Dead also but people have been asking me to go back, I’m pretty reluctant tbh shrugs
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To clarify, I don’t post nsfw on this tumblr but the flagging and regulations have already caused enough mayhem. Non-nsfw across the board is being flagged– my own and others. Come the 17th I’m sure it’s gonna be as bad seeing as they’re using bots. It’s just generally becoming and un-functioning site. Just feeling incredibly unattached at this point!
apparently porn bots are now hacking into in-use accounts (I’m assuming larger accounts) and posting while the blog owner is still active.
holy fuck.
why are staff so incompetent
rather than fixing their obviously very flawed code and development, they’re deciding to ban tits? fucking tits?
that being said, although it’s so unlikely this will happen to me, please know that it’s not me posting these links and photos. Please dont click on the links.
oh my god.
Also, if it is happening to me or one of my side blogs, please let me know!
my family fucked up my life by using spoonerisms interchangeably with their true phrase counterparts since before i was born and now i can’t escape from instinctively saying shit like “im gonna shake a tower”
oh “meeking a smee” made me feel like i was being fucking tazed
theres a lot of people on this website who dont realize their dad is a gnome
August 4, 1964. Bureau Agents discovered the Oldest House, investigating an Altered World Event case in the New York City Subway tunnels. It’s a place of power. From the outside it looks like an ordinary building, a Brutalist skyscraper, but inside it breaks the laws of our reality, unstable, mad and shifting. There are rooms in the building, where other dimensions leak in. Control (2019)
straight men trying to make Serious war dramas and accidentally making incredibly tender homoerotic cinema is the funniest thing
In his essay, “Masculinity as Spectacle,” Steve Neale seeks to extend Laura Mulvey’s work on the male gaze and to challenge her assertion that the male or male-identified spectator can never look upon the male body as an erotic object. To challenge Mulvey’s assertion, Neale identifies the mechanisms mainstream Hollywood cinema uses to represent the male body as erotic. One way of doing this, Neale argues, is by making the male body the target of violence. In the war film, a soldier can hold his buddy – as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh – as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege – as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover – as long as he is riddled with bullets. Violence makes the homoeroticism of many “male” genres invisible; it is a structural mechanism of plausible deniability.