mashedpotatojonze

[mashedpotatojonze]

i beat myself up for not knowing enough about my special interests a lot but then i remember the average person off the street has no idea what the carboniferous is and i feel better

[mashedpotatojonze]

i'm gonna be real w you i am pretty sure they just picked lutherans bc some of them were cool w gay people. the only real lutheran response to "are you going to heaven" is "yea probably"

i wonder how common it actually is to get severed so that your innie’s soul can go to heaven 😰

[mashedpotatojonze]

if you read ludicity it becomes clear that severance is a documentary about the software engineering industry

[mashedpotatojonze]

mr milchick

[mashedpotatojonze]

Milchick: hey so what was the deal with those blackface paintings

Natalie:

SEVERANCE | Season 2, Episode 5, "Trojan's Horse"

[mashedpotatojonze]

Having an obscure OTP is a similar pain, in my opinion, to experiencing homophobia.

[mashedpotatojonze]

I like astro boy 1963

[mashedpotatojonze]

In the aftermath of Pinochet's coup in September 11th of 1973, a 23 year old Civil Registry worker called Hector Herrera was ordered to take the fingerprints of the bodies filling up the morgue, and came across the corpse of Victor Jara, an emblematic folk singer, teacher, theater director and activist who had been tortured and executed by Pinochet's soldiers with 44 machine gun shots, then thrown on the bushes outside the local cemetery where Hector worked.

He'd eventually contact Joan Jara, Victor's wife, and together were able to rescue the body for proper burial so he didn't end up another forced disappeared victim of dictatorship.

Fragment translated from the investigation program En La Mira

Hector: They didn’t even give me a mask. I was stepping on blood and brain matter that day. There was a huge gate in the back that made a horrible sound, when it opened some kind of alarm went off. The door would open as the military trucks moved in reverse into it, the soldiers would open the doors and then dump the bodies there in the back. I saw how they piled people up. [There was] a mother with a baby. The baby had a gunshot wound, so the bullet must have gone through the mother. She was holding him very tightly. Her expression was of horror, she must have seen the bullet coming at her and her baby. Victor’s figure emerged among the corpses of chileans and those of blond foreigners with shaved heads on the morning of September 16th, which the court wrongly established as Victor Jara’s date of death. Hector: The body was very cold, so it had been a while. The blood he had stuck to his face, matted, was not from an hour prior because it was dry, mixed with dirt. The fingerprints taken by Hector in a file he hid allowed to confirm his [Victor Jara’s] identity with another worker from the Civil Registry. Thus he’d find the address of the house where Joan lived in uncertainty with her young daughters. Willing to take the risks, two days later on September 18th, Hector came by to visit her. Hector: She took my hands and hid her face in them, then cried. I felt her tears falling on my hands. All those images of young blond foreigners came to me, those I saw with shaved heads. In relation to this blond woman I had in my hands. And thought, she’s in danger. They’re going to kill her, I thought. I told her I’d help her, we’d go get her husband’s body. Joan: He warned me it was a horrible place, and that I had to control my feelings. I couldn’t be expressive, there was a certain danger… Hector: [I warned her] she would see all kinds of bodies. Men, women, children. We’d step on brain matter, blood —there was a lot of blood on the floor. Her husband would be among all those corpses and he was very dirty, covered in dirt. And she couldn’t cry there, nor scream, least of all faint. Joan: I was in a huge state of shock when I saw Victor’s body. I keep the image of his body full of wounds, machine gun bullets. And an enormous wound he had… Hector: She kneeled, kissed him, hugged him. Crying, she cleaned his face with her tears. With so much love, she made this gesture several times [wiping her tears with her hands, then using them to clean Victor’s face]. She kissed him many times, hugged him, held him, trying to remove that dirt. Joan: There were other bodies, centimeters away from him, everywhere. In that moment I was rather in a state of pain and anger against this massacre.  [They were] young people, workers. Some were even wearing their safety helmets [for construction work]... In those moments, the knowledge was sinking in that it wasn’t just Victor, it was everyone’s tragedy. Hector: We started with that trolley [that they used to transport Victor’s body out]. Joan makes a gesture with her hand as we’re walking out, because a truck with bodies was entering. The back [of the truck] was filled with bodies, you could see it through the wood planks. Fabric, vests, pieces of dresses. Joan: We were in a tunnel, the exit tunnel from the cemetery. That’s what I remember, I remember my determination in that moment to not give in before that military ambulance that brought more and more bodies. Hector: She makes a gesture, the soldiers pull back, and we make it out of the avenue. We lifted it [the body] and pushed it in by ourselves [into the mausoleum wall]. Joan: That constant noise [of the trolley’s wheels], that long walk towards the back of the cemetery… It's something that stayed with me for a long time. Hector: Those bodies I was taking fingerprints from, they had looked at me. I thought they were telling me please, go to my home, say that I’m here. Symbolically, through him [Victor] I buried all those bodies.

[mashedpotatojonze]

quarters>nickels>>pennies>>>>>>>>>>>>>>>dimes

dimes are fucking stupid. they shouldnt be smaller than pennies, theyre worth more points, and they dont get any cool variants like quarters or nickels. lamest fucking coins.

[mashedpotatojonze]

dimes are fucking stupid. they shouldnt be smaller than pennies, theyre worth more points, and they dont get any cool variants like quarters or nickels. lamest fucking coins.

[mashedpotatojonze]

showing people moral orel and watching them get filtered by s1 be like

[mashedpotatojonze]

this is what Billy Bat is about

there is no soul of an artist that distinguishes them from some 'non-artist' category of person that could simply never comprehend what it is like. anyone can make art. you should know this by now. from ratatouille

[mashedpotatojonze]

Shitty magma doodles of monster characters playing videogames lmaoo

[mashedpotatojonze]

[mashedpotatojonze]

Inspired by @guriten 's silly posts

[mashedpotatojonze]

do you think milo holiday and orel puppington would hang out

yeah, i think they would. it's kind of a nice idea.