akrystalkupcake

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No, I don’t care if it’s “just the overture” or “only the orchestra.” I don’t care if there’s no one technically onstage yet. Put your phones away and stop talking. The show has started.

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"i'm fighting demons" and the demons are gay thoughts about the eldritch entity that's inhabiting the body of your deceased best friend

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Even Weird Al has had that™ experience with Tony Hawk

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Huntrix + Forward Guard

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there’s this extremely kind soul of a woman on instagram that makes accessible recipes that don’t require standing, chopping, or a stove and she might just have a permanent place in my heart

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i feel strongly about this

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Superman (2025) + Letterboxd reviews

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Superman (2025) + tweets

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many on here need to be learning this lesson

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Lex Luther becoming a supervillain bec he suffered from a chronic case of being a hater is so comic book movies we are actually so back

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In a rare double own-goal the Young Nationals (the youth wing of a conservative party) posted this in their own Facebook comment section today

Naturally they have been getting completely roasted for it in the comments, leading the page to clarify they were actually referencing another blunder.

Problem is, it was a blunder by another Nationals MP that had largely gone unnoticed, so they've just dunked on their own brand twice.

The comments on both are, of course full of references to one of the great AusPol comment blunders of all time, making it possibly a rare three-for-one stuff up.

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some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.

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Hilda by Duane Bryers

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Yall sleeping on this Sam L. Jackson interview about trump lmfao.