Went outside in Chicago just now and the air quality is "chewable".


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@jedda-martele
Went outside in Chicago just now and the air quality is "chewable".

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IT'S IN THE SONG PAY ATTENTION!!!
➡️ Go to Dropout to watch new Game Changer now
It's a race to the bottom for Zach, Jiavani, Anna, Demi, Catherine, Hannah, and Ify.
Absolutely loved this episode. My favorites are always the ones where the game and the players get to be clever (escape room, find the buzzers, live in front of a studio audience, etc). Also, that new girl immediately wanting to work together was delightful. She was so into figuring it out and sharing info while still being competitive.
HOLD FOR CONFIRMATION
So just to clarify.
He's basically confirmed brain dead.
They're keeping him on a ventilator to try and make it such that a replacement will not be on the ballot in November, and will be appointed instead (from what I know).
Mitch McConnell the man is dead.
Mitch McConnell, the political influence, is not.
I will celebrate if and when the last thing happens.
Sorry, but the bit here about replacing Schroedinger’s Turtle is incorrect. Mitch announced he was retiring back in February. There are four guys on the ballot to replace him for the November election. And Republicans rammed through a change in 2024 so Kentucky now does special elections for vacancies rather than allowing governors to appoint (because Kentucky’s governor was a Democrat and they couldn’t have that).
Now, they might be hiding Mitch’s condition to avoid having the special election (the deadline for getting that rolling is in August). Just to avoid splitting focus between a late special election and the general happening in November. This could also be a mostly or totally bed-ridden Mitch hiding the fact he can’t handle more than one 20 minute business call in a day between rounds of meds/rest/more tests/rehab.
i was thinking about MCU!Steve Rogers again and his relationship with women and Bucky Barnes and i believe that while it is hidden pretty well it is another case of homoerotic tension written in the narrative stemming from pure misogyny.
like there is the standard MCU baseline misogyny we saw in the early days but it's deeper than that.
Steve's awkward, stilted, half-forced romance scenes were clearly not played solely because someone was angling for signaling him as gay. if the audience can see it, there's no way active professional filmmakers didn't know.
and it's not like they couldnt keep the queerbaiting of that era without sacrificing Steve's romance scenes. they did need to make us "believe" in the end Steve could at least be bi, if not outright deny the setup they made and claim him as straight.
and it wasn't like they couldn't write moving romances elsewhere. for all the problems between Pepper and Tony, the audience could believe they were genuinely in love.
but if you compare Tony and Steve, what is the absolute major difference there? not in personality or anything. but character?
it's that Tony fundamentally is a misogynist. and Steve is not allowed to be a misogynist.
it is genuinely as if the creators behind Steve Rogers could not conceptualize a man that was fully respectful of women and also attracted to them.
like they couldn't wrap their heads around it.
so when we get his flirting, it's awkward and forced, and when we get his kissing scenes, it's as if the kisses themselves elicit no response.
because they can't imagine a man fully respectful of women to be an active participant without showing off his "male prowess".
and so we get "so obviously written as gay MCU!Steve Rogers".
that's my theory anyway.
anyways, thoughts spawned from @headspace-hotel's post about gay!Steve Rogers.
I think part of it comes from misunderstanding of some of Steve's key traits.
I think what they were trying to go for is portraying Steve as sexually naive. Part of this is because his enhanced body is new to him and he hasn't experienced people being attracted to him, but part of it is that Steve is a deeply good character and writers and audiences consistently misunderstand that as meaning "straight-laced"/goody-two-shoes/Allergic to Fun.
This says a lot about how the writers view men and manhood.
particularly I feel like the godawful ending he was given in Endgame was one of the most misogynistic plot points pertaining to this because of the logic underpinning why it was seen as a resolution to Steve's arc... he is granted access to a woman, as though he's earned a prize. There is never any question of whether Peggy would WANT to be with him, even though she literally married someone else.
It's kind of interesting how Steve is characterized in early MCU as "not a real man" (thinking of "everything special about you came out of a bottle", and "nice boots Tinker Bell") like, the artificiality of what he is is so emphasized whether intentionally or not. And later MCU changed his appearance to be more "manly-looking" (muted colors, beard). Doling out a female side character to him is a way of Granting Him Manhood.
So this is interesting to me, in part, because of how Steve’s flirting was viewed when Winter Soldier first came out. Back then there was a segment of people who said it was ‘proof’ that ‘women don’t go for nice guys’ or that women always play hard to get. Steve’s awkwardness was framed as him giving up too easily, being a doormat, and sometimes that it made him look kinda gay. On the other hand there were people who went through this interaction as a great example of how to give and receive a soft no. Steve asks “Kate” out. She says she has a ton of laundry. He offers to let her use his machine, making it clear he just wants to get to know her and that an initial negative doesn’t set him off. She doubles down, mentioning how gross her work is but ends the conversation with something like ‘another time’. So Steve’s awkward, probably because this is supposed to be his first time asking a lady out since he was unfrozen, but doesn’t exhibit any red flags. Now, the moviemakers were probably trying to make him seem old-fashioned in this politeness but it’s interesting to think of it in the context of the broader misogyny of the cinematic universe and how that’s what really stalls out a possible Steve/Sharon pair. Because Steve isn’t that awkward around people generally - his opening scene with Sam feels a lot more naturally flirty than the bit with Kate. While Natasha’s surprise kiss makes him uncomfortable, he’s generally open and trusting with her (it’s why he’s so angry she and Fury were hiding things from him). But the MCU seemingly couldn’t do an egalitarian type relationship and so, his only romantic moments with women are carefully framed in a more formal past and go very stiltedly in the present.
"these overconsumption products shouldn't exist!! nobody needs them!! do it yourself!!!" *look inside and it's a disability aid marketed for mass casual use to make it more accessible*
Gods yeah, this. I still remember the first time I read a piece where someone discussed how most, if not all, of those infomercial products are disability aids. It was an honest to goodness epiphany. It also made those segments more surreal to remember, as it was no longer just a seemingly able-bodied person inexplicably incapable of chopping a veggie with a knife or tossing a salad but was clearly an item needed by people I knew. I just hadn’t associated them with it because the real life people weren’t doing ‘dick van dyke tripping on an ottoman’ levels of acting about it. This was when it was trendiest to hate on snuggies so they were a big example with a simple ‘can’t you think of anyone for whom a comfy, opposite facing robe would be a good idea’. And so many of the products go along immediately with the kinds of disabilities that often associated with aging (anything stabilizing for shaky hands or helping weak grip strength for instance). Anyway it completely recontextualized how I thought about all those late night ads I watched as a teen with insomnia and I’ll bring it up in any conversation that tries to bring up how ‘silly’ those things are.

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THE TICK THAT DREW THE MAP OF THE WEST June 28, 2026
So the longhorn was a garbage animal. Stringy, mean, half-feral, descended from Spanish cattle that had gone loose in the brush country for a couple centuries and bred for survival rather than meat. In Texas after the war it was worth maybe three or four dollars a head, because there were millions of them and nobody to eat them. The local market was Texans, and Texas was broke. Up in Chicago or New York the same animal was worth thirty, forty dollars, because the Union had spent four years eating its way through the eastern cattle supply and the cities were short on beef.
That spread is the whole engine of the cattle drive. You don't need a tick to explain why a man would walk a cow a thousand miles to multiply its value by ten. The arithmetic does it.
What the tick explains is the SHAPE.
Because the thing about the longhorn nobody in the romance mentions is that it was a carrier. Centuries in the brush had given it a shaky immune truce with Babesia bigemina, a protozoan that lived in its blood and rode around on a tick that dropped off into the grass wherever the herd went.
The longhorn itself looked fine. Walked fine, sold fine, butchered fine. But the cattle it walked past, the fat improved Midwestern stock that had never met the parasite, those animals would start pissing blood and die at a rate that touched nine in ten. The Texans, reasonably, refused to believe their healthy-looking cattle were doing it. They took it to the Supreme Court in 1877 and won, on the entirely correct observation that their cows weren't sick. The cows weren't sick. The cows were Typhoid Mary.
(The disease disappeared every winter, too, north of a certain latitude, which baffled everybody for thirty years until somebody worked out that the tick just froze to death up there, no vector, no disease, the whole thing seasonal in a way that made it look like a moral judgment on Texas cattle specifically. It wasn't anybody's leading hypothesis that an insect was committing the murders. The leading hypothesis for a while was that the longhorns were poisoning the grass.)
So now run the two facts together. The cow is worth ten times more up north. The cow kills every other cow it passes on the way up north. What do you get?
You get a line.
You get a bunch of lines, actually. Quarantine lines, drawn and redrawn by Missouri and Kansas legislatures and eventually by the federal government, declaring that Texas cattle could not cross at all, or could only cross in winter when the tick was dead, or could only cross by rail if they were going straight to slaughter and never touched dirt that a local cow might later stand on. Missouri shut its border. Farmers formed Vigilance Committees (which is a polite nineteenth-century way of saying armed men) and turned the herds back at gunpoint. Kansas banned Texas cattle outright in 1885. And every one of those legal and shotgun-enforced lines was a wall the drive had to find a gate in.
The gate was the railhead.
This is the part that rewires the map. The famous cattle town (Abilene, Dodge City, Wichita, Ellsworth, the whole gunfighter pantheon) is not a town that grew up around ranching or water or gold or a river crossing. It's a point where the trail coming up out of the quarantine zone touched a railroad that could take the cow east to the slaughterhouse without it walking through anybody's protected pasture.
Abilene gets invented basically from scratch in 1867 by a man named Joseph McCoy who looked at the map, found a spot on the Kansas Pacific that was far enough WEST that the trail in from Texas could swing around the settled farm country and its quarantine, and built stockyards there. The town is a loading dock. The cowboy at the end of the trail, in the saloon, shooting the place up: he is a longshoreman who has just finished a shift, and the shift was getting the cargo to the one point where it could legally change from hooves to wheels.
And the cargo had to keep moving west precisely because the tick kept the settled east closed. As Kansas farmers spread and the quarantine line marched west with them, the railhead had to march west too. Abilene to Ellsworth to Wichita to Dodge, each town flaring up and dying back as the line of legal infection-free transfer slid across the state. The towns weren't competing on amenities. They were competing on being the current solvent point in a chemistry problem about where a tick could and couldn't survive the trip.
(Dodge City lasts longest because it's furthest out, last to get caught by the advancing farms, sitting out where the quarantine couldn't reach it yet. Its whole mythological career (Wyatt Earp, Boot Hill, the Long Branch) is a few years long and happens because of an agricultural-settlement frontier creeping toward it at the speed of homesteading. When the farms arrive, the party's over. The party was always a function of the farms not having arrived.)
So the geography of the Wild West, which towns exist and why they're where they are and why they boom for five years and empty out and why the trail bends where it bends, is not topography and not destiny and not the romance of open range.
It's the intersection of a price differential and a quarantine map. The price differential said go north. The quarantine map, drawn by the tick, said you may only go north HERE, and HERE, and now not there anymore, here. The cow drew the route and the parasite drew the borders and the men with the guns were just enforcing a public-health regime they didn't know was a public-health regime.
And it all gets zeroed out, eventually, the same way these things always do, not by a hero but by a logistics upgrade. They build the Kansas City stockyards and the packing plants, and then the rail net gets dense enough that the cow doesn't have to walk to the train at all, the train comes to the cow. Refrigerated cars mean you slaughter in Chicago and ship the meat instead of the animal. The long drive, the trail town, the whole apparatus that existed only to get a tick-bearing animal across a quarantine line to a loading point, it just stops being necessary, and the gunfighter towns settle down into being ordinary Kansas, dry and flat and law-abiding, within about a decade of their own legend.
The cattle tick itself they finally beat in 1943, dipping every cow in the South in arsenic for forty years to break the lifecycle. Nobody made a movie about the dipping vats.
Same as it ever was.
Fun fact - one legacy of those vats is contaminated groundwater. Here’s Florida’s list of known locations along with a request that you contact them if you know of one. https://www.floridahealth.gov/community-environmental-public-health/environmental-public-health/water-quality/drinking-water/cattle-dip-vats-in-florida/
Approximately 3400 cattle-dipping vats were constructed throughout Florida from 1906 through 1962. These vats were used to eradicate ticks f
Happy Pride all the queers in my phone. But an extra happy pride to all the bisexuals in straight passing relationships. To the trans people still living in the closet for their safety. To the nonbinary people getting misgendered. To the ace and aro people who sometimes feel like Pride isn’t for them. To the BIPOC people who face discrimination in the queer community. To everyone who feels like they aren’t queer enough.
You are enough. Pride is for you.
HOW IS MY SISTER STRAIGHT UP CARRYING A GUZHENG?????
SIS IS FUCKING BUFF
The Vampire Lestat: One Night Only - LIVE at the Beacon Theatre via katyatolstova
How much of Lestat’s rock star career was spent waxing, in hours? Every day hair grows back to how it was when he died. Every night he has to remove it all again. Everyone just thinks he’s a diva hogging the bathroom while he’s awkwardly trying to check for stray bits. Oh the suffering. :D
Lost in the Remaster: Star Trek, Vintage Special Effects, and the Charm of Old Media
by Ren Basel renbasel.com
Originally created by Gene Roddenberry, Star Trek is a franchise that spans decades. From the original series of 1966 to current shows such as Lower Decks, it stands as a titan of television and pop culture. The real world has undergone incredible change since Star Trek’s first appearance, yet nerds everywhere still find entertainment, inspiration, and hope in its classic episodes. Recently, along with my husband and best friend, I decided I wanted to attempt the gauntlet of watching the entire franchise from beginning to end, revisiting favorites and finally checking out the ones I missed. Media and fandom studies are my passion, after all, and Star Trek is a foundational part of modern American nerd culture.
Starting with the original series proved more difficult than expected. Living in a tiny apartment, we don’t have much space for DVDs, so Star Trek wasn’t in our existing collection. The local public library didn’t have copies, either, and putting in a purchase request doesn’t guarantee it will be made available. My family doesn’t have the funds to pay for every single streaming service on the market, and Star Trek isn’t available on any we do have access to. Piracy was starting to look like the only option, but even that fell flat when we couldn’t find a version with subtitles. Finally we dug it up officially and with subtitles, for free via PlutoTV, but there were still limitations: PlutoTV only streams season one, and season one is only available in the remastered edition that replaced the original special effects with new visuals.
It wasn’t ideal, but, hey, it was Star Trek.
Watching just one episode a week gave us enough time to scrape together savings to get what we really wanted for seasons two and three: the official BluRay release, which includes both remastered and original-release versions of each episode. The remasters are fine, but as a lover of media history and practical effects, I’m always disappointed to lose a chance to appreciate the originals. It doesn’t matter how good it might look, remasters are never as much fun to me as matte paintings, camera tricks, and whatever the prop department could pull off with ten dollars and some glue.
Finally having the BluRays in hand for season two only affirmed my love of vintage practical effects. Seeing the Enterprise in her original glory, before she was ever rendered in digital form, felt like opening a time capsule. I love time capsules. My favorite pieces of media are always those which capture a moment in time, showcasing the aesthetics, concerns, and culture of the time and place they were created. Star Trek: the Original Series is rooted in the late sixties, when mainstream culture in the United States was experiencing immense upheaval and social change. That context is written all over the show. The vintage effects add to it, grounding it in a very specific time and place. Updating the show’s effects takes away some of that 60s aesthetic, and while some may see it as making the show more timeless, I don’t care for it. To me, seeing what they could pull off before modern technology is half the fun of watching old shows. The ingenuity and creativity of propmakers, makeup artists, and set designers working on shoestring budgets is unparalleled.
To be clear, digital effects are also done by skilled professionals who deserve much more respect and many more labor protections. There are some truly stunning works created with digital tools. That said, I hate when digital effects are used to cover up the practical effects that came before. It feels disrespectful to the original artists, as if telling them their work wasn’t good enough; as if their work was just a placeholder until something better could come along and fix it. Practical effects aren’t a placeholder, they’re an art form in their own right, and that art form is one for which I have deep appreciation.
It frustrates me that the original, non-remastered episodes were such a pain for us to access, but I’m very glad to have added them to my personal media collection. No matter what future tweaks Star Trek’s rights holders might make, I can always pop in our personal copies to enjoy the Enterprise and her crew in all their vintage, “outdated” glory. If you’re also too young to remember the show’s original airing, and you have the opportunity to watch the unedited version, I highly suggest you do. Watching the version that aired in 1966 gives the show a charm that no amount of remastering can ever match.
_
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#the remastered enterprise is NOT my beautiful home or my beautiful wife
Holy shit, Captain Kirk has a tumblr.
Aside from all the issues of preservation and access this brings up, I’m most reminded of an episode of Reading Rainbow. Levar Burton, who was both hosting that show and playing Geordi in Next Gen at the time, spent a whole episode showing kids how making Star Trek worked. The part I remember best is the special effects. Because the models shown for the ships were so cool and learning that the transporter effect was done with glitter in a tube of water was so fascinating. Anyway, yeah there’s a real charm to those effects and the drive to make everything look like it’s properly modern for re-releases is so often poorly thought through.

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will never not be mad about gig economy apps making a 4 star rating mean “unacceptable quality”
Doordash will suspend you below 4.2 stars.
Uber drivers can be suspended at 4.6 stars.
Lyft drivers risk suspension under 4.8 stars.
Even for apps where they don’t have a publicly stated minimum, their algorithms will bury you.
4 stars does not mean 4 stars. It means 1.4 stars.
If you give a person a 4 star rating, to these companies, you are not saying “I was mostly satisfied with the service, but there’s always room for improvement”—which is what 4 stars should mean—you are voting for them to be fired.
Genuinely, do not ever give people 4 star ratings on gig service apps for any reason that is not a safety issue where their continuation on the app could seriously hurt people.
If someone gives you “just OK” service where you don’t want to give them 5 stars, but you don’t actively hate their existence and hope they die, just don’t rate them.
I'd like to add (and I hope OP doesn't mind me piggybacking on their post) this applies to a lot of other things too.
I'm a teacher, and every year, the State sends out a "climate" survey to all students, parents, and teachers. It has a 1-5 scale and a 'not applicable' option. If you select 4 or 'not applicable' it's marked against the school.
For example, I'm a virtual teacher. The climate survey has questions about the safety and cleanliness of the halls and bathrooms in the school. A normal person would assume that, if they attend a virtual school, they should use the 'not applicable' option, since their school has no halls or bathrooms. Nope, if they select anything but 5 out of 5, our school gets marked down.
Its not just delivery apps that are rigged like this. Keep this in mind. Assume any survey is rigged like this.
The part of this that truly infuriates me is how it intersects with performance reviews. Like, yeah it’s totally unsustainable and horrific that these client/customer/public facing surveys need to be kept near perfect. But meanwhile, on your performance reviews, you better not rate yourself much above a 3. I had a manager once tell me that there should basically be only one person in the district who got a 5 on a metric. That someone getting all 5s was impossible, they’d practically be the second coming of Christ. So, ever since, I’ve been furious at how you’re never supposed to highly value your own work, you know on the bit that’s supposed to deal with you getting a raise (if anyone gets a raise) but the public is supposed to think you, and by extension the company, are Mary Poppins (practically perfect in every way).
you can stay indoors all day when the sun is out, and sometimes it's nice like a cool draught from a tranquil spring, but watch out because if you stay indoors for two days in a row while the sun is out you start doing odd gothic literature things, stalking the halls and passages and muttering to yourself and parting the blinds to gaze down at your neighbours with a haunted look before turning away to contemplate your mannequins #yourmannequins. three days and you're basically fucked. you have to throw a towel over your head to scurry as far as the store for milk and people jeer at you like frankenstein's monster.
So that’s what’s wrong with me.
UNPACKING (2021) dev. Witch Beam
In honor of Star Trek and World Dracula Day, phrases from Dracula as Star Trek episode titles:
I thought at least one of these had to have actually been an episode title but the closest I found on a quick look is that the first draft title of the episode The Cloud Minders was Castles in the Sky. It’s, uh, easy to guess why.
It's Jeff! Meets Daredevil #1 (2026)
written by Kelly Thompson art by Gurihiru

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Happy Intergalactic Towel Day!
No matter what the politics, eggs hatch, and milk sours.
Lords come and go, but dust accumulates.
Lilac was common in the city. It was vigorous and hard to kill, and had to be.