enjoying all the tea

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.

Now in the above post I wasn't thinking specifically about pace. I think that post is more about what you're calling structure (the narrative backbone brought to light via the script).

Thai stuff is always gonna be slower paced than Korean stuff. Because it's longer and jsut less tightly controlled by the directors.

Also something like 4 or 6 act structure (popular in China, Taiwan, and sometimes Japan) will often FEEL slow to western viewers.

I think the pace of a show is partly a judgement call on behalf of the viewer, but also heavily cultural, so let me try to explain.

Structure, Pace, Plot

Structure, or the writing of a narrative script, can be divided into plot vs pace as follows:

Plot: movement of characters through time (scene by scene) and space (setting) and the people they meet along the way (dialogue).

Pace: how the plot is executed in terms of which scenes follow which, length of scenes and shots, presence or absence of flashbacks, cuts, voice-over work, but also literal words on the page - staging instructions, dialogue sentence structures, monologuing, and so forth.

Plot = what is written in the script

Pace = how it's written in that script

This is going to get further complicated once an entire film crew gets ahold of that script.

Plot is characters moving through time, space, and interactions in the show AKA WHAT the characters are doing.

Pace is how that script and story now in the hands of the performers is relayed to the viewers using camera angles, dialogue delivery, staging AKA HOW those characters are filmed.

Plot is the responsibility of the actors and script writers to convey.

Pace is the responsibility of the directorial and editing teams to convey.

Thus a part of the world that has good talent but poor production values (like Thailand, Philippines, or Vietnam) will always be weaker on pacing. But they can churn out something raw and brilliant IF they have a good script.

On the other hand, a place that has great everything but just really likes to mess with story structure and style, like Japan, might ALSO have weak pacing because that isn't their focus or interest.

In the first case, they lack the editing talent, money, and technology, in the second they just like to play with structure A LOT.

But it means each country that produces BL ends up needing to be judged on its own merits and choices (or lack of options) IMHO.

So, I stand by my list.

I think of it as representing all round story execution to the capacity of the country of origin. They are still the best story, although by western standards that story structure may feel a little off - depending on how you feel about that country's style of BL.

I might add a few to the list (from late 2022-2023)

Semantic Error - of course. This show is perfect, after all.

The Eighth Sense - Korea went gritty and tense, outside their comfort zone, and executed it sublimely well

Jun & Jun - a master class in pure sappy fluffy romance but still knuckle biting tension, I was upset at the end of every episode that I couldn't watch the next one INSTANTLY, in TV that = pitch perfect pacing

Tokyo in April is... - this is paced beautifully for Japan, very tense but with Japan's signature artsy atmosphere, it's not it's fault I didn't like the story

Laws of Attraction - this is a plot-based pacing story, like UWMA, and these tend to be the ones Thailand paces best using plot to amp up tension, unfortunately that best can still feel a little weak on actual story strcture and basic plotting, e.g. they can go off the rails easily like Manner of Death or KinnPorsche, but at least this kind of Thai show keep us intrigued for the next episode.

I'm gonna mention Bed Friend here as a lesson in pacing. If this show had stuck to it's guns and stayed 8 episodes, rather than stretching to fill 10 at the last minute, it would have been a near perfect high heat show out of Thailand. But it didn't have the confidence, and it likely wanted the money from those two added episodes. It's a real shame.

I gotta say I think this is the fans' fault.

People always want more of a good thing, or more of the same thing, it's why we get shitty 2nd seasons. Sometimes what we need to truly better cinema as an art form is LESS of the good thing - better editing, tighter scripts - because that way the pace will be superior. But I am a big fan of a tight.. pace.

Bah, anyway,

Why are shows still acting like glasses don't make people hotter?!

sharing it because it is

very beautiful

#2: "hi [professor], hope you're doing well! unfortunately, I'm [sick/stuck at work/dead] and won't be able to submit [assignment] by [due date]. could I please have an extension? if not, is there anything else I could do to make up this credit? thanks so much, [op]"

The FIRST SENTENCE is the thing you want the recipient to do. Do not make them guess.

I want to let you know about ... (This email is to inform someone of something not to ask them to do anything)

Could you please do ... (This is a request. You want them to do something).

I'm looking into x and wondering if you can help me (this is also a request but for information instead of an action).

People do not want to read an email and even if they do read it, most people are skimming and not interested. Tell them what you want first, then provide context or other information (when you need a thing is often key). If the email is informational, you can even add "you don't need to do anything, this is just to keep you informed!" People will appreciate not having to figure out what you want from them.

If you can't articulate what you want the recipient to do with the message, you are not ready to email them. I read too many emails where I have no idea what the person wants from me.

‘I worked 20-hour days to make Naomi Osaka’s Wimbledon dress’

The Japanese designer Hana Yagi created the striking all-white bridal-inspired kimono that drew cheers from the crowd at the All England Club

The Japanese kimono and the traditional western wedding dress are difficult enough to walk in, let alone play tennis. But Naomi Osaka did so anyway, emerging on to Wimbledon’s Court 3 in a gown that was a hybrid of both garments to play a round of practice shots.

The dress, which drew cheers and wolf whistles from the crowd, was the Japanese player’s latest fashion display, following the gold sequinned outfit that she wore at the French Open and her extravagant turquoise and green dress at the Australian Open in January. Her Wimbledon effort was the work of Hana Yagi, a 26-year old Japanese designer, who created it alone in ten days in her studio in Tokyo.

2026 French open, designed by Kevin Germanier in collaboration with Nike:

Yagi was asked to create an outfit for the “walk on”, when players enter the court before the beginning of a match, a well-established opportunity for fashion statements. At the French Open, Osaka compared her sparkling dress to the illuminations of the Eiffel Tower. Her extraordinary Australian Open outfit was inspired by jellyfish.

Australian Open 2026, designed by Robert Wun for Nike:

But Wimbledon imposes strict rules — above all that all clothes must be completely white (Roger Federer once got a telling-off for wearing shoes with orange soles). “First, it had to be all white,” says Yagi. “Visually, [Harper] gave me the image of a kimono or junihitoe [a traditional 12-layered kimono of the Japanese imperial court]. As a part of the concept, they wanted to reinterpret the tradition in the context of sport.”

The vintage wedding dresses she had in her own stock were cream and ivory — shades unacceptable at Wimbledon. She went to shops in Tokyo and bought the pure white western style wedding dress that forms the lower part of the Osaka gown, and a shiromuku, the traditional nuptial kimono in which brides are wrapped for delivery to their new husbands.

It is this, embroidered with brocade images of cranes and cherry blossoms, that forms the upper part of the dress, but drastically restructured to allow freedom of movement. “I didn’t want her to walk with small steps — in this she won’t have any difficulty walking,” Yagi says. “And it’s not like a tight corset, but a dress that Naomi herself can adjust.” Osaka wore her playing dress, created by her sponsor Nike, below Yagi’s creation, so it had to be lighter than a conventional kimono. The other condition was that the player had to be able to put on and remove the dress quickly.

“It was my first experience of that, because all my past works were art pieces, and not really aiming to be functional,” she says. “But this has to come on and off in three minutes. I kept it putting it on myself over and over again to confirm that it worked.” The secret ingredient? Extensive strips of Velcro.

Some more of Naomi Osaka's show-stoppers:

US Open 2024. Designed by Yoon Ahn for Nike:

US Open 2025. Designed by Osaka herself:

-ancient roman posca: water, red or white wine vinegar, honey, salt, herbs (coriander, mint, thyme)

-switchel: water, ginger, vinegar, sweetener, lemon, salt

-ayran: yogurt, water, salt, mint

-sees the reports of the heatwave in Europe-

Like for the majority it really is "oh i'm hungrier and moodier than usual"

If, before you get your period, you feel furiously angry, suicidal, irritated by every tiny thing to the point you want to murder someone, stuck in a black hole you'll never escape from. If you are experiencing extreme emotions for what seems like no good reason, especially if you get your period and those extreme emotions just go away. You're probably not just PMSing , you may have PMS's feral big sister PMDD and it's treatable.