#form integration

[contactform7toanyapi]

Integrating Contact Form 7 with Social Apps for Enhanced Connectivity

Web Development Company

Introduction:

In the digital era, effective communication is the cornerstone of successful businesses. Contact Form 7, a popular WordPress plugin, has long been a go-to solution for creating and managing forms on websites. However, to further leverage the power of connectivity, businesses are increasingly exploring ways to integrate Contact Form 7 with various social media applications. This integration not only enhances user engagement but also streamlines the communication process, creating a seamless bridge between website visitors and social platforms.

The Power of Contact Form 7:

Contact Form 7 (CF7) is a versatile and widely used WordPress plugin that enables website owners to design and manage forms with ease. Its user-friendly interface, customization options, and ability to handle multiple forms make it a popular choice for businesses looking to interact with their audience. By incorporating Contact Form 7 into their websites, businesses can collect valuable information, feedback, and inquiries from visitors.

The Rise of Social Media in Business Communication:

Social media has become an integral part of modern communication, providing businesses with a direct channel to connect with their audience. From customer support to marketing and brand promotion, social media platforms offer a dynamic and interactive space for engagement. Integrating Contact Form 7 with social apps takes this interaction to the next level by seamlessly connecting the data collected through forms with social media channels.

Connecting Contact Form 7 with Social Apps:

Several methods can be employed to integrate Contact Form 7 with social apps, depending on the specific goals of the business. One common approach is leveraging third-party plugins that facilitate the synchronization of form submissions with social media platforms. This ensures that the information gathered through forms is automatically shared on the designated social channels, reducing the need for manual data transfer.

Enhancing User Engagement:

Integrating Contact Form 7 with social apps enhances user engagement by creating a more interactive and dynamic experience. When users submit a form on a website, the data can be instantly shared on social media, allowing for real-time interaction. This not only increases the visibility of user-generated content but also encourages other visitors to engage with the brand through likes, comments, and shares.

Leveraging Social Sharing Features:

Contact Form 7 integration with social apps goes beyond merely sharing form submissions. Businesses can leverage the social sharing features of various platforms to extend the reach of their content. For instance, a user submitting a testimonial or inquiry form can easily share their submission on social media, amplifying the message and potentially reaching a broader audience.

Improving Customer Relationship Management:

Efficient customer relationship management (CRM) is crucial for businesses, and integrating Contact Form 7 with social apps contributes to this goal. By seamlessly transferring form data to social media channels, businesses can consolidate customer interactions and feedback in a centralized location. This not only streamlines the management of customer data but also provides valuable insights for refining marketing strategies and improving customer satisfaction.

Expanding Marketing Opportunities:

Social media platforms serve as powerful marketing channels, and integrating Contact Form 7 with social apps opens up new opportunities for promotion. Businesses can design forms that encourage users to share their experiences, participate in contests, or subscribe to newsletters. The shared content becomes a valuable marketing asset, reaching a wider audience and driving organic growth.

Analyzing Data and Insights:

Integration with social apps enhances the analytics capabilities of Contact Form 7. Businesses can track the performance of forms by analyzing social engagement metrics such as likes, shares, and comments. This data provides valuable insights into the effectiveness of marketing campaigns, the popularity of specific products or services, and the overall sentiment of the audience.

Conclusion:

In a world where digital communication is king, the integration of Contact Form to any API with social apps emerges as a strategic move for businesses seeking to enhance connectivity and engagement. By seamlessly connecting form submissions with social media channels, businesses not only streamline their communication processes but also leverage the power of social platforms for marketing, customer relationship management, and data analysis. As the digital landscape continues to evolve, this integration represents a forward-thinking approach to maximizing the impact of online interactions and fostering stronger connections between businesses and their audience.

[yourtechiee]

Google Sheet Integration with Html Form Easily – Full Guide

https://yourtechiee.com/google-sheet-integration-with-html-form/

[cringefailvox]

alastor is such an insidious dealmaker because he's so reasonable. he doesn't ask for anything outlandish, especially not right out of the gate—he agrees to make a commercial so long as he's never asked to engage with anything tv-related again. he turns down charlie's soul and readily concedes to the stipulation that her favor doesn't have to hurt anyone. from the way husk describes their deal ("when you're down on your luck, you turn to anything to keep you afloat"), it heavily implies to me that husk went to alastor, not the other way around. alastor gets his foot in the door by making himself freely available, and by making it easy to tell him no the first dozen times he nonchalantly offers a deal, so by the time he starts angling for a deal he actually does want, you're less likely to notice immediately how predatory he's being, or how he's backed you into an inescapable corner. he makes himself an inevitability. you know he's a monster, you know that he's manipulating you—but he's also become your only choice, and so you don't even get the consolation of being able to say he tricked you, because you chose it

[veganthranduil]

(This is a slightly re-worked version of my 2021 Terror Camp talk on the subject. You can request access to past recordings via the TC email.)

In a show full of unapologetic imperialists, Harry Goodsir, beautiful cinnamon roll (too good for this world, too pure), is often exempted from the scrutiny that other characters are subjected to, based on his ‘innocent’ nature and his good intentions. I argue that precisely these characteristics that are most formative for his imperialism, but that his imperialism is not legible to us because it is the same form of imperialism we* still practise today. As the character who seems most modern to us because he is, in many ways, quite liberal, he serves as a prime audience surrogate to excuse, and to question our excuses of this imperialism.

We may think of empire as an unapologetic entity, too large to deny its own existence. The fact of its violence is all-encompassing. In the eyes of those who suffer from under it, the empire cannot be ignored—but there are also those who depend on its invisibility for the functioning of their world. This is a story about how the empire hides itself from itself, through the story it tells about itself.

The origins of empires fall together with the historical emergence of liberalism in the 18th century. Mehta (1999, p. 194) writes on this co-emergence:

“It is tempting to see the triumph of liberalism and the concurrent extension of the empire as either discontinuous facts that do not relate to each other or as plainly contradicting each other, and therefore casting doubt on the authenticity of the former. The thesis of discontinuity misunderstands the role of liberalism generally, and especially in this period. From its very inception in the seventeenth century, liberalism had been much more than a mere political doctrine with a local reach. By the early nineteenth century and with added vigor through the course of it, it was a robust mindset with a confidence in its global vision. This liberalism did not mysteriously get transformed into some demonic urge to rule the world the instant the British ventured beyond their shores. [...] liberalism and empire were tightly braided threads such that their separation would have resulted in the fraying of a well-woven mental and political tapestry.”

At the same time, liberalism, in its elaborations as a theory, is at odds with many aspects of empire. Liberalism, on the one hand, relies on the resources and globalisation provided through colonisation. On the other hand, the liberal tradition purports that its values—individual self-determination, basic rights, democracy, or tolerance—hold the world over. These liberal values extend rights that the empire violates and denies. This is not to say that liberalism has not also served as the argument in struggles of liberation and for rights. The language of liberalism can be used to challenge liberalism and demand inclusion, just as the language of liberalism can be used to dismantle it. Suffragists successfully did the former. The globally resurgent radical right is succeeding in a strategy of normalisation that is achieving the latter. What I am saying is that within liberalism, which is caught between needing the empire for its political survival and being at odds with the fact of empire in its moral system, there is a particular rhetorical trick that hides the empire from liberal eyes. Even today, we western liberal subjects deflect when it comes to the existence of this connection.

I use Jeanne Morefield’s concept of “imperial deflections” (Morefield, 2014). She defines an imperial deflection as “drawing critical attention away from the liberal empire’s illiberalism by insisting upon its fundamental character.” It’s a bit like a magic trick: showing you the card by acknowledging the empire’s illiberal acts, and then drawing the attention away from it. Morefield examines British liberal thinkers around WWI and US liberal thinkers post 9/11 to show how the liberal justifications of empire are surprisingly similar in both instances. In both pre-WWI Britain and post 9/11 America, liberals insist it is impossible for them to act illiberally—because they have always been liberal, because they are at heart liberal, or because the long arc of history bends towards a liberal society in both cases. It is these deflections we can see Goodsir employ in the show, at different times, and with different degrees of success.

Goodsir as an Audience Surrogate

At numerous junctures in the show, we are encouraged to view the world we are presented with through Goodsir’s eyes. He, like the viewer, has never been to the Arctic, and approaches it with a sense of wonder. The audience is encouraged to empathise with him through small moments that endear him to us (such as when he insists that he, too, can haul the boat-sledge in 1x02 and promptly falls over, inexperienced at hauling as he is.) In episode 1x02 Goodsir as a viewpoint character also becomes explicit when we hear his testimony after what happened to Lieutenant Gore. Although all members of the sledge party are interviewed offscreen, it is his point of view that we hear and believe, and that helps us makes sense of what we just saw happen. The fact that the captains interviewing him are sceptical of his account just solidifies putting the audience in his corner.

What most solidifies Goodsir as an audience surrogate, however, is his ideology and therefore his position in the show as a “modern” character. My argument is that it’s precisely Goodsir’s liberalism that allows us to identify with him.

Goodsir as a Liberal Subject

Goodsir’s role as a scientist (an anatomist first, and then also a doctor) position him closest to Post-Enlightenment liberal ideas about scientific progress, rationality, and also a new form of masculinity. Goodsir is a decidedly “modern” character, especially when contrasted with other characters: Goodsir is less set in his ways than most of them. While describing the bear prints, for example, the captains are dismissive of his description while Goodsir is sceptical but not dismissive of the idea that the bear could have tracked them to the ship. (He is, of course, very set in other ways, for example in his total embrace of class hierarchies.) He is also positioned in contrast to Stanley’s overt racism when Stanley refuses to perform surgery on Silna’s father.**

Goodsir’s approach to life is informed by his belief in science. We are given little hints throughout the show that approaching things from a detached, scientific angle gives him comfort. When David Young dies, Goodsir is distressed, but the first thing he does is check Young’s pulse. Similarly, he can perform Young’s autopsy only after covering his face, reducing him from “person” to “body.” His account of Gore’s killing, likewise, is focussed on the observable details and reads more like a scientific report than a report from a man who witnessed a traumatic event.

This rationality and distance from emotion is also indicative of an alternative masculinity. The show contrasts Goodsir’s liberal masculinity with the more familiar “male warrior” masculinity of the sailors that surround him. In episode 1x03, Goodsir’s demand of an escort back to the ships is played for a laugh, though immediately undercut when the Tuunbaq does attack the hunting blind, leaving him the character with the more realistic risk assessment. Goodsir embodies an alternative hegemonic masculinity: a liberal masculinity that expresses itself not in outbursts of aggression but in a distancing from emotion. When Goodsir seeks to test his lead poisoning theory, for example, he entices Jacko with gentle words to eat from the food he suspects to be poisonous. He is aware that—should his theory be correct—he is killing the monkey. We are reminded of his gentle words to David Young and realise, perhaps, that his gentleness is not backed up with a deep concern for the person/animal he speaks to. In both cases, the knowledge that can be extracted from dead bodies supersedes sentimentality. Neither masculinity, one might extrapolate from that, offers a way out of the predicament these men find themselves in. Neither can serve as the basis of a new kind of living with each other.

Goodsir’s Liberal Deflections of Empire

Goodsir’s character is an interesting case of nominative determinism. There obviously was a historical Harry Goodsir, but this is not the man we are looking at. We are looking at the fictional “good sir” who was, at first glance, written as the only good man among imperialists. At second glance, however, his name itself becomes an imperial deflection. While other characters make their investment in empire clear from the beginning, Goodsir’s is perhaps harder to spot. Sir John has already failed at one imperial endeavour and is adamant to prove himself. Fitzjames’s stories illustrate that he has no qualms with the mission of empire. But at various points in the show, Goodsir is seen to express discomfort with the logic of action that imperialism dictates. He wants to save Silna’s father (even though he ends up making things worse for him and the crew in the long run.) He expresses discomfort at the treatment of the body of Silna’s father, while he himself tries to be respectful of Inuit customs (though, once again, making things worse by burying his charms with him.) When Francis wants to ask Silna how to kill the Tuunbaq, Goodsir does not translate the question, perhaps out of a sense that “these matters are quite private in her culture.” It is because of this discomfort that Goodsir becomes the prime apologist of empire. The other characters do not feel like they have anything to be sorry for, and therefore do not need to invent justifications. Goodsir employs these justifications at various moments in the show, but two instances stand out for their similarity in phrasing and context, and the differing extent to which Goodsir believes them.

The first instance of an imperial deflection is when Goodsir brings supper to Silna. She has just been kidnapped by Hickey, Hartnell and Manson. When Goodsir introduces himself to Silna, he has a first moment of realization of the meaning and scope of empire and his place in it. He explains their purpose (“For our economy. For trade.”) and seems to have a moment of self-awareness that those are neither good reasons for dying nor for killing. A moment later he points at himself, hoping to introduce himself. “Goodsir,” he says, which is both his name and also an insistence that while the policies that brought him here may be flawed, the men sent to die were good men, not deserving of the scorn we direct at them for the imperial policy they carry out. “This is not how Englishmen act,” he says, despite evidence to the contrary that Englishmen have, in fact, just acted this way. This is the first instance of a textbook liberal deflection: insisting on the character over the actions of empire. What does it matter for Silna that he means well? The helplessness is emphasised by the abrupt ending of the episode after Goodsir’s desperate introduction.

The second time Goodsir insists on the character of Empire over its actions is in quite a different context. A hunting party has just massacred an Inuit family, people that Silna knew, and now Silna is being exiled from Terror Camp. Goodsir knows that it’s safer for her to go, but selfishly wants her to stay. He feels for her, and perhaps feels he must offer some sort of apology for the behaviour of his co-nationals. Then he tells her: “I wish you could come to England and see for yourself. It’s not like we are here. People there are good.” Once again, he insists on the fundamental character—the “English” character—of the empire that exculpates them from the crimes they commit abroad. But even in the speaking, he appears to realise the futility of this deflection. This second deflection is followed by a word spoken in Inuktitut for which no translation is provided.*** Silna reacts with a small smile and a nod of her head. The choice not to subtitle or translate Goodsir’s last word to Silna can be read in various ways, but it remains first and foremost a place to which we—the liberal audience at home—cannot follow Goodsir, who has been our surrogate up to this point, implying perhaps that he has taken a step that we have yet to take in confronting our own imperialism.

Both of Goodsir’s deflections follow violence done to Silna (or threatened against her.) In the first instance, it’s her kidnapping by Hickey and his associates for which Goodsir first apologises, then makes excuses; in the second instance it’s the violence that will be done to her should she return to Terror Camp, as well as the violence done to other Inuit. In both cases, it’s Goodsir’s job to draw attention away from the liberal empire’s illiberal actions by insisting on its liberal character. The extent to which he succeeds—or fails—opens up these liberal deflections of empire for us. Goodsir is not an uncritical liberal audience surrogate. I watched The Terror for the first time during the March 2020 lockdown, and hearing “For our economy. For trade.” hit hard for me as a person living under a capitalist system where economic necessity is continuously valued over human life. Goodsir realises, in justifying, the hollowness of some of his justifications, even as he fervently holds on to others.

Goodsir stays alive long enough to witness all the ways that Englishmen may act, and is made to participate in them. His disillusionment with his co-nationals at the end is nearly complete. But his commitment to liberalism, I would argue, remains.

In the end, Goodsir returns to science. His final vision is that of the beauty that no doubt inspired his career, the wonder that he told Crozier he still feels. But it’s also a vision that remains within the ordered boundaries of the liberal empire: the specimens are foreground on a white background, they are separated from nature, standing contextless and only for themselves. Goodsir’s final vision is that of the liberal imperial project, realised.

* When I write “we,” I am, of course, aware that not everyone reading this falls under the umbrella of Western liberal subjects that this “we” assumes. Like Goodsir as an audience surrogate, this “we” hopes to function as a mirror of reflection for our own deflections of empire. I do not understand myself as a “liberal,” certainly not in the sense that most US-Americans use the term. I see liberalism as the bedrock of how we do politics in the 21st century. In that sense, we are all “liberals.” From the position of someone who is a “liberal,” as a subject of a liberal democracy, I do not exempt myself from the category of people that has, at various points in their lives, made excuses for empire, knowingly or unknowingly. These rhetorical strategies, so ingrained in how we talk about who we are, make it all-too-easy to fall into the trap of convincing ourselves that there is something redeemable at the heart of our empires. We must make these strategies explicit to recognise their falsity.

** Stanley’s refusal did not come out of an assessment of the futility of the procedure, which might have spared Silna’s father further suffering. In that sense, both Goodsir (in his belief that his knowledge can save the man) and Stanley (in his racist refusal of medical aid) fail Silna and her father, because neither of them centre the well-being of the man.

*** I am aware that you can find this translation in many metas written about it. Do not come into my comments to tell me what it means. I looked it up.

Bibliography

Bell, D., 2014. What is Liberalism. Political Theory 42, 682–715.

Hooper, C., 2001. Masculinities in International Relations, in: Manly States: Masculinities, International Relations, and Gender Politics. Columbia University Press, New York, pp. 79–116.

Mehta, U.S., 1999. Liberalism and Empire. A Study in Nineteenth-Century British Liberal Thought. University of Chicago Press, Chicago and London.

Morefield, J., 2014. Empires Without Imperialism: Anglo-American Decline and the Politics of Deflection. Oxford University Press, Oxford.

[alexadraws]

Rest in peace, Rachael Lillis

Thanks for making my childhood

[gummi-ships]

Kingdom Hearts 3 - Storm Flag

[mxfrodo]

y'all for fucking real. don't fucking write slave fics or x reader fics of aventurine's slavery??? are you guys out of your goddamn minds???

[bacchuschucklefuck]

Riz has counted four casseroles this week alone. Five, if one goes by the method of cooking, but Yelen's scary when she's crossed, and calling her burek by its proper name is important to her, so Riz does her the courtesy and doesn't include it in his mental tally.

He holds the tupperware over his head to keep it out if the way as he takes careful steps over the piles of notes in his path. The dockman case just closed, relevant documentations handed over to relevant personnels, evidences dealt with as needed; all he has lying around now is just record of the process and traces of himself thinking through it. Unsurprisingly they still haven't invented a surface more convenient for people under five feet who like to pace to put pieces of paper on than the ground.

Actual records go into the case folder with the other documents. Anything else with at least one side still blank is going to the school kids in the block - they chew through an astounding amount of paper just learning arithmetic. The rest is for the recycling basket.

Later. It's his mandated lunch break right now.

Riz sits down in front of the corner file cabinet. In an office often overrun with papers and strings and sometimes even thumbtacks, he's never really managed to clutter up this exact square of surface like every other ones. Ever since the bottom drawer rattled for no discernible reason a day long past, his eyes have always just kinda decided to slide across the space without acknowledging it.

It's years out, now. Riz doesn't know why he thought it such a big deal anymore, back then. He wasn't scared, he doesn't think. Not anymore. Maybe just uncomfortable with the idea that certain things persist despite all efforts to change.

He opens the tupperware. Dame Carabelle's experiment greets him with enough spice in the aroma alone to knock out a small mammal. When he chopped the vegetables for this casserole he couldn't really imagine the eventual heft of it, evident even through just these few ladles' worth, maybe weighing heavier for being still warm. His folk eat more through the smell and the textures and the aftertastes than the taste itself. His folk's meal is really the cooking rather than the eating. The eating is the meal's end.

"Hey," he tells the file cabinet's bottom drawer. "Um."

It's the anniversary. Riz doesn't know the exact date of his dad's death; nobody currently alive does. He and Mom both use the date of the funeral, though as he moved out to Bastion and then got more directly involved with Interplanar he hasn't really been going to Dad's grave as much. Doesn't seem like very efficient use of his time, catching a train or borrowing a car or spending a whole spell slot on going somewhere he knows Dad isn't at. They're sorta coworkers now. They talk on and off every other week between missions. When he goes now, it's just to clean up the place, keeping the landmark tidy and respectable.

Without that work to mark the date he doesn't really know what it serves anymore. But he still remembers it. Still takes note, absently or not, when it comes around.

There's not really a good way to tell the drawer that. Riz looks for another way to start the... conversation, hopefully. The question at play, he'd guess, is why he's doing this. He's been pretty content ignoring all the rattlings and the knocks from inside and the times it sits slightly ajar without him ever opening it himself; hell, he still uses the three drawers on top of it. Space is fucking precious in Bastion.

Precious enough to finally fix this damn drawer so he gets his turn to use it? Riz asks himself. Is that what we're getting to? Then he dismisses the thought - he didn't manage to fix it the times he actually tried, let alone-- now. When he doesn't really care that much to.

That's probably a good place to start. "'s fine if you keep being in there, turns out," Riz says.

The lunch hours are quiet in the block, sleepy and bright with the brief window of sunlight that manages to break through roof overhangs and extended balconies and laundry lines and climbing vines. Riz's work isn't loud here (the loud parts happen away from his office, if everything goes right), but the fragment of early summer heat reflected in the steady warmth his meal still carries compels him to lower his voice even more. It makes the words feel intimate, in a way he's never been familiar with - if he says something he just says it. He doesn't whisper. If he gives his friends something, he gives it open-palm. He's found out, along the way, that people usually don't think of rituals and courtesies the way he does.

Small voice for a diminished monster. "You know why I think so?" Riz asks. "Because almost two decades ago you kidnapped me and almost killed me, and now you rattle a drawer in my office."

It doesn't sound as much like a taunt as Riz wanted it to; the drawer has made a lot of noises again this morning when he checked the calendar, and he was definitely annoyed at it. Now, though, facing it like this after cooking the whole morning with more grandparents and peers from the block than he can count on both hands to cater for a tenant union meeting, he thinks the annoyance has morphed. Changed shape.

It has the shades of something like pity. Riz is not prone to pity, and especially not at these kinda matters. It's slightly maddening that he coheres perfectly outside of this one spot. That he commands his spaces, except for a drawer.

He puts the tupperware onto the floor between himself and the cabinet. "I know we're aware it's the anniversary," he says at the drawer. "You do this every year. You make a ruckus every time I decide to go do my job instead of mooching off my friends' aircon, and every time I get an invitation to some stupid social thing I want to turn down, and every time one of the old people tries to introduce me to a child or a nibling, because being a bachelor over thirty is weird," he pinches the bridge of his nose. "I have three fucking jobs. I love doing my fucking jobs. I'm forcing funds into infrastructures. You're never leaving, are you."

The drawer vibrates lightly. It's a very, very mild acknowledgement, considering the history of reactions Riz has gotten from this thing. Riz thinks it's emanating joyous agreement, or satisfaction.

It only sharpens the pity. Riz doesn't like that, but it's how it is. That's, ultimately, the lesson he's been taught over and over and over again, just by existing as himself, turned every which way by space after space that don't see him eye-to-eye: it's not like he'd quit living over any of it. It's not like any of it can sand off these fundamental pieces of him.

He's outgrown a lot of things, he's found out. Again, and again, and again. A childhood home, a yearly trip, a monster.

"'s probably scary for you, huh?" He asks. "Because I left."

He thinks he hears joints creak that sound like you did. Probably the way a scorned lover would say it, in a movie or a yellowback. He has no more connection to the idea than he did as a kid. Less, because it doesn't even scare him.

"That's what it is, right? That it's the anniversary, and I'll never be like Dad." He raises a knee from the floor, pulls it back closer to him. Slings an arm over it. "You love to remind me. The thing is, Dad also left. He loved Mom and he loved me, and none of us wanted it to happen, but it still did. Because love does fuckall to make anyone stay on its own."

He's long past being bitter about it. It's just the facts. Once upon a time he looked into the future and the specter of his friends' happily-ever-after casted lightless, fathomless shadow over him. Love, marriage, that kind of devotion, to a fifteen-year-old with more solved cases than friends seemed so eternal. Final.

But you can only watch your friends build up apps' worth of jilted lovers for so long before getting over it.

"You know what I learned?" Riz tells the drawer. "Love doesn't make anyone stay. Project management does."

He stands up, and picks up the tupperware of Dame Carabelle's casserole, that he helped make, that he helped share with a block's worth of neighbors and members of a community he's at home with, and goes sit at his desk to eat. "Last chance to get any," he drops an offer over his shoulder as he walks away.

He doesn't eat all of his share in one go. What he's spared he leaves on the desk when going outside for a smoke break. Baron looks the exact same as when he saw them last, when he catches a glimpse; they haven't grown at all. They aren't there when he comes back inside, but the leftover has gone days-old cold, like someone's sucked the future out of it.

[skunkes]

i like them together....

[iridescentmirrorsgenshin]

The motif of home is an essential concept to his character. Kaveh describes ‘home’ being different than to that of a ‘house’, as in a house indicates a solitary object, whereas ‘home’ refers to people

This is explained in the loss of Kaveh’s family resulted in his home becoming a house: “"Home" went from a sanctuary of warmth and light to a cold and lonely hall” (Kaveh Character Story 2).

The concept of a home, then, is particularly important in regard to Alhaitham as Alhaitham invited Kaveh to live in his house after Kaveh sold his family house to pay for the re-building of the Palace of Alcazarzaray. Kaveh, at this point in time, is described to be “homeless”, which is indicative of him not only being without a place to live, but without people which ‘home’ could come into fruition. After meeting Alhaitham for the first time in years after their parting, the concept of ‘home’ is directly related to Alhaitham:

Upon seeing his family’s house, his old “home”, which he had sold in order to provide the funding to rebuild the Palace of Alcazarzaray, Alhaitham prompts Kaveh to reflect on the pursuit of his ideals, whereafter Kaveh acknowledges that his ideals were not in the wrong, it is his method of achieving them. Kaveh resolves not to give up, and a second chance is presented to him in Alhaitham inviting Kaveh to live with him.

Where Kaveh ‘sees’ his old “home”, the family he no longer belongs to, all he lost due to his regrets, Alhaitham “sees” through Kaveh, understands him, and asks him a question which simultaneously renews his beliefs in his ideals and the future. This passage links Alhaitham’s sense of home to Kaveh, and offers Alhaitham as a home for Kaveh.

(Update: For more analyses like this, the essay this is taken from is now uploaded! It can be accessed here and here as as a pdf <3)

[vaggieslefteye]

MORE THAN ANYTHING - REPRISE ↳ from Hazbin Hotel Season One (2024): 1x08 - "The Show Must Go On"

[joltning]

here’s idiosyncratic/non portmanteau names for every ship done on rarepair week!(Not including the big ass polyship charts I don’t wanna be here forever.) if I missed you or you want another just ask

feel free to add or remove the ‘shipping’ after tag from these, it’s just to make them more clear. oh and if you’d like explanations just ask

sherry/ohio: sourberry

bitters/matthews: sunflowershipping

bitters/palomo: sunsetshipping

jensen/smith: licoriceshipping

bitters/smith: molten metal

ltsquad: seasonsshipping

bitters/volleyball: hibiscusshipping

ghanoush/mccallister: radioactiveshipping

jones/miller: flourrope

red zealot/blue zealot: from concentrate

ghanoush/mccallister/rebmedic: ultravioletshipping

kimball/dylan: headliners

hutch/wynn: blind judgement

georgia/utah: bubblejet

ct/south/girlie: back to backstabbers

maine/wyoming: pale indifference

carolina/ohio: analogous antithesis

blue fed/randy: festivalshipping. i mean you could also just call them funnelcake

carolina/kai: wallfighter

grey/south: psych and sike

grey/south/dylan: wiped record

south/kai: mardigrasshipping

rebmedic/volleyball: double dose

one/phase: prime integer

kimball/carolina: apex authority

grey/carolina: speedy recovery

jensen/volleyball: runner up

tex/sheila: Gadsdenshipping

chrovos/huggins: quantum gleam

dylan/carolina: insiders info

jensen/simmons: beetrootshipping

doc/donut: sugar pills

sleeves/demo: well I think they already called it iron and smoke but hm…brawnburst?

north/wyoming: sniper duel

locus/lopez: wild misdirection

church/temple: phantom chills

tucker/donut: sugar spike

delta/epsilon: ROM hack

carolina/york/tucker: beach day every day

tucker/lopez: handymanshipping

locus/siris: grapeshipping

donut/lopez/caboose: cobblershipping

kimball/felix: color negative

lopez/caboose: loading time

tucker/north: parental bond

wash/caboose: bullet train

one/danyell: (didn’t know if to separate this one from one/phase but uhh) Golden ratio

caboose/donut: come on. i can’t outdo pastry train

wash/felix: knife play

fake ct/tucker: high and dry

donut/north/south: twin braid

york/tucker: class clown

east/one (again didn’t know but um.) singular solution

sheila/cherry: sweet ride

tex/grey: call me crazy

simmons/doc: middle ground

sharkface/maine: brute-y and the beast

church/north: standard deviation

girlie/sheila: kiss goodnight

felix/jaunes mom: appletreeshipping

tex/omega: anger changer

tucker/grif: incompletely complementary

felix/north: heaven’s favorite angel

locus/wash: farawayshipping

grif/wash: roadkill

caboose/tex: heavy swing

temple/tucker: cryoblade

lopez/locus/donut: nature’s blessing

tucker/wash/donut: heavy duty spin

kimball/filss: revolutionary technology

carolina/kai/479er: flying by wire

jensen/palomo/volleyball: nerd’s tossup

florida/maine: hide and seek

florida/sarge/wyoming: usashipping (duh)

wash/grif/caboose: low speed chase

jensen/dos.0: iron giant shipping

wash/felix/locus: hook line and sinker

wash/sigma: crash and burn

sleeves/demo man/girlie: bloodbath

florida/vic: chillpillshipping

donut/felix: blood sugar

wash/donut: fresh batch

bitters/grif: solar flare

tucker/kimball: sponsored faith

donut/doc/kai: shotsshipping

wash/epsilon: recollectionshipping

texsis: yellowjacketshipping

locus/grif/simmons: mapleleafshipping

wash/tex: eclipseshipping

tucker/palomo: tsunamishipping

donut/lopez: easy bake oven

sarge/doyle: tyrannical bloodshed

felix/tucker: two of swords

church/caboose: engineshipping

[rooolt]

dungeon meshi fanart has two modes, 1) a silly little joke with some fun autistic people and wacky proportions and 2) some of the most gut-wrenchingly gorgeous paintings and images I’ve ever seen in my goddamn life that I feel could be studied for ages. And this is because that’s also just what the dungeon meshi manga is like

[writterings]

honestly my state's pride was ultimately underwhelming this year for me, but i gotta say it's...somewhat nice that it can be boring? like im so accepted and validated by people in my life that pride no longer feels like (for me) an escape or outlet. i attended this specific event with my mom in 2018 and it was my first pride event. i was still in high school. i remember it literally brought me out of a deep depressive episode for a bit, because of how fun and affirming and safe it was. it was a celebration of me and people like me!

but now i kinda get that everyday in my life. so pride really only offers me a chance to hang with some friends, day drink, smoke weed in public, and pick up freebies at every tent. it's basically like any other holiday to me now. but isn't that amazing? that im so accepted and loved and celebrated as a whole queer person, that i can take something like pride for granted?

i'm super thankful for that. i'm still super thankful for pride.

and, i gotta say, it was really touching to see so many middle school and high school aged kids there, sometimes with their parents and sometimes by themselves. i hope they one day can find pride as "boring" as i do. i hope every queer person can.

[rustedleopard]

I feel like if Chujin was still alive during the events of Undertale Yellow, his and Clover's relationship would be incredibly rocky. Pacifist!Clover could bring him around to tolerating them (after all, they have that sort of effect on everyone), but it would be more in a "this human is the only 'good' human" manner than a "maybe I should reevaluate my opinions on humans overall because you can't judge an entire group based off (very biased) stories and one bad experience." Even then, that opinion would be subject to change should Clover ever get frustrated or behave "too aggressively" or act in any manner that isn't perfectly docile. If Clover ends up attacking a monster then it's "humans are just as horrible as they were in the war stories, I should've known better" regardless of the circumstances that could've pushed Clover to fight. Suffocating expectations and endless demands for patience when he wouldn't ask the same of a fellow monster.

And heaven forbid he ever meet Clover on a No Mercy Run...

[quiltofstars]

The Cigar Galaxy (M82, center left), Bode's Galaxy (M81, center right), and NGC 3077 (below right of center) // Drew Evans

Please go visit astrobin and see the full image! I had to shrink it significantly to fit on tumblr!