new animal just dropped

Baking sometimes feels illegal like wdym it’s all eggs butter sugar flour and then I’m eating the best cookies I’ve ever had. Are you for real.

“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”

“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”

“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”

“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”

“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”

“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”

A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.  

(via meanboysclub)

hi love you guys do me a favor. big big big BIG breath in right now all the way all the way breathe in feel your belly expanding hold hold hold.. hold.. now everything out like ur a deflating balloon. whoosh. whooooooooosh. imagine water streaming from the top of your head down your shoulders off the ends of your fingertips and toes. u are a reed in a river a beam of pure light a steady anvil solid and heavy. ok that was all thank u

my coffin shaped locket is the perfect size to fit one singular ibuprofen

are all animals dangerous?

every animal has the potential to be dangerous under certain circumstances. for instance, a dog could bite you, a moth could distract a UPS driver into plowing through your living room window, you could inhale and choke on an earthworm.

In my mind I can see the northern lights in the sky every night bc I have a vivid imagination I’m not jealous of anyone it’s impossible for me to be jealous really I’ve seen it all

how?? just how?

More kurapika<3

血肉まで、骨の髄まで、空っぽなパペットになるように

そう、胸が苦しい、息が詰まるよ

恋だね？あはは

(Loveit? biz / ZERA / LOLUET)

oh and that gap in my resume is when i was digging my own grave

When she griddle on my harrow till I hark. Is this anything

it's actually so cute that you can secure most things by tying a little bow. it's like a butterfly made out of strings.

obsessed with this crawfish that crawled onto land just to attack a teenager trying to exercise