Hey, fellow Timothee Chalamet fans, remember this?

The Afghanistan charity hoodie he designed with Haider Ackerman.

The female face on it is the Iranian actress Gol Farahani. She now lives in France and is very supportive, outspoken and active on Instagram regarding the current revolution in Iran.

Follow her to learn and witness what's happening in Iran right now!

I can’t get him out of my head

This line about how even the other gay people you find annoying or sell outs or who live their life in the exact opposite way you do are still part of the tribe was written in 1977 but should be plastered on the internet today

Mill ruins from 1786

The first real conversation Katniss has with Peeta is when he tells her that he wants to die as himself, that he doesn't want the games to change him into something he's not, and that he wants to keep his identity and prove he's more than just a piece in their games because that's the only thing he has left to care about.

The first time we see Lucy Gray she sings a song that basically says that nothing they could take from her was worth keeping. "Can't take my past. Can't take my history... You can't take my charm. You can't take my health."

The capitol has taken everything from them both, but at the same time, they could never take away who they are.

They are both likeable charismatic and funny, with the kindest hearts, and incredibly loyal to the people they care about.

At the same time, everything they do before the games, and during is calculated. Lucy Gray singing a love song and winning the hearts of the capitol. Peeta confesses he's in love with his district partner, therefore cementing her identity as desirable. Both of them know how to sway people with words, how to charm people, and how to manipulate crowds. Neither of them has any problem doing so to keep themselves, and the people they love safe.

Lucy Gray's song The Old Therebefore, about learning how to love and live her life to the fullest before death, a final and calculated stroke in a last-ditch effort to save herself from the arena. This evokes enough emotion in the watchers to get them to rise to their feet and plead for her life alongside Snow.

Snow, watching the 74th and preparing for the 75th Hunger Games sees Lucy Gray in Katniss. A young girl, from the 12th district. Unafraid at the reaping. Selling a false love story, manipulating a boy who loves her in order to get out and supporting the revolution with the mockingjay as her symbol.

He threatens her family to get her to sell that she and Peeta are in love, to prevent the revolution, because obviously, she's pretending. He's had experience with a girl just like her before. He has no doubt that she has the acting ability to sell this story because clearly, she manipulated the first Hunger Games in her favor, the same way Lucy Gray manipulated him.

Watching the interviews for the 75th Hunger Games he realizes-

Katniss is just an impulsive girl, in a Mockingjay dress she didn't know about, made by someone who supports the revolution.

Peeta is a boy who has the ability to move people with just his words. He made Katniss desirable, he was the one who sold the love story, and he was the one to make their romance seem real. Katniss only started the revolution because she would rather risk dying with him than live without him. A concept President Snow was completely unfamiliar with. And it is with all these realizations crashing around him Peeta drops the baby bomb. He knows the baby's not real, and so does Snow. But it evokes enough emotion in the watchers to get them to rise to their feet and plead for the lives of the tributes.

Is it Lucy Gray or Peeta?

By the time Snow realizes he's made a mistake, it's too late.

Peeta is still charming and manipulating the capitol. Katniss is in love.

He goes up against a kindhearted boy expecting to beat Sejanus again, only to find out that it's Lucy Gray he's fighting; knowing he will never be able to escape their ghosts.

-from a conversation i had with @grandtyphoonpoetry breaking down every character in the hunger games.

Alright, I will start with this one then - everything starts with the glorious revolution and everything starts with the night watch 🌸

do you know what?

I miss long seasons.

I miss seasons that had 20 episodes and half of them could be cut and nothing would be lost to the story.

I miss the episodes where nothing fucking happens but you get to see the main cast goofing around with one another. You get to see their interactions, their relationships develop, their day-to-day lives and how they all fit together in them.

You get the Christmas/halloween/valentine's special -is it needed? certainly not. but is it good? is it entertaining? does it give the show and characters life? do we, the viewers, enjoy it? YES!

give me long stories!! give me little quarrelling spats between characters that can be resolved in one episode with no need to have an impact on the greater story! make these stories real!

let me enjoy them before they end!!!

I absolutely love Hazbin Hotel and the little world that's been created, but I can't help but feel disappointed we're only getting two seasons of 8 episodes.

back in the early 2000's 16 episodes would have been ONE season, never mind the entire thing.

show my angel dust and husk and nifty and sir penthouse living their daily lives in the hotel! show me Charlie brainstorming ways to redeem sinners! give me Charlie forcing the hotel staff to do cringe-y exercises! give me an entire episode of Vox trying to follow alastor through security cameras! Give me husks typical day! Give me a special through the eyes of nifty on a mission to irradiate the hotel of bugs! Give me sir penthouse and the egg boys up to no good!

give me something other than the bare necessities to make the story flow

6 months have nearly gone by in the hotel, and it feels like 1 month.

I loved DDR growing up! I made this one for a friend I used to play DDR with all the time! Next time I want to try using a mirror for the dance mat parts. And maybe lights?! Ahhh too many ideas!! XD

30% sale going on now at the shop! Cleaning up for the new stock coming soon! ^_^

its depressing how americans can not seem to comprehend the idea of making a sacrifice for something greater than yourself. of having convictions that youre willing to fight or die or suffer for. im not even talking about the act of sacrificing something, thats a decision that requires a lot of will and bravery and dedication, im not going to say that everyone is obliged to or even capable of doing this. but to not even be able to understand doing something for a higher principle or collective good or out of a belief you strongly hold. to be strongly enough convicted of something act on it, regardless of whether you have to sacrifice something– this appears literally pathological and confusing to people

playing around with some historical french fashions on furina (+ neuvi).. I think she should always get big silly hats

18th+19th century mens fashion is one of my fav fav fav things is ever so this was fun 🫡 love being fashion history neurodivergent

what I got from that trailer

some good news!! the spanish state's ministry of equality has finally passed one of the most progressive trans laws on the planet, shielded free and universal access to abortion and banned conversion therapy and genital surgery for intersex babies, among a lot of other feminist policies. the minister of equality irene montero gave a speech thanking spain's lgtb and trans associations for helping her draft these legislations. couldn't be more proud!!

"The idea of reforming Omelas is a pleasant idea, to be sure, but it is one that Le Guin herself specifically tells us is not an option. No reform of Omelas is possible — at least, not without destroying Omelas itself:

If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms.

'Those are the terms', indeed. Le Guin’s original story is careful to cast the underlying evil of Omelas as un-addressable — not, as some have suggested, to 'cheat' or create a false dilemma, but as an intentionally insurmountable challenge to the reader. The premise of Omelas feels unfair because it is meant to be unfair. Instead of racing to find a clever solution ('Free the child! Replace it with a robot! Have everyone suffer a little bit instead of one person all at once!'), the reader is forced to consider how they might cope with moral injustice that is so foundational to their very way of life that it cannot be undone. Confronted with the choice to give up your entire way of life or allow someone else to suffer, what do you do? Do you stay and enjoy the fruits of their pain? Or do you reject this devil’s compromise at your own expense, even knowing that it may not even help? And through implication, we are then forced to consider whether we are — at this very moment! — already in exactly this situation. At what cost does our happiness come? And, even more significantly, at whose expense? And what, in fact, can be done? Can anything?

This is the essential and agonizing question that Le Guin poses, and we avoid it at our peril. It’s easy, but thoroughly besides the point, to say — as the narrator of 'The Ones Who Don’t Walk Away' does — that you would simply keep the nice things about Omelas, and work to address the bad. You might as well say that you would solve the trolley problem by putting rockets on the trolley and having it jump over the people tied to the tracks. Le Guin’s challenge is one that can only be resolved by introspection, because the challenge is one levied against the discomforting awareness of our own complicity; to 'reject the premise' is to reject this (all too real) discomfort in favor of empty wish fulfillment. A happy fairytale about the nobility of our imagined efforts against a hypothetical evil profits no one but ourselves (and I would argue that in the long run it robs us as well).

But in addition to being morally evasive, treating Omelas as a puzzle to be solved (or as a piece of straightforward didactic moralism) also flattens the depth of the original story. We are not really meant to understand Le Guin’s 'walking away' as a literal abandonment of a problem, nor as a self-satisfied 'Sounds bad, but I’m outta here', the way Vivier’s response piece or others of its ilk do; rather, it is framed as a rejection of complacency. This is why those who leave are shown not as triumphant heroes, but as harried and desperate fools; hopeless, troubled souls setting forth on a journey that may well be doomed from the start — because isn’t that the fate of most people who set out to fight the injustices they see, and that they cannot help but see once they have been made aware of it? The story is a metaphor, not a math problem, and 'walking away' might just as easily encompass any form of sincere and fully committed struggle against injustice: a lonely, often thankless journey, yet one which is no less essential for its difficulty."

- Kurt Schiller, from "Omelas, Je T'aime." Blood Knife, 8 July 2022.