pride month!!!
Is that a miette?
Pride for you! Pride for a thousand years!!
you COME OUT to miette? you come out to her as queer? oh! oh! pride for mother! pride for mother for One Thousand Years!!!!

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@whateverthought
pride month!!!
Is that a miette?
Pride for you! Pride for a thousand years!!
you COME OUT to miette? you come out to her as queer? oh! oh! pride for mother! pride for mother for One Thousand Years!!!!
When Tess Morgan's son came home with a tattoo, she was griefstricken. She knew her reaction was OTT (he's 21) but it signalled a change in their relationship
This is gold this, absolute gold, the most over the top melodramatic hysterical ridiculous thing I’ve ever read
This is actually so interesting to read- it’s from 2012 but its full of the same anxieties, even some of the same phrasing that many of the guardian’s later pieces on transness use. really hammers home how much of the terfism that emerged in the late 10s was middle class mothers angry at a loss of control over their adult children- whether that be their bodies or their friends or their opinions- and making that everyone’s problem because they have the power to do so
He says, “I’m still the same person.”
I look at him, sitting there, my 21-year-old son. I feel I’m being interviewed for a job I don’t even want. I say, “But you’re not. You’re different. I will never look at you in the same way again. It’s a visceral feeling. Maybe because I’m your mother. All those years of looking after your body – taking you to the dentist and making you drink milk and worrying about green leafy vegetables and sunscreen and cancer from mobile phones. And then you let some stranger inject ink under your skin. To me, it seems like self-mutilation. If you’d lost your arm in a car accident, I would have understood. I would have done everything to make you feel better. But this – this is desecration. And I hate it.”
Also just the classism of her associating tattoos with “vest tops, dogs on chains, broken beer glasses”; like, just say you hate poor people
I laughed so fucking hard at this
A 50-kilogram anvil floats perfectly on the surface of mercury, because the density of the steel from which it is made is almost half the density of mercury.
damn that shit is light lmfao
Fun fact! Many lighthouses with especially large fresnel lenses would have huge fucking tubs of liquid mercury in the lantern room because it’s a super easy way to make these giant lenses rotate quickly!
Shockingly, however, spending most of your time in close proximity to 500 pounds of liquid mercury is Not Great For One’s Health and tons of lighthouse keepers started to go crazy from the whole. Mercury poisoning thing. Hence why there are a lot of “haunted” lighthouses or wickies that lose it and maybe do a bit of manslaughter.
Anyway, people saw a bunch of lighthouse keepers go crazy and get sick and got empirical evidence that it was in fact related to the 500 pound mercury bath they have to visit every day and then they decided nah it’s fine actually. So we’ve kept the liquid mercury thing and I think that’s beautiful
I love how it is so dense it does not "wet" the anvil, the drops all run and leave with nothing behind them unlike water, oil, sauce... it's super satisfying it's like in cartoons
In a letter written on April 19, 1825, Augustin Fresnel proposed the use of mercury to reduce the friction in revolving lenses. His statement follows: “I propose to float our rotating devices, of the first order, in a bath of mercury, instead of placing them on rollers. This project won't present many difficulties; nevertheless, as I have not put it into execution, I won't require you to adopt it for your first lighthouse.”
Fresnel’s plan for mercury flotation was not put into practice until 1890 when Monsieur Leon Bourdelles, Chief Engineer of the French Lighthouse Service, designed and built a workable mercury flotation system. The mercury bath allowed the lens to operate in an almost frictionless environment and, additionally, allowed the speed of rotation to be dramatically increased.
Lens Rotation by Thomas Tag | United States Lighthouse Society
Ah to be a sailor in 1890 who has to turn to his fellow men and ask "is it just me or are the lighthouses flashing faster?"
They had been slowly getting faster for decades.
It mattered for optics reasons.
Under less-than-ideal conditions, you can only see the beam when it’s pointed more or less directly at you. In-between beams you would not be able to see anything. One solution to this was to create multiple beams, and the lenses Mr Fresnel designed usually created 8 beams. But, even still, duration between flashes could be as long as one minute in the old mechanical roller systems.
The nearly frictionless operation of the Mercury suspension system allowed the lenses (large pieces of precisely ground glass weighing several hundred pounds in some cases) to rotate fast enough that they could be redesigned to create fewer (usually 3) beams. Fewer beams from a similar light source will be proportionally brighter, and the gains in speed were sufficient that duration between flashes could still be reduced to as little as 10 seconds.
This was a big upgrade. It didn’t just make the lighthouse signal faster, it allowed them to completely overhaul the lens and derive more visibility from a light source.
What’s a little Madness, in the face of Progress?
mods are asleep, post the fresnel lens
The mercury baths are slowly being replaced by a new system, this video about it is super interesting and explains it way better than I can!
Pray For Me
Nothings Wrong I Just Want More Power
I am always thinking about every line of dialogue in the first 50 seconds of Garth Marenghi's Darkplace.
HELLO?
Darkplace is a key example of how in order to truly master making art that is "deliberately bad" you need to have a thorough understanding of what the medium considers the rules for "good form" so that you can than break every single rule.
this show is the prime example of "on a true or false test, 100% and 0% both require you to know all the answers"
For what it’s worth, Garth Marenghi’s books are to bad writing what the show is to bad TV. Please read them.
Happy pride everyone! 2 cocks, 1 corn!!!
all RIGHT:
Why You're Writing Medieval (and Medieval-Coded) Women Wrong: A RANT
(Or, For the Love of God, People, Stop Pretending Victorian Style Gender Roles Applied to All of History)
This is a problem I see alllll over the place - I'll be reading a medieval-coded book and the women will be told they aren't allowed to fight or learn or work, that they are only supposed to get married, keep house and have babies, &c &c.
If I point this out ppl will be like "yes but there was misogyny back then! women were treated terribly!" and OK. Stop right there.
By & large, what we as a culture think of as misogyny & patriarchy is the expression prevalent in Victorian times - not medieval. (And NO, this is not me blaming Victorians for their theme park version of "medieval history". This is me blaming 21st century people for being ignorant & refusing to do their homework).
Yes, there was misogyny in medieval times, but 1) in many ways it was actually markedly less severe than Victorian misogyny, tyvm - and 2) it was of a quite different type. (Disclaimer: I am speaking specifically of Frankish, Western European medieval women rather than those in other parts of the world. This applies to a lesser extent in Byzantium and I am still learning about women in the medieval Islamic world.)
So, here are the 2 vital things to remember about women when writing medieval or medieval-coded societies
FIRST. Where in Victorian times the primary axes of prejudice were gender and race - so that a male labourer had more rights than a female of the higher classes, and a middle class white man would be treated with more respect than an African or Indian dignitary - In medieval times, the primary axis of prejudice was, overwhelmingly, class. Thus, Frankish crusader knights arguably felt more solidarity with their Muslim opponents of knightly status, than they did their own peasants. Faith and age were also medieval axes of prejudice - children and young people were exploited ruthlessly, sent into war or marriage at 15 (boys) or 12 (girls). Gender was less important.
What this meant was that a medieval woman could expect - indeed demand - to be treated more or less the same way the men of her class were. Where no ancient legal obstacle existed, such as Salic law, a king's daughter could and did expect to rule, even after marriage.
Women of the knightly class could & did arm & fight - something that required a MASSIVE outlay of money, which was obviously at their discretion & disposal. See: Sichelgaita, Isabel de Conches, the unnamed women fighting in armour as knights during the Third Crusade, as recorded by Muslim chroniclers.
Tolkien's Eowyn is a great example of this medieval attitude to class trumping race: complaining that she's being told not to fight, she stresses her class: "I am of the house of Eorl & not a serving woman". She claims her rights, not as a woman, but as a member of the warrior class and the ruling family. Similarly in Renaissance Venice a doge protested the practice which saw 80% of noble women locked into convents for life: if these had been men they would have been "born to command & govern the world". Their class ought to have exempted them from discrimination on the basis of sex.
So, tip #1 for writing medieval women: remember that their class always outweighed their gender. They might be subordinate to the men within their own class, but not to those below.
SECOND. Whereas Victorians saw women's highest calling as marriage & children - the "angel in the house" ennobling & improving their men on a spiritual but rarely practical level - Medievals by contrast prized virginity/celibacy above marriage, seeing it as a way for women to transcend their sex. Often as nuns, saints, mystics; sometimes as warriors, queens, & ladies; always as businesswomen & merchants, women could & did forge their own paths in life
When Elizabeth I claimed to have "the heart & stomach of a king" & adopted the persona of the virgin queen, this was the norm she appealed to. Women could do things; they just had to prove they were Not Like Other Girls. By Elizabeth's time things were already changing: it was the Reformation that switched the ideal to marriage, & the Enlightenment that divorced femininity from reason, aggression & public life.
For more on this topic, read Katherine Hager's article "Endowed With Manly Courage: Medieval Perceptions of Women in Combat" on women who transcended gender to occupy a liminal space as warrior/virgin/saint.
So, tip #2: remember that for medieval women, wife and mother wasn't the ideal, virgin saint was the ideal. By proving yourself "not like other girls" you could gain significant autonomy & freedom.
Finally a bonus tip: if writing about medieval women, be sure to read writing on women's issues from the time so as to understand the terms in which these women spoke about & defended their ambitions. Start with Christine de Pisan.
I learned all this doing the reading for WATCHERS OF OUTREMER, my series of historical fantasy novels set in the medieval crusader states, which were dominated by strong medieval women! Book 5, THE HOUSE OF MOURNING (forthcoming 2023) will focus, to a greater extent than any other novel I've ever yet read or written, on the experience of women during the crusades - as warriors, captives, and political leaders. I can't wait to share it with you all!
If you're writing about Byzantium/Byzantine inspired places, there's a few other things to keep in mind:
-Byzantium was a civilization that spanned a millenia and a huge geographical area. The treatment and experience of women was not constant at all times in all places.
-Women had different levels of autonomy at different periods of their lives. Many women gained great autonomy after their husband's death (and he usually died much before her), and could be registered as the head of household.
-There are basically two career options for Byzantine women: wife/mother or nun. Sometimes both, but never at the same time.
-Just as in the Latin West, class mattered a lot, and basically determined a person's entire life. Peasant women worked in agriculture and trades, while noble women had a much softer life.
-the idea that noble women were confined to the house is likely an exaggeration. (A byproduct of Byzantium's "distorting mirror") Furthermore, the women's quarters were nowhere near as closed off and restricted as the later Ottoman harems. In many places, women could move freely between their own quarters and the rest of the house. However, if a non-related male was visiting it was customary that the women would not be seen. This seems to be a mainly noble/middle class practice, and not an elite or peasant practice.
-Women played important ceremonial functions at the royal court. The Augusta (one of three titles for an empress) received the wives of visiting nobles, and was so important that, even if the emperor was unmarried, he might crown his daughter for the role. (See Leo the Wise) Additionally, there was an office reserved just for a woman, she was called "the lady with the sash" and she was placed very close to the emperor, and thus highly influential.
-Imperial women were highly influential, and could be incredibly masterful politicians.
-Women weren't forced to have endless babies until they died in childbirth. Byzantine women had access to both contraception and abortion, and there was some amount of recognition of a woman's right to choose. Furthermore, if a woman already had kids, but decided she didn't want to be a mom anymore, joining a convent was always an option. (For wealthy women)
If you're interested in learning more, the volume "Byzantine Women: Varieties of Experience," edited by Lynda Garland is a good starting point. You can also read the hymns of Kassia the Nun, or the Alexiad of Anna Komnene to get an idea of how women wrote, and what concerned elite women.
Excellent comments - plus, I'll recommend the great Judith Herrin as a magisterial voice in Byzantine women's history!
you just don't get shit like this with 8-episode streaming seasons
Honestly, Tvyek is pretty miraculous. It’s permeable to water vapor but not to water, it’s nearly impossible to tear, but can be easily cut. It’s cheap and made entirely without binding chemicals. In addition to being used for wristbands, it’s used to wrap construction sites to keep out water during construction, for tear-resistant envelopes at Fed-Ex, coveralls for mechanics, and my wallet, actually.
Fun tip, though it looks like paper, Tyvek is plastic, and cannot be recycled with paper.
holy fuc
I didn’t even know it had a name
Green Collar Boy voices his opinion about getting his nails trimmed. 17 Days
Tatia and Katherine both being mothers....... congrats to Elena Gilbert for beating teenage pregnancy
Ok so old AU but key points
Elena and Tyler had her pre-canon, its a girl, they aren't 'together' but their friendship gets way closer
Tyler decides to lock in for their daughter, and his dad kicked him out, his mom gives money on the down low, Tyler lives with the Gilberts
Elena isn't interested in romance, having a kid wards off Stefan but not Damon
When Elijah shows up he's struck by the similar situation, he's weird about everything
Katherine is also weird about it
Elena makes a deal that she'll die if Elijah promises to keep her daughter safe. Elijah gets even more weird about it
Tyler refuses to let her die, works with Damon, causes fighting between Elena and Tyler
When Tyler triggers his curse, Elena is there for his shift. It becomes something of a concern for their daughter, Elena locks in on werewolves
When Klaus takes Stefan and runs, Elena doesn't chase, she's trying to get Tyler in contact with any other family members
Tyler and Elena start to get closer, romance is back on the menu boys
Klaus is back and he kills Tyler, Elena is freaking out, realizes she likes Tyler
When Klaus figures out he needs Elena, he makes good on his words and takes the WHOLE FAMILY with him
We explore werewolf culture!
Elena and Klaus fight, to the point where he forces Tyler to hurt or almost hurt Elena and she realizes something is very wrong.
She spirals that he could hurt their daughter so she conspires to kill Klaus
At one point, Damon shows up and gets murdered by Tyler at Klaus' orders and he spirals at that, solidifying how serious this actually is
Elena sees the coffins while traveling and opens it to realize Elijah is in it, remembers him mentioning other siblings, other than Rebekah who's at Mystic Falls playing teenager with Stefan
She lets everyone out and using the distraction the teen family escapes back to Mystic Falls
I didn't have anything else planned, originally this was a No Romance Story, with Tyler just being the Civil Co-Parent, which it can be still. Having a kid with your childhood friend and being co-parents while your shitty dad kicks you out and her family takes you in does make an interesting but close relationship!
The idea was that Elena would be less willing to die if she had a daughter to come back to and less likely to want to be around strange men, while also fighting the loss of her teen years. And with the exploration of werewolf culture and Elijah/Klaus obsession, I wanted her to be super willing to kill them. Like no waffling, she wants them dead, active participant. Also less forgiving, this is no "Killed my Brother in front of me but he's ok so we're fine" type shit, if you threaten her daughter or anything its done.
Also everyone keeps trying to play house with her and her baby, and its super weird
Tatia and Katherine both being mothers....... congrats to Elena Gilbert for beating teenage pregnancy
How Do You Survive A Civil War When These New People Keep Tripping You Up?
Baelon Targaryen
⁂ SI who knows nothing about Fire and Blood but has watched the Game of Thrones show, born as the should have died son of Viserys and Aemma.
Born in the beginning of 105AC, sickly, his dragon egg hatched and he is obsessed. Doesn't understand the complex goings on of the court or his family, and is trying to figure out how his actions affect the Main Story. Wants to be a feminist but also doesn't want to marry his much older sister or any family, is uncomfortable with most of his family, and doesn't fully comprehend the power he has.
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Aegon Waters
⁂ SI who likes the Main Story but only knows Fire and Blood through other people, reborn as Daemon and Mysaria's son.
Born very premature in Lys, midway through 105AC, figures he's the son of a whore in Lys, a slave country and is pissed. Then he ends up being taken to Westeros and realizes his father is the Rogue Prince and is in a story he doesn't care for, is again very upset. But then he figures out his father, mother and uncle, the King, will let him do whatever and becomes a brat. Falls into the hedonism of Royals. Has no care for the War, assumes he's gonna get got in all the assassinations. Bonds with Vermithor, is insufferable about it.
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Alyssa Targaryen Royce
⁂ SI who is a big fan of all asoiaf, born as Daemon and Rhea's daughter.
Born toward the end of 105AC, realized where she was and decided she wanted nothing to do with the civil war or the crown; she only wants to focus on her House Seat and doesn't care which fuckass royal ends up on the Throne. Had no plans or interest in her father, dragons or House Targaryen. Refers to herself as Royce instead of Targaryen because she's her mother's heir. Ends up visiting Dragonstone and accidentally bonding with Grey Ghost. Now everyone is looking to her as a player in the game and she didn't even want to rise up to House Arryn's Call to Banners!
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Tenative Idea!
Its so easy to forget to look at the time and then remember I HAVE WORK TOMORROW!!!