Weird (Animal) Science

The Fence has published an exposé on Stuart Semple (of Anish Kapoor 'feud' notoriety) which they have been working on for six months.

investigation reveals Semple / his studio / his partner Emily Mann (who's described as acting as his 'enforcer' in his business) :

mishandled £400k grant of public money intended for a public gallery, allowing the money to flow freely between the public project, his own personal studio and personal projects such as Culture Hustle (his online business selling paint etc)

underpaid or failed to pay many of his assistants to the tune of several thousand pounds each.

former assistants have taken him to court and he simply hasn't bothered to show up and he's threatened to sue former assistants who asked for their back pay

repeatedly funds ambitious projects that never see release eg Abode, an 'Adobe-rivalling' suite of creative software (he claims he still intends to release this)

encouraged a cult-like atmosphere at his studio in Bournemouth

was frequently in debt and having to negotiate with bailiffs etc for his debts while at the same time crowdfunding various projects

ran fake social media accounts boosting Semple and his work

The portrait that emerges is one of decades-long scam artistry tbh and someone who's juvenile, manipulative, narcissistic.

The Fence btw is a decent fairly small-circulation quarterly magazine from the UK which specialises in satire, investigative journalism, culture, and fiction. You can read the piece in its entirety if you register (which is free).

a few links:

The Fence's newsletter from April discusses this article & how Semple has tried to muddy the SEO waters

Semple threatened to sue The Fence for publishing this story - many of you are American so here's the relevant UK law on defamation.

The first thig that put up a solid red flag was the shipping material. It's cool that he has custom boxes for his studio, it looked really neat. Then I opened it and sae things like "Not for bean boy" printed all over the inside of the box.

Between Mirror, hyper pigments, and black 2.0, none of them were as extremely out there as the videos on his site made them seem. The colors are vibrant, the black is dark, and the mirror is shiny. But the level the videos showed them at are not levels I can recreate.

So like, he exaggerated as an advertising scheme. Alright, shame on him.

Not a biologist, but the evolution of mammals is way more granular than you might expect. Humans are the sole surviving species of the genus Homo, which was a real party before the other ones went extinct. You're in for a fun time.

Domestic cats are believed to be domesticated not from tigers, but from the African wildcat:

Which evolved to be small just because it's sometimes more useful to be small.

And no, hamsters are not off-brand rats. They're part of the rodent order, which includes beavers, moles, capybaras, guinea pigs (yes, also wild) and lots of other fun things:

Left is MY FIC, right is the ACTUAL BOOK QUOTE IT WAS INSPIRED BY

(Mask context: masquerade ball / cinderella au)

It has been doing numbers EVERYWHERE and I only found out from this lovely person who commented on Ao3:

Over fifty years of data show a peak in PFAS (also known as "forever chemicals") content in seabird eggs in the 90s, followed by a decrease as regulations went into effect. The most recent findings show a 70% decrease of most common PFAS.

We are making genuine progress! Producers are dramatically altering how much they use PFAS and how much gets released in effluent, but also there's a lot better understanding of how to remove PFAS from the environment!

Some jobs, you can fuck around for six hours a day, but you know what you're doing so well that the work you do in two hours would take somebody else ten.

Some jobs, you spend those two hours preventing other people from making mistakes that would take 100 hours to fix if you weren't there to steer them right.

So don't buy into the idea that if you're not working 480 minutes a day, you're not doing enough to get paid a day's wages. That's the capitalism talking.

Last week, the Trump administration quietly released a sweeping new federal rule that would use funding threats to force institutions across the country to reject transgender people. The 400-page proposed regulation would codify the administration's anti-trans executive orders into binding federal policy, imposing a blanket prohibition on federal funds going toward "gender ideology"

The proposed rule, formally titled "Regulation for Federal Financial Assistance," rewrites the government-wide framework governing all federal grants across every agency. Among its most consequential provisions, it requires that before a federal grant recipient can receive money, the award must pass a "pre-issuance review" conducted by a political appointee—not a career expert or peer reviewer—to ensure it is "consistent with applicable law, Federal agency priorities, and the national interest." The regulation explicitly instructs these appointees to screen for "denial by the recipient of the sex binary in humans or the notion that sex is a chosen or mutable characteristic." [...] An institution that acknowledges transgender people exist—through its policies, its training, its healthcare, its bathroom access, its HR procedures, its name-change processes—could be deemed to "deny the sex binary" or to “support the notion that sex is mutable” and have its federal funding blocked.

This torches everything. And I do mean everything.

A very abbreviated list of its ramifications include (but are not limited to):

ending funding for ALL DEI related initiatives

allowing the government to terminate grants at any point for any reason

preventing researchers from publishing, going to conferences, and being part of academic societies

requiring that topics must support the president’s agenda.

What this means, and if anything I’m under selling it, is the death of science and research in America. It allows the government to restrict any topic they please at a whims notice, putting officials who have no background in the topic in charge of deciding funding continuity. It controls what gets researched and if/how researchers are allowed to share their discoveries. There are no books to burn if the government never allows them to be written. This is fascism plain and simple.

Public comments are not a vote, it is a chance for you to say "here is an issue with this law I think you need to address" and provide justification for legal challenges if it goes forward:

"Comments raise the bar that agencies have to meet when making a rule; “if an agency fails to adequately respond to significant, relevant comments in a final rule, members of the public may seek to challenge the rule in court on that basis and claim it could be struck down.ˮ"

buffy (suspicious): and why do you know about romantic poetry

@deepblueink2d and @bughuntermusic made a Burt plushie and I GOTTA HAVE IT so PLEASE y'all let's GO

needed to peer review these tags because what you said is so based and real. "people are nonbinary because they just are & i don't feel the need to interrogate it further" is EXACTLY how i feel.

First: THIS RECALL IS NOT STATE SPECIFIC. IT IS NATIONWIDE.

here are the specific products and dates:

FDA page on this:

Well, it’s actually been 30 years now, but here’s a spew I did 5 years ago on the bird app to commemorate my 25 years as a TV writer. 

I’ve edited it a bit for clarity. Hopefully some of you will find it useful.

1. In TV writing (and writing in general) there is only one unbreakable rule: Thou shalt not be boring.

2. Write characters people want to hang out with for an hour or so once a week for years to come. Even if they’re bad people, make them interesting, engaging bad people.

3. If your lead is a bad person, make them funny and/or sexy. Direct most of their bad behavior toward other bad people or themselves. Make them well motivated. Maintain rooting interest.

4. What makes a character special should be intertwined with what makes them struggle. Perfect people are boring.

5. Characters should complement/conflict with each other. No two characters should serve the same purpose/have the same backstory/have the same voice.

6. Cast the best actor, adjust the character to suit.

7. Give your leads the best lines/moments. No one is tuning in to watch the funny guest star. Like Garry Marshall said back on HAPPY DAYS, “I’m paying Henry Winkler $25,000 an episode. Give the Fonz the jokes.”

8. Your characters, good & bad, should reflect the reality of our wonderful, diverse world. White male shouldn’t be the default.

9. Avoid stereotypes. Stereotypes are boring.

10. If all your POV characters know some secret, the audience should know it too.

11. If your show hinges on a big mystery, know more or less what the truth is from the beginning. You can change it later if you need to, but write to a specific.

12. If your story doesn’t test your characters mentally, physically, psychologically, emotionally, or spiritually, you don’t have a story.

13. You can start by figuring out the Beginning, the Middle, or the End, but you don’t have an episode until you have all three.

14. Big suspenseful act outs (the last moments before the commercials) aren’t just a gimmick. They’re a good way to structure an hour of entertainment to make sure the audience is invested and your pacing is solid.

15. Every scene should be a consequence of the previous scene or a refutation of it.

16. A scene also needs a Beginning, Middle, and End. The end should propel the characters and/or audience into the next scene.

17. Every scene is a negotiation/confrontation between two or more characters who want different things or have different ideas on how to solve the same problem.

18. A good action scene is still a character scene. With punching. (This applies to sex scenes too, but you know, with sex.)

19. A crap page is better than a blank one.

20. It’s easier to cut than to add.

21. Good things rarely happen in the Writers Room after dinner. Go home, get some rest, write pages at home if you have to, start fresh in the morning.  Writers who have a life outside the writing room are better writers. Beware the showrunner who doesn’t want to go home to their family. That said…

22. Script by day one of Pre-Production. No matter what.

23. You’re a writer first. Almost nothing happening on set or in post is more important than the writing. Delegate when possible.

24. Make an extra effort to surround yourself with writers who are different from you (background, race, gender, orientation, etc). Listen to their perspectives, especially on experiences alien to you.

25. And in the end the love you take is equal to the love you make. In TV writing and life in general. 

PART TWO HERE: