Quentin Coldwater, you deserved better.

Aro and ace activism is healthcare reform, so that no one needs to rely on a spouse for health insurance, so that healthcare is available to everybody regardless of income, so that no one’s lived experiences or basic dignity are dismissed or overridden by doctors

Aro and ace activism is well-funded and expansive public transit, so that you don’t need to have someone on hand to drive you places if you are incapacitated, so that you don’t have to pay for an ambulance if you need to get to the hospital quickly

Aro and ace activism is disability and elder care services, so that no one needs a spouse to care for them, so that no one needs children to care for them, so that marriage is not a bind for disabled people, so that people on disability who want to and can live alone can

Aro and ace activism is community-building, it’s public events, it’s free social activities, it’s mutual aid, it’s activities that bring community members together without socializing relying on just a romantic partner

Aro and ace activism is developing a culture of believing when people tell you who they are and what they want rather than assuming you know them better than they know themselves

@thatlittleegyptologist

Level 2: Sci-fi aliens exhibit the target audience's gender binary with some specific feature conspicuously inverted, like women are the stereotypically violent and lustful ones or whatever.

Level 3: Sci-fi aliens exhibit the target audience's gender binary, plus 1–3 "extra" genders just sort of dangling off the side of the system that literally never come up except to make jokes about them.

Level 4: The text insists that the sci-fi aliens have no genders, which are a human conceit; that every individual alien we meet happens to neatly conform with the target audience's gender binary is coincidence.

Level 5: The text attempts to un-gender its sci-fi aliens simply by taking the target audience's gender binary and subtracting one of the genders, like all of the aliens are lesbians, but you can still clearly tell which aliens are meant to be the "man" lesbians and which aliens are meant to be the "woman" lesbians.

Level 6: The text genuinely departs from the target audience's gender binary, but only because the author is using the sci-fi aliens' genders as an allegory for something else – e.g., physical disabilities, political affiliations, etc. – in a way that doesn't really make sense if you think about it too hard; "capitalist" is now a gender.

Capitalistgender is such a funny concept to me

For added context, people who don’t remember the 1980s, there were a serious of deadly shootings carried out by postal workers against their coworkers.

instead, all her brainspace spent on that song would be replaced with the vivid memories of roman gladiator, taylaurius velox. she's able to hide this at first, but her music begins to take on a gradually romaner and romaner tint. at first, people are like "damn, she's getting REALLY conservative, huh" and other people are like "wow, she's so deep, she knows what a rubicon is" but eventually travis kelce leaves her out of nowhere (he wasn't sure if dating someone possessed by a roman gladiator made him gay or not and anyway he was getting sick of being like "we're going to play the lions" and taylor being like "LIONS? WHERE?") and taylor publishes an entire brutus themed album about this betrayal and it's beginning to weird people out

and so eventually travis kelce is getting like, bomb threats sent to his family for leaving taylor and eventually he's like "okay, okay, i left her because she kept having all these vivid nightmares of gladatorial combat and she kept saying that football was giving her the ick because we never actually killed anybody for the glory of rome" and then he just gets more bomb threats because he left a struggling woman during a mental health crisis

and eventually taylor is writing music about her forbidden roman senator lover and her fanbase is either whittled WAY down or WAY up because people want to watch this trainwreck happen (or maybe she influences culture so hard that we're just all really into rome now) but she's being super cagey about the name of this roman senator. until. and now here's the twist:

weird al has been getting all of the same vivid memories of taylaurius velox. and he still has all his memories of her old songs. so he's writing all these detailed song parodies of taylor swift songs that don't exist anymore including specific details about their shared gladiatorial reality that taylor has never shared with anybody else. including that her lover's name was publius, and she's been calling him Poob for short

at this point a lot of original swifties are leaving. they could do the brutus stuff, but they really can't survive poob. taylor makes a clapping back at the haters song including the lyric "these bitches don't know publius" and it ends up all over all sorts of merch. there's a renewed archaeological interest in roman gladatorial combat

most importantly, the internet discourse is the best it's ever been. does this make taylor swift transmasc? is travis kelce problematic for leaving his fiancee while she gradually morphs into a roman gladiator? is this good queer representation? if taylaurius velox was a gay man, does that mean the gaylors were technically correct? is weird al morally wrong for capitalizing off of her music if she cant remember it anymore? was weird al sent by god to torment taylor swift?

Also ok for SCIENCE I timed myself and quickly reciting the first 5 lines took 16 seconds, let’s call that fifteen because I mispronounced meodosetla. At that pace (if you could keep it up consistently and I mean never cough never take a drink) you’d be looking at 2.65 hours, or 2 hours and 39 minutes (or 159 minutes). This is actually 20 minutes shorter than the theatrical run-time of Peter Jackson’s Two Towers (179 minutes).

Now, the original post was about reciting Beowulf in an hour, so 2 hours and 39 minutes is not gonna cut it, and is so far over time that even doubling your pace can’t save you. You’re gonna lose this speedrun and Æthelflæd’s new scop poet is going to laugh at you. However, there’s a cheat to exploit here. In the period when Old English (language of Beowulf) was spoken, people often just said there were 12 hours in a day and 12 hours in a night, no longer how long or short daylight actually was. This made the concept of a daylight hour stretch in summer, when daylight lasts way longer than 12 hours. There’s a good article on this I’ll find it if anyone wants it. I don’t actually expect anyone to have read this far.

So Old English poetry has a fairly standard (though not set) number of syllables per line, which would be a better number to use to compare with the fastest known rappers (I checked around after seeing this and inevitably found a Reddit thread debating this question, but Eminem and Twista seem to be at the top).

In 2012 the Chicago Tribune was still reporting Twista as the holder of the world record (set in 1992), and I get the impression Eminem broke it, but I’m not entering the Eminem vs Twista debate here. What I need is a comparable rate, and Twista’s record is counted by syllable, not word, so his is easier to calculate. (Thank you Twista).

I can’t access the Tribune article, but it’s cited on Wikipedia, so I’m hoping the wiki text isn’t bullshitting:

So not looking at his peak burst as this is a marathon, he’s doing uhhh is this math right? He’s doing 10.87 syllables a second, holy shit.

So Old English poetry is structured in such a way where, while a poet didn’t have to count syllables, they did tend to end up with a fairly standard number of syllables per line (and a lot of alliteration). The beginning of Beowulf looks like this, for example:

You can see how the lines are pretty equal (the gaps in the middle of each line are added by editors because half-lines are important, you don’t have to worry about that) (Actually the lines are also decided by editors and no one agrees but that’s not a scop’s problem 💜).

The first line, for example, is 10 syllables : hwæt we Gardena in geardagum

*a lot of Gs are pronounced like y in OE, so that final word is more like yeh-ar-day-um.

The second has 9, the third 11. I should say I’m not sure about syllable counting in some lines, because vowel pronunciation rules vs stressed syllables rules are beyond me, having literally never been relevant to me until I needed to know how fast Twista (or Eminem) could rap Beowulf. Scops would be ashamed to be seen with me.

But for science’s sake let’s say there’s a range of of 9-13 syllables per line. Some paper I just found that I’m not totally sold on as a source but nevertheless seems to have done some math says the average is 9 syllables a line, roughly, though the range is from 6-18 and the most common single number is 10. Let’s go with that for now.

So, Twista can rap 10.87 syllables a second: more than an average line of Beowulf per second. But the copy of Beowulf we have is, as established, 3,182 lines long. Even just assuming an average of 9 syllables a line, that puts you at approximately 28,638 syllables. However, Twista can go at a rate of 652.36 syllables a minute.

Conclusion: if my math is right (please check my math) and if he could keep that pace up, Twista could rap the entirety of Beowulf in 43 minutes and 54 seconds. Presumably Eminem could do similar.

basically, there's been an ants' nest near a vent shaft of this abandoned Soviet bunker for decades. the nest spilled over into the bunker itself at some point once it was abandoned and there was no way for the ants to make their way back up to the nest, no queen but a constant supply of new colony members raining down from above, and no source of food in the bunker other than the corpses of their fellow ants.

fast forward to some scientists looking for bats that stumble on what's basically a post-apocalyptic ant society. they go "holy fuck" start studying, and observe that, all things considered, the ants still pretty much act like regular ants doing regular ant things.

fast forward some more, and the scientists feel like they have enough data from observing the colony as-is, so they decide to try an experiment. they put a little walkway between the bunker colony and the og colony in the vent shaft so the bunker colony members have the option of leaving and rejoining the og colony.

spoiler alert: every single ant in the bunker immediately nopes the fuck back to the colony in the vent shaft. within days the bunker is completely empty. the scientists leave the walkway in place so when more ants inevitably fall back down the vent shaft they can just climb back up instead of starting up the cycle anew.