It's extremely funny that there have been multiple writers in multiple mediums who've been allowed to write Wolverine from the X-men who clearly had no idea what a wolverine is and assumed it was a fancy word for "wolf", and at no point did any of the literally dozens of other people involved in bringing their writing to life see fit to challenge this assumption.
Sometimes the rest of the team gets handed a once in a lifetime opportunity to do the funniest thing, and all they have to do is keep their mouths shut long enough for it to go to print.
One of the classic Magic: the Gathering arts is that of Hyalopterous Lemure, where the artist mistook 'lemure' (a type of malignant spirit) for 'lemur' (a small fuzzy primate), but manage to *nail* 'hyalopterous'
How dire things are: my mostly offline "didn't know what an egg was" queer therapist has started researching anti-transmasculinity in the queer community because other clients keep bringing it up as a big issue for them.
Like to be clear it's good she's researching stuff! But it sucks that it's becoming so frequent of a topic in therapy.
I think about this so much more after working at a call center and being told “you need to not say outage unless we actually have a confirmed outage because we legally have to reimburse people if we fail to provide service” and then seeing that in ads as a really cool and nice thing the company does instead of something they’re forced to
Talk to them. That's it. In the end, our political views and ideas are shaped by many factors and sometimes conversations we have with friends and family help us reflect on what those views are. Many are turning to One Nation because the Liberals are collapsing but haven't stopped to genuinely think about how horrible One Nation policies are and good faith and patient conversations with people can help them realise that One Nation offers them nothing.
This is our brand new science fiction adventure character, he's a scientist and an old man. He's in a TV show called Doctor Who. He's credited as Dr Who. All production documents call him Dr Who. All promotional material calls him Dr Who. The novel adaptations call him Dr Who. The movie adaptations call him Dr Who. The original tie-in fiction calls him Dr Who. And week one of his TV show he's going to meet a guy who's like "What's your name? What do we call you?" and our hero is going to be like "hohoho hehehe you dumb motherfucker. Never talk to me again." And then he's never ever going to give anyone his goddamn name.
i was on the way to the movies & i saw an old guy with a piece of wood over his shoulders. it was huge -- a pole several feet long with a kind of wide fan at the end of it. and i said "what the hell is that?" and he looked at me and had this kind of ear to ear grin, and he said "what do you mean 'what the hell is that'?" and he sat back on his heels, still with that big smile like the sun spilling from the underside of a cloud and waited for me to answer and i said "i mean i don't know why you're walking around with that thing, whatever it is." and he laughed and put down his pole and kinda clapped me on the shoulder. "can i get you a drink?" he said. and i said "no, the show's in ten minutes," and he said "oh? what are you seeing?" and i said "christopher nolan's odyssey, i'm pretty excited," and he sighed and picked up his oar and kept walking.
some people can't fathom "rudeness" as a concept outside of identity, power, and oppression dynamics. so you point out they're being assholes and they start doing identity math at you to prove they're justified.
like sure, it's true that you are technically "punching up" in terms of that framework. but we're just hanging out rn, so why are you punching at all? you aren't challenging any power structures, you're just being mean to my friend kayla who has been nothing but lovely this evening.
"Punching up" is a concept from comedy anyway, its not a universal rule. Comedy has to have a punchline, so make it the people in power.
A discussion, a hangout, a barbecue doesnt need a punchline doesnt need any punching. Lower your fists. Try a differrent method of connecting to someone. Youre not immune to being an asshole, no one is.
If you’re reading the Odyssey, Circe’s island is in the east. Homer locates the island “where Helios [the sun] has his place of rising and the Dawn dwells” which clearly situates it at the eastern edge of the mythic world. We also know that she lives 1 day worth of sailing away from the Cimmerians, who scholars agree dwelled in the north-eastern part of the Black Sea. Though it is impossible to pinpoint Homer’s Aiaia in a real map, it certainly should be east of Greece.
If you’re reading the Theogony, you’ll notice there is no mention of Circe living in an island. Instead, we are told that she “ruled over the famed Tyrrhenians” with her 3 sons. This means that she resides in Etruria (Italy).
If you’re reading the Argonautica of Apollonius, Circe’s island is in the west. We are told that it’s located in “the western land […] the coast of the Tyrrhenian mainland”, meaning the coast of Italy.
If you’re reading Ovid’s Metamorphoses, Circe’s island is “between two coasts which mark the boundaries of Italy and Sicily. […] across the Tyrrhene sea […]”. Once again, located in the Italian coast
In the real world, the location most commonly identified by people in the ancient Mediterranean as Aiaia was Mount Circeo, currently in the town of San Felice Circeo, Italy. Funnily enough, this is not an island, but rather a mountain in the coast that could be perceived as an island if you looked at it from the right angle. You can read the sources here
TLDR: Far east in the Odyssey, Italy/the west (almost) everywhere else.
it's visualized and discussed in a book by Daniel Fallmann, der Rand der Welt:
the idea is that Circe is connected to the Sun (her father) and Colchis, where her brother Aietes reigns, also in the far east. Aiaia may have derived from the name Aietes. The idea is then that the Greeks, at some point in time, thought the Black Sea was open in the east and that East and West were connected via the World River, Okeanos. Odysseus therefore could end up in the far east at Aiaia by wandering on the western seas, and sail to the land of the Dead in the far west from Aiaia and back. Sometime during the transmission of the Odyssey, this idea was complicated by the expansion of geographical awareness following the exploration and colonization of both the west (italic and spanish shores) and the far east (far coasts of the Black Sea). After that, the idea became that the river Phasis connected the Black Sea to Okeanos.
This also massively complicated the story of the Argonauts; in the earliest versions, they sail east as well, ending up at the source of the Nile and failing home that way. Later, they must carry the ship over land from Okeanos to the source of the Nile on land. Then, they start taking a similar route, but northwest; Apollonius has them sail the Danube, over the Alps, and to Aiaia, now located in Tyrrhenian territory. they make it home via the north african coast to preserve the mythological material from their original route.
“The association between nakedness and prophetic abilities is echoed in the occasional representation of Circe in black-figure vase images (Jackson 1997:62). This particular scene only occurs in black-figure examples between 560–530 BCE, in which Odysseus approaches or threatens Circe after she transforms his men into animals (Jackson 1997:62–63); the Siana cup in Boston (Comp cat. no 8; figure 2.18) is one such example.
Figure 2.18
Circe with cup
575–525 BCE
Circe is depicted entirely naked and with a dilute black glaze, which could suggest that it had been painted over with added white which has now worn off. Her skin tone therefore appears slightly lighter which distinguishes her as a female amongst the other dark male figures. Marinatos (2000:39) states that the “vase paintings concentrate on two moments: either on Circe’s triumph, as she turns men into animals, or her terror as she confronts Odysseus threatening her with a drawn sword”. The naked figure of Circe on Archaic vases, then, suggests two important aspects: firstly, her supernatural abilities, and secondly her vulnerability. Although these are two different scenes, Cassandra’s ‘nakedness’ in this regard, can imply similar notions of vulnerability and her supernatural abilities. This correlation regarding nakedness and the numinous is also mentioned by Boardman (1991:83), who states that Circe is “naked aws becomes a witch”. Bonfante (1989:544) also emphasizes the sacred or supernatural aspect of nakedness: “Because of the powerful emotions of shame, shock, lust, admiration, violation, pity, and disgust aroused by the sight of the naked human body, the most frequent associations are with taboo, magic and ritual”.
Cassandra’s nakedness becomes even more relevant since other aristocratic female figures from the Trojan context, such as Helen and Polyxena, are not depicted naked or even semi-naked in black-figure vase images. The reverse side of the krater from London, Market (Bf cat. no 26; figure 2.8) shows a scene representing the ‘Recovery of Helen’ (Comp cat. no 9; figure 2.19). As opposed to Cassandra’s semi-naked body, Helen is completely draped in a long chiton and cloak.
Figure 2.19
Recovery of Helen
530–520 BCE
The figure of Cassandra in black-figure vase-painting therefore shares more iconographic similarities with Circe than with Helen and Polyxena regarding costume. Her nakedness is one of the most conspicuous iconographical indicators which distinguishes her from the other aristocratic females in black-figure vase-painting, apart from her diminutive scale in some examples. Cassandra’s nakedness therefore could suggest different possible meanings, ranging from vulnerability and youth to her supernatural character and priestesshood.”
- From Sacrilege to Violence: The Rape of Cassandra on Attic Vases c. 575-400 BCE, by Janke du Preez (link)
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For further context: “Unlike the literary sources, in which Aphrodite is portrayed as blatantly erotic, there are no overtly sexual, erotic, or even nude portrayals of Aphrodite in the Archaic and early Classical materials. This lack must be seen in the context of Archaic art in general, where nude or eroticised images of goddesses are, in fact, quite rare.
A broad gulf separates the nude images of the Bronze Age and (Proto-)Geometric periods from the Archaic and Classical depictions. When considering the lack of nude females in early Archaic Greek art, A. Stewart surmises: “Any explanation must take into account that nakedness in post-Mycenaean art develops in two phases: the first, when both men and women are generally shown naked; and the second, when women cover up but men usually do not.”⁶⁰ Stewart further argues that in the Geometric period both men and women were shown nude for the sake of gender distinction, but that as the late Geometric period turned into the early Archaic, artists from Athens to Sparta came to cover up the females portrayed in art.”
- Budin, Stephanie Lynn. The Origin of Aphrodite. CDL Press, 2003.
"oh btw that loyal agent you sent to spy on me? i fucked them so good they work for me now" is an iconic rpg romance trope. shepard/miranda. inquisitor/iron bull. rogue trader/heinrix. tav/shadowheart. it always hits.
Someone asked me a while ago if I still had a photo of the worst sink I had ever seen while apartment hunting in Los Angeles. I assumed I deleted it so I didn't answer the ask and now it's gone, but as it turns out, yes, I do still have a photo of it.
"Going a couple hours without eating a single kind of food? No thanks, I would rather kill a child" is such a wildly horrifying take to see MULTIPLE people proudly stating.
going a few hours without eating nuts isn't that big of an ask. and the kid was four years old - she's not old enough to tie her fucking shoes, let alone manage a life-threatening medical condition.
