actually fuck topping and bottoming i want whatever she’s having

[ID: A tweet by love you love you love yo... (@/badend_doll) that says, "passed a girl on the street today wearing nothing but an alarming number of bruises in even scarier colors, and an oversized t shirt reading / REJECT ALL FALSE IDOLS / REJECT THAT PRETENDER NAMED PENETRATION / SEX IS SOMETHING YOU DO WITH YOUR TEETH". End ID.]

biologists will be like this is a very simplified diagram of a mammalian cell

chemists will be like this is a molecule

okay but this is what the best render of a human cell looks like

They are not kidding

We are full of so many fuckign guys

This is actually a full on interactive map! You can put your cursor over any structure to focus on it and see its name, you can focus on all the structures that are part of a specific pathway and, when you click on proteins, you open it up on PhosphoSitePlus, which is a curated database of proteins and their post-translational modifications. It has a helpful description and summary for each protein!

This is a HUGE complementary resource for learning molecular biology! It really helps to make sense of each individual pathway and it puts everything into perspective. It only focuses on human, rat and certain other animal cells, so it won’t have all the pathways one would wish to see… But for the pathways it does include, consider opening the image and accompanying it as you learn or revise them!

oh wow, thank you for the additional information, i had no idea, that’s so much cooler than just the flat picture.

us not seeing the audience is massive. we only see them in their natural state - the state of seeing elisabeth (fundamentally) as grotesque and undesirable. we see elisabeth for who she is, we understand her, we see her at her ups and downs, they only see her at her worst - but what they don't realise is that they took her beauty for granted and we, as the real audience, get to watch that realisation hit.

magical.

we see her as a person, they saw her as a monster. but it surprises them because for the first time? she's physically a monster. they loved flesh being on show, so what's their issue now? there's more flesh than ever before. aren't they happy? they never will be, though. After the events of the substance they probably brought on some young, vulnerable girl to ruin again. in that viscious fucking cycle.

Annoys me to no end how much of the bad reviews for the substance is "there's too much nudity" or "it's too sexualised" as if that ruins the message when that's literally the point! Elizabeth goes to all this length to stay young and beautiful for an industry that sees young beautiful women as meat!! Sue has a very sexual appearance and personality because sex appeal is literally her only worth to these people, and there are nude shots of Elizabeth to highlight in comparison that she has no worth to these people. Even if that wasn't the case, we are all adults who went to see a gross horror movie! How can you not handle a little nudity? If you can only see the naked form as inherently crude and sexual and always devoid of artistic intent then it makes perfect sense why the film wouldn't be for you.

does anyone wanna hold hands until we feel a little braver

the reblog map is all of us holding hands btw

happy spooky season !!

[ID: Over the Garden Wall fanart. Wirt sits at the roots of a tree, patting Greg on the back. Greg is holding and talking to his frog, and Beatrice flutters overhead. They're overlooking a gray landscape, and leaves fly through the cloudy sky. End ID.]

I wish you to feel warm in the coming cold days

Here's to 10 years of being in the Unknown!

I tried to incorporate something from every episode, and while it was tedious, I am so proud of this piece!

[ID in Alt]

[Image Description: A screenshot of two posts from Bluesky user Ro Salarian (@/rosalarian.bsky.social) that reads:

Please don't leave disabled people behind in your revolution. Please do not see us as sacrifices for the greater good, or dead weight. Please see our lives as worth saving, too.

There are gonna be disabled folks who can't contribute anything to The Cause. They have no money, no energy, no physical ability, no time. They will need to receive and will never be able to give back. You gotta save them, too. Especially them.

/End of description.]

Liminal States in Over the Garden Wall

It's October which means it's time to talk about one of my favorite pieces of media in the entire world. If I was ever going to write a thesis (god forbid) it would be this. And forgive me if some of this stuff has been covered or talked about by the creators before. So, a liminal state is "of, relating to, or being an intermediate state, phase, or condition : in-between, transitional" The most important (imo) liminal state is that between life and death. There is the implication that the entire land over the garden wall is a near death experience for Wirt and Greg as we see them almost hit by a train and fall into the water. And of course we see the dead rising at the harvest festival as well. Another liminal state is that between childhood and adulthood. Wirt is a teenager and this is a coming of age story for him, learning to have agency and take responsibility for his actions. (side note: Is this why he finds a kindred spirit in Lorna? They both feel a lack of agency in their own life?) We also see the slow transition over the course of the series from fall to winter. The vibrant leaves and celebrations fade to somber winter as Wirt grows more hopeless. Another liminal state is pointed out by the people in the tavern. They call Wirt a pilgrim, a traveler on a sacred journey. And what is a journey if not a liminal state? Perhaps the woodcutter is also on a journey, a perpetual wanderer in his quest to keep his daughter's soul alive. Beatrice too is on a quest. Throughout all this, Greg remains unchanging. He's the rock (lol) of the show, keeping his positivity through the darkest times. His brush with a liminal state is his dream, a space between waking and sleep, where he goes on his own mini hero's journey. Anyway, those are just my disorganized thoughts. If you can think of anything I missed, I'd love to hear it.

After Wirt returns from the hospital, he starts visiting the graveyard more often. There are a handful of abandoned graves that clear up right about that time, too.

No one can guess why he spends so much time there, or the connection between the graves. They appear to be random people, after all.

People try asking his little brother, since he spends most of his time with the boy, but Greg's claims are unbeliavable and childish. Sometimes he says they've met them, they are their friends, and so on. Other times he tells stories not unlike fairytales with speaking birds and evil woods.

Asking Wirt himself turns out to be even more confusing, since his only answer is "they were nice people, once" and nothing more.

His poetry, however, tells of emotions hidden, and has a certain line that has appeared quite often between beautifully woven lines...

over the garden wall is about how the police ruin everything

wirt and greg wouldn't have almost died and gone to the unknown if the police weren't fucking around trying to scare the kids, causing them to panic and run

Broke: it's Greg's fault they ended up in the unknown

Woke: it's Wirts fault the ended up in the unknown

Bespoke: it's the cop who was chasing them's fault they ended up in the unknown

i rewatched over the garden wall last night and i forgot how fucking funny it is.

greg is one of the best cartoon characters of all time. he's so annoying he manages to piss off the evil eldritch abomination that lives in the woods just by following its instructions to the letter, like some kind of trickster god.

at the moment where it seems all hope is lost and he is being turned into a tree, he coughs up some leaves and beatrice is like "oh man he even has leaves growing inside of him" and he replies "nah i was just eating leaves".

it's such a good miniseries

Over the Garden Wall is SUCH a fascinating show to me for a myriad of reasons. But one of the things that stuck with me was the symbolism of the Woodsman and his lantern. TW for discussions on grief and unhealthy coping mechanisms (that I might get wrong, just as a warning).

I'm sure this has been said before, but to me it's just such a fascinating representation of how we unintentionally keep despair alive by clinging to our overwhelming grief of those we lost. Maybe I'm misinterpreting something or looking too deeply into it, but it's just. The lantern that the Woodsman keeps lighting in the hopes that his daughter's soul will be kept alive through it is, in actuality, keeping the Beast alive. And in a similar way I've read tales and actually studied grief theories about how people keep the memory of their loved one alive; at first, it's a good thing, and it can take however long or short you need to it be since grief seems to be something that generally never really goes away.

But there can come a point where all you live for is the dead, which is what the Woodsman was doing in laboring day and night to keep the lantern alive. And in doing so, you start to poison yourself and, rather than keeping the person you lost in living memory, you start to keep alive the despair and darkness. You start to keep alive the Beast rather than the soul of your daughter, in other words. Sometimes, it's intentional, though. "If I let go of this despair and anguish of mine, doesn't that mean I'll forever lose that person I loved?" And sometimes, it's unintentional.

The conclusion of it is that you have to let them go...you have to let that despair (not grief, but the poisonous and hopeless grief) go. Maybe, like Wirt did, through unflinching practicality and sheer knowledge rather than emotion. Or something else. But maybe, then, you'll find that when the lantern of your despair is gone, it'll be dark at first but you'll slowly start to see a grander light. And maybe, you'll find that your daughter is still alive anyway, in the light rather than in the darkness.