Peep the horrors
“If anyone needs to go camping in my state…” “If anyone needs to visit their aunt/cousin/friend…”
I know how obnoxious this is to say, but please: reblog this. I see these posts a lot, and I know most of you have good intentions. But these unoffical auntie networks are dangerous, both for those trying to help, and those seeking help. Law enforcement sees you. Violent anti-abortion extremists see you.
[Twitter thread]
EVERYBODY knows (or should) that you DO. NOT. STOP. in Vidor, Texas.
It’s best to just run out of gas elsewhere. Whatever you do, black folks, DO NOT STOP IN VIDOR, TEXAS.
There’s a good chance you’ll get lynched or just come up missing - and I’m not joking.
also do NOT stop in Harrison, Arkansas!!!! (relatively close to OK and MI) a nazi town with a BIG KKK organization.
Reblog To Save Life
franz kafka and writer/doctor ernst weiss at the baltic-sea in the summer of 1914.
yep yep yep yep more bread treats
I am becoming a virtual baker B)
Finished Reprisal last night and I'm devastated at the ending. I knew it wasn't going to have a conclusive ending but I didn't expect that many questions to be left unanswered.
Where did the Phoenix's go? What will Meredith do when she finds them? Big Graham disappeared for a few episodes and then he came back to have a chat? Johnson knew about Ethan? For how long? Why didn't he say anything? It seemed like he's been a Phoenix for a long time, did he know how corrupt Burt was? Who is Alice? I'm guessing an ex by how they talked about her but we just don't know. Speaking of Johnson, what is he? How old is he? Is he an immortal being because the official Reprisla twitter is very ominous with their "he's been around a long time" line. I'm so confused. My disappointment is immeasurable and my day is ruined.
(Me going to Hulu to demand more Reprisal)
cant stop drawing blackbeard sorry
“Coney Island, shot on location on a busy day in Luna Park in 1917, may be the one in which his character displays the widest emotional range. In the first scene he shimmies up a pole to watch a Mardi Gras parade, laughs, and tries to applaud—causing him to lose his grip on the pole and fall onto his date for the day (Alice Mann). Buster also weeps theatrically to the camera when the girl deserts him at the entrance to a boardwalk ride called the Witching Waves. Later he laughs some more, doubling over in mirth at the plight of poor Roscoe, whom Buster has just inadvertently knocked down with a giant mallet at a “test-your-strength” booth. In the second reel, feeling his oats in a brand-new lifeguard uniform, Buster executes an impeccable standing backflip, for no other apparent reason than because he can. He even preens for a beat or two afterward, puffing up his chest before exiting the frame in an attitude of manly resolve.”
Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century by Dana Stevens