#in some cases obviously

[pionas]

truly i just hate that people can’t stand that female artists are famous and successful and that eventually makes them think they don’t deserve that success simply because they are women and it’s wild

[inkskinned]

probably time for this story i guess but when i was a kid there was a summer that my brother was really into making smoothies and milkshakes. part of this was that we didn't have AC and couldn't afford to run fans all day so it was kind of important to get good at making Cool Down Concoctions.

we also had a patch of mint, and he had two impressionable little sisters who had the attitude of "fuck it, might as well."

at one point, for fun, this 16 year old boy with a dream in his eye and scientific fervor in heart just wanted to see how far one could push the idea of "vanilla mint smoothie". how much vanilla extract and how much mint can go into a blender before it truly is inedible.

the answer is 3 cups of vanilla extract, 1/2 cup milk alternative, and about 50 sprigs (not leaves, whole spring) of mint. add ice and the courage of a child. idk, it was summer and we were bored.

the word i would use to describe the feeling of drinking it would maybe be "violent" or perhaps, like. "triangular." my nose felt pristine. inhaling following the first sip was like trying to sculpt a new face. i was ensconced in a mesh of horror. it was something beyond taste. for years after, i assumed those commercials that said "this is how it feels to chew five gum" were referencing the exact experience of this singular viscous smoothie.

what's worse is that we knew our mother would hate that we wasted so much vanilla extract. so we had to make it worth it. we had to actually finish the drink. it wasn't "wasting" it if we actually drank it, right? we huddled around outside in the blistering sun, gagging and passing around a single green potion, shivering with disgust. each sip was transcendent, but in a sort of non-euclidean way. i think this is where i lost my binary gender. it eroded certain parts of me in an acidic gut ecology collapse.

here's the thing about love and trust: the next day my brother made a different shake, and i drank it without complaint. it's been like 15 years. he's now a genuinely skilled cook. sometimes one of the three of us will fuck up in the kitchen or find something horrible or make a terrible smoothie mistake and then we pass it to each other, single potion bottle, and we say try it it's delicious. it always smells disgusting. and then, cerimonious, we drink it together. because that's what family does.

[thehappyvet]

Where do people get this misconception that every single wildlife case at a vet clinic is euthanased so it's better to not take them in even if they're obviously hurt or sick and in need of treatment?!?!

Friendly reminder that a member of the public should not be able to easily pick up or catch a wild animal. We are not in a disney movie. If you can pick it up*, 80% of the time its extremely hurt or sick.

Wildlife, and most animals for that matter, do not show pain as humans do. That does not mean they are not in pain and suffering.

Veterinarians only euthanase wild animals that are suffering from extreme injury or illness, or animals that would stress themselves to death in a hospital setting that cannot be released and survive in the wild with their issue.

We do euthanase some animals, but that's because it's the best welfare decision for that animal and its specific problem.

Maybe trust the professionals trained in providing treatment to animals instead of some Karen on Facebook who demonises vets because she can't understand a bird with multiple wing and shoulder fractures is very unlikely to regain flight and return to the wild and her plan of keeping it means it will live a life of chronic pain and suffering.

*Disclaimer: If you live in a country where diseases such as rabies are endemic, you should not handle wildlife at all if you are not trained or vaccinated. This post is not recommending members of the public handle wildlife in any country.

[unclassedguy]

Sukuna and Yuji use public transportation

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[14dayswithyou]

Hi, Howdy! Hey! I really love your novel!! I got a little confused by the 4 day, may maybe you help me please? who is it? why we got the bad end staying the night in Ren’s apartment and he disappear of the home screen? I can’t understand “unset memory” game, sorry if I wrote smth wrong or smth sounds rude, I swear that I didn’t mean it if happened, I’m really a fan of the novel, I’ve been playing the game since day 1 or 2 I guess, probably day 1, english isn’t my first language, but I tried lol

⌞♥⌝ I hope you don't mind me answering these as bullet points!! ^^

"It" will be revealed later in the game! So I won't reveal too much right now.

You can only get the Dead End in Day 4 by staying at Ren's apartment — the rest of your choices before that don't matter. I'd also pay closer attention to the black smoke and Ren's reaction towards it!

Ren disappears from the home screen because he promised to help the player out (and stop them from getting the Dead End again). Try replaying the game again from the beginning for a surprise!

"Unsent Memories" was another visual novel (initially being written by @10chimes / @unsentmemory, though the project has since been dropped and handed back to me /pos) and is set in the same universe as 14 Days With You. Its storyline and characters are completely separate from 14DWY, so you don't have to worry about them while playing 14DWY.

[ghost-bxrd]

Prompt:

A whole ass zombie apocalypse wasn’t something Jason thought he’d ever have to worry about.

Not that he has to worry about it now, either, considering he just got bit.

Everyone knows what you gotta do in these scenarios. Your loved ones will cry (“awe, Dickie, you do care”), they’ll try to find a different way (“shut up Bruce. Even you can’t concoct a cure in two hours”) and blame themselves (“fuck you, Timmers, I want you to know I died because you wanted that damn coffe!”…. Yeah, he could have handled that one better in hindsight) and then, ultimately, they’re gonna put a bullet in your brain. For the sake of the group.

And it’s fine, really. Better than turning into a mindless, flesh eating meat sack. He was ready. He got to say goodbye. It’s fine.

Or it would have been fine, if any of those damn cowards had pulled the friggin trigger.

Now Jason is clinically semi-dead (don’t ask him, he doesn’t know how this shit works either) and still annoyingly in charge of his mental faculties while also harboring a rather concerning craving for human flesh.

Fuck.

[halorvic]

The danger is clear and present: COVID isn’t merely a respiratory illness; it’s a multi-dimensional threat impacting brain function, attacking almost all of the body’s organs, producing elevated risks of all kinds, and weakening our ability to fight off other diseases. Reinfections are thought to produce cumulative risks, and Long COVID is on the rise. Unfortunately, Long COVID is now being considered a long-term chronic illness — something many people will never fully recover from. Dr. Phillip Alvelda, a former program manager in DARPA’s Biological Technologies Office that pioneered the synthetic biology industry and the development of mRNA vaccine technology, is the founder of Medio Labs, a COVID diagnostic testing company. He has stepped forward as a strong critic of government COVID management, accusing health agencies of inadequacy and even deception. Alvelda is pushing for accountability and immediate action to tackle Long COVID and fend off future pandemics with stronger public health strategies. Contrary to public belief, he warns, COVID is not like the flu. New variants evolve much faster, making annual shots inadequate. He believes that if things continue as they are, with new COVID variants emerging and reinfections happening rapidly, the majority of Americans may eventually grapple with some form of Long COVID. Let’s repeat that: At the current rate of infection, most Americans may get Long COVID.

[...]

LP: A recent JAMA study found that US adults with Long COVID are more prone to depression and anxiety – and they’re struggling to afford treatment. Given the virus’s impact on the brain, I guess the link to mental health issues isn’t surprising. PA: There are all kinds of weird things going on that could be related to COVID’s cognitive effects. I’ll give you an example. We’ve noticed since the start of the pandemic that accidents are increasing. A report published by TRIP, a transportation research nonprofit, found that traffic fatalities in California increased by 22% from 2019 to 2022. They also found the likelihood of being killed in a traffic crash increased by 28% over that period. Other data, like studies from the National Highway Traffic Safety Administration, came to similar conclusions, reporting that traffic fatalities hit a 16-year high across the country in 2021. The TRIP report also looked at traffic fatalities on a national level and found that traffic fatalities increased by 19%. LP: What role might COVID play? PA: Research points to the various ways COVID attacks the brain. Some people who have been infected have suffered motor control damage, and that could be a factor in car crashes. News is beginning to emerge about other ways COVID impacts driving. For example, in Ireland, a driver’s COVID-related brain fog was linked to a crash that killed an elderly couple. Damage from COVID could be affecting people who are flying our planes, too. We’ve had pilots that had to quit because they couldn’t control the airplanes anymore. We know that medical events among U.S. military pilots were shown to have risen over 1,700% from 2019 to 2022, which the Pentagon attributes to the virus.

[...]

LP: You’ve criticized the track record of the CDC and the WHO – particularly their stubborn denial that COVID is airborne. PA: They knew the dangers of airborne transmission but refused to admit it for too long. They were warned repeatedly by scientists who studied aerosols. They instituted protections for themselves and for their kids against airborne transmission, but they didn’t tell the rest of us to do that.

[...]

LP: How would you grade Biden on how he’s handled the pandemic? PA: I’d give him an F. In some ways, he fails worse than Trump because more people have actually died from COVID on his watch than on Trump’s, though blame has to be shared with Republican governors and legislators who picked ideological fights opposing things like responsible masking, testing, vaccination, and ventilation improvements for partisan reasons. Biden’s administration has continued to promote the false idea that the vaccine is all that is needed, perpetuating the notion that the pandemic is over and you don’t need to do anything about it. Biden stopped the funding for surveillance and he stopped the funding for renewing vaccine advancement research. Trump allowed 400,000 people to die unnecessarily. The Biden administration policies have allowed more than 800,000 to 900,000 and counting.

[...]

LP: The situation with bird flu is certainly getting more concerning with the CDC confirming that a third person in the U.S. has tested positive after being exposed to infected cows. PA: Unfortunately, we’re repeating many of the same mistakes because we now know that the bird flu has made the jump to several species. The most important one now, of course, is the dairy cows. The dairy farmers have been refusing to let the government come in and inspect and test the cows. A team from Ohio State tested milk from a supermarket and found that 50% of the milk they tested was positive for bird flu viral particles.

[...]

PA: There’s a serious risk now in allowing the virus to freely evolve within the cow population. Each cow acts as a breeding ground for countless genetic mutations, potentially leading to strains capable of jumping to other species. If any of those countless genetic experiments within each cow prove successful in developing a strain transmissible to humans, we could face another pandemic – only this one could have a 58% death rate. Did you see the movie “Contagion?” It was remarkably accurate in its apocalyptic nature. And that virus only had a 20% death rate. If the bird flu makes the jump to human-to-human transition with even half of its current lethality, that would be disastrous.

[sysig]

The familiarity is not very comforting (Patreon)

[vintagerobin]

It's really interesting to me how these two different comics are using the safety net allegory in very different ways. Mutual between Dick and Bruce, one-sided between Bruce and Damian. It got me thinking about a couple of different things.

Firstly... I really think one-sided caregiving is Bruce's default in his relationships with everyone, including adults. Giving and supporting isn't that hard for him, he tends to assume that he should be the one to do that - it's admitting that he also has emotional needs and asking for ANY kind of help from another person and making himself vulnerable in that way that he struggles with the most. That's where his relationships fall apart more often than not. So it's always seemed a little odd to me that he would suddenly go counter to that with the Robins and seek that support from them. Looking at these panels though... he obviously ISN'T doing that. In either case.

Bringing me to the second point - in the top panels, Dick didn't learn to take care of adults from Bruce. He had already learned it from his parents before he ever met Bruce, an issue he gained from being a child star, not from being Robin.

But Dick insists on it with Bruce. He pushes past the boundaries Bruce attempts to set and encourages Bruce to rely on him as an equal, even becomes angry with him if Bruce doesn't give in.

...all of which is leading me to think that Bruce learned this dynamic from Dick, and has slowly been unlearning it until you get to Damian where it's mostly absent again. It makes a weird sort of sense if you consider that they're really not that far apart in age, only a bit further apart than Dick and Jason are. Bruce was quite young when he took Dick in.

[cupidsbeaux]

it's my personal belief that Gillion needs glasses while on land but doesn't realize his vision is even different from everyone else's.

in the water he sees great! it's what tritons are made to do! but above water things are blurry and he's nearsighted. tritons can survive on land, but it's not an ideal situation (as shown by the fact that Gillion sleeps in barrels and bathtubs). he assumes that's just how land creatures are because how would he know any better? this is just another challenge that he's willing to face.

so yeah, he's totally visually impaired. lots of fish and amphibians can't see well outside of water, and i'm choosing to believe that Gillion is the same way.

[turtleblogatlast]

“Haven’t You Noticed (I’m a Star)” from Steven Universe works so ridiculously well for Leo

[wszczebrzyszynie]

flower crown Scar for a friend because im a weak weak man and cannot refuse drawing polish folk costumes on my favourite guy + nocnica Pearl (amazing design by @akuroshi1) and południca Scar for anon

[artifour]

[heich0e]

i think shouto and touya are both the kind of guys who love watching you sleep. and there's definitely something at least kind of sweet about it sometimes, but there is undeniably also something incredibly unnerving abt waking up and having them openly staring at you

[blueskittlesart]

deeply refreshing to see someone critical of Swift who also like, genuinely likes her. Like i'm neutral to positive on her, but the online discourse has been absolutely rancid. flipping between "Taylor Swift has never done anything wrong ever and she's a fucking genius" and "Taylor Swift is the worst lyricist of all time and also a bad person" is exhausting, so thank you for like. nuance or something lmao

not to make it serious for a sec but i genuinely think that being able to like things that are bad is really important. like I think that it's an important skill to be able to look at something and see what you personally enjoy about it and then take a step back and acknowledge that objectively it's flawed. and to also be able to acknowledge that liking something isn't necessarily an identity or a moral stance. and i think that fandom space in general could really benefit from more people taking the time to learn how to do that. it's okay to like things that are bad