A mighty hunter. (via mycatIsfamous)

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@walnuthulls
A mighty hunter. (via mycatIsfamous)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Halloween Dalek - Merged two designs together: Happy Cupcake Plush (body) Robins Design (cape & bats)
Started: 2014 Completed: 2015
Fabric: Sparklies; Dark Goddess; 28 count Opal Brittney (evenweave)
Changes: ! charted my own DMC colourway for the body on MacStitch ! cape - Madeira Metallic Thread ! bats - Rainbow Gallery: Fuzzy Stuff (L) & Wisper ®
what did these penguins do to the scientists to deserve this
researcher: okay so we’re calling these “african penguins” because it lives in africa
penguin: bites researcher
researcher: hey fucker guess what new idea
No no! These penguins bray like donkeys/jackasses. It’s really cool. Silly people thought jackass was an insult/badword instead of a fairly clear description and the name was changed. They also live in warmer temps than most penguins.
HOWARD COOK New York Night. 1931

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date a selkie, but don’t hide her cloak. let her go home and visit her family now and then, knowing that she’ll come back and hang her seal cloak in the closet like she always does. trust is important.
The first time she lets the redhead take her home, she’s diligent about hiding her cloak. She folds it carefully against tears and rips and abrasions, and hides it in a sea cave whose entrance is concealed by the tide.
She does the same, the second and third and fourth times, careful, wary, mindful of her mother’s lessons. Remembers the way her mother’s hands had chafed on her soft cheeks, rough with cooking and cleaning for her fisherman husband, the way her mother’s peat-dark eyes had been tense and harsh with the lesson.
“Mind me, Niahm. Never let them find your cloak.”
The way her mother’s mouth had curved, a sickle of dissatisfaction and relief and envy, as she had escaped into the waves.
So she minds her mother’s lesson, and she takes care with her cloak.
Would that she had taken as much care with her heart.
The fifth time, she wears the cloak to the girl’s door, clutched about her throat, dripping along the darkened lanes.
She enters the home, welcomed with soft kisses and gentle touches and kindling passion. She drapes the cloak, artful in her carelessness, across an old wooden chair, the one that creaks and tilts slightly if you don’t sit just right.
When she wakes, in the wee hours of the morning, even before her lover, the cloak still rests, supple and dappled by the sea, on the back of the chair.
She frowns into the softening dawn, dons the cloak, and returns to the sea.
And again, the sixth time. And the seventh.
The eighth time, she finally breaks, prickling and hurt with longing, gripping a handful of russet hair in her hand, firm with emphasis.
“Surely you know what I am,” she says to her lover, the cool froth of sea foam and the call of gulls curling around her voice.
“Of course,” her lover responds, soft and tender in the dawnlight, throat arched willingly, pale as the inner whorls of a shell. “You taste of the sea,” the girl whispers, reverently.
She shakes her lover’s head gently, fingers tangled still in russet locks. “Why?” she demands. “Why won’t you keep me?”
A long silence that waits and fills, like a tidepool, stretches between them. Cool as a current. Deep as the Channel.
Her lover’s eyes are dark and tender. “Must I trap you to keep you, my heart? Is that the shape of love that you desire?”
She sinks into the thought, struck and stymied, remembering her mother’s harsh hands, her cold eyes. Her hand eases into russet waves, caresses where her grip had punished. Her lips press cool and damp as the sea against the arching curve of her lover’s shoulder. “What shape of love will you give to me?”
The answer is easy, quick, certain. “Myself. Only myself, whenever you should wish it. Your cloak by the door, your body in my bed, and the freedom to go, whenever you must. As long as you wish.”
It’s not an answer a fisherman could ever give, nor would think to.
The ninth time, she hangs her cloak by the door, draped in careful dappled folds next to a drying oilskin jacket.
Couldn’t stand that fic?
Think that fanartist draws your favorite character all wrong?
Wish you’d never hear about your least favorite pairing ever again?
Ask your doctor if Shutting Up ™ is right for you!
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Long-term side effects of Shutting Up™ may include perspective, a sense of belonging, and a deep understanding that not everything in the fandom world is within your control or meant for your personal enjoyment. Shutting Up™ has been known to cause flare-ups of peace, friendship, and positivity. Not recommended for cases in which you actually like things and want to leave positive feedback.
Try Shutting Up™ today, and see how fandom can become a better place for you!
*Not available on anon memes.
I wonder if people outside the US get these kind of ads for medications (or at least as many of them). (Because if you don’t - this is spot on a kind of ad that appears frequently and annoyingly)
The homeowner said the buck shows up everyday, so they gave him a bed, too.
Found Family
Dialogue: Exposing the Rhetoric of Exclusion through Medieval Manuscripts
By Kristen Collins and Bryan Keene, originally published on the Getty Iris
We invite your thoughts on an exhibition-in-progress at the Getty that addresses the persistence of prejudice as seen through lingering stereotypes from the Middle Ages.
As curators in the Getty Museum’s department of medieval and Renaissance manuscripts, we are interested in how books, and museum collections more broadly, can spark dialogues about inclusivity and diversity. Our manuscripts collection at the Getty consists primarily of objects from Western Europe, which can present challenges when trying to connect with a multicultural and increasingly international audience.
We are striving to make connections between the Middle Ages and the contemporary world—connections that may not be immediately evident, but are powerful nonetheless. Museums are inherently political organizations, in terms of the ways that collections are assembled, displayed, and interpreted. This year’s meeting of the Association of Art Museum Curators addressed how institutional narratives and implicit bias can skew ideas of history and culture in ways that exclude minorities and gloss over the shameful aspects of our past. Groups such as the Medievalists of Color, the Society for the Study of Disability in the Middle Ages, the Society for Medieval Feminist Scholarship, and the Society for the Study of Homosexuality in the Middle Ages, among others, are applying similar lines of inquiry, seeking to decolonize and diversify the field of medieval studies. We stand with these groups.
We were also inspired by Holland Cotter’s call to arms, as he exhorted museums to tell the truth about art, “about who made objects, and how they work in the world, and how they got to the museum, and what they mean, what values they advertise, good and bad. Go for truth (which, like the telling of history, is always changing), and connect art to life.”
Here is our description of the exhibition, still in draft form:
Medieval manuscripts preserve stories of romance, faith, and knowledge, but their luxurious illuminations can reveal more sinister narratives as well. Typically created for the privileged classes, such books nevertheless provide glimpses of the marginalized and powerless and reflect their tenuous places in society. Attitudes toward Jews and Muslims, the poor, those perceived as sexual or gender deviants, and the foreign peoples beyond European borders can be discerned through caricature and polemical imagery, as well as through marks of erasure and censorship.
As repositories of history and memory, museums reveal much about our shared past, but all too often the stories told from luxury art objects focus on the elite. Through case studies of objects in the Getty’s collection, this exhibition examines the “out groups” living within western Europe. Medieval society was far more diverse than is commonly understood, but diversity did not necessarily engender tolerance. Life contained significant obstacles for those who were not fully abled, wealthy, Caucasian, Christian, heterosexual, cisgendered males. For today’s viewer, the vivid images and pervasive narratives in illuminated manuscripts can serve as a stark reminder of the power of rhetoric and the danger of prejudice.
We begin the exhibition with a masterpiece of Romanesque painting, shown above. This manuscript, with its gilded pages and geometric symmetry, reveals the institutionalized antisemitism that formed the basis of Christian rhetoric about the triumph of the Church.
Ecclesia, the personification of the Christian Church, is seen above and to Christ’s right, while the Jewish Synagoga appears on Christ’s left. Often represented as a blindfolded figure, here Synagoga (in red robes) points at Christ, glaring. She holds a banderole representing Old Testament law that proclaims “cursed be he who hangs on the tree.” Below, two additional personifications echo and intensify the antithetical positions of these two figures. In a roundel below Ecclesia, the fair-skinned figure of Life (at far left) gazes calmly across the composition at Death, whose dark complexion and hook nose are seen in caricatures of Jews in other twelfth-century images.
We’d Like Your Comments
We are in the early stages of writing this exhibition, which is scheduled to be presented in the Getty’s manuscripts gallery in January 2018. As we create both the thematic content and the individual object texts—which we will be posting periodically on the Getty Tumblr—we are curious to receive community input. Specifically, we are curious to know any or all of the following:
Your level of interest in an exhibition of medieval and Renaissance art exploring these themes
Comments on the wording of the exhibition description we’ve shared above (as a whole or in any part)
Suggestions for perspectives and points of view we should consider in developing the exhibition
Any and all other suggestions or criticisms
Please reblog with your comments, DM us, or contact the curators directly by email at [email protected].
Daleks in The Lego Batman Movie
Nerd friends: They’re not robots!
Its ability to universally inspire that response is probably my favorite aspect of the gag.

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Hanging out with a friend not in academia, the grad student feels like someone who just crawled out of a bomb shelter.
Shakespeare’s Plays in British Sign Language
We’ve started on an exciting, collaborative project to create a BSL synopsis for each of Shakespeare’s plays. Watch our short film to find out why. Learn more about our Access work and become a member of our Access Scheme.
You might be interested to know that we’re running BSL interpreted performances during our Summer Season. See what’s coming up.
This project is generously supported by ICAP Charity Day.
Coexisting With The Fair Folk Who Have Taken Up Residence In/Around/Beneath Your University: A How-To Guide
See more of my comics here, and my art here!
Whole bunch of lore/things I couldn’t fit/everything I love about the overlap in superstition and General College Weirdness below the cut-
Keep reading
kohlhase:
© brassaï, les escaliers de montmartre, paris, 1936 [original]
if anyone is curious how I’m utilizing my English degree in the office
this post makes me so happy.
Willy S would have liked this.

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Fanfiction: Because apparently barging into the writers office of your favourite shows and telling them to get out the way while you un-fuck things for them is considered ‘rude’ and ‘breaking and entering’
Source for more facts follow NowYouKno
A road has no special qualifiers. It connects point a to point b.
A street connects buildings together, usually in a city, usually east to west, opposite of avenue.
An avenue runs north south. Avenues and streets may be used interchangeably for directions, usually has median
A boulevard is a street with trees down the middle or on both sides
A lane is a narrow street usually lacking a median.
A drive is a private, winding road
A way is a small out of the way road
a court usually ends in a cul de sac or similar little loop
a plaza or square is usually a wide open space, but in modern definitons, one of the above probably fits better for a plaza as a road.
a terrace is a raised flat area around a building. When used for a road it probably better fits one of the above.
uk, a close is similar to a court, a short road serving a few houses, may have cul de sac
run is usually located near a stream or other small body of water
place is similar to a court, or close, usually a short skinny dead end road, with or without cul de sac, sometimes p shaped
bay is a small road where both ends link to the same connecting road
crescent is a windy s like shape, or just a crescent shape, for the record, above definition of bay was also given to me for crescent
a trail is usually in or near a wooded area
mews is an old british way of saying row of stables, more modernly seperate houses surrounding a courtyard
a highway is a major public road, usually connecting multiple cities
a motorway is similar to a highway, with the term more common in New Zealand, the UK, and Austrailia, no stopping, no pedestrian or animal traffic allowed
an interstate is a highway system connecting usually connecting multiple states, although some exist with no connections
a turnpike is part of a highway, and usully has a toll, often located close to a city or commercial are
a freeway is part of a highway with 2 or more lanes on each side, no tolls, sometimes termedexpressway, no intersections or cross streets.
a parkway is a major public road, usually decorated, sometimes part of a highway, has traffic lights.
a causeway combines roads and bridges, usually to cross a body of water
circuit and speedway are used interchangeably, usually refers to a racing course, practically probably something above.
as the name implies, garden is usually a well decorated small road, but probably better fits an above
a view is usually on a raised area of land, a hill or something similar.
byway is a minor road, usually a bit out of the way and not following main roads.
a cove is a narrow road, can be sheltered, usually near a larger body of water or mountains
a row is a street with a continuous line of close together houses on one or both sides, usually serving a specific function like a frat
a beltway is a highway surrounding an urban area
quay is a concrete platform running along water
crossing is where two roads meet
alley a narrow path or road between buildings, sometimes connects streets, not always driveable
point usually dead ends at a hill
pike usually a toll road
esplanade long open, level area, usually a walking path near the ocean
square open area where multiple streets meet, guess how its usually shaped.
landing usually near a dock or port, historically where boats drop goods.
walk historically a walking path or sidewalk, probably became a road later in its history
grove thickly sheltered by trees
copse a small grove
driveway almost always private, short, leading to a single residence or a few related ones
laneway uncommon, usually down a country road, itself a public road leading to multiple private driveways.
trace beaten path
circle usually circles around an area, but sometimes is like a “square”, an open place intersected by multiple roads.
channel usually near a water channel, the water itself connecting two larger bodies of water,
grange historically would have been a farmhouse or collection of houses on a farm, the road probably runs through what used to be a farm
park originally meaning an enclosed space, came to refer to an enclosed area of nature in a city, usually a well decorated road.
mill probably near an old flour mill or other mill.
spur similar to a byway, a smaller road branching off from a major road.
bypass passes around a populated area to divert traffic
roundabout or traffic circle circle around a traffic island with multiple connecting routes, a roundabout is usually smaller, with less room for crossing and passing, and safer
wynd a narrow lane between houses, similar to an alley, more common in UK
drive shortened form of driveway, not a driveway itself, usually in a neighborhood, connects several houses
parade wider than average road historically used as a parade ground.
terrace more common in uk, a row of houses.
chase on land historically used as private hunting grounds.
branch divides a road or area into multiple subdivisions.
Writers need to know stuff like this.
Specifically with the first three items, I would warn that they are not always correct. Certainly in Manhattan, Avenue = N/S and St = E/W. Furthermore, I was raised with the mnemonic ‘even east”, meaning that for one-way streets, the even streets usually run east and the odd numbered streets run west.
However, in the cities I’ve lived in recently, I was on a N/S “avenue” and am now on a N/S “street”. The tags tended to have more what a developer (okay, one in late 19th C but still) thought sounded good.
The tree-ness of boulevards in my experience depends on their age and space (and again, what developers think will sound good).
Parkway, freeway, highway, turnpike in the US have regional connotations - both that some are preferred in some regions and that, e.g. “NJ Turnpike” has many specific cultural references. “What exit?” (=what exit off the turnpike do you take to get home) in NJ can be like asking a person’s class/cultural background.
TL;DR - These words may give a hint to the history of the road, but they may also hint at what the salesperson wanted you to think they tried to sell you a new house on location with nothing much to do with the historical meaing.