Sterrestel

I'm breaking character here, so don't tell anyone, but it was never actually in the book. the real sentence was "Claws the size of bananas shot toward me."

and then this was the edit note:

it's just that when I saw the edit note, my first impulse was to come up with an even worse banana sentence, and........ you all saw the bloodbath that followed.

here's the final line that made it into the book:

"Because even Zeus, king of the gods, will not provoke the night"

Yayyyy Pantheon Pearl 🫶✨️

This was the crossword puzzle in the New York Times yesterday. 

Tausig’s crossword is a so-called Schrödinger puzzle, named for the physicist’s hypothetical cat that is at once both alive and dead. In a Schrödinger puzzle, select squares have more than one correct letter answer: They exist in two states at once. “Black Halloween animal,” for example, could be both BAT or CAT, yielding two different but perfectly correct puzzles. Only 10 such puzzles have now been published in Times history.

It’s the theme of Tausig’s puzzle, though, that makes it special. Four entries in Thursday’s crossword can include either an “F” or an “M.” Both are correct; neither is wrong. For example, “Part of a house” can be either ROOF or ROOM. The long “revealer” answer, tying those select entries together and spanning 11 squares smack-dab in the middle of the puzzle, is GENDER FLUID.

It's just the changing density of the air refracting light weirdly, so it looks like there's a reflection of the sky on the ground, which our brains often interpret as a pool of water. It can also happen upwards instead of downwards, especially at sea, when the air is much colder near the surface and a warm front appears above it:

Here's Fata Morgana

i have just stumbled upon the most beautiful public document i have ever laid eyes on. this also goes for anyone whose pastimes include any sort of character creation. may i present, the HOLY GRAIL:

https://www.fbiic.gov/public/2008/nov/Naming_practice_guide_UK_2006.pdf

The following items are demonstrated in the video and described in the voice-over:

1. Assorted bump dots - Various kinds of stickers with protruding dots on them that can be put onto appliances to make them more tactile.

2. Pocket money brailler - A device that allows you to imprint braille onto paper notes, indicating their value.

3. Liquid level indicator - A device hung on the edge of a container with metal prongs that detect when liquid has reached it.

4. Braille Pop-It - A pop-it with the alphabet in braille on each bubble.

5. Tactile Rubik's cube - A rubik's cube with unique textures for each color.

6. Braille color clothing tags - Tags with braille to indicate what colour a piece of clothing is.

7. Signature guide - A card with a rectangular slit in it to guide the user when writing their signature.

8. Low vision playing cards - Cards with very large and colorful numbers on them.

9. Pop-A-Cell - A plastic card with 6 bubbles you can indent to practice braille characters.

10. Talking keychain clock - A clock that says the time aloud when you press a button.

Anyways, thank you for your service o7

".....did you just post something on tumblr?"

i don't know how to feel that there's a graph that shows when I post on here.

The very first experience it has with the base crew is that they save it from people shooting at it, give it warm hugs, and kill the people trying to deatroy it. After that it attacks and impersonates an unknown (at the time) member of the crew. After that it gets surrounded by dogs who are angry but too scared to approach, then it changes, then it attacks the huskies, and only then does anyone in the base camp treat it with hostility.

The entire first act of the movie is devoted to establishing that they know each other with an Intimacy so deep they can anticipate one another's actions and attitudes. They have been in an isolated arctic base for months and months where they can barely leave the same building. They are in one another's personal space throughout the movie. It's a vital plot point that the Thing can immitate people down to memories and personality traits. It's a vital metaphorical point as well. It's so deeply and fundamentally superficial and factually incorrect to call them unfamiliar with each other that it implies total inattention to what is happening on screen.

The Thing is, at heart, not a movie about any singular decision or behavior creating a bad outcome. Baked into the 1982 movie is failure, death, entropy, inevitable loss. It's not a movie that's meant to have a right solution, or a right decision - but when someone comes at this very bleak story without a good grounding in horror, there's a kind of urge to treat it like a puzzle. If only they were closer. If only they communicated.

That's not meeting it where it's at, because it rests on a situation where none of those elements really exist. People acted the best they could in the circumstances with the tools and information they had - and it simply was not enough. Nearly everyone dies. Even with the ambiguous ending, whoever is human is going to die, because it's winter in Antarctica and he is hundreds of miles from anywhere with no shelter and no food and no transportation. That's the sort of horror it is, the idea that when faced with extinction humanity's best efforts won't succeed. Creating an interpretation where if we had "just" this or that is shying away from the bleakness. But at the same time, not facing up to the idea that some things really might not be solvable, that the worst can happen in spite of it all, is a necessary skill. Not one we need to indulge in constantly, but we should have that knowledge.

In brief, fandom seems to be predominantly comprised of people who only want to talk about what isn't in the media. There is a fandom for The Thing on tumble, and it's very much about ideas that come from the movie, but not about anything innthe actual film. The few times I've had the misfortune to enjoy media with a large fandom, I find almost exclusively shipping, fantasies about specific characters antithetical to the subject matter, and an almost oppositional distaste for any of the actual intended or unintended meaning in the media. None of those are a problem per se, because the world is a big place and it doesn't matter in the grand picture what people want to pretended about a book or movie or TV series. This is mostly a me problem, where I can be perfectly fine and ignore what comes across my dashboard, but this is also a me post, which means I can complain about the phenomenon.

Anyway, where I find it frustrating is the encroachment of fandom focus on what isn't in the media into my little wading pool of enjoying digging through the ideas that are in the media, when a "what if it was completely different" idea inspired by the media gains so much traction that it begins to be treated as a reflection of the text, sometimes even exiting its primary fandom, like The Thing, into general circulation. Which is how you get people discussing the "creature is misunderstood" not-present ideas of The Thing by fandoms, while effectively ignoring the vastly more significant elements of the film relating to the Reagan era 1980s, cold war paranoia, and so on. Once a fandom non-textual idea propagates far enough, it not only occludes the ideas inside the original media, in my experience it almost invariably excises anything that was challenging about it. For example, how rapidly fandom's latched onto the idea of Remmick in Sinners as a misunderstood tragic figure - rather than anything to do with what the film is saying about systemic racism. It feels like a companion behavior towards people whose take away from media like Breaking Bad, Fight Club, or Obsession is that the male protagonist is meant to be viewed in a positive light - because that is an easy and more comfortable option than for example treating any character who isn't a guy or isn't white or isn't straight as a vital, human person at the center of the film.

Closest match: Bombyx mori BmN4 cell DNA, chromosome 24, sequence Common name: Domestic Silk Moth

In the same way the series will play episodes of ha-ha spy themed hijinks and antics and will then turn around and look you dead in the eye and say with no humor whatsoever "war is a hell that degrades bodies and spirits of everyone it touches," they will play many episodes of happy home life and teasing tension between the ML and FL and then hit you with "amatonormativity is a tool of the fascist state, actually."

The entire reason this household comes to exist in the first place is that neither Loid nor Yor can exist freely in Ostanian society without checking all the socially expected boxes of being in a married heterosexual relationship with child. The ways that the authoritative Ostanian state demands this conformity, this biological labor, are markers of its oppressiveness as much as their paranoia and their secret police. Yor in particular was drawing so much hostility and suspicion from her coworkers just for being a single woman in her twenties that they were on the verge of reporting her for subversive behavior until she casually mentioned that she had met someone and was getting married soon.

Marriage and parenthood are, explicitly, the camouflage and cover that allow Yor and Loid to continue living their lives unimpeded, as they could never do openly. Having established that unequivocally, this unconventional household -- parenthood without biology, partnership without sex -- continues to be a successful place of stability and happiness for all three of them, despite lacking the elements that their amatonormative society insists are non-negotiable.