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Lockwood and Co. by Kirsten McGonigal

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While Eva is a dutch first name, Stratt isn't a Dutch last name.
I hereby present reasons for Eva Stratt to be named that
1. Andy Weir did his research bad (boooring)
2. Stratt has a German dad and a Dutch mom but lives in the Netherlands (plausible)
3. Grace misheard Stratt say 'I'm Deutsch' and assumed she was Dutch (funny as hell and very in character)
4. She is Dutch, her husband is German and she took his last name.
bouncing off of @an-ruraiochtโs Iliad/Odyssey/Aeneid poll Iโm curious about some other ancient Greek and Roman texts
Which of the following Greek or Roman texts would you say you are most familiar with?
The Iliad (Homer)
The Odyssey (Homer)
The Aeneid (Vergil)
Antigone (Sophocles)
Oedipus Rex (Sophocles)
Medea (Euripides)
The Bacchae (Euripides)
Another Greek tragedy (tell me in the tags!)
Metamorphoses (Ovid)
Pharsalia/Bellum Civile (Lucan)
Thebaid (Statius)
Another Greek or Roman epic poem (tell me in the tags!)
The Reluctant Victor, inspired by The Reluctant Bride by Auguste Toulmouche - I just thought that this painting was SO perfect for Katniss and I had to draw it!
A lot of people have asked me to talk about Prim holding the crown, so here's a general deep dive into the characters I picked and their placements!
Starting with Prim. She was reaped, which led to Katniss volunteering to save her. It's, of course, very unlikely that Prim would have won the Games like Katniss did. Prim innocently playing with the crown that could have never been hers is also a reference to how excited she was when Katniss' wedding was happening, how she looked at it with children's eyes, impatient for her to try on the dresses. But she's also not as naive or helpless as Katniss believes, which is why her expression is grave and not cheerful.
Asterid is kissing Katniss' forehead in a very motherly gesture. Katniss is unmoved, though she still takes her hand. This is a reference to Katniss' resentment towards her mother when she stopped caring for them after Burdock's death, but also to Katniss' attempts at forgiving her in Catching Fire.
Effie is sitting at Katniss' feet, holding her hand. This represents the sincere -yet sometimes misguided- dedication that Effie has to Katniss. It also felt like an interesting placement, as Victors are often idolized by Capitol citizens.
Katniss, of course, is at the center. She's the reluctant victor, in her fire dress (with a lot of orange in it to reference Peeta, shhh). I hesitated to give her the wedding dress Snow forces her to wear instead, but felt that her fire dress was more recognizable and striking, and better represented how she is seen by the world: the girl on fire.
Thousands of premature infants were saved from certain death by being part of a Coney Island entertainment sideshow.
At the time premature babies were considered genetically inferior, and were simply left to fend for themselves and ultimately die.
Dr Martin Couney offered desperate parents a pioneering solution that was as expensive as it was experimental - and came up with a very unusual way of covering the costs.
It was Coney Island in the early 1900โs. Beyond the Four-Legged Woman, the sword swallowers, and โLionel the Lion-Faced Man,โ was an entirely different exhibit: rows of tiny, premature human babies living in glass incubators.
The brainchild of this exhibit was Dr. Martin Couney, an enigmatic figure in the history of medicine. Couney created and ran incubator-baby exhibits on the island from 1903 to the early 1940s.
Behind the gaudy facade, premature babies were fighting for their lives, attended by a team of medical professionals.To see them, punters paid 25 cents.The public funding paid for the expensive care, which cost about $15 a day in 1903 (the equivalent of $405 today) per incubator.
Couney was in the lifesaving business, and he took it seriously. The exhibit was immaculate. When new children arrived, dropped off by panicked parents who knew Couney could help them where hospitals could not, they were immediately bathed, rubbed with alcohol and swaddled tight, then โplaced in an incubator kept at 96 or so degrees, depending on the patient. Every two hours, those who could suckle were carried upstairs on a tiny elevator and fed by breast by wet nurses who lived in the building. The rest [were fed by] a funneled spoon. The smallest baby Couney handled is reported to have weighed a pound and a half.
His nurses all wore starched white uniforms and the facility was always spotlessly clean.
An early advocate of breast feeding, if he caught his wet nurses smoking or drinking they were sacked on the spot. He even employed a cook to make healthy meals for them.
The incubators themselves were a medical miracle, 40 years ahead of what was being developed in America at that time.
Each incubator was made of steel and glass and stood on legs, about 5ft tall. A water boiler on the outside supplied hot water to a pipe running underneath a bed of mesh, upon which the baby slept.
Race, economic class, and social status were never factors in his decision to treat and Couney never charged the parents for the babies care.The names were always kept anonymous, and in later years the doctor would stage reunions of his โgraduates.
According to historian Jeffrey Baker, Couneyโs exhibits โoffered a standard of technological care not matched in any hospital of the time.โ
Throughout his decades of saving babies, Couney understood there were better options. He tried to sell, or even donate, his incubators to hospitals, but they didnโt want them. He even offered all his incubators to the city of New York in 1940, but was turned down.
In a career spanning nearly half a century he claimed to have saved nearly 6,500 babies with a success rate of 85 per cent, according to the Coney Island History
In 1943, Cornell New York Hospital opened the cityโs first dedicated premature infant station. As more hospitals began to adopt incubators and his techniques, Couney closed the show at Coney Island. He said his work was done.
Today, one in 10 babies born in the United States is premature, but their chance of survival is vastly improvedโthanks to Couney and the carnival babies.
https://nypost.com/2018/07/23/how-fake-docs-carnival-sideshow-brought-baby-incubators-to-main-stage/
Book: The strange case of Dr. Couney
New York Post Photograph: Beth Allen
Original FB post by Liz Watkins Barton
You know, when you think about it, Dr. Courney might have saved some 6000 babies in his life time - but if he pioneered the methods that we still use today, then he's saved every preemie baby since too.
OK BUT Did anyone else catch how Beth Allen is the premie in the picture and eventually became the New York Post Photographer who worked on that book/article? I'm going to cry

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phm is decently popular in japan and i mostly see this when i check twitter and see accounts posting pictures of handmade rocky plushies that are so fucking round looking it brings a tear to my eye
he keeps me sane
btw, idk if this will be seen by any of the countless people who already have seen and reblogged this post, but heres the original guide posted on how to make the chibi-rocky! the OP also has a separate guide for a more accurate rocky, though obviously less simple of a guide than the little thingy shown off
(im surprised this post gained any attention, haha, if i had known i would have just shared the guides, the more handmade pebbles in the world the better)
@wisegirlandseaweedbrainforever
I know it's wild to mention, considering that we all collectively agree race swapping is generally stupid at this point, but I've seen people recently arguing that you can race swap some people if race isn't important to the character. And this is true, but, I think we need to be also asking another question: what would this character become if they were race swapped?
Let's take The Little Mermaid for example. There really isn't a reason why Ariel must be white. It's really not important what race she is. Her race doesn't matter to the story. But. If Ariel were a different race, what would the story be? In the live action version, TLM is set in the Caribbean, roughly around the turn of the 19th century (the fashion is a mash of mid 1700s and early 1800s, as is the technology). Depending on when this is actually set, this means that Ariel would have been viewed as a) a slave, b) a recently freed slave, c) a Muslim from the Maghreb.
None of these options would be acceptable for a white prince to court. By changing the race of Ariel to black, the story has to become about her race in order to fit the world created.
Black Snape is no longer a story about a down and out English family suffering through the de-industrialization of England, it's suddenly about a family trying to integrate into English culture and struggling to fit in.
Black Helen of Troy is no longer a fight for the prettiest woman, it's about dethroning an illegitimate queen and her puppet state.
Every choice of a character has downstream effects. Nothing exists in a vacuum. You can't just pull a character out of a setting and expect the character to remain the same.
I generally agree with what you're saying. On the the other hand, I do think there is some merit to the idea that, in live action specifically, characters are played by actors who are real people, and maybe every actor should get the chance at every part.
Now, obviously this is not how Hollywood works. You have to be pretty, young (if you're a woman), etc., even if that's explicitly *not* how the character is supposed to look. I also don't get the impression the movies race-swapping characters now are doing it out of real fairness. But that doesn't mean there isn't a case for open race-swapping in places that are a little more free (and involve more audience suspension of disbelief) like stage acting. The trick is, if you are OK with race-swapping, you also have to be OK with ALL race-swapping, not just non-white for white.
I think this is viable in some scenarios, but not all scenarios. Dean Devlin, for example, does colorblind casting (for the most part; he also asks if there's a reason why the character shouldn't be any race/sex, and if the answer's no, then it doesn't matter), but Dean Devlin mostly works in original scripts that can adapt to a diverse cast on the fly. Films and tv shows that are adaptations of pre-existing works have an obligation to seriously consider why changing something about a character will change them.
Race is obviously a big one, but you are correct, that beauty and age are other components. I've seen plenty of posts from the historical fiction category that bemoan how old they routinely cast Mr. Bingley or how everyone has veneers/got braces and whitening these days so no one's teeth look historical or why do medieval settings always lack color and where is that wimple, thou harlot.
I think stage gets more leeway because 1, there are simply fewer actors who are capable of filling a role, especially when you get into musicals, 2, the distance from the stage to the audience is not the same as a camera that is right in someone's face so it's easier to get someone "close enough," and 3, feature-changing makeup is much more accepted in stage productions, wigs and age lines and ethnic makeup that evoke the "correct" character features without necessarily having them (which cosplayers also lean into, even when they're not doing blackface, so they're not accused of whitewashing). And I think we all know this instinctively, that you will have less accurate representation on a stage, which does permit more freedom.
The irony of Hunger Games is that the thing that kicked off the rebellion was the game master's breaking a promise to the Tributes (that they'd spare two from the same district).
Snow, the man who later made sure to keep his promises (including the one not to lie) was undone by the one time he tried. Because when they did that, the Tributes stopped playing his game.
Because that's the thing that kept the Capitol in power. Yes, the Districts were terrified, but they trusted the Capitol to keep its simple promise: "Rebel and we kill you. Obey, and we won't harm you."
The Capitol was dangerous, but it was reliable. When it broke its word, why would anyone trust them enough not to rebel?
The Capitol was kept in power by certainty. When its own goalpost moving destroyed that, the only the Districts could do was hope.
The Capitol laid out the rules of the game and then broke them! The game was supposed to keep everyone in line, but once the Capitol thought the rules didn't apply to them, they had anarchy on their hands. They had to give in to Katniss' berry stunt, because two dead tributes would have meant instant rebellion.
Frankly, I'd want to know what discussions went on behind the scenes that convinced them to go for the "two tributes can survive" rule change in the first place. Because someone had to have seen how badly this could have gone.
I wonder. Most of the people working on the games have not been alive long enough to remember when the games weren't primarily about entertainment. They've grown up in a culture that loves the blood sport, but they love it for the drama, not because they personally believe in its motives. We see that in how attached Capitol people get to their favorite tributes, how they don't even recognize the dehumanization because they're so dehumanized themselves.
I think maybe someone got caught up in the drama. Maybe even got caught up in the love story. Someone saw the opportunity to show a deeply engaging tragedy. And someone had bought far enough into the Capitol's own propaganda, that they forgot the gamemakers aren't really the writers or the directors. They're the villains.
I think they remembered it just a little too late. Because Katniss had just shown everyone that villains could be defeated.
I was reading through a hunger games tag today, and I wanted to pull out another specific aspect of this, because I saw another post that talked about how every district has to send two children so that even the victor district loses.
And then the Capitol decides to change the story -- this time, one district gets to win, completely and entirely. Only, oops! If the Capitol goes through with that, they'll upset the whole system. So now they have to walk it back.
But by offering that -- by saying it's possible for your obedience to really keep us from hurting you, they already lost, because they are also saying it's possible for you to walk away from this the Victors, whole and entire. And now the Districts are looking at that and thinking maybe we really can be the Victors -- over ALL of this.
Rebellions happen when people get hope for a little while and then lose it again. (Rogue One had it right: rebellions are built on hope. People who are hopeless don't rebel)
imagine a goat with a hat
STOP-
what hat did you give the goat what is the instinctual hat you gave to this goat
Cloud Types
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I know it's wild to mention, considering that we all collectively agree race swapping is generally stupid at this point, but I've seen people recently arguing that you can race swap some people if race isn't important to the character. And this is true, but, I think we need to be also asking another question: what would this character become if they were race swapped?
Let's take The Little Mermaid for example. There really isn't a reason why Ariel must be white. It's really not important what race she is. Her race doesn't matter to the story. But. If Ariel were a different race, what would the story be? In the live action version, TLM is set in the Caribbean, roughly around the turn of the 19th century (the fashion is a mash of mid 1700s and early 1800s, as is the technology). Depending on when this is actually set, this means that Ariel would have been viewed as a) a slave, b) a recently freed slave, c) a Muslim from the Maghreb.
None of these options would be acceptable for a white prince to court. By changing the race of Ariel to black, the story has to become about her race in order to fit the world created.
Black Snape is no longer a story about a down and out English family suffering through the de-industrialization of England, it's suddenly about a family trying to integrate into English culture and struggling to fit in.
Black Helen of Troy is no longer a fight for the prettiest woman, it's about dethroning an illegitimate queen and her puppet state.
Every choice of a character has downstream effects. Nothing exists in a vacuum. You can't just pull a character out of a setting and expect the character to remain the same.
I generally agree with what you're saying. On the the other hand, I do think there is some merit to the idea that, in live action specifically, characters are played by actors who are real people, and maybe every actor should get the chance at every part.
Now, obviously this is not how Hollywood works. You have to be pretty, young (if you're a woman), etc., even if that's explicitly *not* how the character is supposed to look. I also don't get the impression the movies race-swapping characters now are doing it out of real fairness. But that doesn't mean there isn't a case for open race-swapping in places that are a little more free (and involve more audience suspension of disbelief) like stage acting. The trick is, if you are OK with race-swapping, you also have to be OK with ALL race-swapping, not just non-white for white.
The Odyssey but make it a Christian allegory.
The war is over, it's won. The king is coming back. But no one knows when he will return, they just wait for him. And evil forces are at work, plotting, abusing, taking over. But the king is coming--he has won the war and he is coming home. He will bring justice and punishment for evil when he returns, and he will claim his bride and elevate his son. No one knows when he is coming, but his wife remains faithful, waiting. His son remains watchful, waiting.
The king is coming.
Jesus: does a miracle
The disciples: ๐ฎ๐ฎ๐ฎ๐ฎ๐ฎ๐ฎ
*bad thing happens again*
The disciples: ๐ญ๐ญ๐ญ Oh nooooo whatever will we do it's so over ๐ญ๐ญ๐ญ
Jesus: does a miracle
The disciples: ๐ฎ๐ฎ๐ฎ๐ฎ๐ฎ๐ฎ
Repeat for the entirety of the Gospels
Me: ๐คฃ๐คฃ๐คฃ๐คฃ๐คฃ look at them how easy they lose faith despite so much evidence ๐ซต
Also me when bad things happen even knowing how Jesus provided miraculously in the past: ๐ญ๐ญ๐ญ Oh no whatever will I do, it's so over ๐ญ๐ญ๐ญ
Reblog this and tell me what was your biggest crying over a piece of fiction. You can be vague if you don't want to spoil.
the last food you ate is your nickname now how is it going
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Rewatching the original "The Little Mermaid" animated movie while working on something else... I can't quite recall at the moment (early into it atm) if this movie ever establishes Eric as the heir of the throne of his kingdom.
I think it'd be really funny if Eric was actually a younger brother. So, like, maybe he's a duke, actually, but he still gets the title of Prince. Travels the sea a lot, unlike a more landlocked heir. Hanging out at this summer seaside palace while the rest of the family is elsewhere for some reason.
Like, imagine Eric's parents and older brother and maybe sister-in-law and niblings getting that letter at the end of this movie. Nearly drowned. Miraculously washed ashore. Fell in love with a mysterious voice and then a mute girl. Got enchanted by a shape-shifting sea witch and nearly married her. Killed the sea witch after she turned into a giant. Married the aforementioned girl who turned out to be the beloved youngest daughter of the mythical King Triton instead and have now established a strong alliance with the merpeople. Wild summer! Wish you were here!
โMy point is not that women should get back into the kitchen: it is that we all should, and into the other rooms of the home too. Machine modernity prised the men away from the home first, as the Industrial Revolution broke their cottage industries and swept them into the factories and mines, where their brute strength could be useful to the Machine. Later the women, who had been mostly left to tend the home single-handedly, were subject to the same โliberationโ, which was sold to them as a blow struck against inequality. Perhaps it was, but it was also a blow struck against the home, for both sexes.โ
โ Paul Kingsnorth: Against the Machine