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Personally I love this and still use it

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surprise, fellow kids. I bet you thought you’d seen the last of ykarrow

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why go to therapy when you can just touch grass

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there are people who leave the house without a pair of earplugs. what insanity

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Thinking about androids with disabilities. Weak servos, faulty wiring, damaged vocal processors, cognitive corruption, anything and everything that humans struggle with having a robotic equivalent. And just because they’re mechanical doesn’t mean it’s an easy fix, these are parts that cost thousands of dollars and need a specialized technician if they can be replaced at all. Disability does not disappear even if we can leave our flesh behind.

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Spider-verse in the shop for 48 hours. Grab ‘em while you can! https://chunlo.threadless.com/

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Metal Skin Panic MADOX-01 (1987) Dir. By Shinji Aramaki Animated By: Hideaki Anno & Kōji Akimoto

Legendary Neon Genesis Evangelion creator Hideaki Anno was only in his mid to late 20s and Kōji Akimoto being only 14 when he helped designed and animated Metal Skin Panic a mecha cyberpunk anime film.

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best response

I lived in Taiwan for a time and I saw monkeys swing on trees 

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sometimes you have to choose the neural pathway less traveled in your brain

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Do you ever feel like you’re faking being queer/trans? Is it just me? Cause my mind becomes a spiralling hell once I start thinking about that. What if I’m just another little kid who wants attention. What if being queer is just an excuse? What if my brain is just trying to give me a reason why people never looked comfortable around me?

Useless thoughts but then I wonder if it would make me this happy to gender confirm if I was faking it or if it would make me this happy to see my community flourishing.

But then I spiral back again. Brains are so messy. It makes sense why they look like a mushed pile of spaghetti.

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being trans & gender nonconforming is so hard. to Me my long nails are gender in a nosferatu way. to Me my long hair is gender in a metal dude way. to Me my height is gender in a columbo way. to the walmart cashier? to my coworkers, to aunt joan? to some guy at the store? i am some unkempt lady

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i genuinely dont care if the creation of all media comes to a screeching halt btw i will very gladly live with no new movies no new tv shows no new anything for years if that's what it takes for the people who create them to be treated like human beings. i hope every other facet of the entertainment industry goes on strike too and i hope all the ones that havent unionised yet will. i want media creation to become completely impossible and i want the people who could make it possible again to hold out until they get every single thing they want. btw

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fucking hate it when the stuff everybody says "actually works" does actually work.

hate exercising and realizing i've let go of a lot of anxiety and anger because i've overturned my fight-or-flight response.

hate eating right and eating enough and eating 3 times a day and realizing i'm less anxious and i have more energy

hate journaling in my stupid notebook with my stupid bic ballpoint and realizing that i've actually started healing about something once i'm able to externalize it

hate forgiving myself hate complimenting myself more often hate treating myself with kindness hate taking a gratitude inventory hate having patience hate talking to myself gently

hate turning my little face up to the sun and taking deep breaths and looking at nature and grounding myself and realizing that i feel less burdened and more hopeful, more actually-here, that i am able to see the good sides of myself more clearly, that i am able to see not only how far i have to grow - but also how much growth i have already done & how much of my life i truly fill with light and laughter and love

horrible horrible horrible. hate it but i'm gonna do it tho

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the feminine, the masculine, the artistic urge to stare at the paintings until they make you hallucinate, to read poems until they seep inside your soul, to write such words that hold the power to shatter a person's heart and fill the void at the same time.

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“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

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I Will stop m’y brain is not functioning so I’m just yeah