titleleaf

[titleleaf]

i thought labubu was a tiktok way of saying labia but having seen many posts i now think i was wrong

[titleleaf]

J.K. Rowling is also a woman, I’m not trying to be that guy but I’m just saying you shouldn’t imply that you love every women.

[titleleaf]

Not writing a fanfic nobody asked for but writing fanfic for yourself and that one other person who is equally insane about the idea

[titleleaf]

if u make clark kent say soda you are grossly mischaracterizing him and i wont stand for it

[titleleaf]

Watching you lose your mind over The Wire has got me back on my bullshit, and I'm having a lot of fun tracking down critical readings. This article was really interesting, and seems like something you in particular might get a kick out of.

oh dude this fucking rocks. i printed this out at work yesterday so i could read and highlight it during my lunch break.

something that interested me a lot about season 1 of the wire was that we saw much more of the consequences of violence than the violence itself. and i think that helped the audience buy into what farber described here as the camera's evidential force. in season 1, the audience is introduced to the violence of the baltimore crime world largely through the surveillance and crime scene photographs traded between the cops and the characters like d'angelo. "as the major crimes detectives hone their craft . . . we as viewers gain much of our own plot knowledge and critical acumen through their investigation." the audience's critical acumen is measured against the police detail's mastery of surveillance, particularly photography. that mastery concerns actually taking the photos, of course, but also deploying them in an effective manner, like when mcnulty shows d'angelo wallace. we see the police's and the camera's power to document, corroborate, fabricate, and persuade. and as the audience develops this critical understanding of the cameras used within the narrative, we also develop a critical understanding of the cameras used to shape the narrative. the wire has this built-in sense of credibility given the past lives of david simon and ed burns, but self-consciousness of the camera--especially in season 1--does a great job of inviting the audience to question the edges of whatever frame the present us with.

and speaking of david simon's former occupation, something i really loved about season 5 that i feel fits right in with farber's whole discussion was the emphasis on photography within the baltimore sun bullpen. (i think it was gus haynes who was always saying that stories need to run with "artwork"). david simon's journalism is obviously foundational to who he is as a fiction writer, but it's also foundational to who he is as a visual story.

(on a tangentially related note, this article made me think a lot about the relationship between documentation/photography and post-modern performance artists. like, it's really cool how different iterations of the camera have been around for centuries, but it still feels like a tool specially crafted to examine post-modern landscapes. artists ranging from ana mendieta to richard long to gordon matta-clarke to the collective actions group (linking a really interested read on their relationship to documentation) all understood the complicated implications of distilling their practices down to photographs, and they all did it masterfully. farber seems to have recognized something similar in the wire when discussing narrative frames vs. camera frames).

[titleleaf]

🧸 Dinosnores (1987)

"The Sleepy Giants of '87!"

[titleleaf]

The way you sometimes just have to block a complete stranger for being an unbearable fucking chucklefuck on someone else’s post

[titleleaf]

truly nothing funnier than having an archive of when you first started getting into a media that has since consumed your entire life

[titleleaf]

are you a fascinating creature?

Yea LOL They Put Me In Test Tupes And Shit

[titleleaf]

I want him to meet Syd and get disastrously entangled with her again and again across a thousand lifetimes, and I want a mean and horrible man and/or woman to rummage around in his brain until he cries and nuts, it’s a real narrative dialectic in here.

Is it so wrong to want a fictional mutant to get railed until he cries… please I’m in a truly dismal place rn

[titleleaf]

Is it so wrong to want a fictional mutant to get railed until he cries… please I’m in a truly dismal place rn

[titleleaf]

I love the hagiographies that are like "St. Christopher was 12 feet tall and frost giants helped him build an abbey out of the bones of a giant pig, which were gold"

And then you Google the abbey and it's clearly just French and made of slate rock or whatever.

[titleleaf]

tumblr is widely known for its sexymen polls so why not make one for asoiaf? the problem is that if I played this straight jaime would sweep the floor with the other contestants and it would be no fun (I know my audience and also come on) so I decided to do something a bit different

so I present to you the first Unlikely ASOIAF Sexyman Poll consisting of characters that george probably never intended to be fuckable but some of you freaks and fujos want to fuck anyway...

I've seen thirst posts for all of the characters in this poll except for one (which was a suggestion from my brother that I thought was kinda funny) but now it's up to YOU 🫵 to decide which one is the most fuckable!

"but lady shart I don't like men" well neither do I but for the purposes of this poll let's all pretend we are bisexual fujo riverlands peasants and decide in our heart of hearts which of these unsexy sexy men is the most fuckable!

let the voting begin!!!!

"but shart where is the hound?" nowhere because I hate him and I feel like he would win because of the show it's MY poll and the first democratically elected president of the 7 kingdoms daenerys targaryen said I can do what I want 😉

[titleleaf]

Adeyemi - Tom Ford Oud Wood, Xerjoff Fiero, Graham & Pott Sun King, Maison Crivelli Citrus Batikanga, Heeley Cardinal, Van Cleef & Arpels Tsar | Shanumi - Filippo Sorcinelli HÆC DIES | Lawrence - Marlou Corpalium | O'Malley - Bon Parfumeur 601 Vétiver Cèdre Bergamote, Ex Nihilo Blue Talisman | Benítez - Dr. Bronner's Unscented castille soap and whatever candle he's burning in his room | Tedesco - Acqua Di Giò Profondo, vape fumes | Bellini - Yves San Laurent Y Eau de Parfum, Frederic Malle Portrait of a Lady | Agnes - Xerjoff Torino21, Elizabeth Arden Green Tea Scent Spray | Sabbadin - Sospiro Perfumes Vibrato | Tremblay - Xerjoff 40 Knots | Woźniak - Toskovat' Anarchist A, Irish Spring soap (the blue kind)

H/t @titleleaf for tag that constitutes the opening slide

[titleleaf]

I accidentally started drawing lesbians again.... Pussy Greydaughter x Slayde Wilson. Pussystroke?!?

Slayde got the same hair as her daughter. I guess Pussy should have the same hair as Bryce Wayne. We do be fighting and doing crime with our long hair whipping in our face, and no bra on.

[titleleaf]

omggg more Histories fic from you? I'm so excited.

the cursed dildo horse post was in rot13 and linked to a f_fa thread about a porn scenario where a father made his son ride a horse while sitting on a saddle with a dildo on it. It has been stuck in my head ever since.

oh my god I found the post... you're right... you're so right... and now I have something to keep my brain making geiger counter noises while I have to undertake air travel

[titleleaf]

(In the cuck chair)(starts booing)