you know the “bunny hands” pose everyone does to indicate t. rex? with the hands folded down, palms facing the chest? yeah. almost no dinosaurs could do that. it would break their wrists. only one unique group evolved to do that, which doesn’t include any of the Jurassic Park dinosaurs. the term for this is “pronation” and actually the vast majority of land vertebrates can’t do it. mammals can. mammals are weird.
not a single dinosaur has claws on their fourth or fifth fingers. not a single one. not even if they’re quadrupedal.
most dinosaurs have very stiff tails and can’t wiggle them around like a lizard tail. the tails were stiff for balance.
the “tongue flick” thing that lizards do is a lizard thing. dinosaurs wouldn’t have done that. they don’t do that today (birds, birds don’t do that)
“nonavian” dinosaurs with feathered wings had them like birds. they covered the hands. and attached to the hands. stop giving Velociraptor hands. it had wings. and very big ones, too, based on Zhenyuanlong.
dinosaurs with scales don’t have lizard scales. lizard scales are a derived trait found only in lizards. they had scutes similar to those of living birds, but much smaller compared to body size, and often in crazy shapes and patterns. dinosaur scales are super weird tbh
sauropods don’t have elephant feet. they handled the problem of size in a much weirder way: instead of spreading out the weight, they turned their feet into columns. like pillars. some of the biggest species didn’t have any fingers, their front limbs just. end. for maximum column support.
dinosaurs were chonky. you could not see the bones like a silhouette under the skin. some might have been skinnier and some of the features of the bones would be somewhat like with skinny bird legs, but most of the time? no. so stop making the holes in their skulls visible on the outside like damn. jurassic park/world is the biggest offender for this one.
the whole unique feature of dinosaurs is having their legs DIRECTLY under their bodies. they do not sprawl. I can’t believe I have to say that, but I do.
hadrosaur (duck-billed dinosaur) front feet were hooves. like, seriously, hooves. not little flippers. not three fingered hands. hooves.
I reserve the right to add more to this post as I think of things.
other people can too, but just research before you do.
common mistakes from the five tiny dinosaurs I allow to live in my home:
thinking food is for bird (food is usually not for bird)
following humans to the bathroom because the FLOCK MUST STAY TOGETHER (not when humans are pooping we don’t)
screaming when we’re on the phone (no, your “grandparents” do not appreciate your contributions to phone conversations, Willis)
constantly getting into each others’ personal spaces (when will the war between Ahsoka and Ellie end)
dropping their food on the ground all the time (I don’t CARE if your ecological niche features spreading plant seeds, Ellie!!!! your dropped raisins aren’t going to grow into grape vines in the kitchen!!!)
chewing on books (that isn’t how reading works, minerva)
plucking max’s beard hair (it’s MEIG/MOM who wants their facial hair plucked, not max!!!! stop plucking max, minerva!!!)
pooping everywhere (this one is on us humans. we could clean better.)
“For some time, Hollywood has marketed family entertainment according to a two-pronged strategy, with cute stuff and kinetic motion for the kids and sly pop-cultural references and tame double entendres for mom and dad. Miyazaki has no interest in such trickery, or in the alternative method, most successfully deployed in Pixar features like Finding Nemo, Toy Story 3 and Inside/Out, of blending silliness with sentimentality.”
“Most films made for children are flashy adventure-comedies. Structurally and tonally, they feel almost exactly like blockbusters made for adults, scrubbed of any potentially offensive material. They aren’t so much made for children as they’re made to be not not for children. It’s perhaps telling that the genre is generally called “Family,” rather than “Children’s.” The films are designed to be pleasing to a broad, age-diverse audience, but they’re not necessarily specially made for young minds.”
“My Neighbor Totoro, on the other hand, is a genuine children’s film, attuned to child psychology. Satsuki and Mei move and speak like children: they run and romp, giggle and yell. The sibling dynamic is sensitively rendered: Satsuki is eager to impress her parents but sometimes succumbs to silliness, while Mei is Satsuki’s shadow and echo (with an independent streak). But perhaps most uniquely, My Neighbor Totoro follows children’s goals and concerns. Its protagonists aren’t given a mission or a call to adventure - in the absence of a larger drama, they create their own, as children in stable environments do. They play.”
“Consider the sequence just before Mei first encounters Totoro. Satsuki has left for school, and Dad is working from home, so Mei dons a hat and a shoulder bag and tells her father that she’s “off to run some errands” - The film is hers for the next ten minutes, with very little dialogue. She’s seized by ideas, and then abandons them; her goals switch from moment to moment. First she wants to play “flower shop” with her dad, but then she becomes distracted by a pool full of tadpoles. Then, of course, she needs a bucket to catch tadpoles in - but the bucket has a hole in it. And on it goes, but we’re never bored, because Mei is never bored.”
“[…] You can only ride a ride so many times before the thrill wears off. But a child can never exhaust the possibilities of a park or a neighborhood or a forest, and Totoro exists in this mode. The film is made up of travel and transit and exploration, set against lush, evocative landscapes that seem to extend far beyond the frame. We enter the film driving along a dirt road past houses and rice paddies; we follow Mei as she clambers through a thicket and into the forest; we walk home from school with the girls, ducking into a shrine to take shelter from the rain; we run past endless green fields with Satsuki as she searches for Mei. The psychic center of Totoro’s world is an impossibly giant camphor tree covered in moss. The girls climb over it, bow to it as a forest-guardian, and at one point fly high above it, with the help of Totoro. Much like Totoro himself, the tree is enormous and initially intimidating, but ultimately a source of shelter and inspiration.”
“My Neighbor Totoro has a story, but it’s the kind of story that a child might make up, or that a parent might tell as a bedtime story, prodded along by the refrain, “And then what happened?” This kind of whimsicality is actually baked into Miyazaki’s process: he begins animating his films before they’re fully written. Totoro has chase scenes and fantastical creatures, but these are flights of fancy rooted in a familiar world. A big part of being a kid is watching and waiting, and Miyazaki understands this. When Mei catches a glimpse of a small Totoro running under her house, she crouches down and stares into the gap, waiting. Miyazaki holds on this image: we wait with her. Magical things happen, but most of life happens in between those things—and there is a kind of gentle magic, for a child, in seeing those in-betweens brought to life truthfully on screen.”
A.O. Scott and Lauren Wilford on “My Neighbor Totoro”, 2017.
every time this shows up on my blog, I’m rescheduling it to show up again at a later date so I can keep remembering how important a child’s perspective is.
So I’m leaving work and something darts in front of me, maybe 10ft away, too fast for me to see what it is. Peek around the tree blocking my path and I see this
Just like… a whole ass hawk. Dude’s gotta be about 1.5ft tall. Massive fucking bird. And it’s just staring me straight in my soul like this, even as I try to move ahead. It didn’t budge. And there’s only this path back to my car unless I want to walk on a busy highway. So I have the option of Death By Raptor or Death By Truck.
So I walk in the poison ivy filled patch off the sidewalk. Guy still isn’t moving. Still staring me directly in the eyes. And I do this thing when animals are behaving strangely where I’ll talk to them, so I’m just like, “Hey, man. I don’t know you. You don’t know me. This feels really threatening. I’m just trying to get to my car, dude. Can I get some space please? You’re a big fucking bird. I see those claws. You could kill me right now, but I’d appreciate if you didn’t, ok?”
It didn’t move until I was about 2ft away. Again: I’m as far from it as I can be without walking into the street. It clearly wasn’t going to budge. I walk past, thing flies up (silent, btw. Scary) and lands on a brick wall a little further ahead
Anyway. Weird guy. Nearly shit my pants when I noticed a bird big enough to carry off a fully grown cat was just… there, staring me in the face, unwilling to move away from me, a human, something it should see as a threat. I watched behind me the whole rest of the way to my car, just in case this bird decided to help me shed this mortal coil. 10/10 experience. Super cool guy.
This is so funny because that’s a freshly-fledged juvenile red tailed hawk.
It didn’t leave simply because it didn’t really know the giant gorilla thing walking towards it was a threat. You were menaced by what amounts to a teenager who just passed their driving test just chilling under a tree.
This thing weighs all of 1 pound and barely knows it’s a bird.
HAVE YOU EVER THOUGHT ABOUT HOW BIRDS CAN LITERALLY FLY LIKE HOLY FUCKING SHIT THAT’S SO COOL???? LIKE THEY CAN JUST ZOOM AND ZIP WHEREVER THEY WANT GRAVITY BE DAMNED AND THEY’RE ALSO REALLY REALLY FAST???!? COME ON GUYS I CAN’T BE THE ONLY ONE WHO THINKS THAT’S REALLY FUCKING COOL DON’T BE DESENSITIZED TO HOW FUCKING COOL BIRDS ARE