Let’s have technical difficulties with mama
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let's talk about Bridgerton tea, my ask is open

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YOU ARE THE REASON
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we're not kids anymore.

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Let’s have technical difficulties with mama

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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.
This is why Pride is not just a party. It's a joyful celebration, but it's also a pointed and colourful two-finger salute to a world that stood back whilst so many of us died. And we'll never go quietly, never again.
i wish there were more ways to communicate to people under ~30 the scale of what the aids epidemic was like before antiretrovirals, the numbers (both absolute and relative) of people who died, and kept dying, every day for years and years and years, because it's very hard to truly understand looking back from today if you aren't actively seeking out understanding. the photo above of the choir is one thing that works well, as is this piece from 1987 by fran lebowitz.
trans people don't need to hear your justifications for still enjoying harry potter in 2026 stop looking for forgiveness where you're not going to get it
if i walk into your house and see harry potter stuff, i'm just gonna assume you're a transphobe. no amount of "i got it from a charity shop" can save you from the fact that you value those books enough to display them in your home.
you can't just put the work of someone who's currently trying to eradicate trans people on display without being questioned about it, especially if you claim to care about us.
same goes for your social media, if you're willing to keep putting jkr's work on a podium and proudly talking about it, then it's simply logical to believe that you don't care about other people. it's selfish if i'm being honest, to think that your comfort matters more than the lives of millions.
and to the trans people saying that they're "reclaiming harry potter for the trans community"
no you're not, you can't do that while jkr and her neo nazi friends are currently trying to kill you. you need to let go or else your own community won't be happy to help you when our collective rights are stripped further away.
trans children in the uk are killing themselves because of the things jkr has done.
children are dead. children who should be happy and free to be themselves are fucking dead because jkr has used her immense wealth and social power to change laws specifically to harm trans people. if you really think that your fucking "comfort characters" are more important than the lives of children then you should say that with your full chest. go on. tell the entire world that you don't give a fuck about dead kids. that you don't have an ounce of empathy in your disgusting shrivelled heart, because you still have your shitty fucking books and your garbage movies. your comfort matters more than anything, doesn't it? maybe jkr will tell you you're one of the good ones, wouldn't that be nice?

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Ideas are cooking for my pride outfit.
Oh boy have I pissed off the transphobes with this one.
Keith Haring's story is usually told as a solo rise, but that version leaves out Angel "LA II" Ortiz, a Puerto Rican artist from the Lower East Side who collaborated with Haring from the very beginning. Angel was a teenager when they met, already active in the neighborhood's graffiti culture. He taught Keith how tagging worked on the street, painted alongside him, and guided him through spaces Keith did not come from. Angel's tags, infill, and visual language appear across works that later became associated with Keith Haring's public legacy.
After Keith Haring's death, the story changed. Museums mounted exhibitions, publishers released books, and merchandise entered the market under a single name.
In that process, Angel Ortiz was framed as hired labor instead of a collaborator, even though his work remains visible on paintings, sculptures, and objects shown in major institutions today. Angel has said openly that race played a role in his erasure, and photographer Clayton Patterson has explained how institutions chose a simpler version of the story that centered one white artist and removed a Puerto Rican collaborator. Angel Ortiz is still working as an artist today, and the time has come for the art world to give him clear credit for the work he helped create…yuliaxgon
Hey, did y'all see this?
I saw this when running newpipe. But wait, it gets deeper. I clicked on the details buttons and it said as of today, we have 83 days left until Google rolls out this new requirement for apps inside and outside of the google play store. If any developer disagrees with their new terms and fees, they will be blocked!
I'll share some of the info below:
Looks like they're trying to nuke the remaining privacy and freedoms we have left on the internet.
What to do?
-Get your developer friends to not comply to their new guides
- Sign the open letter on the site and take action by checking out the full resources list on their website as well!
To summarize, this is all daunting especially when you feel all alone with unfair and inhumane regulations comming out faster than improvements but we got this working together!
Share the link with your friends, family and anyone who will listen!
Your phone is about to stop being yours. In September 2026, Google will block every Android app whose developer hasn't registered with them.
If you're in the US, I created a petition to make it easier to contact senators and congressmen.
Join 1 people. Google is trying to make people hand over government id in order to make an Android app. If they don't, then that app can't b
If you're not in the US, see if your country is listed here for whom to contact.
the grey warden’s joining
This is why Pride is not just a party. It's a joyful celebration, but it's also a pointed and colourful two-finger salute to a world that stood back whilst so many of us died. And we'll never go quietly, never again.

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
When the CEO of the company that didn't turn away Nazi business says "this isn't going to work" you know it's bad.
404 has been knocking it out of the park since they started. Please support their original reporting on this! If you subscribe to nothing else I highly recommend them. Their podcast is great too.
Planning documents for "Scout" say the plan is to "make people addicted" to the tool before adding new features.
finally some relatable content on ig
you have to be in a certain specific mood to listen to classic rock because sometimes a guy is playing his guitar and you're just like shut the fuck up man
Actually I do have a problem with those cartoony style cover for hyper sexual romance books and it’s like the inverse problem for me of people referring to everything as porn
Becauase my god those covers are so fucking unhorny they should be ashamed
Like ok ok ok half the time I see the discourse around this it’s people getting mad because they seem like they’re marketing “porn” to kids with those covers and like, that’s a stupid “think of the children” argument to shame grown adults for liking sexual content. And they’re clearly marketing to adults who have previously only ever been comfortable reading YA but that’s not even what I’m talking about and a whole other issue
What I’m talking about is those cartoony ass covers are so fucking bland that I would never pick one up randomly and give it a try knowing nothing about it, because it looks like such a bland hallmark romance and I want to read about fucking
Like we used to be a society. We used to have full painted bodice ripper covers with like tits and cock about to bust out of clothing. And it doesn’t even have to be that blatant you can make it horny and be subtle about it but modern every hyper sexual romance is giving 2010s indie graphic novel in the worst way. We used to make horny covers for porn and you knew it was gonna be horny porn when you looked at it. Now it’s so fucking boring and no one is finding that hot babes
It was wild when overwatch got popular and dudes were furious that women liked it as much as they did. I was there
I was there.
I was there
I was there
I was there
I was there
I was there.
I was there
I was there

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female-presenting vitruvian
i appreciate the amount of people reblogging this despite me not really tagging this at all. im glad many of people feel the same anger i do.
if you understand that Mormons are members of a cynical and control-hungry religious cult which exercises every conceivably available tool at its disposal to control, restrict, and extract wealth/labor/social prestige from its members to the benefit of the patriarchs in control, and that women, children, and those not willing or able to conform sufficiently are abused into compliance with a brutality and a regularity that should stagger the conscience of every feeling human being, BUT you think Amish people are cute and quaint and it's funny that their produce stands sell weed now, you have fallen hard for a PR scam
if you don't rely on cutesy semi-candid photographs and you spend any time in the northeast especially in spitting distance of pennsylvania, you will eventually see a woman less than 22 with 4+ children walking behind a man with her eyes downcast like she shouldn't look her betters in the eye and the energy of a whipped dog and if that doesn't inspire a couple questions in you and you're too busy buying rhubarb from her bearded husband, i hate you
isn't it so charming how they prohibit modern technologies like electricity. and also feminism
exactly. like. i know they're a regional thing even within the USA but if your exposure isn't through media and you just see them sometimes growing up, the thing is that you can kinda fucking tell
So back in 2020, an investigative journalist named Sarah McClure wrote a long-form article called "The Amish Keep to Themselves. And They’re Hiding a Horrifying Secret."
(cw: rape, sexual assault, CSA, incest, domestic abuse, religious abuse, etc.)
The article, as you might have gathered from that list of content warnings, is about the widespread sexual and physical abuse in Amish communities and the way that their patriarchal and insular practices make that abuse almost impossible to prosecute.
I read that article when it came out, and that's why I went to a screening of McClure's new documentary, Keep Quiet and Forgive, at the Philadelphia Film Festival last month. We were also lucky enough to have a Q&A with Sarah McClure and it was really eye-opening.
(For those who want to watch it, I believe she said the doc will air on PBS next year.)
One thing I was really struck by when watching the documentary was the way that almost all of these women (and yes, a few men who'd been sexually abused by other men) had left the community. It makes sense; would someone still in the community ever talk to an investigative journalist? It's not likely.
Almost all of them had lost their entire support system when they'd spoken out about their abuse. Their families and friends shunned them. They got hate mail regularly from their former neighbors. Whenever they went to court dates, they had to face not only their abusers but their entire former community, who would turn up to support the accused in court.
The few who were still in the community were either going to meetings secretly or were largely being shunned. One of them, a woman who still identified as Amish but whose entirely community had turned on her when she'd testified against her wildly abusive husband, ended up leaving the community entirely by the end of the documentary. She looked so much happier.
Where I'm going with this, though, is that these people often lose their friends, family, and community when they leave. So they've started creating community of their own. The documentary showed a lot of meetings between former Amish women who would band together to support other Amish women through the process of leaving and testifying against their abusers. There were group therapy sessions where women would finally get to talk about what had been done to them. Conferences where they discussed future steps. Meetings with activists to create change. Podcasts by victims of abuse who wanted to reach out to others like them.
Groups like The Amish Rescue Mission are working to provide support to victims of abuse in Amish Country, including providing Pennsylvania Dutch interpretation services when necessary. There are lots of small survivor support groups on Facebook, too.
I don't generally add to posts, but I did want to spread this information, reporting, and list of resources to anyone who might benefit from them. I am no expert, but I wanted to link to some people who are.
Help is available, but it is often inaccessible to people who, let's be real, are not generally going to be super online. So I think it's important to spread information however we can in the hopes that it can carry as far as possible by word of mouth.