DUNE: Part Three
Monterey Bay Aquarium
Jules of Nature

oozey mess

JVL

blake kathryn
noise dept.
Xuebing Du

Love Begins
NASA
we're not kids anymore.

#extradirty
Stranger Things
Sade Olutola
Peter Solarz
Fai_Ryy

official daine visual archive

titsay
art blog(derogatory)

pixel skylines

seen from France
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@nightkitchentarot
DUNE: Part Three

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WHAT THE HELL IS THAT!
idk i would personally rather give up access to certain products seasonally or locally than have people enslaved to give me the ability to have any product any place any time. i think i can go without tomatoes in january.
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.
ROBERT WUN Couture Fall/Winter 2027 pls help me get out of debt donating to: ko-fi.com/fashionrunways or dinahlance-shop.fourthwall.com

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is this gonna get me fired you think
The Vampire Lestat 3.06
You two hug it out for her too?
i) romanian athenaeum (bucharest, romania) ii) la fenice (venice, italy) iii) teatro di villa aldrovandi mazzacorati (bologna, italy) iv) teatro di san carlo (naples, italy) David Leventi, Opera Houses

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Bob Dylan on the best and worst things about being 80
You have:
headache
Have you tried:
plain water
anything but plain water
sugar
caffeine
sleep
staying awake
social interaction
being on your own
paracetamol
lie down
sit up
gentle activity eg reading
nothing that involves your eyes
vigorous activity
rest
This might make it:
better
worse
no effect
Good luck!
Aaron Wheelz
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For the last goddamn time...
"Kill your darlings" means "if something is holding you back, get rid of it, even if it sounds pretty."
That's it! That's all it means! It means if you're stuck and stalled out on your story and you could fix the whole block by removing something but you're avoiding removing that thing because it's good, you remove that thing. That's the darling.
It does NOT mean
That you have to get rid of your self-indulgent writing
That you should delete something just because you like it (?wtf?)
That you need to kill off characters (??? what)
That you have to pare your story down to the absolute bare bones
That you have to delete anything whatsoever if you don't want to
The POINT is that you STOP FEELING GUILTY for throwing out good writing that isn't SERVING THE STORY.
The POINT is that you don't get so HUNG UP on the details that you lose sight of the BIG PICTURE.
Good grief....
Also, you don't have to like, delete it from existence. Keep a second document full of the Darlings. You never know when you'll need it later.
yes, your killed darlings are ripe for rebirth
compost your darlings
recycle your darlings
Darlings who don't fit this narrative go into the use later folder
Pedro Pascal and Ada Scott as Reed and Franklin Richards The Fantastic Four: First Steps (2025) dir. Matt Shakman