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>in a new biome
>finally figure out the difference between sumac, walnut, and tree of heaven
>beeline for the nearest plant with pinnately compound leaves
>it's tree of heaven
>first reaction: aww fuck tree of heaven
>second reaction is to cackle maniacally
on the alberta oil sands
If you want to understand the Alberta oil sands — and everyone should, at least a little, because they are among the strangest industrial artifacts in the Western hemisphere and the standard coverage of them is almost uniformly wrong — you have to start with the fact that what's in the ground is not oil. Oil, proper oil, the stuff Saudi Arabia and Texas and the North Sea have been pumping for a century and a quarter, comes out of the ground as a liquid. You drill a hole, pressure differentials do most of the work, and what comes up is roughly pourable. This is not what's in northeastern Alberta. What's in northeastern Alberta is bitumen, which is oil that has been sitting around for a hundred million years getting its light ends biodegraded out of it by bacteria, and what's left is a substance with the consistency, at room temperature, of cold molasses or peanut butter. You cannot pump it. You cannot drill it. If you cut a chunk of oil-sand out of the formation and put it on your desk it will sit there, looking like a dark sticky brick, being the least ambitious hydrocarbon in the history of hydrocarbons.
So the entire industry is, at a physical level, a workaround for the fact that the thing they're extracting is an embarrassment to the concept of petroleum.
There are two workarounds and they both cost a lot of energy. If the deposit is close to the surface — and only about a fifth of the reserves are — you can dig it. This means you strip off the boreal forest and the peat underneath it (the "overburden," in the terminology, which is one of those words like "collateral damage" or "surplus population" that you can tell was invented to not describe something) and you run the biggest trucks and shovels in the world, actually the biggest, 400-ton dump trucks that cost five million dollars each and tires that cost the price of a house, and you mine it like coal. The oil-sand goes into crushers and then into giant hot-water tumblers that separate the bitumen from the sand the way you'd separate wet paint from gravel, with a lot of help from caustic soda and even more help from steam. The water goes into tailings ponds, which are not ponds, they are lakes, they are visible from low earth orbit, and they are full of a mixture of fine clays and residual bitumen and a lot of other chemistry that is at best dubious and at worst a slow-motion environmental catastrophe nobody in Alberta can figure out how to clean up and which, by provincial law, the operators are supposed to eventually reclaim — a promise whose timeline keeps sliding to the right and whose financial reserves, if you actually cost them out, would bankrupt most of the companies that made them. That's the mining side.
The other eighty percent of the reserves are too deep to mine. For those you use SAGD, steam-assisted gravity drainage, which works like this: you drill two horizontal wells, one stacked a few meters above the other, you blast the upper one full of high-pressure steam until the bitumen down there gets hot enough to actually flow, and then you collect the flowable bitumen out of the lower well. You are, essentially, cooking the ground. To do this you need ungodly amounts of natural gas, because steam doesn't make itself, and the natural gas is piped in from elsewhere in the province, which is why the oil sands are sometimes described (accurately) as a process for converting natural gas, which is a reasonably clean fuel, into synthetic crude, which is not, at a thermodynamic efficiency that would make a nineteenth-century millwright wince.
The net energy math on this is — fine. It works. You put one unit of energy in, you get three or four out, that's the rough ratio, less than conventional oil's old ten-to-one but more than enough to make money at any oil price north of roughly fifty dollars a barrel, which the global oil price has been north of most of the time since about 2004. So it gets done. And once you've gotten the bitumen out of the ground — whether by digging or by cooking — you still can't ship it, because at pipeline temperature it's still too thick to flow, so you cut it with condensate (a light hydrocarbon imported specifically for this purpose, sometimes from the US Gulf, shipped north, used as a thinner) until it's a mix called dilbit, diluted bitumen, which is what actually goes down the pipe. About a third of every barrel of dilbit leaving Alberta is diluent. You are paying to ship the thinner.
This is, I want to stress, the normal operation of the industry. None of this is scandal. This is the regular Tuesday.
The scale of it is the part people don't absorb, because the numbers are all in units nobody has intuitions for. Canadian oil sands production is running around 3.5 million barrels a day as of 2025, which is more than every OPEC producer except Saudi Arabia and Iraq, which is almost half of all oil produced in Canada, which accounts for most of the difference between Canada being an oil-exporting country and Canada being a quiet resource backwater with a per-capita income that looks more like Ireland's. The industry is about thirty percent of Alberta's GDP. It is the entire reason Alberta's per-capita GDP is what it is. Until the Trans Mountain pipeline expansion came online in May 2024 — after twelve years of construction, at a cost of 34 billion Canadian dollars, after the federal government had to buy the project from Kinder Morgan because no private company could eat the political risk — basically all of it went to the United States, which meant Canadian producers had exactly one customer and priced accordingly, at whatever discount to WTI the American refiners felt like imposing. This was annoying to Canada in the way that having a single customer is always annoying to a supplier, and it's the thing the pipeline was supposed to fix, and fixing it is already looking like it wasn't as much of a fix as promised because production keeps growing faster than egress capacity can keep up.
Okay. That's the industrial situation. Here's the part that actually matters.
Fort McMurray is not a city in any sense that the word normally carries. It is a town of maybe 75,000 permanent residents, up near the 57th parallel, surrounded by boreal forest and muskeg, to which is attached — and the word "attached" is wrong, the word needs to be something more like "grafted" or "hosting" — a second population of roughly 35,000 workers who live in what are called camps. The camps are the actual operational engine of the industry. A camp is a cluster of prefab dormitory buildings attached to a cafeteria and a gym and maybe a movie room, plopped down in the bush near a mine or a SAGD plant, with capacity for anywhere from a few hundred to several thousand workers. Workers fly in from everywhere in Canada — Newfoundland, Cape Breton, New Brunswick, whatever backwater the post-industrial labor market has stranded them in — on two-week-on two-week-off rotations, work twelve-hour shifts, live in a room the size of a cell, and fly home to spend two weeks with their families before coming back. The term of art is "shadow population." The official census counts them separately.
And this arrangement is not incidental to how the industry works. It is the industry. You cannot run a facility the size of Syncrude's Mildred Lake mine with a labor force of people who live in the nearest city and commute to work. There is no nearest city. The nearest city is eight hundred kilometers away. You have to import the workforce, and because you have to import the workforce, you have to house them, and because you have to house them cheaply, you put them in camps, and because the camps are miserable, you pay the workers a lot of money, and because you pay the workers a lot of money, they put up with the camps, and the whole system is stable as long as the oil price is high enough to subsidize the discomfort premium. It is an entire industrial operation structured around the fact that nobody would voluntarily live where the bitumen is, and so the industry has to buy the labor's tolerance of not-living-there, over and over, shift after shift, for however many decades the deposit lasts.
Which brings me to Kate Beaton.
Beaton is from Mabou, Cape Breton, which is one of those Canadian places that the twentieth century was mostly unkind to. Cape Breton had coal, and Cape Breton had steel, and Cape Breton had fishing, and Cape Breton lost all three of these industries in the space of about forty years, and what it has now is diminished. The island's culture, which is Gaelic-inflected and absurdly musical and which has produced a shocking amount of art per capita, has as one of its load-bearing assumptions the idea that you will probably have to leave to make a living, and that this leaving will be sad but necessary, and that everyone you know will do it too, and that it's been going on since the Highland Clearances, and will go on after you. This is the Cape Breton structure of feeling. It predates the oil sands by about two hundred years. The oil sands are just the current destination.
So when Beaton graduated from Mount Allison in 2005 with an arts degree and a pile of student loans, she did what her cousins and the boys from her high school had already been doing for a decade, which was get on a plane to Alberta. She went to the camps. She worked tool cribs, she worked supply offices, she worked at Syncrude's Long Lake and at Shell's Albian Sands and at a couple of the smaller operators whose names I can't remember off the top of my head, and she kept a notebook, and eventually — many years later, after she'd become internet-famous for Hark! A Vagrant, which is a different story — she turned the notebook into a graphic memoir called Ducks, published in 2022 by Drawn & Quarterly, which won pretty much every prize available to graphic novels and landed on Obama's list that year, and which is, I think, the single best book anyone has written about what the oil sands actually are, which is a very specific kind of social machine.
The book is called Ducks because in 2008, while Beaton was there, 1,600 migratory ducks landed on a Syncrude tailings pond and died in it, which became briefly a global news story and got Syncrude fined three million dollars, which is roughly the kind of money Syncrude made every forty-five minutes that year. The ducks were the visible atrocity. The book is about the invisible one.
The invisible one is that the ratio of men to women in the camps was, depending on which camp and which shift, somewhere between 30-to-1 and 50-to-1. Beaton spent two years as one of the maybe two or three women at any given installation surrounded by several hundred men who were working twelve-hour shifts, living in single-occupancy dorms a hundred meters from hers, drinking heavily when off-shift because there was nothing else to do, doing cocaine at a rate that surprised even her, isolated from their wives and girlfriends and mothers and daughters, and — this is the part the book builds very patiently and very devastatingly — slowly losing the ability to behave like the people they used to be when they were still at home. The book is not a condemnation of the men. It is explicitly not that. The book's most painful move is that it keeps humanizing them, keeps showing how they're also trapped, also miserable, also being used up by the same machine, even as they do the things they do to her. Which, without getting into the specifics — read the book — include the full range of what several hundred isolated men will do to two women when the HR function is a phone number in Calgary that nobody is going to call.
And the thing Beaton sees, the thing she sets up with complete economy and then lets the rest of the book bear out, is that the machine is designed to produce exactly this. It's not a bug. The camp structure produces isolated men away from their social networks in exchange for money. Isolated men away from their social networks, given enough money and enough boredom, will do predictable things, and those predictable things are accepted by the operators as part of the cost of doing business, the way a mine accepts that a certain number of miners will get silicosis. It's a function of the design. Nobody up the chain at Suncor or Syncrude or Shell wants the women in the camps to be harassed. It's just that preventing the harassment would require reorganizing the entire labor-rotation structure of the industry, which would raise the cost per barrel, which would make the operation uncompetitive, and so the harassment is priced in as an externality. The women are told they have a bad attitude. The men are told to knock it off. The rotation continues. The oil flows.
What makes Ducks extraordinary, and what makes it a book about the oil sands rather than a book about harassment — though it is also that — is that Beaton also sees the men. She sees the welders from Cape Breton she grew up around, except here they're trapped in a way she recognizes because she's trapped in the same way, a way her dad would recognize from his own generation going to Boston or Toronto, a way her grandfather would recognize from the mines. The Maritime out-migration has been happening long enough that it has a folk repertoire, a whole tradition of songs about leaving, and the men in the camps are inside that tradition whether they know it or not. Some of them are actively dying inside it — there's a running count in the book, not emphasized, just there in the margin, of young men who die on the highway between Fort McMurray and Edmonton, or who kill themselves in their dorms, or who disappear. The mortality of the rotation is ambient. It's baked in. Nobody makes a particular fuss because making a particular fuss isn't what anyone there has the cultural equipment to do.
And the thing I keep coming back to, reading that book, is how precisely it maps onto earlier Canadian industrial extractions. Cape Breton exported its own men to its own mines in the 1890s and they died of black lung. Newfoundland exported its men to the Banks and they died drowning. The cod collapsed in 1992 and those men went to Fort Mac. There is a temporal rhyme here that Beaton doesn't belabor but that sits underneath the whole book: this is what Canadian industrial history is, a series of extractive operations that consume the bodies and social networks of men from places the previous extractive operation already hollowed out. The oil sands are just the current iteration. When the oil sands go — and they will go, either because the world stops buying the product or because the bitumen that's economically recoverable runs out or because a carbon regime finally prices the externalities — whatever comes next will be staffed by the grandsons of the men who died at Fort McKay, who were themselves the grandsons of the men who died at Glace Bay. Same as it ever was.
The industry knows all this, by the way. None of it is secret. The oil companies have sociologists on retainer. The turnover statistics are studied. The mental health crisis in the camps is a line item, it has a budget, there are contractors whose entire business is running crisis-response services for a workforce they know is coming apart. The 2016 wildfire — which evacuated 88,000 people from Fort McMurray in the largest wildfire evacuation in Canadian history, which burned down 2,400 homes, which briefly shut down most of the industry — revealed in passing that the regional municipality's shadow population was around 40,000 people at that moment, people who lived here but didn't live here, who were uncounted in most of the news coverage because they weren't from there, they were from somewhere else, and they all went back to their somewhere elses during the evacuation and some of them simply never came back. The 2018 post-fire census found the shadow population down fifteen percent. The oil didn't care. The oil kept flowing. The rotations restarted.
And the Indigenous piece, which I've been circling without saying directly, is that all of this is happening on land that belongs, by every reasonable reading of treaty and prior occupation, to the Athabasca Chipewyan and the Mikisew Cree and the Fort McKay First Nation and the Métis communities of the region, who have been variously co-opted, partnered-with, sued-into-submission, paid-off, or simply bulldozed over, depending on the decade and the specific negotiation. Some of the bands have significant ownership stakes in the operations now, which is a development the 1970s activist version of this story did not predict. Some are still in active litigation over water quality and cancer clusters downstream on the Athabasca River. Both things are true. The oil sands produce billionaires and elders dying of bile duct cancer and they produce them in the same watershed and if you want a tidy story about which is the real one you'll have to write it yourself because the ground doesn't offer one.
Beaton's book ends, more or less, with her going home to Cape Breton, having paid off her loans. She is permanently changed. She does not know if she is changed in a way she can live with. The book came out fourteen years after she left the camps and you can feel in it the time it took her to process what she'd seen, which tracks — it takes that long, usually, to figure out what a thing was, and sometimes you never figure it out, you just get old enough to stop being wrecked by it. She is one of the very few people who went through those camps and came out with the specific combination of linguistic ability and patience and moral seriousness to write about them. The others — the welders and the mechanics and the engineers and the heavy-equipment operators — mostly did not. They went home. They drank. They worked the next rotation. They raised kids who, statistically, also went to Alberta, because the Maritime economy did not improve. The book is as much about them as it is about her, and the fact that their version of the book doesn't exist, and won't, is part of what the book is finally about.
There is a thing you learn if you read enough industrial history, which is that the machine doesn't need you to understand it in order to keep running. Understanding the oil sands does not stop them. Beaton writing Ducks did not stop them. The 1,600 ducks in the tailings pond did not stop them. The 88,000-person wildfire evacuation did not stop them. The carbon math does not stop them. The Chipewyan cancer clusters have not stopped them. The only thing that will eventually stop them is the price, and the price is set in a market that does not weight any of the inputs I have just listed, and so the bitumen will keep coming out of the ground until it doesn't, and the men will keep flying in, and the women who work among them will keep being what they have to be to survive the rotation, and somewhere a Cape Breton teenager is right now considering her options and thinking about student loans.
Same as it ever was.

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at some point it became a very common talking point that science fiction and fantasy ought to Represent Trans People and that exploring Weird Gender Shit without also depicting characters who are legibly transgender in Normal Ways is passé. and honestlyyyy i don't care give me a hundred more male characters possessed by female ghosts or nonbinary robots or whatever. literally what is the point of the scifi fantasy genre if you cannot connect to the fantastical
if i wanted to read about people being transgender without a wizard being involved i would open my tumblr dash. Representation will kill the reader she needs a guy who accidentally downloaded the memories of a woman on the CyberLine and can't tell them apart from his own to live
One of my biggest literary pet peeves is when historical or history-inspired fiction pretends that "courting" is a synonym for "dating". Usually it's just a one-to-one word swap--in a modern context, these characters would be dating, but this is olden times, so they call it courting instead. Sometimes they'll pretend there's a shade of difference, and that courting is a more serious exploration of marriage or something. But I read a lot of fiction that was actually written during these historical eras, and the word "courting" is never used like that.
Two people do not decide that they are "courting". One person decides to "court" someone else. It's an action, not a stage in the relationship. A man decides to court a woman because he wants to encourage her to have romantic interest in him. He's trying to win her favor. It's not an exclusive relationship--a woman could be courted by multiple men at once. She'll spend time getting to know the guy who's interested in her, but they won't officially define their relationship as one where they only show romantic interest in each other. If they reach a point where they want it to be exclusive, that's when you propose.
There's no middle ground--either you're getting to know each other, or you're committed to marrying each other. This idea of a period where you kind of commit to each other until you decide you definitely want to get married is a modern one, and it occurs in eras where they use the word "dating" to describe it. The closest equivalent I can think of are times and places where they'd talk about a couple "stepping out together", but they're still not calling it "courting". Words have meaning, and the word "courting" has never meant that, so stop using it that way!
the other mild historical disjoint i run into is when people talk about dating in the fifties like it automatically meant exclusivity. the whole reason we have the expression "going steady" is because the default was to or "go around with" or "go out with" multiple people. not in the sense of being in a stable polyamorous vee, but in the sense that archie is actively "seeing" both betty and veronica during the entire time the two girls are competing for his attention and they're both seeing other guys to make him jealous, and nobody involved considers this "cheating."
bizarrely, America has in many ways gotten more conservative about dating since World War II.
I ran into a truly wild cultural misunderstanding with my father some years ago, when I had to explain to him what “hookup culture” actually was, and that the thing he assumed it was was actually what we call “cruising culture”. His response was “how is that different from dating?” and when I explained how it was different, he said, and please note that this a direct quote: “That’s ridiculous! You can’t expect a woman to stop fooling around with other guys for anything less than a marriage proposal. I mean, she’s not a prostitute, you can’t buy her.” Now obviously there’s like… a lot to unpack there, but I think it’s pretty darn illustrative of a substantive cultural shift around the assumption of monogamy!
Also, following this, I asked my mom what her thoughts were on the matter, and she said that while she “wouldn’t put it in those terms” she broadly agreed, and thought that anyone expecting any sort of exclusivity when a marriage proposal wasn’t at least on the very immanent horizon was “nuts, honestly.” I hesitantly asked if she was including relationships with premarital sexual activity in that, and her response was “Of course. I mean, gosh, you know your Aunt Terri used to have a guy for every day of the week before she finally settled down.”
And this was when I learned, to my shock, that the oft-repeated story of how “Aunt Terri used to have a guy for every day of the week” didn’t just mean “Aunt Terri had a full dance card” but rather meant that Aunt Terri had a period of her life where she literally dated exactly seven guys at once, all of whom she was sleeping with (or, my mom was quick to disclaim, “well, fooling around with, I don’t know how far she actually went with any of them, but they were definitely all fooling around behind closed doors”), on a literal weekly rotation. Like, they had a schedule. A schedule that all seven of the guys knew.
America has gotten a lot more conservative about dating, actually.
Undertale has a Yuri Index of 0.098
Read more about the Yuri Index here
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because i'm obnoxious i wanted to run some additional numbers on this to see just how much of an impact sans specifically had on this. the total amount of m/m in the undertale tag is 20,917 fics, with the amount of f/f sitting at the bottom with only 5,926 fics. if i sort the tag by fics tagged m/m, sans/sans comprises 43% of the fics, sans/papyrus comprises 14%, and sans/reader comprises 9%. those are the three most written-for ships in that tag. needless to say, that's already pretty bleak. but it gets bleaker.
if i sort the tag instead by f/f, what are the three most written-for ships? alphys/undyne, predictably, is at the top, comprising 51% of the tag. the second is, inexplicably, sans/reader, which weighs in at 23%. and last is toriel/asgore, making up 11% of the tag. (in case you're wondering, sans/sans makes up 7%.)
so basically,

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doctor who let the next showrunner be a woman so we can get christopher eccleston back and dykier than ever
just found out im going to an area where pawpaws grow for the first time.
in june.
sick joke.
latest plant fixation: lawn plants. like, unless it's been herbicided to hell, lawns (mowed areas) in different ecoregions have different plant communities; even lawns in the same ecoregion would have different plant communities based on how much sun it gets, how wet it gets, but also probably how often an area is mowed, how much foot traffic it gets, whether leaves are raked. or whether it gets watered (vs having a high water table).
if anyone wants to take pictures of lawn plants and tell me what area it's in and any known factors about the location..............
not gonna say it again!!!!
a BOG is a wetland that is acidic
a FEN is a wetland that is alkaline
FINALLY someone said it!!!!!!!
a SWAMP is a wetland whose vegetation consists of trees or other woody plants
a MARSH is a wetland with other forms of vegetation
#A LITTLE LOUDER FOR THE PEOPLE IN THE BACK
a MANGAL is a swamp whose soil concentrates high amounts of salt and very low amounts of oxygen, supporting little else than mangrove trees
a PEATLAND is a wetland whose soil concentrates decaying organic matter, becoming peat
Oh yeah baby, keep coming at me with watery environmental states
a FEN is a peat-forming wetland that gets most of its water from groundwater
a BOG is a peat-forming wetland that gets most of its water from precipitation
Bogs are always acidic, and fens are usually basic to alkaline, but the pH is a result of the water source: if groundwater lacks minerals, a fen can be acidic too! Those are called poor fens and often have plant communities that are very similar to those of bogs.
Here is a link to information about fens in California, Vermont, and Ireland.
So what i'm getting is that fellow sapphics really like this trope 🤭
So to answer: yes, it was adapted from an AU fanfic, but no, not in any of those fandoms.
guys I'm crying. I'm crying. this is one of those cases where readers know more about you than you do. Because it is actually true that my corporate villain Thing probably WAS coined by being an original tomb raider fan because I *did* used to ship Lara/Natla, but that's not the fandom THIS particular fic is from.
I mean I DO know that sapphics like ordinary woman/intensely wealthy corporate ice queen but like. I had no idea it was like THIS XD
anyway read Unaccounted For

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so I read a 180k fic in under three and a half hours and then spent another half hour going down a rabbithole about speed reading, because apparently you just like. can't read that fast and have over 50% comprehension. 900 wpm?? I am sure I was skimming, just unsure to what extent.
I think I figured out how I do it though. If I read a description that's intended to set a tone, I remember the vibe, visual, or the tone it was trying to set rather than the words; I can exclude dialogue tags or descriptions of characters and just read the dialogue in the voice/tone I'm imagining, or if it's from visual media, I can replace the words immediately with the visual which makes it even faster.
With some fanfiction that have mostly functional description like that, simple prose, and use a lot of dialogue tags (I definitely discard dialogue tags), if they compel me enough then I will just. start doing that. so what I remember ends up not being the prose itself but the ideas, the conclusions I made from the prose, the visuals.
So if something makes me cry I would have to go back and figure out what it was specifically about a scene that made me cry, because I didn't keep the words in my brain for long enough to remember them. I just spent enough time there to feel them.
I can definitely read fast without skimming like this. I really enjoy the craft and when someone is stringing along gorgeous sentences I slow down and I chew on them (or read it a second time. sometimes I just NEED to know what happens next). but this gives me a lot of context as to uh, what kind of reader I am compared to others
Long ass post I just wonder if there's anyone else out there who relates
This world is so beautiful. People are shipping Ryan gosling and markiplier. Because they were both in space movies you see
Tumblr users love to do things like this. I DO NOT mean this in a mocking way to be completely clear. I think it's cute. It reminds me of back in the day when people shipped jack frost and elsa cause they both have ice powers.
Or like the superwholock thing. Tumblr users like to go "I like this thing AND that thing.. What if my FAVORITE CHARACTERS met each other? Would that be cool or WHAT!" And the thing is it's absolutely adorable
You can say it's cringe or bad or missing the point of the movie all you want but I don't care. Yeah man, I bet it would be really cute if there was a happy ending and the blood murder man (in space) got saved by the dorky science teacher (in space) and they had yaoi moments. I'm so glad you're having fun