Queer music is impossible to define because we are not a monolith and we all have our own tastes and styles but it sure is not harry styles and taylor swift

Good job, everyone

July 25, 2023 - Striking stuntman Mike Massa walks in the SAG-AFTRA picket line while on fire. [video]

So, so, so badass.  What a chillingly powerful message this sends.  People have been lighting themselves on fire as a form of protest for centuries, but this might be the first time it’s been done by a professional who knows what he’s doing while under the supervision of professionals who know what they’re doing.

not as an act of self-destruction but as a display of skill

I'm in awe

despite her efforts to evade me, i have finally filmed my cat playing my harp

Is a tiny cat playing a harp blasé to you people?? You don't even have time to give her a little like for her recital 🥺?

*touching his extremely defined six pack* who did this to you.....

*gently lifting a cup of water to his lips* it's going to be okay. *choking back tears* just a few more sips and then we'll get you a sandwich...

Reblog to give a glass of water to every dehydrated actor with shrink wrapped abs whose life was endangered for a shirtless scene

WHY IS THIS SO HARD TO UNDERSTAND

So for all you feminists out their who think that all men should die, remember, you are not a feminist.

reblogging for the last comment

Yes

Legit question, I’m not trying to hate on feminists or anything. Why is it called feminist if they’re for equality?

castiel-knight-of-hell:

That’s a very good question and thank you for asking so politely. 

The word feminism was coined by Charles Fourier in 1837, a French philosopher who advocated for the emancipation of women because he believed society treated women as slaves. We weren’t allowed to vote, own anything, or work a real job. Women were ruled by their fathers/household patriarch until they married at which time they’d be under the rule of their husband. If a woman did not belong to male household she was shunned by society and had very little means to make money, most of them unsavory. You know the idiom “rule of thumb”? That comes from a running joke that started in the 1600s, and was still around in Fourier’s time, that said it was okay for a man to beat a woman with a stick as long as it wasn’t any thicker than his thumb. 

The point of the word feminist, and the feminist movement, has never been to say that women are better than men. The point is that women and things associated with women have been given a lesser place in society and we want to bring those things up to a place of equality. The focus is on the feminine because that’s what’s being pushed down. However, focusing on the feminine does not mean we’re focusing only women. Men are belittled and called “less of a man” anytime they portray a trait that is associated with femininity. If women and the feminine were equal to men and masculinity then that wouldn’t happen. Feminism is about raising up things associated with females to have an equal place in society as the things associated with males. It’s called feminism, not equalism, because the focus is on raising up not tearing down. Equalism would suggest that male things need to come down to a lower level so that female things can meet it in the middle. That’s not the point. The point is to raise up the feminine so that it’s on the same playing field that the masculine is already on. We don’t want men to lower themselves, we just want them to make room for us.

This needs to be spread far and wide to everyone on tumblr. 

ALL OF THIS.

THANK YOU

This is very thorough explanation, thank you!

Simple but very important

I don’t usually reblog non-ML or -fandom stuff but I’ve never seen it so well explained.

…I’ll always reblog the frog.

Counterpoint: Matsumoto Hoji, active c. 1875

That’s a compelling counterpoint

why would they fight. they’re married

"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

Nothing good going on under there

Hozier really said "aight imma write an album that requires PhDs in linguistics, Irish history, and sociology to understand, as well as the emotional vulnerability to cry and the desire to lay facedown in the dirt for several hours" and then dropped Unreal Unearth

can we just talk about how amazing it is that heartstopper has a character that is completely comfortable in his heterosexuality and doesn’t worry that doing certain things will make him seem gay

like

tao is the only non lgbt person in the friend group and he’s totally chill about it. he never once worries if charlie will develop a crush on him. he never questions if liking a trans girl makes him not straight. he kisses charlie during truth or dare and it’s not a big deal because they’re friends. he doesn’t care if people think he gave charlie the hickey. he’s not afraid to be flamboyant.

like i know this should be the bare minimum but the reality is that it isnt. especially for teenage boys. and i just think tao is amazing <3

stepped on a plum (overripe plum) (barefoot) it was on the driveway got out of the car and accidentally (didn't know it was there) stepped on the plum (warm) (on the ground) (it had fallen from the tree) barefoot (no shoes) wearing long pants (too long) (need to hem them) plum viscera got on them (the pants) unexpected plum on the driveway (hot plum) (97 degrees out) already super hungover (throwing up all morning) (should not have been driving at all) and I stepped out of the car (black car) (97 degrees out) and onto the plum (unexpected) (didn't know the plum was there) and it burst (plum nightmare on my only good pair of sweatpants) still we find ways to keep ourselves going from day to day

guess what post just got read aloud in poetry club tonite by an unknowing club member as I watched on in terror

i mean this in the gentlest way possible: you need to eat vegetables. you need to become comfortable with doing so. i do not care if you are a picky eater because of autism (hi, i used to be this person!), you need to find at least some vegetables you can eat. find a different way to prepare them. chances are you would like a vegetable you hate if you prepared it in a stew or roasted it with seasoning or included it as an ingredient in a recipe. just. please start eating better. potatoes and corn are not sufficient vegetables for a healthy diet.

Need it to be easier?

Need it in something?

Can't see it:

Can see but disguised flavor (can usually be found store bought or done at home and use different veggies):

Texture problems:

Need it soft:

Needs to be crunchy:

Veggies google says stay crunchy after lightly cooking:

Broad texture tips:

It also really helps to think about why you dislike a vegetable. I found that I am scared of green foods so I like to use those veggies for ingredients in things they are well hidden for. I've also learned that watching something while eating helps because then I'm not looking at the gross green things. When possible, I also like to get help hiding it (ie using cream of celery soup in my chicken and dumplings).

if you don't like the acrid, bitter flavor of raw or steamed brassicas (broccoli, cauliflower, cabbage, brussel sprouts) the best fix is to chop them to pieces about the size of your little finger, toss them in olive oil with chicken salt, fry seasoning, or old bay, spread them flat on a baking sheet, and roast them in the oven for 20-30 minutes at 420 F. take them out when they're a bit brownish on the edges. they will have a rich, savory, smokey taste. cauliflower gets a meaty, roasted flavor, brussels sprouts and broccoli taste nutty, while carrots and zucchini get sweeter. can't recommend roasted veggies strongly enough.

Hozier speaking Irish on the same album where he unabashedly sings abt the preservation of native tongues in the face of colonization/imperialism….. this album may kill me dead, i fear.

Me listening to butchered tongue as an indigenous person, getting flashbacks to when I first heard foreigner's god years ago.

I see posts go by periodically about how modern audiences are impatient or unwilling to trust the creator. And I agree that that's true. What the posts almost never mention, though, is that this didn't happen in a vacuum. Audiences have had their patience and trust beaten out of them by the popular media of the past few decades.

J J Abrams is famous for making stories that raise questions he never figures out how to answer. He's also the guy with some weird story about a present he never opened and how that's better than presents you open--failing to see that there's a difference between choosing not to open a present and being forbidden from opening one.

You've got lengthy media franchises where installments undo character development or satisfying resolutions from previous installments. Worse, there are media franchises with "trilogies" that are weird slap fights between the makers of each installment.

You've got wildly popular TV shows that end so poorly and unsatisfyingly that no one speaks of them again.

On top of that, a lot of the media actively punishes people for engaging thoughtfully with it. Creators panic and change their stories if the audience properly reacts to foreshadowing. Emotional parts of storytelling are trampled by jokes. Shocking the audience has become the go to, rather than providing a solid story.

Of course audiences have gotten cynical and untrusting! Of course they're unwilling to form their own expectations of what's coming! Of course they make the worst assumptions based on what's in front of them! The media they've been consuming has trained them well.

Transphobes who say their pronouns are beep/boop or something else in their bio underestimate my willingness to adhere to those pronouns

I love the normalization of neopronouns for this reason. Transphobes are just gonna get their "ironic" pronouns used and respected lmao. Neopronouns users were so based for doing this.

A classmate in undergrad once tried to test me by claiming she would only agree to respect nonbinary pronouns if I used Her Majesty as pronouns for her.

She lasted 2 days before she realized I had absolutely zero problem doing exactly that and was too embarrassed to ever argue with me about pronouns in class again.

When I was working at the greenhouse, one of my coworkers was getting flustered because he was a Proper Gentleman who called everyone "Sir" or "Ma'am" and was getting genuinely heated that there wasn't a gender-neutral honorific for nonbinary people like me.

"Well, you could always call me 'Your Majesty'." I said.

As a Joke.

Because in addition to looking and sounding like an older Yosemitie Sam, he took me Extremely Seriously and addressed me as "Your Majesty" for the rest of the summer. Which was hysterical because it was things like "Your Majesty? Where is the fungicide?" and *gestures at me* "You'll have to as Their Majesty about the tomatoes." He also would call every single person he could not immediately identify the gender of "Your Majesty" and also everyone that had neon hair.

So yes, you should absolutely rigorously adhere to someone's pronouns (Especially if they're unusual pronouns), because it's respectful, because it's clowning on assholes, and because it is fucking delightful.

version of spn where dean is openly bisexual the entire time and definitely fucks a priest during a job and sam is does his judgmental little "dude" and dean is like "i already went to hell once man,, what's the worst that could happen" and everytime there's a new bad guy or apocalypse sam is like "this is bc you fucked a priest" and eventually he says it in front of Cas who does his little squint and head tilt and just

"You what?"

@captainhaterade 's tags for preservation: #Sam would be SUCH a bitch about it#dean’s out here literally defiling a man of god#tempting a priest into forsaking his vows#but yeah#sure *I’m* the *abomination* with the *corrupted blood*

Only if later, when they meet God, and they ask him why does he hate them so much, it goes "Is it because Dean -" "YES it's because Dean fucked a priest"

CAST CAST NOW CAST NOW DO NOT HESITATE CAST FUCKING NOW