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Who Gets to Govern the Internet? Maybe It’s Time We Did.

Social media has always felt like a free-for-all. If you’re not based in a country where media censorship is rampant (like China or Vietnam), it may feel like you could get away with a lot of things but rest assured, power is at play. Platforms shape what’s allowed, governments draft outdated laws, and users are left to deal with everything from online harassment to shadowbanning.

Traditionally, social media governance has always been top-down, tech giants and politicians are given the power to decide what’s acceptable, even though they’re severely out of touch with Internet culture. And it is because of this disconnect that leaves communities vulnerable, especially marginalised users who are disproportionately targeted by abuse (Haslop et al., 2021). Although new laws like Australia’s Online Safety Act 2021 are being put into place, enforcement is slow and inconsistent, allowing platforms to profit from outrage and engagement while ignoring safety.

That’s why it’s reassuring to see former YouTuber MatPat make his move into politics (TOI Sports Deck, 2025).

This month, MatPat announced the launch of the Creator Economy Caucus, which is a bipartisan effort to connect lawmakers with creators. For the first time, a reputable and trusted creator who has built a career navigating algorithms, trends and trolls is directly working on the policies that govern those spaces. It’s a powerful shift as he switches from being governed to helping shape governance.

Creators like MatPat live the reality of digital platforms every day. If anyone knows how content spreads, how harassment happens and what protections are actually useful, it’s them. By bringing this lived experience and advising lawmakers, MatPat is helping to bridge the gap between those who use the Internet and those who regulate it.

Social media governance shouldn’t be left solely to corporations or politicians who are detached from platform life. Instead, it should involve the people who built, moderated, and engaged in these spaces daily. MatPat’s pivot might seem surprising, but the truth is, we need insider voices at the decision-making table.

References

Haslop, C., O’Rourke, F., & Southern, R. (2021). #NoSnowflakes: The toleration of harassment and an emergent gender-related digital divide, in a UK student online culture. Convergence, 27(5), 1418–1438. https://swinburne.instructure.com/courses/68114/pages/week-10-reading?module_item_id=4870740#:~:text=%23NoSnowflakes%3A%20The%20toleration%20of%20harassment%20and%20an%20emergent%20gender%2Drelated%20digital%20divide%2C%20in%20a%20UK%20student%20online%20culture.%C2%A0 

TOI Sports Deck. (2025). “It's Our Hope”: Former YouTuber MatPat Launches Creator Economy Caucus. The Times of India. https://timesofindia.indiatimes.com/sports/esports/news/its-our-hope-former-youtuber-matpat-launches-creator-economy-caucus/articleshow/121781927.cms

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Pixelated Togetherness: How Animal Crossing and Live Streams Got Us Through the Pandemic

Does anyone remember the 2020 Animal Crossing craze? To give you an idea, Animal Crossing: New Horizons became a global lifeline when the world shut down in 2020. Launched just at the right time, this Nintendo game wasn’t just a hit, it became a haven as people from all around the world were streaming, watching and connecting through this online platform. 

In a blink of an eye, platforms that were supposedly reserved for hardcore gamers (think of Twitch, YouTube or Discord) became a cozy digital lounge for everyone. People were tuning into streams on Twitch and YouTube to watch creators bring their cottage-core dreams to life and exchanging island codes to trade turnips on Discord (or participate in villager trafficking if that’s your thing). In a time of isolation, these platforms, alongside with the game itself, offered warmth, comfort, and a sense of normalcy in a time of isolation.

But Animal Crossing transcended from just being a form of escapism. The community that was built from it was never-before-seen, weddings were held, graduations were thrown, even talk shows were held (Hannan University, 2021; Antonelli & Haasch, 2020; Stedman, 2020)! These events blurred the lines between gaming and social life, proving that video games weren’t just for your typical aggressive gamers, but rather it could be soft and supportive spaces for those looking for a community.

There was also a political edge to this phenomenon. Activists used Animal Crossing to stage protests and spread messages, especially in places with strict physical gathering rules. One notable example was when Hong Kong protesters created virtual rallies in the game, which were then streamed to global audiences (Keiichi, 2020). While Nintendo eventually cracked down on it, this particular event revealed just how powerful live-streamed gaming could be as a tool for expression.

While most media platforms struggled to adapt during the pandemic, the live-streaming world exploded. Twitch saw record viewership (Shanley, 2020), Discord servers popped up for friend groups and fan communities and Animal Crossing became the poster child for this era with its low-stress gameplay and social features.

So yes, when we look back at the pandemic, we’ll remember the masks and the Zoom calls. But we also remember the islands, the pixelated cherry blossoms and the turnip stock market. Because in a time when we couldn’t be together in real life, Animal Crossing helped us feel together anyway. Quick question though, how much are you willing to give up for Raymond?

References

Antonelli, W. & Haasch, P. (2020). A couple held a wedding in 'Animal Crossing' after coronavirus forced them to cancel their real-world ceremony. Business Insider. https://www.businessinsider.com/animal-crossing-wedding-coronavirus-social-distancing-2020-3

Hannan University. (2021). Graduation ceremony in "Animal Crossing: New Horizons"!? Hannan University and Hannan University High School release "Hannan Daigaku Island"! [Press Release] https://kyodonewsprwire.jp/release/202102251472

Keiichi, T. (2020). "Animal Crossing" proves to be game-changer for Hong Kong pro-democracy movement. NHK. https://www3.nhk.or.jp/nhkworld/en/news/backstories/1061/

Shanley, P. (2020). Twitch Breaks Various Viewership Records Amid Coronavirus Quarantine. The Hollywood Reporter. https://www.hollywoodreporter.com/news/general-news/twitch-breaks-viewership-records-coronavirus-quarantine-1287894/

Stedman, A. (2020). How ‘Star Wars’ Writer Gary Whitta Used ‘Animal Crossing’ to Make a Talk-Show Sensation. Variety. https://variety.com/2020/digital/features/gary-whitta-animal-crossing-animal-talking-star-wars-1234612301/

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The Algorithm Made Me Do It: Sex, Selfies, and Systemic Pornification

I can’t tell you exactly when it happened but Instagram and TikTok have transformed from a platform used for connecting with friends and family into a platform for pouty lips, arched backs, and camera angles that strategically spotlight curves. While many frame it as body confidence or empowerment, many of these kinds of posts reflect a deeper trend, one that's tied to pornification and the commodification of women’s bodies online.

Drenten et al. (2019) argue that what we often dismiss as “just selfies” are in fact forms of sexualised labour. This is especially clear in the influencer economy, where female creators often present sexualised versions of themselves to match dominant, heteronormative beauty ideals shaped by porn aesthetics. Take Tammy Hembrow, her brand mixes fitness, motherhood, and lifestyle, but always through hyper-sexualised visuals: hourglass poses, lingerie hauls, and flawless contouring. It’s powerful and polished, but still filtered through the lens of what sells. 

And what sells, still, is sex.

This isn't a critique of individual creators. Rather, it's about the system. Social media platforms reward these aesthetics not just with likes, but with brand deals, visibility, and validation (Bussy-Socrate & Sokolova, 2024). In the study, one influencer mentioned how they deliberately appear in lingerie or accentuate their curves not out of personal choice, but because such posts drive engagement, please followers, and fulfil sponsor expectations. Over time, what starts as a business decision becomes a cycle where sex appeal becomes a strategic tool, shaped more by the system’s demands than personal desire.

But what can we do about it?

Well, for starters it’s important to remove the player from the game. That means individual influencers shouldn’t be blamed for participating in a system that rewards sexualised content as they are simply doing what’s needed for visibility, engagement and income. Instead, we need to shift the conversation toward the structures that encourage this type of self-presentation. 

Platforms like Instagram should be held accountable for the algorithms they design. While they claim to take responsibility to foster safe and supportive communities for everyone, they continue to create environments where hyper-sexualised aesthetics thrive and become the norm. So rather than critiquing someone for posting sexy selfies, we should be asking: Why does it perform better? Who profits from it? When we frame the problem this way, it becomes clear that pornification is not a personal failure, but a systemic issue that needs broader cultural and platform-level accountability.

(Instagram, n.d.)

References

Bussy-Socrate, H. and Sokolova, K. (2024), "Sociomaterial influence on social media: exploring sexualised practices of influencers on Instagram", Information Technology & People, Vol. 37 No. 1, pp. 308-327. https://doi.org/10.1108/ITP-03-2022-0215

Drenten, J.,Gurrieri, L.,Tyler, M 2019, Sexualized labour in digital culture: Instagram influencers, porn chic and the monetization of attention In: Gender, Work and Organization, Gender, Work and Organization, pp. 1 – 26

Instagram. (n.d.). Instagram Community | A Safe & Supportive Experience | About Instagram. https://about.instagram.com/community

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Filtered Reality: The Hidden Toll of AR Beauty

Let’s be real: augmented reality (AR) filters on Instagram can be so much fun. With a tap, you can glow like a goddess, contour your face like a pro, or transform into a fantasy character. But while these filters are entertaining, there’s an unspoken side to their long-term use (and it’s not as pretty as the filtered version of your face).

Many of these beauty filters subtly “enhance” features by shrinking noses, enlarging eyes, plumping lips, and smoothing skin, which is often based on Eurocentric beauty standards (Elmi, 2024). Over time, this constant digital retouching can distort our self-perception. What begins as playful experimentation may evolve into quiet self-doubt. It’s no surprise that studies link heavy filter use to increased body dysmorphia, anxiety, and low self-esteem (Ateq et al., 2024; Khalid & Andleeb, 2024; Elsadai et al., 2022).

(Kieu, 2023).

But of course, it would be foolish for us to outright ban filters, so what can we do about this issue? That’s where digital citizenship plays an important role.

We can start by being more mindful about our own filter habits and setting boundaries for ourselves. Do you only post when you’re filtered? Why? Are you hiding, or are you curating? There’s a difference.

It also means calling out problematic filters, for example those that perpetuate unrealistic beauty standards or morph people beyond recognition, like how Laura Ghiacy or Ben Carpenter did in their videos. I especially liked Carpenter’s points as he mentioned how even subtle filters could change one’s perception of their own features. Just a mere 30 seconds of using a filter that only tanned his skin and whitened his teeth made him less “okay” with his initial face which goes to show how big of an effect these filters have on us. Platforms like Instagram should also be more transparent, labeling modified content clearly and providing users with education on body image and digital wellness, which thankfully they do.

Digital citizenship is about accountability, not just from the top down, but from the ground up. By being conscious of the subtle pressures AR filters create, we can resist them and advocate for a more honest digital culture. Because at the end of the day, our real faces deserve to be seen and celebrated, just as they are. We wouldn’t want a world where everyone looked the same, right?

References

Ateq, K., Alhajji, M. & Alhusseini, N. (2024). The association between use of social media and the development of body dysmorphic disorder and attitudes toward cosmetic surgeries: a national survey. Sec. Public Mental Health, 12. https://doi.org/10.3389/fpubh.2024.1324092 

Elsadai, Susanti, R. D. & Eriyani, T. (2022). Relationship between the Intensity of Instagram Utilisation and the Tendency of Body Dysmorphic Disorder in Female Students. Malaysian Journal of Medicine and Health Sciences. https://medic.upm.edu.my/upload/dokumen/2022030110483521_0950.pdf

Elmi, S. (2024). The Effect of Eurocentric Beauty: A qualitative study about Eurocentric beauty standards and ideals and its effect on women of colour. https://www.theseus.fi/bitstream/handle/10024/873556/Elmi_Sahra.pdf?sequence=2&isAllowed=y 

Khalid, M. Z. & Andleeb. (2024). Social Media Dysmorphia among Youth: A Study. INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY, 8(11). DOIs:10.2017/IJRCS/202411022

Kieu, M. (2023). Beauty filters are fun, but also consider this… https://drmonicax.com/dr-kieus-blog/2023/2/28/nszb55hib6ufvp6nkh4bko6e7aqd64

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Slowing Down on The Runway

It’s out with trends! And in with… another trend? 

Fashion has always been a game of change, but lately it feels like the rules have gotten completely out of hand especially thanks to digitalisation of the fashion industry (Crepax & Liu, 2024). We’re not just talking about seasonal collections anymore, we’re talking about weekly, even daily, micro-trends. Blokecore, old-money, acubi… the list never stops. But if you’ve been keeping up with them, you’d notice that slow fashion has been on the rise. 

“Isn’t that just another trend masked under sustainability?”

(I hear you thinking to yourself.)

Sure, you might be skeptical about its true intentions but I'm here to assure you it’s more than that. Slow fashion is a digital movement that shows how digital citizenship can be used to fight back against the throwaway culture of fast fashion. In a world where your feed is flooded with endless shopping hauls and #OOTDs, slow fashion activists are using social media to rewrite the narrative and even be the change themselves.

Take, for example, Josephine Yap, a social media influencer from Malaysia who’s turning the slow fashion conversation into action. She founded Fondest, a brand that fights against the churn-and-burn strategy of fast fashion that big corporations like H&M adopt (Duhoux & Lingås, 2024) by limiting their production to small runs of 150–250 pieces per design. The brand also manufactures their products locally, avoids plastics and uses 100% recycled packaging, greatly lowering their carbon footprint!

Brands like Fondest don’t just sell clothes, they spark conversations about sustainable fashion and what we as consumers can do to push companies into starting the change. As research from Augustsson and Granberg (2022) reveals, even though many consumers are more climate-conscious today, they still don’t always change their actual buying habits which is largely due to the lack of accessible and sustainable alternatives. This is where digital citizenship and brands like Fondest play a crucial role, they can spark conversations and even kickstart movements that push more brands to produce sustainable products and make them more accessible for consumers.

So, is slow fashion another trend? Maybe. But it’s a trend with the potential to spark a much bigger shift, one that calls on each of us to use our voices and platforms to support change, challenge the status quo, and demand better. In a world saturated with fast fashion’s flashy promises, slow fashion is a movement that asks us to pause, reflect, and make more mindful choices. And that, ultimately, is a runway worth walking on.

References

Augustsson, A. & Granberg, J. (2022). Sustainability and consumers green purchasing priorities in fashion. https://www.diva-portal.org/smash/get/diva2:1627241/FULLTEXT01.pdf

Crepax, R. & Liu, M. (2024). Affective Fashion Trends: Aesthetic and Digital Affects from Nostalgia to AR. Fashion Theory, 28(5-6). 839-865. https://doi.org/10.1080/1362704X.2024.2389595 

Duhoux, T. & Lingås, D. (2024). Volumes and destruction of returned and unsold textiles in Europe's circular economy. 10.13140/RG.2.2.10511.15525.

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The Power of Being “Amateur”

Say what you want about Donald Trump (believe me, I have my critiques as well), but from a media standpoint, his political campaign was one-of-a-kind. We’re so used to seeing traditional campaigns that are polished to perfection, so when Trump came into the picture with his raw, unpredictable and even chaotic nature, it was like a breath of fresh air. To some, it may have felt unprofessional and gave off the vibe that he was an amateur in the field of pros. But, that amateurish vibe wasn’t a flaw —

it was all part of the plan.

Trump acknowledges the power his social media strategy has, saying, “I doubt I would be here if it weren’t for social media, to be honest with you” (quoted in McCaskill, 2017, para. 2). Unlike traditional candidates who rely on carefully curated speeches and campaigns, Trump’s bold and unfiltered online persona marked a shift in politics. Garnering over 100 million followers on X, Trump broke the norms of political communication by leaning into “imperfection” which can also be credited as “authenticity” which many voters connected with. The personalised tweets, while chaotic, removes the gap between a politician and the voters, it tells voters “hey! I’m just like you!” allowing the common man to feel just a teensy bit closer to the big gun. According to Enli (2017), this is how Trump was able to set himself apart from Clinton’s campaign, allowing him to take home the title of United States' 45th President. 

Trump also made good use of hashtags, turning the “Make America Great Again” slogan into #MAGA and unifying Trump supporters across the platform. To the supporters, #MAGA wasn’t just a hashtag, instead, it was a badge of belonging. It represented the values they held and was a tool for online mobilisation. Through the hashtag, pro-Trump content was amplified, naysayers were confronted, theories and experiences were shared and a community was built through memes, retweets and viral threads. What made it especially effective was how it blurred the line between politics and personal identity, as supporting #MAGA online wasn’t just about endorsing policies, rather, it was about performing loyalty and participating in a broader cultural movement. This constant stream of engagement helped the Trump campaign maintain momentum outside of traditional media cycles, making X a key space where political energy, outrage, and enthusiasm could be cultivated and weaponised in real time. As Nelimarkka et al. (2020) explain, these platformed interactions are more than just PR — they’re tools for activation, fundraising, and community-building.

References

Enli, G. (2017). Twitter as an arena for the authentic outsider: Exploring the social media campaigns of Trump and Clinton in the 2016 presidential election. European Journal of Communication, 32(1). 50-6. DOI:10.1177/0267323116682802

McCaskill, N. D. (2017). Trump credits social media for his election. Politico. Retrieved from https://www.politico.com/story/2017/10/20/trump-social-media-election-244009

Nelimarkka, M., Laaksonen, S.-M., Tuokko, M., & Valkonen, T. (2020). Platformed Interactions: How Social Media Platforms Relate to Candidate–Constituent Interaction During Finnish 2015 Election Campaigning. Social Media + Society, 6(2). doi:10.1177/2056305120903856

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Dressed Up and Broken Down: The Ugly Truth Behind Toddlers & Tiaras

Let’s be honest: we’ve always known the ugly truth behind reality TV shows — how it blurs the lines between entertainment and exploitation.

However, very few shows cross that line as openly and shamelessly as Toddlers & Tiaras.

The show puts on a façade of offering viewers a rare glimpse into the glamorous life of child beauty pageants, but in reality reveals how young girls are put into adult-like costumes and heavy make-up, expected to perfect rigorous beauty routines under the pretext of “competition”. These children, well below the age of consent, are being exploited on national TV while their guardians bask in the fame and fortune that comes with their child’s spotlight. And the producers? They cherry-pick tantrums and tears to craft drama, sensationalising emotions that are perfectly normal for children that age into entertainment for much older audiences. As Seitz (2016) points out, the show regularly puts the girls in a position where they are sexualised despite being as young as 2-years-old (see: The Young Turks, 2011). 

To put it bluntly, it's not television—it's televised childhood exploitation.

In earlier media landscapes, such exploitation might’ve gone unchallenged, as traditional media only allowed for one-way communication. However, thanks to platforms like Tumblr, a crucial digital community for discussions and critique is offered. Users now have the freedom to dissect harmful tropes in shows like Toddlers & Tiaras, call out producers and advocate for child safety in media. For example, user @nexiraptor wrote a rant on the show, highlighting at the end that there is a lack of regulation for this type of issue in the USA, whereas France has already banned the show. Another user @potatoescheeseandflannels reblogged a conversation between other users discussing child pageants and how it affected them personally, paving the way for users to openly talk about it, gaining more than 100 replies and 40,000 interactions. It is on platforms like Tumblr where issues such as this one can be exposed, opening the floor for people who were once silent viewers to be active critics and push back against media that would otherwise go unchecked.

By exposing the toxic underbelly of reality TV, digital communities are resisting. Entertainment should never come at the cost of a child's well-being, and it’s time media producers are held accountable—not by ratings, but by a society that refuses to look away. 

References

Seitz, L. (2016). Princesses or Monsters?: An Analysis of the Role of the Freak Show in Toddlers & Tiaras. Digital Literature, 3, 149-165. DOI: 10.33043/DLR.3.0.149-165. 

The Young Turks. (2011). 2 Year Old Girl Dancing Controversy [Video]. YouTube. https://www.youtube.com/watch?v=V8lsvc3ex0w

@nexiraptor. (2018). Toddlers and Tiaras: A Rant. https://www.tumblr.com/nexiraptor/176289047327/toddlers-and-tiaras-a-rant

@potatoescheeseandflannels. (2019). (Reblog). https://www.tumblr.com/potatoescheeseandflannels/182188448258/anyways-child-pageants-should-be-illegal-as-a

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Tumblr Talk: Between Empowerment and Romanticisation

Tumblr has long had a reputation for being a digital sanctuary for marginalised voices such as feminists, LGBTQ+ individuals, and neurodivergent individuals.

But here comes the question… how did this specific platform manage to attract such communities?

According to scholars like Keller (2019) and McCracken (2017), Tumblr’s unique combination of anonymity and customisation plays a major role. Unlike platforms such as Facebook or Instagram, Tumblr allows users to adopt pseudonyms, build their own personal spaces, and engage with those that have the same experiences or interests, all without the constant fear of judgement or real-world repercussions that may occur on other platforms. The possibility of separation from the offline-self on Tumblr creates a rare opportunity for honest self-expression. It’s no wonder that even in 2025, Tumblr still maintains a strong and active presence, especially among niche and underrepresented groups (despite being an underdog in the social media platform category).

One example of a group that is thriving on Tumblr is the neurodivergent community. Individuals who are diagnosed with autism, ADHD, bipolar disorder, or even those who identify as cognitively or neurologically atypical have found more than just a corner of the internet on the platform; they’ve built entire ecosystems of solidarity, humour, education, and resistance (Kirkconnell, 2019). In contrast to the “normal” side of the Internet where neurodivergent experiences are often misunderstood, sidelined or even clowned on, Tumblr offers a sense of belonging to these individuals. Popular tags like #ActuallyAutistic and #ADHDLife showcases everything from more light-hearted posts like meme-based humour and sensory-friendly life hacks to deeply personal reflections and political critiques. For example, there exists a community called "Memes, neurodivergent/neurospicy and other things." revolving around neurodivergence with almost 16,000 members on Tumblr where memes about the topic are often shared and joked about. However, once in a while when a user posts about personal experiences or issues, other users will gather to give advice, trying to support one and other, like when user @umbratamer (2025) revealed that they were having issues communicating with their partner due to both of their neurodivergence, users offered support and advice to them. These digital “micro-publics” (Bruns & Highfield, 2016) act as support networks and cultural movements rolled into one, redefining what it means to live, function, and thrive outside of the neurotypical mould.

But like many online spaces, the conversation around neurodivergence on Tumblr isn’t all sunshine and rainbows. There seems to exist a trend where the more visibility sensitive topics like mental illness, sexual orientation, and gender identity receive, the more susceptible they become to romanticisation. User @glowsticks-and-jesus (2025) posted about this particular issue, mentioning the growing trend of self-diagnosing which was and still is harmful to those with actual conditions. What originally grew out of empowerment and self-acceptance can, at times, slip into content that glosses over the real difficulties involved. Posts that are meant to normalise neurodivergent behaviours such as hyper-fixations and meltdowns are often played-down. Whether by accident or purposefully, it can risk encouraging self-diagnosis without context, downplaying the complexity of certain conditions, or framing neurodivergence as quirky and endearing rather than deeply challenging and nuanced.

McCracken (2017) warns that the narrative control Tumblr offers—while empowering—can also feed echo chambers where misinformation and stereotypes spread unchecked. Kruse et al. (2017) echo this concern, arguing that a healthy digital public sphere relies on access to credible, well-rounded information. And this is where Tumblr sometimes falters. Its decentralised, community-driven nature means that posts can be shaped more by what’s popular or aesthetically appealing than by science or lived experience. As a result, nuance is occasionally lost in favour of digestibility.

Still, Tumblr’s role in uplifting neurodivergent voices shouldn’t be underestimated as it remains one of the few platforms where someone can openly post about a meltdown without the fear of judgment or share a hyperfixation-fueled info-dump and be met with enthusiasm rather than ridicule. That said, users should be mindful of the content they share or reblog, as Tumblr continues to offer a rare space for self-discovery, connection, creativity, and activism, with minimal moderation and censorship (keyword — minimal).

References

Bruns, A., & Highfield, T. (2016). Is Habermas on Twitter? Social Media and the Public Sphere. https://doi.org/10.4324/9781315716299-6

Keller, J. (2019). “Oh, She’s a Tumblr Feminist”: Exploring the Platform Vernacular of Girls’ Social Media Feminisms. Social Media + Society. 1-11. DOI: 10.1177/2056305119867442 

Kirkconnell, A. D. (2019). #ActuallyAutistic: Neurodivergent identity and the performance of cultural competence on Tumblr (Master’s thesis, McMaster University). McMaster University Institutional Repository. https://macsphere.mcmaster.ca/bitstream/11375/24989/2/kirkconnell_andrew_d_201909_anthropology.pdf

Kruse, L. M., Norris, D. R., & Flinchum, J. R. (2017). Social media as a public sphere? Politics on social media. The Sociological Quarterly, 59(1), 62–84. https://doi.org/10.1080/00380253.2017.1383143

McCracken, A. (2017). Tumblr Youth Subcultures and Media Engagement. Cinema Journal, 57(1), 151-161. https://doi.org/10.1353/cj.2017.0061

@glowsticks-and-jesus. (2025). (Personal opinion on autism and self-diagnosis). https://www.tumblr.com/glowsticks-and-jesus/783072909768982528/as-a-person-with-diagnosed-disorders-such-as

@umbratamer. (2025). I don't fucking know what to do now! https://www.tumblr.com/communities/unklejunkle/post/783100818523095040/i-dont-fucking-know-what-to-do-now