therapist: and what do we say when we feel like this?
me: no live organism can continue to exist sanely under conditions of absolute reality
therapist: no
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Origami Around
Show & Tell
Mike Driver
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NASA

Kiana Khansmith
YOU ARE THE REASON
KIROKAZE
Cosimo Galluzzi
Misplaced Lens Cap
hello vonnie
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One Nice Bug Per Day

ellievsbear

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2025 on Tumblr: Trends That Defined the Year
todays bird

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@bookaddict7342
therapist: and what do we say when we feel like this?
me: no live organism can continue to exist sanely under conditions of absolute reality
therapist: no

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therapist: and what do we say when we feel like this?
me: no live organism can continue to exist sanely under conditions of absolute reality
therapist: no
Hello?
Cyclospora infection is often asymptomatic, but when symptoms occur, illness is characterized by anorexia, nausea, flatulence, fatigue, abdo
ngl the office of mitch mcconnell posting a proof of life photo with yesterday's newspaper is one of the more funnier things to come out of this mess. guy has been described as dead from all sides of the political spectrum so much that they felt the need to go full on kidnapper and release hostage style pictures of the man. and the best thing is he still looks incredibly dead in it.

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[ID–
A version of the Distracted Boyfriend Meme.
In this updated version, the boyfriend has been replaced by Death, a shrouded figure with a skull head. The smiling girl in the street who originally distracted the boyfriend has been replaced by a smiling Lindsey Graham, who is making Death's skull head turn with distraction.
The original girlfriend by the boyfriend's side, who was outraged at his head being turned by a third party, has been replaced by Mitch McConnell with a look of dismay on his face at Death turning away from him to focus on Lindsey Graham instead.
End ID.]
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20 YEARS OF H20: JUST ADD WATER 1x1 Metamorphosis - Premiered July 7th, 2006
Can’t wait to not sleep at all on September 11th
i know ur from the uk(?) but reading this as an american is really really funny
why 😠it’s about twenty one pilots???? Their new album is out sep 12th????
THERE'S TWENTY ONE THIS TIME???
i feel like there is a sleep in me that needs to be slept but each time i sleep i don't sleep that sleep
I love getting unaccompanied minors (kids flying alone) who so clearly just. Don't want to be here lol. Sometimes I get to know a little of their story, like their parents are divorced, or a family member died and they're heading to the funeral, but usually they just don't want to talk about it and that's fine. But I always treat the flight like it's a challenge to make them smile. I offer them snacks and soda but that's never enough, that's whatever, they could get those from an airport vending machine. Chump change. So then I tell the worst jokes. Just the most embarrassing, kindergarten teacher, annoying dad jokes you can think of. And those always get a groan, or a "Seriously??" And that's my in! Now I can say "Why, what's your idea of a good joke? No, come on hotshot, make your best joke, let's see it." And they hem and they haw but of course they eventually tell me their very best joke because kids are little competitive comedy goldmines. And it's always super funny, so I laugh, and that's where they slip up. Because you know what you almost always do when your joke successfully makes someone laugh? You smile. And I'm like. Gotcha. Rookie move. Now you're going to end up having a good time in spite of yourself. I win.
Did this with an 11yo u.m. today and he said "What did the ghost say to the other ghost?" And I said "What?" "Nothing. Ghosts aren't real."
I'm literally a flight attendant, offering snacks and drinks is my job

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crazy how there are only 2 hours of doing things every day before you keel over and die. if this werent normal id be worried
If I tell you this is a horror dance number it still won't prepare you. That last move was so terrifying even the judge was like "Let go! Let go!" If you told me they're actually possessed I'd believe you.
The music is a remix of the song Mere Dholna from the Bollywood movie Bhool Bhulaiyya, a remake of the classic Malayalam horror-comedy Manichitrathazhu. It's about a young bride that seemingly becomes possessed of Manjulika, a dancer of the ancient royal court whose tragic death has turned her into a vengeful spirit, one who evokes the wrath of the goddess Durga Kali. In the iconic scene that is repeated across remakes, the groom and his family discover his bride dancing in the dead of night in a manic, disassociative fugue, wearing a moth-eaten dancer's costume and a face smeared in kohl, ash and vermilion. She's hallucinating that she's Manjulika dancing carefree for the court with her lover. The upbeat music is deliberately incongruous with the pathos and creepiness of the scene in reality, especially as it crescendos in the bride's head to the moment when the king decapitates Manjulika's beloved in a fit of jealous rage.
This specific number is by the all-male troupe B Unique, performed for the Indian reality talent contest Hunabaarz. It's a modern fusion based on Bharatnatyam that turns up the creep factor by 200% and is basically a showcase of contortionism and synchronicity. One of the most perfectly choreographed and executed dances I have ever seen. Truly incredible!
The group is still taking their work across the world's talent shows. And yes, that guy is hypermobile enough to do that with his neck. XD
If I tell you this is a horror dance number it still won't prepare you. That last move was so terrifying even the judge was like "Let go! Let go!" If you told me they're actually possessed I'd believe you.
The music is a remix of the song Mere Dholna from the Bollywood movie Bhool Bhulaiyya, a remake of the classic Malayalam horror-comedy Manichitrathazhu. It's about a young bride that seemingly becomes possessed of Manjulika, a dancer of the ancient royal court whose tragic death has turned her into a vengeful spirit, one who evokes the wrath of the goddess Durga Kali. In the iconic scene that is repeated across remakes, the groom and his family discover his bride dancing in the dead of night in a manic, disassociative fugue, wearing a moth-eaten dancer's costume and a face smeared in kohl, ash and vermilion. She's hallucinating that she's Manjulika dancing carefree for the court with her lover. The upbeat music is deliberately incongruous with the pathos and creepiness of the scene in reality, especially as it crescendos in the bride's head to the moment when the king decapitates Manjulika's beloved in a fit of jealous rage.
This specific number is by the all-male troupe B Unique, performed for the Indian reality talent contest Hunabaarz. It's a modern fusion based on Bharatnatyam that turns up the creep factor by 200% and is basically a showcase of contortionism and synchronicity. One of the most perfectly choreographed and executed dances I have ever seen. Truly incredible!
The group is still taking their work across the world's talent shows. And yes, that guy is hypermobile enough to do that with his neck. XD
6 hour workday maximum i’m not kidding, if it can’t be done in that timeframe it doesn’t need doing.
this doesn't apply to jobs like childcare
If i worked in childcare and my 6 hours were up i would start putting babies in ziploc bags and shipping them to Turkmenistan listed as endangered fruits and vegetables
JUSTICE FOR BIG CHALLENGES I LOVE YOU BIG CHALLENGES

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So the thing is, I do ship maia and csevet, but like, in a really stupid abstracted way... nothing ever happens, literally nothing, they're just Like That for fifty years and then at maia's elaborate imperial funeral one of his adult children dabs genteelly under their mourning veil, sniffs, and says 'hey so, what the fuck was the deal with csevet'
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.