I cannot believe I’m arguing with the most idiotic ecofascist bullshit today:
Me: Serviceberries are delicious! Plant more of them! Eat them!
Some white lady on Facebook: ~what about the birds??? What will THEY eat??????~
….
Listen, the myth that the Americas were some ~untouched wilderness~ is not just bullshit it is DESTRUCTIVE bullshit. In 1491, the Americas were a garden. These food forests were actively cultivated, just bc they look different than European agriculture does not in anyway make them less valid. Like, ok Yes, if you live in some suburban hellscape that’s been turned into HOA-enforced lawns, SURE, leave the berries for the birds. But to demand that be the rule for everyone, everywhere?? Fuck that. Last year the serviceberry crop was so bountiful they literally rotted in clusters like grapes on the vine. ~what about the birds~ THE BIRDS WERE DRUNK ON THE GROUND, KAREN! FAT AND ROUND! My woods turn white in the spring bc there are so many serviceberry trees. Right now the hazelnuts are flowering their little peener catkins as far as the eye can see, and because nothing has leafed out yet, THATS FAR!
Kill your lawn. Plant berries and fruit trees. EAT THEM!
One things us Brit’s can be pound of is that we sure know how to hold a grudge, so much so that even if you have been dead and buried for two years, we will still dig you up to execute you as Oliver Cromwell found out today in 1661.The story of Jolly Old Ollie is well known and he did give his army one of the coolest names ever and inspire Elvis Costello to sing a cracking song about him as well…
Rounding up a week in Hollyoaks (21st-25th December 2020)
It was the end of Edward this week as his storyline concluded in the farcical manner we’ve come to expect where this character is concerned. With Tony believing that Edward was responsible for Diane’s accident, he went to confront his Father, only for Edward to deny everything. After a secret trip to the hospital, Tony was horrified to see an engagement ring on Diane’s finger and, theorising that Edward had put it there without her knowledge, went home to confront his Father. However, when Tony arrived home, he was confronted with something far more worrying, as Verity presented Tony with a box of documents she’d found, revealing that Edward was planning to move Diane to a remote island and ship the kids off to boarding school.
Realising that Edward was planning to take Diane and the kids away from him, Tony begged Misbah for a second opinion on Diane’s condition. Although initially reluctant to interfere with Edward’s patient, Misbah came round when Tony told her that Edward was planning to discharge Diane. After looking into Diane’s case, Misbah was horrified to realise that none of the necessary blood tests had been done, and promptly ordered some herself. Of course, it didn’t take long for Edward to find out what Misbah had done, and he tried to cancel the tests, but Misbah informed Edward that she would go to his superiors if he tried to block her. Knowing that the results would show that he had been sedating Diane, Edward knew that he had to bring his plan forward...
As Christmas Day dawned, Edward arrived to see Tony and informed his devastated son that Diane had died in the night as a result of complications from the tests that he had ordered. However, as we’ve come to expect with Edward, all was not as it appeared, and Verity later discovered Diane locked in the garage (how Edward managed to gain access to it shall remain a mystery). Edward arrived at the garage and, as he prepared to inject Diane with a sedative, told her that they would soon be away from the village. It was then that Diane emerged from the shadows, as Verity sat up in her place, the whole revelation having been recorded on Diane’s phone. Although it was clear that the game was up, Edward wanted one last chance to explain things to Tony and so he and Verity headed to The Hutch...
Whilst Tony came to terms with what his Father had been doing, Edward snuck behind the counter and injected an unknown substance into a mince pie. As Edward tried to explain himself to Tony, Tom rushed in, wanting to speak to Tony and ended up knocking over the tray of pies. Remarkably, Edward, Tony and Verity remained completely oblivious as the mental tray clattered to the floor and Tom quickly re-plated the dropped pastries and left. As if this whole sorry situation couldn’t get any more bizarre, Tony and Verity decided to indulge in some Christmas snacks with Edward, as he brought the mince pies over to the table. Edward watched as Tony tucked in, before revealing that the pie had been tampered with, and in approximately 28 minutes, Tony would experience a fatal brain haemorrhage...
Wanting to spend his final moments with Diane, Tony went to the hospital, where the pair reconciled. Back at the Hutch, Edward was gloating about ‘killing Tony’, however, in the biggest non shock of the year, it soon transpired that Tom dropping the mince pies had resulted in Edward falling into his own trap. Knowing that he was dying, Edward made the bizarre decision to go outside and play his cello, which had been conveniently left just outside the restaurant. After Edward finished his song, he collapsed into a random pile of snow and died. And that was the end of that.
Meanwhile, as Liberty had made loads of progress in the five days since she was admitted to the mental health ward, it was decided that she should spend Christmas Day at home. However, this wasn’t such great news for Sienna, who was worrying about her place in Faith’s life, and sought comfort from Warren. Later, Liberty spied the pair kissing and went straight to tell Brody. Cruelly, Sienna denied the whole thing and blamed Liberty’s poor mental health, suggesting that she maybe wasn’t making as much progress as she thought. However, Sienna soon realised what a cow she was being, and told Liberty that she should take custody of baby Faith.
In other news this week, Ollie’s drug-fuelled behaviour became too much for Luke and Cindy and they insisted he would have to go whilst Tom began to worry that he wasn’t enough for Yazz. Finally, Silas’s accomplice was revealed as his Grandson, Seth Costello. Not only that, but Seth is in a relationship with Theresa, and the pair have been behind the recent blackmail plot against the McQueens!
♥ bnha various as: songs that describe yours and his/hers relationship ♥
♥ pairings: dabi, hawks, kaminari, jirou, momo, toga x fem! reader
♥ warnings: implied toxic/unstable relationships, reader is female
♥ requested?: no
♥ a/n: thx for 76 followers :)) requests are still open in case you were wondering (also these are just specific to my x readers)
♥ todoroki touya | dabi | blueflame ♥
animal - sir chloe
play with fire - sam tinnesz and yacht money
sucker for pain - lil wayne
505 - arctic monkeys
partners in crime - set it off, ash costello
me and my husband - mitski
michelle - sir chloe
rumors - neffex
♥ takami keigo | hawks ♥
fly love - jamie foxx
someone to you - banners
line without a hook - ricky montgomery
hooked - why don’t we
bad romance - lady gaga
guys my age - hey violet
genius - sia, diplo, labrinth, lsd
troublemaker - olly murs, flo rida
♥ kaminari denki | chargebolt ♥
cooler than me - ethan fields (cover)
best friend - rex orange county
hooked - why don’t we
teenage dirtbag - wheatus
cupids chokehold / breakfast in america - gym class heros
stereo hearts - adam levine, gym class heros
teeth - 5sos
cloud 9 - beach bunny
♥ jirou kyouka | earphone jack ♥
all i wanted - paramore
stereo hearts - adam levine, gym class heros
bad idea - girl in red
i wanna be your girlfriend - girl in red
feelings are fatal - mxmtoon
i kissed a girl - katy perry
girlfriend - avril lavigne
we fell in love in october - girl in red
♥ yaoyorozu momo | creati ♥
we fell in love in october - girl in red
still into you - paramore
little miss perfect - write out loud
golden - harry styles
sofia - clairo
pretty girl - clairo
sunflower vol. 6 - harry styles
would you be so kind - dodie
♥ toga himiko ♥
saccharine - jazmin bean
an unhealthy obsession - the blake robinson synthetic orchestra
The Oscar Worthiness of BLOCK-HEADS By Rowan Tucker-Meyer
In this year’s 31 Days of Oscar lineup (also available on WatchTCM), among all of the classics we’ve watched and rewatched many times, there is one movie that may at first glance appear to be slightly out of place: the Laurel and Hardy film BLOCK-HEADS (’38). Although it is not as well known or acclaimed, I believe that it is every bit as good as most of the other Oscar-nominated films being shown this month.
In BLOCK-HEADS, Laurel and Hardy portray, as the title suggests, two not-so-bright fellows. The film opens with footage of World War I and we meet Stan and Ollie, two soldiers in the trenches. While the rest of the company goes into battle, Stan is ordered to stay back and guard the trench. In a delightfully dark turn of events, the other soldiers never return, news of the eventual armistice never reaches Stan and he dutifully guards the trench… for 21 years. The year is now 1938, and Stan has been subsisting solely on cans of beans. We even see a humongous mountain of 21 years’ worth of bean cans; it is a haunting image. He is discovered and returned to society, and when Ollie sees his friend’s photograph in the paper he decides to invite him over for dinner. Mayhem, needless to say, ensues.
I first saw this film a few months ago and it was one of my most delightful movie-watching experiences in recent memory. I hadn’t laughed so hard at a movie in a long time. With a running length of just 57 minutes, it’s densely packed with great gags which I won’t attempt to describe here. I’ll just say that my personal favorite gag is the one involving a football and leave it at that.
BLOCK-HEADS was nominated for Best Original Score. Marvin Hatley’s score is certainly good (even if it was often difficult to hear over the sound of my uproarious laughter), but it does seem a bit odd that it’s all that BLOCK-HEADS was nominated for, since it’s just about the last thing you think about when you finish watching this movie. You’re thinking about the hilarious performances by Laurel and Hardy – their gestures and facial expressions – the way Hardy reflexively touches his hat and the way Laurel sways side to side when he’s standing around, not really knowing what to do with himself. Or maybe you’re thinking about the script with its brilliant setups and payoffs. But the actors, writers and directors of movies like BLOCK-HEADS would rarely find themselves nominated for awards.
The film’s director, John G. Blystone, was never nominated for an Oscar. Neither were any of the film’s five writers. Laurel received an honorary Oscar in 1961, but apart from that, Laurel and Hardy themselves were never nominated for anything, even though their performances have aged remarkably well. As for their films, BLOCK-HEADS and WAY OUT WEST (’37) earned Best Original Score nominations, while THE MUSIC BOX (’32) won and TIT FOR TAT (’35) was nominated for Best Live Action Short Subject, Comedy. Tellingly, their work was mainly recognized when competing in a category specifically devoted to comedy, which was discontinued in 1937. Although today Laurel and Hardy are beloved icons and many classic film lovers will agree that their films have stood the test of time, those movies simply weren’t seen as worthy of much recognition when they were first released, except in peripheral categories. (I find it amusing that, although BLOCK-HEADS had no realistic chance of getting a Best Picture nomination at the 11th Oscars, it currently has a better IMDB rating than 6 of the 10 movies that were nominated instead.)
Comedies, particularly “lowbrow” comedies such as Laurel and Hardy’s slapstick-heavy movies, are seldom honored by the Oscars. The films of classic comedians such as Abbott and Costello, the Marx Brothers, Olsen and Johnson and W.C. Fields were regularly ignored. And this trend persists to the present day, perhaps to an even greater extent than in the 1930s. Best Picture nominees are notoriously drama-dominated, and the comedies that do get nominated are nearly always “comedy-dramas” like JOJO RABBIT (2019) which have an underlying seriousness at their core. Silliness for its own sake consistently goes unrewarded, whether it’s from Melissa McCarthy, Jack Black, Will Ferrell or Tyler Perry. Whether or not you think today’s comedians are comparable to those of the ‘30s and ‘40s, it is interesting to consider that Laurel and Hardy may have been viewed in their time the same way that critics receive an Adam Sandler comedy today, only for them to become respected decades later.
Great slapstick is really quite beautiful. Its humor is ageless and universal, striking some indescribable chord in our collective human psyche. What is it about Oliver Hardy slipping and falling on a rolling pin that makes us laugh? I’m not sure, but it’s hard to deny that slapstick has a mysterious power. Silliness deserves respect, especially when it is executed as exquisitely as in films like BLOCK-HEADS.
@willbyersneedstherapy tagged me and invited me to list a song for every different letter of my username! 🎶
Since this is a Stranger Things blog, and to stay as true to the intended spirit of the series as possible: I chose songs directly from the official Stranger Things Character Spotify Playlists that the creators of Stranger Things put together ("Mike's Bassment Beats" etc.)
I have also included tracks from the official Stranger Things soundtracks. 🎶