19.th century france dagger
RMH
h
almost home
Aqua Utopia|海の底で記憶を紡ぐ
NASA

gracie abrams
YOU ARE THE REASON
I'd rather be in outer space 🛸
Keni
Monterey Bay Aquarium
art blog(derogatory)
$LAYYYTER

d e v o n

titsay
ojovivo
we're not kids anymore.
Jules of Nature
Sade Olutola

if i look back, i am lost

seen from Canada

seen from Dominican Republic

seen from United States

seen from Türkiye

seen from T1
seen from Türkiye

seen from Chile

seen from United States
seen from Peru

seen from United States
seen from Bangladesh
seen from Australia

seen from Mexico
seen from United States
seen from Ecuador
seen from Paraguay
seen from Canada

seen from Panama
seen from Bolivia

seen from United States
@dungeonsanddistractions
19.th century france dagger

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
so you know that cursed sword that slowly drives whoever wields it mad & causes mysterious illnesses? you guessed it: scabbard was absolutely loaded with black mold
A recently finished 'silver & black' themed scabbard commission for the Albion Brescia Spadona.
Dongni Hou

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Finished this gorgeous tapestry after months of working on it! by Emotional-Grape-3304
"lock in" is probably one of the most important phrases to enter the public lexicon in the 2020s
🫵 embarrassment is improvement's biggest enemy!!!
there should be like secret extra editions of dnd that wotc denounces as false like christian apocrypha
[IMAGE: The logo for the Pathfinder TTRPG]

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Kain, a ranger turned knight tasked with escorting a princess to meet her dying goddess
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.
up next, the triangle.
we know what hole that goes in, right?
that's right, the square hole!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
GRIDDLEHARK AND CAMPAL ARE OPPOSITES BUT ALSO PARALLEL TO EACH OTHER AND IT MAKES ME SO INSANE
6th House is on mercury and 9th House is on pluto so they're on the opposite ends of the dominicus system
9 is 6 uspide down and 6 is 9 upside down
the Ninth House and the Sixth House are religion vs science
Gideon and Harrow are (were) childhood enemies, Camilla and Palamedes are (were) childhood friends. Gideon and Harrow had a hard time trusting each other, Camilla and Palamedes trusted each other with everything.
Gideon and Harrow are all about forgetting ("But I don’t even remember about you most of the time", the whole lobotomy situation), Camilla and Palamedes are all about remembering ("I’ve carried you, Warden. And I’ve carried your memory … I’d rather carry you", "Palamedes remembers everything: That was his problem. I always remember him. That’s mine")
Gideon and Harrow are water (the Pool Scene, Gideon being in the "well" in Harrow's mind, Harrow deciding to stay in the River and Gideon "dying" in the River), Camilla and Palamedes are fire (Palamedes's first death, Palamedes and Camilla's lyctoral ascention)
in griddlehark's case the necromancer carried their cavalier's soul, in campal's case the cavalier carried their necromancer's soul
Gideon and Palamedes sacrificed themselves, Harrow then carried Gideon's sword even though it was killing her and Camilla carried Palamedes's bones even though boe electrocuted her for it
Gideon and Camilla are both "devotion's casualties"
Harrow and Camilla risked permanent brain damage to save the souls they carried
Gideon barely had any training for her position and Camilla trained her whole life, but they both didn't normally use their rapiers and were both set on fighting rather than on traditional duelling
the 6th and the 9th are both poor, underestimated, dying houses. Harrow and Palamedes have been leading them since they were very young and they do anything to try to improve the situation
Harrow fell in love with the Body when she was 10, Palamedes began writing to Dulcinea when he was 8. both into old dead chicks (as Gideon phrased it) while also loving their cavaliers
Camilla watched Gideon impale herself to force Harrow's ascention, Gideon watched Camilla light herself on fire during her and Palamedes's ascention
"This was your shell but it was all filled up with me" & "It's not you. It's me wearing you"
"I keep turning around to find you, and there’s nobody there." "I know the feeling." & "You’d touched that letter, and I—you know it was killing me twice that you weren’t there, right? You must know it was destroying me to be there in your body, trying to keep your thumbs on, and I couldn’t even hear your damn voice?"
"Kiriona Gaia was staring politely at the side of the truck, as though there were something really interesting on the paintwork" & "Even Camilla, who had turned away to politely investigate something on the opposite wall, wasn’t there"
"It was just her and Harrow and Harrow’s bitter, high-boned, stupid little face" & "Palamedes said, and now Nona knew he wasn’t speaking to anyone else in the universe"
AND
AND
AND
AND
there's probably more, that's just from the top of my head. but yeah, they make me insane and i'm foaming at the mouth.