Close up of horses.
Goofy looking
Goofy by nature~

titsay
Stranger Things
hello vonnie

blake kathryn
Jules of Nature
we're not kids anymore.
cherry valley forever

❣ Chile in a Photography ❣
$LAYYYTER
I'd rather be in outer space 🛸

Discoholic 🪩

#extradirty

Kiana Khansmith
Three Goblin Art


Kaledo Art
let's talk about Bridgerton tea, my ask is open
ojovivo
h
seen from Brazil
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@theorigamiphoenix
Close up of horses.
Goofy looking
Goofy by nature~

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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.
So the thing is boobs really do be jiggling. If having breasts has taught me anything it is that the ladies frolic. I don't even have that large of boobs but every time I go down some stairs all I can think about is that stupid quote about boobing breastily down the stairs or whatever it is because God Damn.
But anime and video game boob jiggling is like. The most uncanny valley shit I've ever seen nine times out of ten. You would think people this horny about tits would have actually looked at some but I guess not.
What we really need is some pervert to compile the ultimate visual guide to boob bouncing physics that's just like 500 hours of meticulously organized videos of breasts of different size and shape and under different fabrics bouncing around from a wide variety of physical movements so horny game devs can finally get it right and I don't have to be creeped out by women who appear to have surgically implanted softballs in their chest under skin made of rubber bands.
watching someone play starfield and I literally did a double take at this NPC. they did it, they put him in space
From from from where?
The Spanish way of saying ‘from where’ is de donde. However, to speakers living a thousand years ago, that would’ve meant ‘from from from where’.
In Old Spanish, ‘from where’ was simply onde, a descendant of Latin unde. However, this word would end up getting reinforced by de (‘from’) twice because of an interesting series of ambiguities.
Click my new infographic to see how it happened.

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I've bumped into a fun new trend in deceptive mobile game awards where they list a whole bunch of awards, but instead of the awards just being made up, they're real awards that haven't happened yet, and there's a tiny piece of text clarifying that these are awards the game's developer expects it to win.
Like, there's absolutely no way that little disclaimer would hold water if they ever actually got slapped for false advertising, but you almost have to admire the nerve.
GO TO THE HELL I DONT WAKE YET AND I DONT SLEEP WELL
harsh words from one of the muppet babies
thanks to compilation efforts, three posts regarding the gneep gnorp population are able to be read together in a single post, and they are now the most documented species out of all creatures on earth
Here's the foot of a razor clam (solen sicarius or sickle jackknife specifically)! It was trying to pull itself out of the sand
Wow, that's so cool! When it moves like that, you can really see why that appendage is called its 'foot'
I love asking people how their parents met. You always get an interesting reply. My best friend’s parents met on the relatively new internet in 1999. My other friend’s parents met at Burger King when one was the manager and the other was a regular customer. My parents met at the beach because they were neighbors in their rental houses, mom was on a church trip and dad was getting blackout drunk every night with his friends next door.
Tell me how your parents met in the tags.

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Her name was Judy-Lynn del Rey. And she became the most powerful editor in science fiction history.
Born in 1943 with achondroplastic dwarfism, Judy-Lynn grew up devouring science fiction in New York City's public libraries. At a time when the genre was dismissed as pulp fiction for teenage boys, she saw something else entirely: the future of storytelling.
She started at the bottom—an office assistant at Galaxy, the most prestigious science fiction magazine of the 1960s. Within four years, she was managing editor.
Then Ballantine Books came calling.
When she arrived at Ballantine in 1973, science fiction and fantasy were afterthoughts in publishing. Fantasy in particular was considered unsellable—unless you were Tolkien. Judy-Lynn thought that was nonsense.
Her first major move was audacious: she cut ties with one of Ballantine's bestselling authors, John Norman, whose "Gor" novels were popular but notoriously misogynistic. It was a risk. She didn't care.
Then came the gamble that changed everything.
In 1976, someone brought her an opportunity: the novelization rights to an upcoming space movie by a young director named George Lucas. Hollywood thought the film would bomb. Studio executives were skeptical. Most publishers passed.
Judy-Lynn said yes.
The Star Wars novelization sold 4.5 million copies before the movie even premiered.
She would later call herself the "Mama of Star Wars."
In 1977, she launched Del Rey Books—her own imprint, with her husband Lester editing fantasy while she oversaw everything else. Their first original novel was Terry Brooks's The Sword of Shannara. It became a phenomenon.
She didn't stop there.
Remember The Princess Bride? The original 1973 novel had flopped. It was headed for obscurity. Judy-Lynn rescued it, reissuing it in 1977 with a striking gate-fold cover and an aggressive marketing campaign. Without her intervention, there might never have been a movie.
She published the Star Trek Log series. She championed Stephen R. Donaldson's Thomas Covenant trilogy—convincing Ballantine to release all three books on the same day from a completely unknown author. Unprecedented.
She published Anne McCaffrey's The White Dragon—the first science fiction novel ever to hit #1 on the New York Times bestseller list.
And she did all of this while competitors called her imprint "Death-Rey Books"—because she was utterly dominant.
Between 1977 and 1990, Del Rey Books had 65 titles reach bestseller lists. That was more than every other science fiction and fantasy publisher combined.
Arthur C. Clarke called her "the most brilliant editor I ever encountered."
Philip K. Dick went further: "The greatest editor since Maxwell Perkins"—the legendary editor of Hemingway and Fitzgerald.
But here's what burns: the science fiction community never nominated her for a Hugo Award while she was alive. Not once. The men who ran the industry praised her in private and overlooked her in public.
In October 1985, Judy-Lynn suffered a brain hemorrhage. She died four months later, at 42.
Only then did the Hugo committee vote to give her the Best Professional Editor award.
Her husband Lester refused to accept it.
He said Judy-Lynn would have objected—that it was given only because she had just died. That it came too late.
He was right.
Judy-Lynn del Rey transformed science fiction from a niche hobby into a cultural force. She made fantasy into a mainstream publishing category. She bet on Star Wars when no one else would. She saved The Princess Bride from oblivion. She published the first #1 New York Times science fiction bestseller.
She did all of this standing 4'1" tall in an industry run by men who underestimated her at every turn.
The next time you pick up a fantasy novel, or watch a Star Wars movie, or quote The Princess Bride—
Now you know who made it possible.
Thank you all, i needed further explanation - And i do find it might help me!
"why do you keep calling things you find beautiful, inexplicable, and unsettling angels" i'm just doing what british wartime radar technicians did first
it was birds btw
↑ angel
this is probably my favorite tiktok of all time and I finally got around to showing it to my dad the other day and now he comes home every day and tells me about all the places he saw crumbling concrete and says "guess they didn't add enough chinchilla flakes"
My dad has worked in construction is whole life, primarily with a company that does concrete foundations, and I immediately sent him this back when I first found it on TikTok, and he IMMEDIATELY shared it with everyone he worked with. They apparently still quote it on his job sites to this day.

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i want to sleep but someone kicked a ball in precisely the right way so every last one of my fucking neighbours is yelling about it
Disney is doing crazy things in the japanese mobile game sphere rn
you may be familiar with disney twisted wonderland, the gacha game in which various disney villains are used as direct inspiration for handsome anime boys. well that game was so successful that disney is trying to do it again but this time they're just animeboyifying whatever
here's mickey, goofy, donald, and chip & dale. yeah they turned mickey & friends into anime boys. they're an idol unit or something. they're technically not anime boy versions of the source characters, they have different names. mickey's guy is "Neo Michel". not michael, michel, like he's french. chip & dale are "Ruska Moncrief" and "Ranka Monk", they have different last names, they're not brothers anymore so that they can be yaoibait instead, anyways this post isn't actually about these guys I'm just setting the stage for the actual humanizations I wanted to show you
They also did monsters inc. And. Well it's obvious from the designs who mike and sully are. but you will also notice. the blonde one on the left. with glasses. monsters inc is kind of famously about just the two guys so they didn't really have a lot of other non-villain characters to take anime boys inspiration from, I guess, so, well,
Yeah it's her. they made an anime boy version of the mean receptionist slug. her name is roz btw, as all of boygachagame twitter has become extremely aware of in the past 3 days as we speculated prior to the release of the full image who tf the third guy was. the anime boy's name is "noah slugger". at this point no parody of the types of things gacha games will make gijinkas of will ever be able to live up to what disney is officially spending their own real money on designing