judy hopps is a cop who leverages a strangers felony tax evasion to get him to put his life in danger and work around the clock so that she can keep her job
she then presumably helps him cover up his crime to get him a job on the same police force
judy hopps has some very nice feet but we need to remember that she’s still a cop
just fyi for everyone out there using tumblr on this day that you can reblog a post without the extra commentary by clicking the OP’s URL on the original post
She is a cop and all cops are already unsexy
I’m sorrynotsorry to everyone in the notes just learning that Tumblr is a place for horny furries to blog about acab.
Unfortunately, Judy Hopps is very sexy AND ALSO a cop and therefore a bastard, and insisting that all cops are automatically unsexy is still attaching appearances to morality. Remembering that things can be sexy and evil, or ugly and good is imperative! Forgetting this derails and disrupts the conversation.
Architecture is one of those fields that’s perpetually on the border of “You’re all full of shit” to me. This is an NYC office building that was built in 1977:
Apparently that little circular doohickey up top was, at the time, a revolutionary departure from modern design principles and had every prominent architect at the time absolutely furious for that reason. 46 years on and it’s seen as an architectural treasure that made the NYC Landmark list.
It’s. A circle. Literally just a circle. I don’t get it.
I can explain this, but you have to start with the understanding that this entire thing is a gigantic in-joke of a piss take. This is going to be long.
First, you need to understand about ornamentation. Ornamentation is anything in a building that is basically a slightly superfluous detail.
In this colonial revival house (which is supremely balanced and has very clean lines), you can notice how the bottom windows have these clean ornamentations at the top, the way the columns fan out into a small design; the way the dormer windows have their own different style of decor complete with arch and keystone! That’s the ornamentation, it’s the small touches of structural decor. The majority of the time, they were there because they were needed to support something, to give additional support
Modernism changes that. The arrival of concrete and steel on architecture means you can explore structures that were never possible before, ways of getting light into a room that were never possible before, shapes that were never possible before; it basically heralds a new era entirely. For instance, Louis Sullivan’s National Farmer’s Bank of Owatonna, though a late entry into modernism (1908!):
Look how none of the voids (windows and doors!) have any sort of ornamentation. There is some ornamentation around the corners, sure, and while the ornaments themselves are very baroque and refined, there’s also a textural element on the tiling itself being patterned. But that’s very up-close detailing, or very far away detailing. You end up with a mix of the shape and texture being where detailing is explored, less so the ornamentation of before. Importantly, none of that ornamentation is, in any way, shape, or form, anything that is fundamentally structural. It’s become nearly superfluous.
And this keeps developing and developing and you arrive at things like skyscrapers. Sullivan may have been the father of the skyscraper, but I can think of no better follower than the trio of Shreve, Lamb & Harmon, who are most notable for the Empire State Building, but 500 5th Avenue may be the most direct example of what I’m talking about:
This modern-day ziggurat is almost all shape - the mullions (those vertical lines dividing windows) are largely decorative, and the ornamentation is very minimal and only serves to bring forward the shapes - notice how they only exist in what’s essentially the ceiling of each floor!
So we’ve established that ornamentation is steadily going away and no longer en vogue because architects are exploring the limits of shape itself, and they’re exploring unusual textures. But fast forward some 50 years, and this has become the singular architectural style that even exists. And a trio (Denise Scott Brown, Robert Venturi, and Steven Izenour) go to Las Vegas on a trip and come back with post-modernism. The idea is that buildings are either decorated sheds (ornamented houses) or ducks (buildings where the shape itself is the draw). The duck is a bit of joke to Americana - they passed by a duck building where the entire point was that it was a duck. There’s a disagreement, but even among the detractors, you’re going to see a more humorous take on Modernism. They’re going to make buildings that resemble other aspects of buildings, or other buildings, or whatever. It’s extremely in-jokey. It’s amazing.
Venturi and Scott Brown’s first major work is the Guild House, which is an apartment for the elderly. See if you can spot the joke:
Did you get it? The entire 5-story building is topped off with a colossal arch, treating the balconies like a void that you have to add an ornament on top. It’s a call back to the windows that we saw on the colonial house! This is a joke for a specific audience, but goddamn it’s really funny.
So the post-modernists are basically gonna set up jokes with architectural elements and play with aspects of it. It’s architecture for architecture nerds. It’s so obviously trying to be clever, and I love it.
Which brings us back to 550 Madison Avenue, by Johnson and Burgee, at the top of this post. The circle isn’t just the circle. It’s the entire slope and circle. The thing crowning the building. And you’ve seen it above doorframes and windows in a number of places.
The thing atop this dormer is called a pediment. It’s that mini roof. In this case we have a standard apex (the top) and a broken base (the bottom). This means that the top is connected and doesn’t recede to let in any ornamentation, but the bottom is broken up into two parts to let in the ornamentation.
On top of this door, you have a pediment broken on the apex. It’s filled in by that egg-like thing.
But what if you put a gigantic broken pediment one with no ornament on top of a building?
And there we have it. 550 Madison, a gigantic, supremely large scale shitpost, brought to you by technological advancements in construction and shifting design philosophies. “This skyscraper is structured like a window” is a really funny gag to pull if you’re the kind of person who actively has the same degree of architecture nerdery that I do. And architecture is one of the most common forms of art that you can observe and pull apart on your daily life.
Architecture is one of those things where because its so aggressively public, communal, and (seemingly) long lasting, its design should be equally so. But it turns out architects are just a bunch of little guys doing their weird hobby shit like everyone else, with back-and-forth fuck you’s to match. And that’s beautiful, it should never change.
everyone who ever asked “is that a bad joke?” of some bit of bad 20th century architecture feeling p. vindicated by this post
I was there when this thing was being built. My GOD but the ruckus about it! It was hilarious. :)
and like … actors are actors. Their whole thing is pretending to be other people? Can an actor pretend to be an elf or royalty or an alien but not queer? As long as they’re taking the role seriously, it’s fine.
if a straight person sees something meaningful, beautiful and worthy of emulation in the queer experience, that’s a good thing.
Oh no, that’s awful! Wolf attacks are so rare, I wonder what happened?
Oh…
Imagine seeing a wolf pack hunting right in front of you and your reaction is to be all “Oh no le waah le waah I do not vant to see zis!!” Instead of “Holy fucking sheet, that is zee coolést thing I have evéur seen in my entiéure life”
The Laughing Man - Confessions of a Murderer (GDR, 1966)
Posing as West German journalists, East German documentary filmmakers Heynowski and Scheumann pay a visit to the notorious Nazi-turned-mercenary Siegfried “Kongo” Müller, pump him with booze, and get him to talk. Müller fought in Congo’s civil war in the 1960s, and the more Pernod he imbibes, the more fascinating this interview becomes. He asserts that blacks are no better than animals and shares his dream of enlisting in the U.S. Army to fight communism in Vietnam and beyond. He flaunts his military paraphernalia, including the Iron Cross he was awarded in Germany in 1945, and proceeds to deny his earlier statements about civil killings, the ethics of war, and the defense of Western libertarian values. This documentary tour-de-force is interspersed with pictures of Müller and his comrades proudly posing with severed skulls, and it touches on other Nazis who are active in Africa as well as American world dominance.
hey! don’t do this! if it tears or otherwise leaks in any way you’re going to get cheese and meat grease in your toaster and that’s a really really great way to start fires. toasters are made for bread. they are not made for anything else and especially not something that is going to potentially drip grease as it heats up
i realized that just scrolling by this addition is easy to miss or skim over but tl;dr:
“autism is a new phenomenon that’s on the rise” do you really think the Gregorian monks who spent months writing a single letter H and drawing little pictures of snails on it in illuminated manuscripts were neurotypicals? is that really something a neurotypical would do