to see someone who feels so far ahead of their time that it’s almost disorienting—Nussbaum describes him as looking like “some time traveler from the 1980s.”

Nussbaum examines the way Loud has influenced the reality genre, in ways both subtle and more overt. Fenton Bailey, who co-founded the production company World of Wonder (best known for producing RuPaul’s Drag Race), was “fascinated” by Loud, “a gay man on television, but not used as comic relief or some dour cautionary tale about acceptance […] a beacon of authenticity, all the realer for his embrace of Warholian artifice.” Lance Loud, with his artifice-meets-authenticity approach, understood before almost anyone else that reality stars could work as collaborators on production, rather than simply subjects to be filmed, paving the way for a “default setting for reality stardom” in which cast members are “comfortable with the notion of themselves as co-creators of their series, preparing for a future as a reality celebrity.” Loud also paved the way for other “representational pioneers” like The Real World’s Pedro Zamora, another key figure in the history of reality TV whom Nussbaum highlights. Zamora used his time on television to “harness his warmth and charisma to personalize [HIV/AIDS] for MTV’s young viewers,” ultimately becoming “the first gay man, and the first person with AIDS” whom many viewers felt “that they’d known intimately.” Zamora and his fellow cast member and partner Sean Sasser also exchanged commitment vows on the show, marking the first time that US television broadcast a queer commitment ceremony. Zamora’s HIV/AIDS activism is credited with “humaniz[ing] the disease for a generation.” Nussbaum also draws a line from Lance Loud to Survivor’s first winner, Richard Hatch, a gay man whose “big belly and urge to exert power” gave him “some resemblance to the other inescapable antihero of that year, the charismatic mobster holding court on HBO’s The Sopranos.” Like Loud, Hatch “divided viewers, repulsive to some and inspiring to others”; as with Loud, millions tuned in to see what he would do next. Loud, Zamora, and Hatch illuminate a different side to reality television: its potential to function pedagogically in the realm of representational politics. To be fair, the genre’s educational and representational potential is something many reality cast members of color had ascertained from the beginning, and Nussbaum is careful throughout to underscore the role of race and racism in the genre’s invention. In her discussion of reality TV’s racial politics, Nussbaum draws from such cast members’ accounts of their own experiences, and her in-depth interviews with hundreds of sources pay off.

Consider, for example, The Real World pilot’s Janel Scarborough, a Black cast member who assumed from the jump that “they’d sought her out for diversity’s sake.” Or Survivor’s Gervase Peterson, who refused to carry a spear for a challenge and had to explain to a white cast member that “holding that weapon on camera would make him look like ‘a spear chucker from Africa’ to the CBS audience.” Or Will Mega of Big Brother (2000– ), who “had set out to try to repair the weak image of Black men on television with a ‘confident, intelligent and uncompromising model’ of masculinity, but instead, like Kevin on The Real World [he] spent a lot of his time debating racism with white strangers.” These early reality cast members of color knew from the beginning what they risked by choosing to “be themselves” on TV. In taking the leap anyway, they expanded the boundaries of visibility on US television, even as their agency within the contrivances of reality programming remained partial, and often curtailed.

When reality TV is written off as only cheap or trashy, we miss the ways that its contrivances and its semi-fictionality enable representations that are complex, complicated, and ambivalent, as scholars like Racquel J. Gates and Kristen J. Warner have demonstrated. Encounters with reality TV can also be encounters with difference. The potential for difference to facilitate narratives, relationships, and conflicts, both within reality TV’s diegetic scene and beyond it, is also baked into the genre; Loud, Zamora, and Hatch are just a few of many examples. For the networks, however, the promise of difference was largely financial. As Nussbaum puts it, the CBS executives who picked up Survivor and changed the TV landscape forever were “fascinated by its radical approach to TV demographics. CBS would be able to cast a contestant to represent every type of person—rural, urban, Black, white, rich, poor, young, old—pulling in youthful viewers without alienating the AARP crowd.” This analysis of Survivor’s approach to TV demographics—often replicated across other game-documentary programs—reflects reality television’s entanglement with industry practice and commercial, corporate logics. For every Pedro Zamora, producers often cast a Puck Rainey, a “crusty street punk” who “blew snot rockets and made fun of Pedro” and “undermined every diplomatic gesture the roommates made.” For every Richard Hatch, there’s often a Rudy Boesch, an “openly homophobic” Navy SEAL; as Nussbaum recounts, the entire Survivor production team was “excited by the prospect of a clash” between them. As I follow developments in reality TV production for my own work, I’ve noticed that these dynamics seem to be shifting, with initiatives such as CBS’s 2020 commitment to making the casts of its unscripted shows at least 50 percent people of color (as opposed to earlier tokenizing setups that cast only a few people of color per season). These shifts in industry practice are also producing shifts in programs’ politics, or at least what kind of politics it’s possible for them to depict. But these initiatives can’t erase the genre’s history, and shouldn’t obscure the queer people, people of color, and other marginalized people who, despite this history, carved out new space through reality TV. Despite incremental progress, reality TV hasn’t abandoned the commercial imperatives that underwrote its initial demographic approach. Because, of course, reality programs are dependent on commercial ad spots or subscriptions (whether streaming or cable) to keep themselves on the air. And, as Nussbaum explains, the reality format post-Survivor is “catnip to advertisers,” who can not only show off their products during commercial breaks but also enfold their products into the action of the show itself. This model has persisted, producing hilarious moments of blatant commercial sponsorship, both intentional (see Top Chef covering ingredients in Reynolds Wrap) and unintentional (see Survivor’s Liz Wilcox melting down over her love of Applebee’s). To me, this unapologetic commercialism is part of what defines reality TV, and, paradoxically, it can even amplify its sense of authenticity. As June Deery indicates, reality television’s commercial ethos points to how difficult it is in the contemporary moment to “distinguish the commercial from the noncommercial or to conceive of meaningful experiences that don’t have elements of both.” The internet has only intensified these ambiguities. Through its dependence upon real people being willing to offer up their lives to the cameras and to the audience, reality TV has collapsed seemingly distinct boundaries—between the commercial and pedagogical, the authentic and artificial—and helped produce the norms that govern contemporary popular culture in the process.

[labgrownmeat]

i don't think there are actually any time loops in signalis at all. i should play it again to justify this theory. it'd be funt o stream it. its a great game. i love it

[timothylawrence]

i lov posts that are like create content for yourself... so true... I wouldn't be this good of a writer if i hadn't been consistently writing for an audience of one (me) for the last 4 years....

creating content for yourself/you want to see... that's the best feeling in the world and the easiest way to improve....

[aaaxaauyuyyuhh]

I'VE ONLY SEEN HIS EYES BUT GARGOYLE ROBEAR <3

EEEEE EYES