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@antigone-ks
The Master of all Lists

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indira varma for le mile magazine, january 2026.
Wait is jerking it to fanfic like? Widely accepted?
critically acclaimed even
#artists
Edited for all my writer friends out there
prev dont leave this in the tags
Literally the definition of imperialism and classism. Doesnât matter how many peasants you sacrifice as long as the most powerful piece is left standing
Proximity of bishops to the rulers promotes theocratic oppression
the horse is so fuckable

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In Fair and Distant Lands
(Book Three: Mistress MacKenzie; Chapter Three: These Are the Days; 3: Multitudes)
Previous
Book Three; Chapter 3.3: Multitudes
I hope they made it out to Loch a'Bhraoin, Leah thought, hearing the sleet crack against the window of her drawing room. It canât be more than forty or fifty miles, if that; they could probably drive it in an hour, if they had trucks. And paved roads. And gasoline.
Dame mĂĄs gasolina.
Leah cleared her throat and bit her lip.
Stop acting foolish, and wish them a helicopter while youâre at it. Or a grocery store.
Some Reflections on the USA's 250th
I'm working on my second book right now, about the ~18,000 German, Austrian, and Polish Jews who fled to Shanghai between ~1938 and 1941, and who stayed there until ~1946-1950.
I'm working heavily with memoirs written by people who spent the war years in Shanghai, and as I reach the end of each one, the writer and their families are trying to figure out where to move next after they discern that the Shanghai of the future wouldn't be overly friendly to foreigners (which, some of them recognized, made perfect sense).
They weighed their options. Only the very old wished to return to Germany, Austria, and Poland. Many regretted it once they did. Some went to Israel after it declared statehood. Many more expressed that they didn't want to move to another war zone where life may be even harder than it was in Shanghai.
Some of them spent a few years in Australia, and then relocated to the USA.
Throughout these sources, Jewish refugees and Displaced Persons speak of America as though it is their destiny; their fate. They believed that they would eventually make it to America, regardless of the Paper Walls situation of the late 1930s.
Throughout the war they prayed for a US victory. When American planes reached Shanghai, they cheered the bombers even when the "Designated Area" in which they lived took a direct hit. They mourned President Roosevelt, and when they finally made it to America, they felt free.
They felt safe. They felt as though they were staring boundless opportunity in the eye after spending so long in (metaphorical) chains.
There's an episode of Derry Girls where President Clinton traveled to Derry to make a speech about the NI Peace Process. I remember in that episode, the symbolic value of the POTUS traveling to Northern Ireland. The way it gave everyone so much hope. That episode makes me so sad to rewatch.
The USA was a symbol of hope for those characters, their experiences based on the lived experiences of series creator Lisa McGee.
In many ways, for many millions of people, that version of America never existed. My grandmother and her parents were Holocaust refugees had successfully fled to the USA. Shortly upon their arrival they took a road trip through the American South. My grandmother was so horrified by the way she saw black Americans being treated that she never traveled south of the Mason-Dixon Line again.
Even as black soldiers were fighting against White Supremacy in Europe, they were forced to do so in segregated troops. And in late 1940s/early 1950s America, no black, Hispanic, or Asian Americans were sailing into San Francisco with wide optimistic tear-blurred eyes. That America wasn't real. America was a place of violence, unfreedom, lack of agency, violence, and rejection. In many ways it still is.
And for some of the Jewish refugees, it wasn't real. For Americans in the 90s, that symbolic sense of trust that President Clinton bought with him to NI wasn't real. It was the product of nearly a century of hard and soft power building on a global level.
But it could have been real. It could be real.
I was chatting with Bestie about how, as disgusted as we are by the last quarter century of US domestic politics, there is still a little part of us that feels a sense of discomfort, of insecurity when we read about other countries surpassing the USA in some metric or another. Because nationalist socialization, but also, in our hearts, we see this country's potential. We see everything it could be and could have been and might still be if we change course.
I'm sad. I'm sad, watching women of my mother's generation protest over rights and issues they thought they'd already won. I'm sad seeing fascist rhetoric and behavior come from the highest levels of government. I'm sad, seeing how many American elites are bending the knee to said fascism. I'm desperately sad to see how eagerly the US right and left have refashioned anti-Semitism to fit the purposes of the mid-2020s. I'm sad, seeing the hope and progressivism of the Obama Era turn into something old-fashioned and "cringe." I'm sad, seeing how deeply my people dreamed of coming here, only for me to be quietly looking into emigration options two generations later.
I hope maybe we can one day be that country that Jewish refugees dreamed of; that country which carried so with it so much promise of peace and egalitarianism and, the strong notion that grown ups are in charge. We never were that country. I used to have hope we could be that country. I still hope for a course reversal.
So....Happy Birthday America. Sorry your party and the Party Planning Committee are so lame.
Caught myself spiraling and then remembered it's just my body not wanting to exist in these temperatures
The Lazy Italian Girl (1757) by Jean Baptiste Greuze
god, you take a five minute break and some asshole paints a picture
I bet Jean Baptiste wasn't helping with the washing up or doing the laundry
#don't get fucking started on fucking greuze
No, please do get fucking started. I'm settling in with popcorn :)
Oh I'LL get fucking started on fucking Greuze
Friends when I tell you the rabbit hole this sent me down-
Most of the notes on this one are some version of "hashtag me when I" and "just like me frfr", but I wondered: was that the artist's intent? Was she supposed to resonate so strongly with anyone who was ever Completely Fucking Done before they'd even gotten their second shoe on? What's the context here? Who the fuck is the guy who painted this?
So here's the fuck guy who painted this:
Jean-Baptiste Greuze (hilariously pronounced GROOZE) was pretty popular in his day, although he was always salty that nobody ever took him as seriously as he wanted. He lived to the then-incredible age of 80, but you'll be glad to hear he died in penniless obscurity.
At least, you will be when you learn more about him.
He was born to a poor roofer and climbed the ranks quickly in artistic circles, but even his fans described him as "a difficult and complicated man", which is generally what you call a man when they're a total piece of shit but they have talent. He wanted to be recognized as a historical painter, but the best he could land was genre painter, which he threw countless tantrums over. His marriage was described as "unsuccessful", which was usually the euphemistic term for "she left his abusive ass", but I can't find any more info than that.
He was in his 60s for the French Revolution, but at the height of his career he was one of Roccoco's big boys. If you don't know Roccoco art, yes you do:
It was ostensibly all about light, fluffy fun. Zaftig girlies frolicking with their tits out in lush pastoral gardens. They appealed to royal tastes, because they had to, because the rich were the only people who could pay for shit.
But in spite of their lightweight reputation, they weren't devoid of meaning. Look again at The Swing by Fragonard - the girl on the swing is chucking her gams way to high to be ladylike or even safe; the foppish dandy has no other ambitions in life but to get a little peekaboo under her ludicrous skirts; the servent laughing at them from the shadows is being ignored by both of the useless morons he's attending - but the composition, and by extension this whole world, would collapse without him. The garden is beautiful, but artificially cultivated - a shallow stage full of looming shadows, depicting a precarious fleeting moment of oblivious decadence.
Fragonard is Saying Something here. The brilliance of Rococo art is that it gets through the palace gates with pleasant and colorful aesthetics, then spikes the champagne with some food for thought.
And Greuze thought "that's much too clever and subtle. What if these paintings were 100% less fun."
You don't even have to understand the ancient symbolism of a broken pitcher to look at her rumpled clothes and traumatized thousand-yard stare and immediately pick up on what's clearly just happened. But it seems like Greuze's message wasn't "it's terrible that our society doesn't protect vulnerable young girls or hold those who hurt them accountable"; apparently it was "this was her fault".
Here's another crowd-pleaser, The Dead Canary:
Upon its presentation, The AcadĂŠmie de France was evidently quoted as saying "Holy shit dude. What the fuck. Can you just chill for a single goddamn second. Shit. Fuck."
The only thing I'll say in his defense is that he lived through a very tumultuous time in France - in his lifetime, he saw the rise of The Enlightenment and the bloody breakdown of monarchy, which was a real one-two gut punch to the once immutable pillars of How Shit Works. It probably seemed very likely that the whole world order was in danger of falling apart. So most of his work has some Improving Moral Allegory, which wasn't uncommon at the time.
Unfortunately, that moral was usually "women are stupid filthy harlots and you should never ever fuck them no matter how much they want you to. And no matter what they say, they want you to."
After I did lots and lots and lots of digging - because doing actual research is practically fucking impossible in this age of AI - I finally discovered that Lazy Italian Woman was originally called Indolence, and it was one of a total of four that Greuze painted from 1756-1757, in his early 30s, while farting around in Italy on some student visa. (So the subject might be Italian due to racist stereotypes that persist today, or just because he was in Italy. Or both!)
The set of four paintings are Broken Eggs, The Neapolitan Gesture, Indolence or The Lazy Italian Woman, and The Bird-Catcher Tuning His Guitar after the Return from a Hunt. Each one is really dense, but let's just quickly touch on each one.
Broken Eggs is, oddly enough, probably the most straightforward of the set. The matron of the house is scolding the young man (who's awkwardly trying to wrestle on his coat and hat, presumably to beat cheeks out of there) for carelessly "breaking" the housemaid's "eggs", possibly violently. She cries on the floor, clearly ruined forever, while a classic Roccoco Allegory Baby tries unsuccessfully to put the eggs back together. But he can't. Because some things can't be unbroken, you see.
The Neapolitan Gesture was probably easy to read in its time, but it's a little less clear now. From left to right, we have
Merchant/suitor with a tray of wares, who seems to have just been sent packing and does not look happy about it;
Mom, who is looking at us with the same long-suffering look moms have had forever;
Buxom lass who seems to have given him the boot, though she seems to be regretting it already;
And some more Allegory Babies staring straight at us while clinging to a dog, which usually symbolises faithfulness. I can't tell who the dog is barking at, but he's not happy either.
What the fuck is happening here? I'm honestly not sure. In its time it was probably glaringly obvious what all the symbols meant - in the same way that modern political cartoons can use a red baseball hat or an orange with a long red tie and we know exactly what they're talking about - but a lot has gotten lost in translation since then. Was he actually a wealthy guy slumming it, or was he running some kind of scam? Did he have good or bad intentions? Is the mom helping shove him off or lamenting his departure? Is the girl protecting her virtue or making a mistake that will haunt her and her Allegory Babies forever?
I have no idea.
Third, we have Indolence, which for all its clutter is probably the simplest composition of the four. People in the notes have pointed out from her swollen feet and breasts that she's probably pregnant or just post-partum, and she's just a fucking mess. Everything is a fucking mess. In spite of her wedding ring, this woman clearly let the wrong merchant break her eggs.
And finally, in stark contrast to the other three, we have The Bird-Catcher Tuning His Guitar after the Return from a Hunt. "Bird hunting" was slang at the time that meant... well, pretty much what it still means now, and you can guess what all the dead doves on the table represent. It's the most famous of the set, and possibly the most famous he ever painted:
It's sometimes just called The Guitarist, because "cool as hell badass baller who just got done pounding down on a bunch of stupid bitches, and is preparing to gather his second wind so he can go out and seduce a bunch more stupid bitches, because he fucking rules" takes too long.
And ok, maaaaybe he's also meant to be a cautionary tale, but look at him. He's awesome. Who wouldn't want to be this guy? The Allegory Babies are conspicuous in their absence on this one, because that's not something men have to worry about. There's no regret, no consequences, no Bad Ending for this guy. All he has to worry about is getting enough sleep in between his many, many conquests.
So I guess the final question is, exactly how much did Greuze hate women? Because the baseline for his time was "quite a lot actually", but how much did he go above and beyond that? Was he just as disdainful of society's treatment of women as he was of the women themselves? How much of Indolence is sympathetic, and how much is just mockery?
After all my research, I still don't know. What do you think?
This is genuinely fascinating, and I thank you so much for your service to art history
The Lazy Italian Girl (1757) by Jean Baptiste Greuze
god, you take a five minute break and some asshole paints a picture
I bet Jean Baptiste wasn't helping with the washing up or doing the laundry
#don't get fucking started on fucking greuze
No, please do get fucking started. I'm settling in with popcorn :)

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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 itâs 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 Oneâs Health and tons of lighthouse keepers started to go crazy from the whole. Mercury poisoning thing. Hence why there are a lot of âhauntedâ 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 itâs fine actually. So weâve kept the liquid mercury thing and I think thatâs 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: âI 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.â
Fresnelâs 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 itâs 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 didnât just make the lighthouse signal faster, it allowed them to completely overhaul the lens and derive more visibility from a light source.
Whatâs a little Madness, in the face of Progress?
mods are asleep, post the fresnel lens
⌠Fresnel's Wonderful Concentrator is a spell in The Colour of Magic that produces a large lense used to cross bodies of water.
god FUCKING DAMNIT PTerry
THE SHEEP DETECTIVES (2026) dir. Kyle Balda
If I ask nicely will people reblog this and tell me what their most common breakfast is? Not your favorite necessarily, just what you have for breakfast most frequently? đđ˝
In Fair and Distant Lands
(Book Three: Mistress MacKenzie; Chapter Three: These Are the Days; 2: MĂŹlseachd)
Previous
Book Three, Chapter 3.2: MĂŹlseachd
Leah squinted at her embroidery frame in the flickering light of her bedchamberâs fire and stabbed at it with more force than was strictly necessary. The girls had been awfully amused to learn that their stepmother had no more skill with a needle than required to baste a hem â and badly, at that â and Margaret had offered to teach her. Eleanor, for her part, had given Leah one of her embroidery hoops (no great loss to her â sheâd rather go out walking the hills, if she could find another girl to go with her, or wander down to watch the falconer train his birds). Leah, who felt she could go her entire life without wasting her remaining eyesight on tiny stitches, had accepted with an outward smile and only minimal internal grumbling, and kept practicing, dammit.
Theyâre trying, so Iâm trying. Weâre all trying. And it makes them giggle to see how bad I am at it, so thatâs worth something.
Non cooking spray stick
Non spray stick cooking
Non cooking stick spray
yeah okay ill reblog that

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if your main position is "i don't know how you people can support harm reduction. as for me, i'm for harm abolition. no i don't have a plan. no actually i mostly just bitch at people advocating for harm reduction as a way of making myself look pure" your opinions on political strategy are irrelevant and you yourself are beneath contempt you need to examine your beliefs, your need to feel righteous, your actual impact on the world, and how you can go about making an impact that aligns with your beliefs.
If you really believe harm is bad, and eliminating harm is a worthy goal, you have to start with small steps: eliminate a small harm, not all harms all at once. Reduce a great harm a little, perhaps by helping one individual impacted by that harm, and then another individual, and another... You cannot tackle all harm at once; you must take smaller bites. Set this reality against your need to feel right & correct & pure & perfect. Reducing some harm instead of all harm is not failure! You are not a failure! You may fail now and again, but failing once or twice or ten thousand times doesn't change the fact that you can still try again and succeed! You are not a failure even when you fail to reach your impossible goal of perfection.
You may not be able to complete the work of eliminating harm. But you can do your part to work toward that goal, reducing harm where you can. Your work layered with all the work of everyone who came before you, everyone who works beside you, and everyone who picks up the work when you set it down--all this work layered into making things besmal--that's a goal both possible and worth fighting for.
In Fair and Distant Lands
(Book Three: Mistress MacKenzie; Chapter Three: These Are the Days; 1: Queens)
Previous
Book Three, Chapter Three: These Are the Days
Part 1: Queens
Itâs autonomy, Leah thought, her hand tightening around the little pouch of coins in her pocket as Gealach jolted down the road. Or as close as you can get to it here.
Bitch, he gave you an allowance. You handled the budget for a whole university department, and this trifling-ass man gave you a little bag of nickels.