#respect the desert

[tomwindeknecht]

The Mojave Desert is a beautiful and fragile ecosystem that is home to a variety of plants and animals, including the desert tortoise. Here are a few things we can do to keep it this way:

- Stay on the trails. This helps to protect the plants and animals that live in the desert. - Pack out what you pack in. This includes trash, food scraps, water bottles, etc. - Don't disturb wildlife. This means keeping your distance from animals and not feeding them.

[fernsfabulousfloweringfacility]

Silly little comic that almost killed me witha chainsaw <3<3

DDVAU by @kitsuneisi and @xmaruu11!!!! so much love for them :D

[fisheito]

how it feels to read chapter 14 but still have to do event dailies afterwards

[cienie-isengardu]

Zoro & Luffy

[luna-the-cretar]

It’s funny hearing the Yonan (or any other non-Yonan character with a southern accent—ex: Kremy) characters talk, because one part of my brain is like “I do NOT talk like that”

And then I become acutely aware of how I talk when I’m not really worried about articulating my words, and then I realize “oh shit, I DO talk like that”

[lycoris707]

I just finished reading chapter 21 of TAMN by @uhohbestie

and... yeah...

don't get me wrong, I've seen spoilers, I knew it was going to happen, I know what's gonna happen

but DAMN, I think I'll need a little break to be able to continue reading

I am sad that I got into it so late tho, I think by the time I'll catch up fully it'll be over and this is the only contribution I'll be able to make to the fandom while it's still in bloom :(

[ghostdrinkssoup]

my honest opinion about caitvi is that the pacing is too rushed to make me super invested. there isn’t enough time between them investigating zaun and vi reuniting with jinx in S1 to really establish their individual goals, backgrounds and dynamic. what makes them similar despite coming from vastly different worlds? how can they improve themselves by being together? why do they need each other? they deserved a slow-burn

to be fair, pacing is an issue across the board with the show. it’s too ambitious and has too large a scope for the amount of time they had

[blufox3542]

I still find it so funny that Path of Fire takes place in the Crystal Desert because like:

Rogue human god cast out by his peers goes on a revenge crusade during which he tears through the Crystal Desert/Elona and leaves permanent damage and corruption in his wake part 2, electric boogaloo (now it’s fire themed)

[zombie-bait]

Lanfear's vibe just gets cuntier each episode and I'm supposed to be NORMAL ABOUT THIS???? Ridiculous

[garygoldenbignaturals]

day by day it becomes apparent to me that shes quite daniil dankovsky coded.......dont know how to feel about that............

[radioactivepeasant]

I think Jak should be allowed to take Praxis's sword for himself. For the dramatic irony.

[iirulancorrino]

Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision. A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence. That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not. For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come? I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.” Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.

[andaniellight]

finished watching D.P and then starting Weak Hero Class 1 is like a review of that precious theory from ATLA where the next avatar looks like the person they loved in the past live

[joongdunking]

Finally! First JoongDunk couple event of 2025! 🥹💛

[neuvifuri]

Something I think is so funny that I’ve seen no one mention is the fact kaveh knew alhaitham & cyno separately before the story and they’d likely heard about eachother from him in some capacity and their first interaction is cyno attacking him.

yes!!! literally cyno is replaying every kaveh story about alhaitham in his head for the whole period of the archon quest where they don’t trust each other. when alhaitham is like “correct me if i’m wrong, but general mahamatra, you and i have barely exchanged pleasantries before this. surely i haven’t done anything to invoke your wrath,” cyno is remembering how nobody at dinner laughed at his jokes but they all laughed at kaveh’s stories about how terrible alhaitham is

[michaels-two-dads]

OUGH the poetic cinema of Grian saying that. In an ending SO similar to Third Life. Scar was so confused by the fact that he won, because he’s done this before, and he knows how it ends. The last time, he didn’t win. Of course Grian is the one to say something, because he knows exactly how it feels, to be left standing alone at the end. He knows how it feels to win. A ghostly hand on Scar’s shoulder. “She’s dead, Scar. You won.”