Gonna quickly throw in an epic quote I found on this article.
KJKJ: Gene Roddenberry, with balls of brass, got up on national tv and said, “hey people, if a geneticist took all the best DNA from planet Earth and put it together to make the best human the world has ever seen - he wouldn’t be a white guy.”
This is why I find the casting of a white actor in this role to be so repugnant. They are not whitewashing an Asian role, they are saying that the best genetic material that the entirety of this world and it’s diversity has to offer….still comes from a white guy.
‘Cannon dial for latitude 49° North. Cannon dials (or ‘time guns’ as they were occasionally known) were popular in the 18th century. A burning glass mounted above the plate would receive the sun’s rays at noon, so providing the heat to light the fuse at the end of the miniature cannon, causing it to fire and thus provide a signal for midday. Engraved on the dial-plate is the maker’s signature, Victor Chevalier Ingr. Breveté quai l’horlage 77 à Paris.’ (via National Maritime Museum)
for the Zeitgeist game
i made this comic after a series of frustrating conversations in which dudes told me to ‘learn to take a joke’ instead of getting upset about transphobia in the media. i laugh a lot, but i’m not gonna laugh at anything that dehumanizes me. because its not just a show, its my whole life. these are just some moments from the last ten years. i could go on. but also, yay comics! :D
Check out these great comic strips by a wonderful woman, Eva. This is so necessary.
Panel 5: script meetings at work.
These dragon effects are wowing me on a regular basis. Like, on a professional level.
Also: Drogon is clearly mommy’s favorite. I don’t think I can tell Rhaegal from Viserion.
You’re not even trying anymore
Oh god. I didn’t even think of this as a possibility. Friggin non-book characters.
WHY WAS THIS NOT IN THE FINAL CUT.
Or even the Special Editions. This is GREAT.
C3PO YOU FUCKER
I have a new favorite Star Wars moment.
Love the guy on the door button. “Welp, there went another of my faceless brothers. Better close the door.”
The book Leviathan, set on the brink of WWI, contains an “allegorical map” displaying the political climate in Europe at the time. (click for bigger)
“Germany is a massive military machine with weapons aimed outwards to all surrounding countries. It points threateningly at Britain, not so much as a sign of direct aggression, but more as an indicator that it was now Germany’s turn to start a grand global Empire to challenge the world’s current one.
Britain is an militaristic lion beast with a Roman Imperial italic-type helmet. It sits upon a mound of riches gathered from its Empire. France’s elephant beast is influenced by the Elephantine Collossus built for the Universal Exhibition of 1889 in Paris. It represents France’s huge significance in WWI, which is something that tends to get a little glossed over. Russia is a huge imperialist bear, rotting from the inside, a prelude to its collapse during the war. It faces Germany, ready to defend itself.
Austria/Hungary is an aggressive armoured giant, teetering on shoddy foundations. It is also the primary aggressor in a land grab against Serbia, with two bayonets piercing the border. The Ottoman Empire is a teetering automaton, collapsing under the weight of a paranoid and ungainly spying network that gazes at Europe through many lenses and spy glasses. The Swiss watch ticks away the time, comfortable to wait it all out.
Serbia’s imagery is an indicator of the huge amounts of civilian deaths and suffering they find themselves subjected to. Norway and Sweden are both Scandinavian trolls in the style of John Bauer, watching events unfold. Portugal is a parrot for the Entente trying to goad a slumbering Spain into the war. Ireland looks askance to Britain and brandishes a shillelagh. An indicator of their very rough relationship at the time, and of their upcoming involvement with the Central powers. Italy is a clutch of snakes with intents on the Central powers despite existing agreements.”
Need to make a Diplomacy map out of this. :)
But no, this is the logical choice.
I would like to start an official movement to replace the prevalence of manpain in fiction with granpain.
A grandmother’s boyfriend is left dead in her apartment. She cradles the body tenderly. Her face hardens. SHE WILL GET HER REVENGE.
A grandmother stands on a roof, in a…
Blake Arrington in The Gran with Two Guns is God.
Sword-Catching Parrying Dagger
- Dated: 1600
- Culture: Italian
This unusual fencing dagger demonstrates the way in which the artistic qualities of a weapon could be influenced by the practical concerns of the swordsman. The Renaissance duel was usually fought with rapier and dagger. The rapier, as the main weapon of attack, was complemented by a parrying dagger held in the left hand, used primarily for defensive movements.
However, by 1600 fighting with the rapier alone was becoming the latest fashion. The opposing blade could still be parried or beaten away with the left hand. The free left also allowed the duellist to grab hold of his enemy’s swordblade, temporarily immobilising it to expose him to a lethal counter-thrust.
This distinctive fencing weapon is designed to provide the blade-grabbing ability of the free left hand, while retaining the dagger for defensive action. The arrow-like barbs allowed a sword blade to enter the ‘jaw’ of the dagger, but made it difficult to free it again. With his weapon ensnared, the enemy was exposed, if only for an instant.
The practical challenges of creating such a specialised weapon were considerable. The hardened and tempered steel blade had to be carefully cut with the series of dramatically barbed teeth, a laborious process. The spaces between the teeth have been elegantly filed with ornamental edges, while the base of the blade has been finely etched and gilt- an unusual feature, even for high-quality weapons. In this way, despite its very specific function as a fighting tool, the weapon’s artistic merit is evident.
Source & Copyright: The Wallace Collection