dark-l1ght3r

[dark-l1ght3r]

[dark-l1ght3r]

When I was little my mom’s meatloaf was my favorite food. But ONLY her meatloaf. I didn’t like anyone else’s, and she told me that she would teach me how to make it when I was older. And when I was like 19? She finally taught me, but she told me never to tell anyone else and I was like weird but okay

Anyway, she was super fucking homophobic and abusive to me when I told her I was gay, so here’s the recipe

4-6 lbs of Hamburger/turkey burger

1 pk onion soup mix OR ranch mix

1 TBs ketchup

1 Tbs spicy brown mustard,

1 Tbs bbq sauce

1 Tbs steak sauce

1 egg

mix, shape into a loaf in a big pan, and bake at 350 for 2 hrs (maybe 2 and a half if you’re feeling dangerous)

You can get almost all of these ingredients at the dollar store, and have leftovers if it’s just you. The leftovers make great tacos if (taco seasoning is also like a dollar). Enjoy your revenge loaf

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George Takei lands his first acting gig dubbing Rodan in 1957, as told in It Rhymes with Takei, written by Takei, Steven Scott, and Justin Eisinger, with illustrations by Harmony Becker.

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when your crush is sitting next to you

not her tryna hold back the smile

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they went off with this

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what the fuck did she do in her past life to be this hot now

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Fairy of Chaos

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"As climate disasters strain state budgets, a growing number of lawmakers want fossil fuel companies to pay for damages caused by their greenhouse gas emissions.

Last May [2024], Vermont became the first state to pass a climate Superfund law. The concept is modeled after the 1980 federal Superfund law, which holds companies responsible for the costs of cleaning up their hazardous waste spills. The state-level climate version requires major oil and gas companies to pay for climate-related disaster and adaptation costs, based on their share of global greenhouse gas emissions over the past few decades. Vermont’s law passed after the state experienced torrential flooding in 2023. In December [2024], New York became the second state to pass such a law. 

This year, 11 states, from California to Maine, have introduced their own climate Superfund bills. Momentum is growing even as Vermont and New York’s laws face legal challenges by fossil fuel companies, Republican-led states, and the Trump administration. Lawmakers and climate advocates told Grist that they always expected backlash, given the billions of dollars at stake for the oil and gas industry — but that states have no choice but to find ways to pay the enormous costs of protecting and repairing infrastructure in the face of increasing floods, wildfires, and other disasters.

The opposition “emboldens our fight more,” said Maryland state delegate Adrian Boafo, who represents Prince George’s County and co-sponsored a climate Superfund bill that passed the state legislature in March. “It means that we have to do everything we can in Maryland to protect our citizens, because we can’t rely on the federal government in this moment.” 

While the concept of a climate Superfund has been around for decades, it’s only in recent years that states have begun to seriously consider these laws. In Maryland, federal inaction on climate change and the growing burden of climate change on government budgets have led to a surge of interest, said Boafo. Cities and counties are getting hit with huge unexpected costs from damage to stormwater systems, streets, highways, and other public infrastructure. They’re also struggling to provide immediate disaster relief to residents and to prepare for future climate events. Maryland has faced at least $10 billion to $20 billion in disaster costs between 1980 and 2024, according to a recent state report. Meanwhile, up until now, governments, businesses, and individuals have borne 100 percent of these costs. 

“We realized that these big fossil fuel companies were, frankly, not paying their fair share for the climate crisis that they’ve caused,” Boafo said. 

Recent bills have also been spurred by increased sophistication in attribution science, said Martin Lockman, a climate law fellow at the Sabin Center for Climate Change Law at Columbia University. Researchers are now able to use climate models to link extreme weather events to greenhouse gas emissions from specific companies. The field provides a quantitative way for governments to determine which oil and gas companies should pay for climate damages, and how much. 

Vermont’s law sets up a process for the government to first tally up the costs of climate harms in the state caused by the greenhouse gas emissions of major oil and gas companies between 1995 and 2024. The state will then determine how much of those costs each company is responsible for, invoice them accordingly, and devote the funds to climate infrastructure and resilience projects. New York’s law, by contrast, sets a funding target ahead of time by requiring certain fossil fuel companies to pay a total of $75 billion, or $3 billion per year over 25 years. The amount each company has to pay is proportionate to their share of global greenhouse gas emissions between 2000 and 2024. Both Vermont and New York’s laws apply only to companies that have emitted over 1 billion metric tons of greenhouse gas emissions over their respective covered periods. That would include Exxon Mobil, Shell, and other oil and gas giants.

Maryland’s law is so far the only climate Superfund-related legislation to pass a state legislature this year, although Governor Wes Moore vetoed the measure late on Friday [May 16, 2025]. The original draft of the bill would have required major fossil fuel companies to pay a one-time fee for their historic carbon emissions. But over the course of the legislative session, the bill was amended...

Climate advocates decried the governor’s decision, calling it “an inexplicable reversal of a position that threatens to stymie Maryland’s climate progress for negligible budget savings.” In a joint press release by three environmental groups, Kim Coble, executive director of the Maryland League of Conservation Voters, said, “This veto is not fiscal responsibility, it’s a definitive step in the opposite direction of our climate goals.”

In California, environmental groups are optimistic about the chances of a bill passing this year. This is the second year a climate Superfund bill has been introduced in the state, and the sponsors of the new bill have focused on building a broad coalition of environmental, community, and labor groups around the proposal, said Sabrina Ashjian, project director for the Emmett Institute on Climate Change and the Environment at the UCLA School of Law. This year’s legislation was introduced shortly after the devastating Los Angeles wildfires in January, which could amplify lawmakers’ sense of urgency. The bill has now passed out of each legislative chamber’s environmental committee and is awaiting votes in their respective judiciary committees. If passed, the bill will next move to the full Senate and Assembly for a final vote. 

In the meantime, legislators are keeping a close eye on ongoing legal challenges to Vermont’s and New York’s laws...

Climate experts told Grist that with huge amounts of money and liability at stake, lawsuits from the fossil fuel industry weren’t unexpected. Boafo said that given how much financial and political support the Trump campaign received from oil and gas corporations, it’s not a surprise that the Justice Department has sued New York and Vermont. Pursuing these laws invites inevitable opposition — but avoiding the growing costs of climate devastation is even riskier, advocates said. 

Lawmakers are “passing these bills because in writing budgets, in dealing with the day-to-day operation of their states, they’re facing really serious questions about how our society is going to allocate the harms of climate change,” said Lockman. “I suspect that the lawmakers who are advocating for these bills are in it for the long haul.”"

-via Grist, May 19, 2025

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Hello summer ☀️ says a chill Wanda

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★ Samantha -  Wanda - Jeannie ★

from “Bewitched”, “Wanda Vision” and “I dream of Jeannie”.

I had this idea after second episode of Wanda Vision - 3 magical Girls from their cartoon intro. ;] Well I gave Jeannie her outfit from show, because in intro she looks a little bit different.

[dark-l1ght3r]

After nine years, Shin Godzilla has an MPAA rating, with GKIDS listed as its distributor. This follows reporting by The Digital Bits that "FUNimation and/or Toho may be quietly planning a new US 4K Ultra HD release of [the film]." (Toho bought GKIDS last year.) Hopefully the disc has a preponderance of bonus features, as Godzilla Minus One did, and retains the Funimation featurette where Matt Frank says my URL.

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Fuck it, I didn't want to make a post on this but it's bugging the hell out of me so let's exorcize the thought.

Lilo and Stitch is an extremely good children's movie. I've been working at a daycare for over five years now, and out of all the children's movies I've shown to an auidence of twenty or so school-age kids (i.e. between the ages of 5 and 12), the only movie that's held their attention as well as Lilo and Stitch is The Emperor's New Groove, and the only one that's held it better is An American Tail. Of those three, Lilo and Stitch has won the vote of "what movie we will watch" the most. It not only entertains kids, but emotionally captivates them from start to finish, because it very thoroughly understands how to engage children on their level. It's a smart, tightly written children's movie.

The feat of story-telling genius it pulls of lies in its ability to reach both where children's imaginations want to go and where their lived real-world experiences lie - most children's movies focus on one or the other, but Lilo and Stitch dives deep into both. On the imagination side, there's Stitch's whole plotline of being a little alien monster being chased by other weirdo aliens onto earth because they want to stop him from running amok and causing havoc (which, of course, happens anyway in fun cartoony comedy/action spectacle). On the real-world side, you have Lilo's plotline of being a troubled little girl who has an abundance of very real problems that, like an actual child, she struggles to comprehend and deal with, as well as the many adults in her life that care about her to some degree but all struggle to fully understand her. Kids want to be Stitch and run amok and cause cartoony havoc. Kids, even the least-troubled kids, relate to Lilo, because all of them have been in a similar situation as her at least once in their lives.

Balancing these two very different stories, with very different tones and scopes to their respective conflicts, is a hard writing task, but Lilo and Stitch manages to do it in a way that seems effortless with one very powerful trick. The two plots are direct mirrors to each other, complete with the characters involved in each having foils in the respective plot. To break it down:

Stitch, the wild and destructive alien gremlin who everyone has labeled as a crime against existence, is Lilo, the troubled young girl who's viewed as a "problem child" by all the adults in her life. In both plotlines, Stitch and Lilo are facing the threat of being "taken away" from the life they know because they act out, and in both plotlines, we see that this is an unfathomably cruel thing to do to them and will not actually solve the problems they have.

Dr. Jumbaa, the mad scientist who made Stitch because making monsters is what mad scientists do, and who had no intentions of ever being nurturing or parental to anything or anyone in his life, is Nani, Lilo's older sister whose parents died when she was young and now is forced to act as a parental substitute despite not being mentally or emotionally prepared for that responsibility yet. Both Dr. Jumbaa and Nani are trying to get their respective wild children in line with what society wants them to be, and both are struggling hard with it because they in turn have a lot of growing to do before they can actually accomplish that.

Pleakley, the nebbish alien bureaucrat who ends up being assigned to help Dr. Jumbaa despite being mostly uninvolved in creating the whole Stitch situation, is David, the nice but mostly ineffectual guy who's crushing on Nani and wants to help her but doesn't really have much he can provide except emotional support. Ultimately Pleakley and David prove that said emotional support is a lot more helpful than it seems on the surface, as they give Jumbaa and Nani respectively a lot of the pushes they need to become better in their parental roles.

The Grand Councilwoman, who runs the society of aliens that is trying to banish Stitch forever for his crime of existing, is Cobra Bubbles, the Child Protective Services agent who is in charge of deciding whether or not Lilo needs to be taken away from her home forever for, ostensibly, her own good. Both are well-intentioned and stern, with a desire to follow the rules of society and do what procedure says is the most humane thing to do in this situation, but both lack the understanding of Stitch/Lilo's situation to actually help until the end of the movie.

Finally, we have Captain Gantu, the enforcer of the Galactic Council who is a mean, aggressive, sadistic brute but is viewed as a "good guy" by society because he plays by its rules (well, when he knows can't get away with breaking them, anyway), who is the counterpart of Myrtle, the mean, aggressive, sadistic schoolyard bully who is viewed as a "good kid" by other adults because she plays by the rules they established (well, when she knows she can't get away with breaking them, anyway). Both Gantu and Myrtle are, in truth, much nastier in temperament than Stitch and Lilo, but are better at hiding it in front of others and so get away with it, and often make Stitch and Lilo look worse in the eyes of others by provoking them to violence and then playing the victim about it - in fact, both even have the same line, "Does this look infected to you?", which they say after goading their respective wild-child victims into biting them.

The symmetry of these two plotlines allows them to actually feed into each other and build each other up instead of fighting each other for screentime. The fantastical nature of Stitch's plot adds whimsy to the far more realistic problems that Lilo faces so they don't get too heavy for the children in the audience, while the very real struggles of Lilo in her plotline bleed over into Stitch's plot and make both very emotionally poignant. When both plotlines hit their shared climax, they reach children on a emotional level few other movies can match - the terror of Lilo being taken away from her family, and the emotional complexity of that problem (Cobra Bubbles pointing to Lilo's ruined house and shouting at Nani, "IS THIS WHAT LILO NEEDS?" is so starkly real and heart-breaking), is matched and echoed in the visual splendor and mania of the spectacular no-way-this-is-going-to-work chase scene where Stitch, Nani, Jumbaa, and Pleakley all team up to rescue Lilo from Gantu.

The arcs of the characters all more or less line up. Nani confronts her own failures to be a guardian and parent to Lilo and resolves to do better and learn from her mistakes. Jumbaa, who through most of the movie protests to be evil and uncaring, nonetheless comes to not only care for Pleakley, but more importantly for Stitch too, and ends up assuming the role he never wanted but nonetheless forced himself into from the start: he is Stitch's family. Hell, the moment that reveals this is really clever - Stitch goes out into the wilderness to try and re-enact a scene from a storybook of The Ugly Duckling, hoping, in a very childish way, that his family will show up and love him. Jumbaa arrives and, coldly but not particularly cruelly, tells Stitch that he has no family - that Stitch wasn't born, but created in a lab by Jumbaa himself. But in that moment Jumbaa is proving himself wrong - because Stitch's creator, his parent, DID show up, and did exactly what happens in the story by telling Stitch the truth of what he is. It can't be a surprise, then, that later in the movie Jumbaa ends up deciding to side with Stitch, to help him save Lilo, and to stay on Earth with his child.

David and Pleakley go from being pushed away by Nani and Jumbaa respectively to essentially becoming their partners in the family. The Grand Councilwoman and Cobra Bubbles finally see how cruel their initial solution of isolating Stitch and Lilo from their family would be, and bend the rules they are supposed to enforce to protect and support this weird found family instead of breaking it apart. Gantu and Myrtle are recognized for the assholes they are and face comeuppance in the form of comedic slapstick pratfalls. And most importantly, Stitch and Lilo both get the emotional support and understanding they need to thrive and live happy lives as children should be allowed to do. It's like poetry, it rhymes.

It's a very precise, smartly written movie. It's a delicate balancing act of tone and emotions, with a very strong theme about the need for family and understanding that hits children in their hearts and imaginations. It's extremely well structured.

...

So it'd be kind of colossally fucking stupid to remake it and start fucking around with the core structure of it, chopping out pieces and completely altering others, with no real purpose beyond "Well, the executives thought it might be better if we did this."

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Scarlet Witch Different Eras

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Production art for Lilo & Stitch by David Wang, Geraldine Kovats, William Silvers, and Peter Moehrle ✗

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Hey awesome dudes!!!

This is just a reminder that my requests are still open if you have any requests for any of the characters that I write for. So feel free to drop any requests in my asks or even dm them and I will get them out as soon as I can.

I do write for Elizabeth Olsen characters, but bare in mind I haven't seen the Assessment yet although I do plan on watching it. Natasha Romanoff and Maria Hill, and I have now started to write for One Tree Hill girls and I may start posting for Greys/Station 19 here too as I already do have a one shots book for them on my wattpad account.

Hope you all have a great day/night dudes!!!