let's all go out and buy pink refreshing citrusy fruity sexually arousing drinks
Aqua Utopia|海の底で記憶を紡ぐ
Doug Jones
Claire Keane

tannertan36
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Cosmic Funnies

oozey mess
Xuebing Du
Fai_Ryy
Cosimo Galluzzi
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Monterey Bay Aquarium

Andulka
🩵 avery cochrane 🩵

roma★
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PUT YOUR BEARD IN MY MOUTH

Origami Around

Jar Jar Binks Fan Club
The Bowery Presents

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@megdanger
let's all go out and buy pink refreshing citrusy fruity sexually arousing drinks
I will. I WILL!!
whitebaby you can literally just say ass. whitebaby just say "this" instead of butchering aave. whitebaby. whitebaby stop
1, 2
Run don't walk to HomeGoods before the Frankenstein's monster gay marriage selfcest pillow sells out
Legalizing copyright infringement would be dismantling one of the few limitations on the white urge to steal from Black Art and Black Artists. The practical application of it would be anti-Black as fuck
this argument makes so many assumptions that I disagree with that I don't know where to start
damn asker, that's crazy and would suck. good thing we have robust IP law in the United States to prevent theft from Black artists
now to take a big sip of coffee and look up who owns Tupac Shakur's likeness
Steven Spielberg has received criticism for buying the film rights to MLK's speeches, and further controversy stems from King's estate.
In 2009, Steven Spielberg's DreamWorks company paid the estate for film rights to King's words, along with his life rights, which allow a person or company to make content based on an individual's story. DreamWorks has yet to produce or direct Spielberg's planned King biopic, but the rights have caused complications for numerous filmmakers. (Neither Spielberg's literary agent nor King's estate returned Broadly's request for comment.)
King has received only one major biopic, 2014's Selma, directed by Ava DuVernay […] Instead of using King's speeches, DuVernay wrote original monologues that sounded like soliloquies the civil rights leader could have given. […] When asked about the changes in 2014, DuVernay told the Washington Post, "We knew those rights are already gone. They're with Spielberg."
maybe the reason people are always “drug seeking” for stimulants is because even with an established prescription and years long standard of care, prescribers dont ever FUCKING REFILL PRESCRIPTIONS ON TIME so we have to hound them over and over again to do the bare minimum (send a refill to the pharmacy every 30 days) have you fucking thought about that. literally fuck you
You don't have to grieve alone.
Can A Fat Greasy Hag Like Me Get An Amen ?
Can A Fat Greasy Hag Like Me Get An Omen ?
Fish-shaped interlocking paving stones.
David Umemoto.
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.
If THE modern translator of the OG Odyssey text wrote this about my film adaptation I’d kill myself
Emily Wilson you’re goated
She absolutely destroyed Nolan in this review O_O
"Without a tub of wax for my ears – which Himesh Patel’s ever anxious Eurylochus, Odysseus’s doomed right-hand man, uses to sail safely past the Sirens – I was exposed to the full din of thumping sticks, staffs, swords and clashing armour, thunderbolts, crashing waves, grunts, screams, toppling palaces and burning temples. But unlike Matt Damon, the wax-free Odysseus who is tied to the mast as he is conveyed past the Sirens (naked ladies reclining on some uncomfortable-looking rocks), I gazed at the shipwrecks and bloodbaths without any agony of emotion."
and
"There are more female characters than in most Nolan movies, thanks to the source material. But none of them has much to say, in contrast to the characterisations in the poem."
Well, that tracks for a Nolan film -
"The couple have no chemistry and nothing in common. Throughout his wanderings, the uxorious Odysseus clings to a little doll figure, intended to represent his wife (like the spinning top clutched by Leonardo di Caprio in Inception); the real woman is barely more interesting."
Yikes -
"If you’re not going to compose a script in Homeric Greek, or even in metrical English verse, you might as well use something like conversational American English. But writing dialogue is not one of Nolan’s talents. The language is relentlessly expository, humourless and flat."
The lines she calls out in this section will probably make a least a couple of my friends laugh incredulously -
"I was humbled to learn that Nolan has read at least the first line of my translation of The Odyssey into iambic pentameter. In at least one interview, he cited my version of the first line of the poem: ‘Tell me about a complicated man.’ But I would be ashamed to have written any part of this script."
....oh my GOD, EMILY -
"The most troubling ethical problem with Nolan’s Odyssey concerns the decision to film part of the movie in the occupied territory of Western Sahara, thus normalising the ongoing violence against the indigenous Sahrawi people. It is particularly galling that Nolan used this land simply as a visually striking backdrop for a film that centres, aggrandises and redeems the hero of a territorial war on account of his belated and partial acknowledgment of his own guilt."
And deepest respect that she didn't fail to mention the film's colonialism in production. You can tell she added the very last paragraph saying "'thanks for maybe getting people interested in classics" only because an editor begged her to say something - anything - nice about the movie.
t shirt that just says WHATEVER YOU’RE READING INTO MY FACIAL EXPRESSIONS AND BODY LANGUAGE YOU’RE MISINTERPRETING
Imagine being Anais Mitchell and writing a song about the rhetoric of fascism so incisive and prescient that 10 years later an actual fascist would use that exact rhetoric down to the highly-specific phrasing in his presidential campaign. But also it took 10 years for the project you wrote that song for to move from living room shows to concept album to theater workshop to off-Broadway to Broadway, and its Broadway debut ended up coinciding with said fascist's successful bid for the presidency, and now it looks like your song that you wrote in 2005 is a super unsubtle reference to that one particular and highly-topical politician.
Frankly if I were her I would have started killing.