I just really wanted to draw some scrungly Tooths.
RMH
Today's Document
let's talk about Bridgerton tea, my ask is open
Cosimo Galluzzi
The Stonewall Inn
hello vonnie
todays bird
Fai_Ryy
EXPECTATIONS
Monterey Bay Aquarium
untitled
Sade Olutola
YOU ARE THE REASON
One Nice Bug Per Day
tumblr dot com

bliss lane
No title available
Noah Kahan
d e v o n
he wasn't even looking at me and he found me
seen from Portugal

seen from Germany
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seen from United States

seen from Latvia
seen from Israel

seen from Malaysia

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seen from Türkiye
seen from Türkiye
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@marsdetective
I just really wanted to draw some scrungly Tooths.
Greater Roadrunner (Geococcyx californianus), chick (fledgling), family Cuculidae, order Cuculiformes, Arizona, USA
photograph by Mark Koster
network effect.png
Photo of the Day: elderly African elephants in the sun
The Animal Photo Reference Repository is an independent, permanently open-access project and funded entirely by donations. Artists creating derivative or transformative works (without AI) have blanket permission to use all photos in the repository as references.
**Patreon** -- **Ko-Fi**
Candyman (1992) dir. Bernard Rose
VHS — permanent marker on paper, 23 × 30 inches, 2010
Website — Instagram
Dead Wife Club
the best thing a character can be is a cringefail lesbian with zero game and a fuckass style
Mama’s here!!
I’m gay so obviously a Leyendecker inspired piece was bound to happen
Candyman (1992)
this wolf 359 relisten has got me posting fanart for the first time in years; here is a lovelace as a little treat!!!
very loosely inspired by this drawing
Menswear Menagerie
Clothes I'm wearing this summer
@justcakethanks I know you're "drowning in these" buuut... such an inspo 😂 (along with some "engineer English" from multinational workplace)
superbat love square inspired by #that post by the supah cool @y3np3ws
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.