a crude summary of one of my favorite musicals

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@rauchemsauchem
a crude summary of one of my favorite musicals

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the space seed episode of tos where they find khan and the ss botany bay is so funny because right off the bat you have kirk being like "yeah let's get that historian whats-her-name out there, maybe she can be useful for once" and it's like WOAH what's up with the liberal arts hate?? why is kirk being such a bitch to this lady for no reason. then you meet her and she's fucking obsessed with historical strongmen to the point of covering her walls in her own fanart. she lives on a spaceship in a utopian technofuture and she sleeps surrounded by busts of kings on purpose. her vibes are fashy and kirk is right to be a bitch, actually.
then they get to the botany bay and she's immediately driven to distraction by how horny she is for ricardo montalban under a thick layer of extra-dark foundation. sorry i'm gonna compare montalban with and without the makeup because it is SO distracting
also she refers to sikhs in the past tense implying that at some point in the last two hundred years there was a genocide that they're just glossing over. since she also calls them a warrior race it's also possible that she's just racist and somewhere on board the enterprise there are sikh crew members who dislike her as much as kirk does.
anyway you can assume that this is her first actual away mission and she fumbled immediately because she was so hot for khan but it's much funnier if this isn't the first time this has happened. every time they have to interact with a historical earth artifact she gets so horned up thinking about being a tradwife that she's rendered speechless. spock stays polite but kirk can't stand her. by the time kirk found out she was the type of person to paint her own portraits of napoleon and roman emperors to hang in her quarters it was too late to send her back and request literally anyone else. he's supposed to court martial her but offers to let her stay on fashy eugenics planet just so he won't have to keep her on his ship anymore. it's unclear if he lets her take her paintings or jettisons them into space.
this is the funniest analysis of “Space Seed” I've ever seen
... Same. :)
@trekmupf
(Via @southern-continent-skies)
@anghraine
Thank you! Nothing here is wrong tbh. My deep dislike of The Wrath of Khan would drop by ... like, 12% if they'd gone with Marla evolving into a deranged Lady Macbeth gleefully egging Khan on to Manlier Evil in the film instead of trying to convince us Khan would give a single fuck about her fridging tragic death.
they got married btw
oh you’re not kidding
GLaDOS voice: "Would you like to see some artwork I generated? I've heard from other test subjects that AI-generated artwork produces an uncanny valley response in human viewers because they can't perceive it as fully real. They've told me that it looks absolutely hideous to them, that they can't imagine anything more disgusting than AI art. But, well I've been practicing and wanted your honest opinion. Feel free to let me know how ugly you find this by ranking it on a scale from 'vomit-inducing' to 'eye-bleeding'." A robotic arm lowers from the ceiling holding a hand mirror up to Chell's face
They had not been seen together in the museum galleries for quite a while. Monet’s “Women with Umbrellas” are once again side by side in the Impressionist gallery.
AND THEN THEY LIVED HAPPILY EVER AFTER THE END!!!!
ok every time this post comes by i resist geeking out on it but NO LONGER so these women are probably the same woman and that woman is monet’s wife camille doncieux. he painted her a LOT. but fun fact: monet had this asshole friend named ernest hochede, and ernest racked up some debts, and like an asshole he basically just fled the country, leaving his wife alice and their six kiddos behind. monet immediately got alice and kids to move in with him, camille, and their two kids. at this point, monet, alice, and camille became my favorite probably historic poly threesome. they lived together, taking care of the kids. they were so poor that alice and camille took turns wearing the nice dress so they could go out with monet. when camille got uterine cancer and began dying, alice helped monet cope and took care of things while he painted camille over and over. when camille died, alice is the reason monet was able to survive. when ernest finally died, monet and alice married, and remained married until alice died. at that point, blanche, the oldest daughter, took care of monet until he died. anyway, the point is, the umbrella ladies are probably the same ladies, but as far as i’m concerned, there WAS a historically queer poly family in that household and they were wonderful.
this is a fucking joy

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google help me
the thing is, stephen king is generally pretty good at creating complex, well-rounded characters, which makes it all the more jarring when one of those characters abruptly comes out with what i'll term a "kingism". i don't know how best to define a kingism other than "you'll know it when you see it". it's the voice of the author intruding on the voice of the character, and in this case the voice of the author has a bad sense of humour and is ravenously, inexplicably horny
random example of a kingism aka "he would not fucking say that"
this too is a kingism
one of the hallmarks of a kingism is that when a character is being Horny On Main (or In Maine), they can never do it in a normal way. they have to come up with a sequence of words that nobody has ever said before in the history of the english language. here's another example:
i'm starting a collection
i feel like we don’t talk about things like this enough
HOW IS MY SISTER STRAIGHT UP CARRYING A GUZHENG?????
SIS IS FUCKING BUFF
Hamlet adaptation where Hamlet is a vlogger and all his soliloquies are breakdowns he uploads to YouTube
… I am unironically here for this
this is the funniest thing I’ve ever seen in my life
This is - legitimately - my favourite delivery of Shakespeare I have EVER seen (and I have seen some good-ass productions yo, in the Globe Theatre itself even). Like seriously, even though the words are unchanged, he’s stripped away ALL of the archaic pretense and assumed grandeur of ~presenting the bard~ that makes even the most wildly talented of actors and innovative of productions inherently inaccessible to a modern audience. Like, they’re still great, they can still communicate the message and (some) of the nuance, but they’re still always a step removed from being identifiable to any viewer’s lived experience. They’re still always reciting 15th century poetry. But this guy? This guy is like, screw iambic pentameter, to hell with being precious about the material, HOW WOULD AN ACTUAL PERSON SAY THIS SHIT?
Like this. And it’s beautiful. It’s beautiful to hear a soliloquy I loved so much already, and have it come to life in a way it never, ever, did before. I feel like I grasp his motivations, his twists and turns, no longer on an academic level but on a visceral, instinctive one. Because he’s presenting his mental and emotional journey in a way that speaks honestly, like a real person.
So yeah, this shit post? I love it. Deeply and sincerely.
A post about this went round recently, and I’m delighted to announce she’s since come out as trans and goes by Jasmine 🏳️‍⚧️
Actor and Writer
There’s a whole series of the Hamlet videos on her YouTube, as well as a bunch of other films she’s made

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just casually leaving this here for no particular reason
You know what? Fuck it I'm adding more context. Sesame Street has talked about the topic of death more than once and it's done with such gentle carefulness without watering down or censoring the heaviness of the situations. It treats heavy subject matter with respect and dignity and has been for DECADES. From the early 1980s:
To 2025:
Hell, they even cover the devastating heaviness of MASS SHOOTINGS without censoring or watering anything down.
They've been doing this for YEARS, and it's ALWAYS handled with dignity, respect, seriousness, understanding, and love.
Whenever I see people censoring words because it "might offend" someone or the big ad companies that are currently trying to run everything? I just want to say to them: "What? Is Sesame Street too mature for you?" Because really...what the hell are we doing.
I'm back with even more examples! Sesame Street once again to this day is out here handling extremely difficult subject matter with incredible care and respect. "We can't let kids learn about uncomfortable things!" Oh, really now? Even though they're things that happen in everyday life that they'll face one day at some point anyway? Interesting. Let's see what else this show has covered that people (for some reason) think should be avoided and hidden. Here's more on death of loved ones and greif:
Or how about when someone is put into the foster care system because their home isn't safe anymore and their needs aren't being met?
Maybe some discussions about group therapy/getting help and support?
Hey look! Here's a segment about gender expression vs taught expectation, including unlearning harmful biases and what to do when you hurt someone on accident because you didn't know it was wrong!
Look! The topic of race and diversity! The importance of unity and equity!
They even also have a more allegorical take on discrimination and being looked down on for who you are, featuring Big Bird. The conflict is about how he's not being let into a club because the one bird running the club personally decided he didn't want someone like Big Bird there.
Big Bird goes out of his way to keep changing parts of himself in order to "prove" he can fit into this club if he just changed enough. The truth comes out though, and there's nothing he can do to gain the approval of that bird. He will never be good enough in his eyes, and Big Bird starts to hate himself. His real friends see this finally put their feet down, emphasizing that you should never change yourself just to fit into one singular narrow idea someone else has.
There's A LOT of different situations this can be an allegory for. Racism, sexism, homophobia, basically ANY form of exclusion is put on full blast in this 15 minute clip. Sesame Street can be both blunt and allegorical when approaching difficult topics, and it NEVER misses or looses the point.
It does an exceptional job in both styles of representation WITHOUT watering anything down. The more sanitized everything gets, the more radical Sesame Street is suddenly considered, hence why so many "particular groups" want it gone. Hmmm! I can only imagine why that could be, in this current political climate! (I'm being sarcastic)
When Sesame Street is suddenly labeled as "questionable" or "politically/agenda motivated" content...it says A LOT about where we currently are and who gets to decide what's "best" for kids or not. Don't fall for the censorship and topic-dodging excuses that are covered by the "But think of the children!!!" movement. Never fall for it, because you know which side you're on if you do.
Sesame Street proves kids can be taught and trusted with learning about these topics when it's handled with the right amount of understanding and care. It shows what all this "controversy" is all really about. What it's always been about, actually.
Don't fall for it, always side with Sesame Street.
Please enjoy the infectious laughter of the Australian senate struggling to keep its composure while grilling a man about bee semen
Regularly forget we posted this and then are hit like a brick with notifications like this one

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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.
Stephen King’s Fujo
yeah @sunderwight these tags are gold