mylittleredgirl:

scifiisforgirlsgaystheys:

RIP Carrie Fisher you would’ve loved sticking it to the man during the actors’ strike

op: #carrie up in heaven being like🖕🖕🖕🖕#“fuck them up kids!’’

skrunglebeasts:

jacobtheloofah:

7thedisasterdyke:

sunflowermp4:

this clip from make some noise s1e8 with oscar montoya and brennan lee mulligan is the only super mario bros content i care about personally

brennan lee mulligan has the greatest superpower: the unlimited ability to make an absolutely off-the-cuff monologue and then follow it up with the ultimate turnaround.
he can share the power with others

but credit also needs to be firmly planted in the hands of oscar for hearing the prompt say “dramatic video game cutscene” and then going “got it, mario and luigi.”

omomix:

omomix:

misc6x6:

sleepy-bebby:

Baby Clifford & baby Snoopy

it was just a misunderstanding

post-timeskip

aceofblueheart:

princesssarisa:

In the past I’ve shared other people’s musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he’ll lose her forever. So many people seem to think they’ve found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I’ve ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi’s opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can’t resist the temptation to look back at her.

He can also be seen as succumbing to that classic “tragic flaw” of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he’s entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I’ve read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone’s promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can’t survive unless the lovers trust each other. I’m thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian’s jealousy as its equivalent of Orpheus’s fatal doubt and explicitly states “Where there is no trust, there is no love.”

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn’t necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus’s backward glance was “A pardonable offense, if the spirits knew how to pardon.”

In some versions, when the upper world comes into Orpheus’s view, he thinks his journey is over. In this moment, he’s so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he’s already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn’t a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can’t resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck’s opera – Eurydice doesn’t know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she’s distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can’t bear her anguish anymore.

These versions highlight the harshness of the Underworld’s law, and Orpheus’s failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he’s bound to fail in the end.

Another interpretation I’ve read is that Orpheus’s backward glance represents the nature of grief. We can’t help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there’s the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. “The poet’s choice,” as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That’s the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn’t even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I’m surprised I’ve never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he’s being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn’t even remember him because she drank from Lethe, and she’s only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the “true” or “definitive” reason why Orpheus looks back? I don’t think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

saltedsapphicly:

grfld54:

judgejudyofficial:

ozzenstach:

juggsjudyofficial:

:

.That Judge Judy Pussy grip insane. You be calling her Judith on the second stroke.

My grip will rip your junk off, chew it up, and spit it back at you.

you either deactivate young or live long enough to see a mirror dimension version of your account kill indiscriminately on the dashboard

Imagine how I feel

fenixfoxtrot510:

wild-saber1337:

MY GOD WHAT HAVE I FOUND XD

I’m not sorry for having you know this exists XD

This is what singers sound like with auditory processing problems.

dduane:

fandomsandfeminism:

dduane:

twimmythebabywitch:

surfs-up-shinji:

northeastartist:

cryoverkiltmilk:

kindaoffkilter:

bemusedlybespectacled:

linkislost:

sighinastorm:

tooiconic:

lafayettelabaguette:

beasti:

clarenecessities:

sapphic-matriarchy:

system-fail-ure:

karinanotcinerina:

retro-geek:

ultrafacts:

gatochick:

ultrafacts:

pizzaismylifepizzaisking:

majikkant:

ultrafacts:

Source

Video of Tama

Follow Ultrafacts for more facts

The picture in the background of the second one

Tama is boss

THE TRAINS HAVE CARTOON TAMAS ON THEM

Sad update everyone, Tama recently passed away… An estimated 3,000 people, including railway officials, attended Tama the cat’s funeral on Sunday, days after she died of heart failure aged 16. [x]

For those who haven’t read articles about it, the local shrine elevated her to a god. She’s now the Eternal Stationmaster and patron god of the station.

Beautiful.

Now I’m crying thanks

and a new cat was hired right?

yep! her name is Nitama (essentially ”second tama” or “tama II”) and she served under Tama as an apprentice before being appointed her deputy

she works very hard

Everytime this crosses my dash, I reblog. It is the law.

Law

I’m crying at 11pm over train cats

Nitama, already now a mature cat (born 2010), has a protege named Yontama (fourth Tama, b. 2016).  There is no information available for either the physical befellment or tragic self-disgrace which has removed Santama from contention.

^Nitama majestic, and below with Yontama

Yontama.

a legacy

okay but actually what happened to santama (or sun-tama-tama, which is her name because it’s a pun on santama) was that she was basically sent to train for the position in okayama and they liked her so much they refused to send her back

“Sun-tama-tama” (a pun off of “Santama”, lit. “third Tama”) was a calico cat sent for training in Okayama. Sun-tama-tama was considered as a candidate for Tama’s successor, but the Okayama Public Relations representative who had been caring for Sun-tama-tama refused to give the cat up writing, “I will not let go of this child, she will stay in Okayama.” ^[25]

As of September 2018, Sun-tama-tama is working as the stationmaster in Naka-ku, Okayama and appears occasionally on Tama’s Twitter account.

Every time I see this post there’s new info and it gets better

You are only allowed to scroll pass this after you pay tribute to the great Tama Station masters.

The shrine of Tama Daimyōjin (Great gracious deity Tama), next to the Kishi station where she worked.

Nitama presenting her yearly offerings to Tama Daimyōjin on the anniversary of Tama’s Death, June 23 (The offerings are presented by the company president, as Nitama is a cat and thus can’t hold the offerings herself) (Not pictured, but also present, Yontama)

you cannot pass without reblogging guys. i’m sorry, i don’t make the rules.

You can’t not reblog a goddess. It’s just what’s so. :)

So, fun fact- the manga Noragami has an arc where the main character, Yato (a minor kami/God that is down on his luck but trying to make it big time) goes to a council/conference for all the Gods in Japan.

And they are announcing the winner of the “up and coming god” award, and of course, Yato thinks it’s him.

But no-

ITS TAMA!

Always reblogging this.

joaniejustwokeup:

teaboot:

Hey weird question but what happens if you put two reasonably likeable anthropologists of wildly different cultures together in the same room? Do they study each other? CAN they? Is it like an infinite conversational feedback loop? I’m imagining two dogs eternally sniffing each others butts at the park

ampervadasz:

maidoftheday:

Today’s Maid of the Day: French Maid Roomba from The Internet