Victor Frankenstein after achieving the impossible and building a fucking person from scraps of the dead: Oh god, ew, ew it's ugly! Yucky! Yucky! Gross! Ew! Ew! Yucky! Yucky! Gross! Ew!
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Victor Frankenstein after achieving the impossible and building a fucking person from scraps of the dead: Oh god, ew, ew it's ugly! Yucky! Yucky! Gross! Ew! Ew! Yucky! Yucky! Gross! Ew!
Some scenes are enough to make me rank a movie high with zero room for argument and for The Odyssey it’s Samantha Morton’s performance as Circe and the way she molds the men into pigs with her bare hands the way she get her hands dirty and handles them like clay and plunges her hands to bring their inside out as she transforms them because that is what she’s doing and the way she serves them up to their own captain for slaughter and the way she whispers “go back to your disguise” when she she turns them back into humans the way she gave Odysseus her prophecy the chill that went down my back with every word she spoke the way that scene made the movie into high art horror for me Samantha Morton deserves her flowers for this and Nolan captured Circe’s quiet rage perfectly
in hindsight, growing up as an aromantic person who didn't know aromanticism was a thing...it woulda been really easy for me to assume that something was wrong with me, that I was "broken" or "missing" some piece of humanity.
luckily I was autistic, oblivious, and had a huge ego. it literally never occurred to me to frame it as a "me" problem. i just thought every single person i knew was a dumbass
redstonedust AND biggest-gaudiest-poltergeist are aromantic??? are all the famous tumblrinas aromantic??
OKAY LISTEN
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papers—and every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed it—her husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"—essentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official histories—those same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gage—a 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structure—credit went to Watson and Crick.
Lise Meitner, who explained nuclear fission—omitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomes—received little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogen—initially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.
I have so many thoughts about Nolan’s Odyssey
- The body horror of Circe transforming the men into pigs was beautifully disgusting
- I loved how the existence of the gods was never fully confirmed or denied. Were the storms Poseidon’s wrath or just bad weather? Was Athena appearing to Odysseus with the face of the woman he let die or was he hallucinating out of guilt? Magic clearly existed, because we had a cyclops and a witch and shades of the Underworld, but there’s magic and then there’s divinity. Is everything they say about the gods true or are they just an excuse?
- The removal of the Nobody scene was necessary actually. In the poem, Odysseus gives Polyphemus his real name in a moment of hubris and this causes all the problems later on because now Poseidon knows the name of the man that disrespected him. In the film, the problems are caused by the Greeks breaking Xenia by invading Troy. Keeping the Nobody scene would have detracted from the root cause of all the problems.
- I could write an entire essay about how cleverly Nolan uses events from the Odyssey to make a point about today’s society:
The Trojan War was about trade routes and Helen was just an excuse — just as wars today are waged for oil and resources, and governments give excuses to their citizens to make it seem better.
“The people from the sea” are feared as an invasion of bogeymen threatening innocents, but they’re actually just desperate men trying to find safety.
The Greeks pillage an island and ask “why didn’t you just give us what we wanted? We’re the good guys!” while the village burns behind them, not realising that to the villagers, Greeks and Trojans are all the same.
- Whoever let Anne Hathaway freeze her forehead should be fed to Polyphemus
- I hope Tom Holland escapes Marvel soon because he is a damn fine actor
Minna Leunig
Okay. For my money, the entire thesis of Chris Nolan’s 2026 film The Odyssey is that society chokes and sputters and dies when we abuse, ignore, or violate social norms like the laws of hospitality. That is not really what The Odyssey (the book/poem) is about, but I can clearly see why in the horror that is the 2020s, someone could read The Odyssey and go oh my god that’s a lot of bad dropping in. That’s a lot of bad visits. That’s a clear vision of how the loss of social norms and cohesion fucks you up and how war, literal, brutal war, is a terrible wound that destroys your humanity and your understanding of what civilization and society is. I don’t know that the iteration of Greek society that ultimately birthed the poem would agree with Nolan’s take, but I think this movie is quite ideologically coherent, that Nolan knew exactly what he was trying to say with each and every adaptational change, and I think he wasn’t nuts for using one of the most famous classical western civilization works as a way to make that argument.
Discounting the 10 year war
uh oh found a new guy to fawn over
I like the idea in fantasy that humans are better at maintaining things long term because they set up societies or professions to do it whereas dwarves and elves and stuff are like “just get bob to do it he’s got a good few hundred years left” and then bob doesn’t teach anyone else how to do it
Elf: How have you kept this castle maintained for a thousand years if your lives are so short?
Human: We just train new people how to do it?
Elf: *gears visibly turning in their head*
Human: Are you alright?
Elf: I just realized that we didn’t have to let that whole city fall to ruin just because my grandfather died.
Human: What?
Human: Wait that’s why there’s ruins of elven cities even though you live for so long? You just keep not asking people how to do things? How do you learn anything?
Elf: There’s a lot of “you’ve got time to figure it out on your own” attitudes floating around in our society that I’m starting to question somewhat.
Elf: That sword, where did you get it?
Human: My cousin made it.
Elf: Impossible! Those metalworking techniques were lost a hundred years ago!
Human: What do you mean lost? My great-grandmother learned to make these swords from an elven smith, then taught it to her kids.
Elf: That's ridiculous. No elf would give such secrets to a human.
Human: They didn't. Meemaw delivered the metal to the forge, and no one kicked her out when she stayed and watched. She always said they barely acknowledged her even when doing business with her, like she wasn't worth noticing.
Elf: Come to think of it, my great-uncle always was rather single-minded when he started working.
Human: So he wasn't ignoring her, he just forgot she was there?
Elf: Oh, he was definitely ignoring her, too. He was super racist.
My ultimate takeaway from Jax Amazing Digital Circus is that you have to believe it's possible to be loved. A lot of her behavior comes from being subjected to the belief that all a trans woman can be is a violent misogynist, a sexual abuser, a joke. She couldn't see any other path for her. She believed there wasn't a point to showing kindness or developing human connections because that's all she'd be viewed as. So she cuts to the chase, she devolves into her archetype. She makes it her goal to errect giant flashing signs that say "I AM AN ABUSER AND UNWORTHY OF LOVE SO DON'T BOTHER" at the expense of everyone around her.
Pomni is ultimately what throws a wrench into this plan. To Jax's absolute shock, she sees everything, all the shit she's done, and still loves her anyway. Jax claims she's no longer deserving of love, that she hurt too many people, that she did this to her self, that it's too late to her. But Pomni's love isn't about whether Jax deserves it, it's about showing her that there's a point to being kind to others. That being loved was always a possibility had she not done the things she did.
It's only upon realizing this that Jax starts to regret the things she's done, that she cries out that she doesn't want to go. She realizes there's a purpose to repairing the damage done and working to become a better person instead of just killing herself and being done with it. But this version of Jax asphyxiates to the role she thought she couldn't escape from. She was less than one minute old.
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the fact that people are in the odyssey tags criticising the nolan movie for its changes to the original myth (valid) only to then turn around and recommend epic: the musical of all things as a “more accurate” alternative is hysterical like please. let’s be serious now
i was training a young person at work, and she referred to sexual assault as "SA" out loud, and i immediately was like, "no, it's sexual assault, call it what it is," bc idgaf if the algorithm overlords have taught y'all that you should fear direct language, how tf do any of you expect to ever address real issues with any amount of seriousness if you can't even say the words? imagine an advocate looking a sexual assault survivor in the eyes and asking "did he grape you?" it's absolutely fucking absurd, but these young interns and new hires are coming into an environment where we deal with survivors of all different kinds of abuse, and they're coming with the mindset that the words are as bad as the actions, and that makes them shitty at the job and look juvenile af
i HATE self-censorship for a lot of reasons, but being in crisis work makes it even more frustrating. who are you censoring for? like i am being so fr, WHO are you censoring for? have you even thought it through? people who have been raped know that they have been raped. if someone attempts suicide or is grieving someone who did, saying "sewer slide" isn't going to protect them from any of the feelings. a murder victim's family isn't going to feel better bc you said "unalived" instead of murdered. if anything, it's just extremely invalidating and othering. it's saying "what happened to you is so bad that i won't even say the word," which is NOT trauma-informed care. you are not protecting survivors/victims when you self-censor. the ONLY things you protect when you self-censor are the puritanical ideologies that are being encouraged by rich fascists who want your money and obedience
say the fucking words, guys. just say the goddamn words before i go insane!!!
Shout out to all the Black ppl that can no longer participate directly in the fandom they love because of the stresses of racism 👍🏾 you contain multitudes of value and I'm sorry that the color of your skin and the power of your voice makes people not want to acknowledge that.
Yes, nonblack people can reblog. I'd appreciate it, in fact, if y'all took the time to vocally support your Black friends/fans in fandom.
They could never make me hate you, complex female character whose reaction to trauma was not pretty and digestible like how people think it should be.
The problem with studying the deep ocean is that humans need light to look at things, the depths of the ocean are extremely dark, and what lives there is accustomed to spending most of its time in that darkness. So when we go down there with submersibles and turn on Big Lights to see, we invariably and dramatically alter what's going on, in the same way that it's generally difficult to observe the natural behaviors of terrestrial animals if you whip out a megaphone and shout HEY GUYS WHAT ARE YOU DOING at them first.
A humble snubnose eelpout on its way to the whale fall buffet when some nearby humans give it a quick, unintrusive study:
I put this in the comments but feel it needs a reblog- Check out some of Dr Edith Widder’s work on light in the deep sea! Among other things, she used the bioluminescence of stoplight fish to deduce wavelengths which most deep sea animals can’t perceive and used that to create light filters to be able to film with minimal disturbance! And that’s how we got 25 minutes of giant squid footage!!!!