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im not really trying to be funny here i genuinely have never wanted context for something more in my life than this video. i mean ive always figured its just one of those weird for the sake of weird kind of things. but regardless the logistics of this whole setup are what intrigue me. what is this body of green water? a koi pond? the lighting reminds me of a hospital room or something. is the room flooded? it doesnt really look that way, but its possible. why are there apples and balls in it? but why is it also in a room? i cant tell if theres light eminating from the water or if its just such an intense shade of green it gives the illusion. is the bed affixed to the wall and suspended over the water or what? how did the bed even get there if its not a flooded bedroom? i only just noticed the water bottle tied to the bar as well. how does he manage to act relatively unbothered by a massive branch hitting him in the neck. and the watermelon just speaks for itself. im not expecting an answer i just need you to know these are the kinds of things i ask myself for 20 minutes each time its brought back to my attention

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congratulations lil buddy that's the worst anyone's ever drawn it

[source: roald amundsen's belgica diary]

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Madhouse Promenade

(inspired by this)

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it's interesting that even goodsir's attempts to save silna's father are inadvertently violent. it's bloody, it's intrusive, but, more pressingly, it isn't what he wants; it isn't what his daughter wants; it isn't according to tradition or culture. even with best intentions, and with something often falsely considered 'neutral' or universal (science/medicine), he forces british ideals on others.

I say 'ideals' because it is deeper than medicine: in forcing a medical procedure upon someone that is firstly unwanted (itself a violation of bodily autonomy), he is, by extension, pushing british views on health and death where they do not necessarily fit.

from what I've read (I invite corrections) death was conceptualised as continuity by pre-colonial Netsilik folk, with a desirable version of the afterlife existing in the sky, and a less desirable one underwater. that presents death as something to be met with acceptance rather than fought or feared, at least not to the same extent as the brits did, and contextualises some of the significance of a death on the ice — with the sky in sight, outside a symbol of the sea.

of course, that's only an ideal: death is distressing, and especially, in this case, coming at the hands of intruders. but still, as someone with a role of such spiritual significance as a shaman, silna's father appears to meet death with the ideal acceptance, looking at his daughter and starting to sing (though silna pleads him not to leave yet).

however, rather than let them process death together, in a culturally appropriate way and without audience, goodsir projects a resistance to death (exacerbated by his own guilt) which makes the experience far more traumatic than it has to be for silna and her father alike. this comes through particularly strong in the original script, where silna's protests go further: 'you're digging him open', 'this is not the way', 'he doesn't want it'.

but it isn't only goodsir's fault, either. crozier and macdonald fail in their translation: 'please leave my father alone,' silna says, which they translate as just 'this man is her father'. they ignore the request in her words, neglect her wishes, decide on what THEY think is 'relevant' or important rather than listen to what they're being told is. holding her back as if she's a child only reinforces this.

so even goodsir's attempts to save (to undo, through medicine, the harms his people have inflicted) are transgressions of body, culture, and spirituality. ironically, the best thing he could've done was listen and leave the man alone, which reflects a distrust of native peoples when it comes to knowing what they need and speaks to the wider expedition plus the empire itself — the most effective way to undo harm was to never have been there in the first place.

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La Maritza

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start holding your boyfriends to best friend standards pls

“my boyfriend was annoyed that I didn’t shave for days” vs “my best friend was annoyed that I didn’t shave for days”

“my boyfriend doesn’t like my haircut so I’m growing it out again” vs “my best friend doesn’t like my haircut so I’m growing it out again”

“my boyfriend hates when I wear makeup so I guess I have to stop” vs “my best friend hates when I wear makeup so I guess I have to stop”

if your boyfriend would leave you for something that your best friend wouldn’t care about, KILL THEM AND EAT THEM

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nega-Jesus?

jesus was crucified in a universe opposite to ours 

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How are my sweetie pees

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As you might be aware I have big feelings about all besnouted creatures, but recently something has been grating on me. Sometimes, when people draw a snout animal, they draw the snout as a nose with the mouth as a separate entity underneath. This is a stylistic choice I greatly dislike because a snout or trunk is, by definition

A COMBINATION OF THE NOSE AND UPPER-LIP.

You can see here that the snout is not a separate entity from the mouth in these mammals, but is a fleshy protuberance emanating from the upper jaw. 

You can see in this illustration how a more anatomically accurate snout position gives an anthropomorphic pig a degree of charm that an inaccurate snout position does not.

Snout positioning can make or break a character design for me.

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Projecting our period cramps onto Saja boys

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Swiss Cheese Mono Font by Heirloom

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The children will never know How the ocean used to flow They'll never miss the whales They'll never believe the tales But I will remember, I will tell Of all that lived and their great farewell

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A post shared by Dylan Schmidt (@thedylanschmidt)

hey Americans, what we all knew has now been confirmed...

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Siouxsie Performing In Belgium, c.1982 Photographed By Philip Carly (A kiss in the dreamhouse tour) ☀️

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AL NAKEEB AA - Straight Egyptian Arabian