“Where are the trans men in history?” See. When you're born a gender that was forcefully married off, who had to live most of their life indoors, when you had to raise children, and had a lobotomy if your family thought you were a tad too odd, it's kinda hard to come out as a trans man now ain't it.
[Image ID: Tumblr tags reading: I have an ancestor who 'pretended to be a man' for years, according to my relatives he did so in order to go to school to become a doctor, and he was eventually found out and wed off to a man and had a family, and forever would be revered for being able to get a degree 'posing as a man', but apparently even after marriage he still dressed in men's clothes and preferred to be seen as a man, forever my lineage would use his wrong pronouns but not me, I see him and I hope he smiles upon me knowing I am living a life he would have dreamed just getting to be a trans man, without being forcefully wed off and forced to have children for the sin of being born with a vagina, such is history with trans mascs, I once saw someone online say:, 'if history has a gaping hole where a minority should be, it's not because they did not exist/did not contribute, it's because they were erased', and I think about that a lot when I see stories like my ancestors knowing that our history has constantly been defiled, just like this /End ID]
Billionaire crypto-executive Rutash controls everything—his monopoly, his image, his life. But when meticulous, fascinating, female FCA accountant Biano is called in to audit his sprawling fortune, he discovers a ferengi who he cannot afford… or so she thinks.
Rutash is used to people falling in line, but Biano’s sharp mind and strange independence ignite a dangerous curiosity in him. He starts testing her limits with subtle bribes—illicit luxury clothes, secret allowances, whispered promises of indulgence—but each offer is a challenge, a dare. With every temptation, the game intensifies: will she uphold her integrity, or will she raise the stakes even higher?
As the audit dives deeper, the lines between money and desire blur. Every ledger, every transaction, every bribe becomes a pulse-quickening act of dominance and submission. Biano finds herself drawn to Rutash’s wealth, his power, and the intoxicating control he wields—learning that sometimes pleasure comes at a price, and sometimes the cost is more than she ever hoped.
In a world ruled by profit, bribery is seduction, and temptation is irresistible. The ultimate question looms: who truly controls whom, and what will they sacrifice when lust and power collide?
Featured here from Girls Monthly, both the original illustration and the publication cover with ads.
alright I've got to do some quick math to explain attitudes towards AI to my boss.
we're looking to create an AI policy, and when we were talking about this, my boss (older millennial) was genuinely shocked to hear that younger people do not (seem) to view AI positively (a la the recent commencement speakers being booed)
please rb for larger sample size!
Question 1/3
What is your age, and do you feel AI is a net positive or net negative in our lives today?
From the Nashville Zoo’s fb page! Here’s the petition, please please please take a moment to add your name (even if you’re not from Nashville!). If you are from Tennessee, contact your representatives and make it clear that the people do not want this data center. This is an AZA accredited zoo which is home to several species of critically endangered animals, we NEED to protect it. Make your voice heard!
some of you need to understand that people from the global south criticizing imperialism and the problems they suffer from as consequences of it's existence isn't invalidating the struggles marginalized communities in the imperial core have to go through
pointing out that citizens of the imperial core have privileges that come as a direct result of the oppression of the third world isn't denying that those same citizens can also be victims of the imperial core. these ideas can and do coexist
actually why is it so hard for all of you to understand this cause it's a very simple concept. it's literally just intersectionality. we say "gay men are prejudiced for being gay but still have privilege due to being men" and no one bats an eye but if you point out "hey even if you're marginalized in the US that still doesn't take away from the fact you benefit from imperialism just by virtue of living there" and suddenly all fucking hell breaks loose
If you EVER think Anthony Head is anything less than an angel then you’d best remember that I have always been a huge fan of his and we’ve always had a little contact over the years and he heard I’d come out as Trans and was having a hard time and that I was kind of sad that the photos I had from conventions with him were of me with long hair and no binder and they were all signed to “Sarah” and so he invited me to spend the day with him at his farm and he picked me up from the station and we just hung out and had lunch and he insisted on paying and took loads of photos and had them printed on photo paper the same day so he could sign them to Jay, along with other photos of him as Giles and Uther and he literally spent five hours chatting with me and got all of the pronoun stuff right every time and then he dropped me off at the station, gave me a final massive hug, waved me through the ticket barrier and insisted I message him when I got home so he knew I got back safe. (More HERE)
given the current climate this pride especially i feel i must mention that i love my trans friends, i stand with trans people in the fight against transphobic legislation and those who would enforce it, and this blog is not a good place for you to be if you do not vibe with that
The grimy, unpatrolled streets of Laket are a dark and dangerous place. Inspector Levok of the Ministry of Justice is one of the few men standing in the way of total anarchy.
When the industrialist and philanthropist Pravet is found brutally slain in his opulent mansion in a room locked from the inside, it is just one item too many on Levok’s docket. In a city full of drugs, gangs, theft, and mysterious disappearances, the murder stands out because of its victim’s prominence. His civilian supervisor advises him to close it quickly, but the deeper he digs, the less the case makes sense.
The wealth on display in the family's townhome doesn't match the numbers in his account books. His grieving widow is desperate to protect the family's reputation. His eldest son stands to inherit a fortune but from where? His younger daughter harbored a bitter feud against her father, while the man's ambitious brother insists his business is above reproach. The missing nephew is not mentioned at all.
Worse still, Levok's on-again, off-again lover, a streetwalker named Saraol, was with the industrialist the night he died, but despite leaving while he was still alive, Saraol confesses to the murder the moment she's brought in for questioning.
As contradictions mount and powerful interests close ranks, levok finds himself trapped between family secrets, political pressure, and a crime behind a locked door that should be impossible.
Who is Saraol protecting? Where did the eldest son’s fortune come from? What happened to the missing nephew? And most of all, how did Pravet die, and who killed him?
I'll love to read some star trek's original slash zines like it must be amazing to see who K/S have evolved over time, who it was perceived at the beginning...
This is my favorite kind of post >:) Since I was tagged, I'm going to drop some links for you! First, many thanks to @fanlore-wiki and OTW for all they do. None of this would be accessible if not for them <3
Here's a list of Ao3 links to individual authors who wrote fics in the 70s, 80s, and 90s! Names with a * are the most "iconic," aka who's works were most influential to the fandom.
April Valentine (80s)
Beverly Volker & Nancy Kippax (70s-80s)
Eileen R (70s-80s)
*Natasha Solten (80s)
Katharine Scarritt (80s)
Mary Lowe (80s)
CatalenaMara (80s)
Suzan Lovett (80s)
*Gayle Freyrer (70s-80s)
*Jenna Sinclair (80s-90s)
*Connie Faddis (70s-80s)
*Charlotte Frost (80s-90s)
Disclaimer: Most of these fics will not utilize Ao3's tagging system since they were imported from an archive, therefor you may encounter some dark themes such as noncon, major character death, etc. Formatting may also be slightly off.
More below the cut, including links to whole fanzines!
~ ~ ~ ~ ~ ~ ~ ~ ~ ~
Available on The Internet Archive:
All of Spockanalia (late 60s, one of the first)
Contact #1 (1975)
Contact #3 (1977)
Alpha Continuum (four issues, 1976-80)
As I Do Thee (two issues, late 80s)
ScoTpress's archived site has hundreds (tip: you need to press the cover of each zine to access the PDFs. They look like images, but they're links!)
There are more if you search "star trek fanzine," but the search results aren't always perfect and are constantly changing :)
Next, here are some fanlore pages I recommend if you're interested in behind-the-scenes context or just browsing a selection of awesome art. These are well known zines with many publications and dozens of contributors:
Vault of Tomorrow (gen. '81-'88)
As I do Thee 1-10 (slash, '84-'88)
As I Do Thee 11-21 (slash, '88-'94)
Naked Times 1-10 (slash, '78-'86)
Naked Times 11-20 (slash, '86-'88)
Naked Times 21-32 (slash, '88-'94)
Here is a comprehensive list of every known Star Trek slash zine, and fanlore's index of gen zines. I like the Strekzine Roster (much less overwhelming, strictly early zines) as well as fanlore's list of zines published between 1967-1970.
Lastly, here's a link to my INACTIVE tumblr blog's archive of digitally restored pages. I'm continuing that work here on my new blog :)
Have fun! My DMs are open if you have any questions!
My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.
I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.
This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.
Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.
Being gay and out was career suicide in the 90s.
Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).
Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).
I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.
It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.
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