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Which percabeth do you prefer?

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me, usually: it’s important not to idolize historical figures. they’re not your blorbos, they’re not characters, they were real, flawed people.

me when Camille Desmoulins: 🥺🥰🫶🥹

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https://www.abc.net.au/news/2020-08-22/food-plant-solutions-malnutrition-farming-edible-plants/12580732

https://fms.cmsvr.com/fmi/webd/Food_Plants_World

This guy is my new hero. I LOVE learning about native food plants that just grow everywhere without human help.

The database is a little clunky to use (especially on a phone), but still loads of excellent information.

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Incorruptible pt 17

I interrupt the more serious tone of the comic with a very silly page and homage to all the different ways I've seen and heard Robespierre's name pronounced lol

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I was gonna wait to post this for the beginning of Autism Acceptance Month. But I can't stop thinking about it so posting early~

Do you have anyone from history that you think was autistic? I'd love to know! It would be cool to make a book about all the historical figures who might've been autistic.

*edit* I made a really silly date typo and changed that, but very sorry for everyone reblogging the most basic of date-errors on a comic about history lmao

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Help Hamza get his family out of gaza.

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Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet. Andrew Scott's Hamlet is here.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one is the Shakespeare Retold modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

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pink in the night

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i have no patience for people talking about violent rhetoric on the left really because every day i read the news and every politician in this country and in most others is saying 'we gotta kill more people'. they use different words to say it. obviously you're not supposed to just say 'we gotta kill more people'. but there's all kinds of polite and okay ways to say it.

'we need to control our borders' is a phrase which here means 'we gotta kill more people, we gotta drown more refugees in boats, we gotta send more people back to warzones and governments that want them dead, we gotta make more camps and we gotta make the camps more fatal'.

'we need to be tougher on welfare fraud' is a phrase which here means 'we gotta kill more people, we gotta make disabled people do more song and dance routines to convince some indifferent bureaucrat that they deserve to eat and we gotta make sure that the bureaucrats say 'no', we gotta starve those kids more, we gotta make sure families and kids and old people are freezing in the winter'.

'we need to tackle violent crime' is a phrase which here means 'we gotta kill more people, specifically Black people, unless we said Terrorism instead of Crime, in which case it's specifically muslims, shoot them, imprison them, surveil them, disappear them, brutalize them, whatever.'

and of course none of this is Violent Speech. this is Sensible Political Discourse. these are Common-Sense Policy Goals. we gotta kill more people: that's an electable policy. you can always count on we gotta kill more people as a platform. we gotta kill more people is gonna sweep the nation baby. we gotta kill more people 2024 -- vote now on your phones. now slow down. hold your horses. did that guy just say we gotta kill more people? well that just wont do. thats why im running on a platform of we gotta kill more people for cheaper, to stop this wasteful madness. and the people just keep dying but seems like there's still some of them left so i guess we're just circling back around to our main thing which is: we gotta kill more people

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A Murderer and an Executioner

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Another important difference is that TSH is organized, with most of the plot being orchestrated by one character and all the leads being in on most of the plan, while in IWWV, the main character has no fucking clue what’s going on and neither does anyone else. The best example of this is how, in TSH, the central murder was planned, while in IWWV, the central murder was an accident. I think this is because of how different the objects of the characters’ obsessions are: in TSH, the Greek class is studying the classics, which are rigid and set and cold, while in IWWV, the students are studying Shakespeare, which is violent and passionate and always changing based on interpretation. This explains the characters’ actions, as they are influenced by their field of study.

Basically, both Donna Tartt and M. L. Rio are geniuses and there’s no reason to compare them negatively to each other.

If We Were Villains is NOT the same as The Secret History btw. TSH is at its core satire. IWWV is a book plotted to represent the rises and falls of a Shakespearean tragedy. The only similarity is that they both: take place on a college campus and that someone is murdered. (Also TSH is a why-done-it while IWWV is a who-done-it.) They’re both wonderful books by talented authors but. Be so fr right now

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What’s also neat to study with screencaps of disney movies is how they use color in their lines. They don’t just pick any colors! 

For example, check out Jasmine and Mulan. Both of them have black hair, but we get subtle differences between them. 

Mulan, for example, has hair made with dark brown lines. We get the idea that her hair is probably a very deep, deep shade of brown, or that as light filters through her hair, we’re seeing that brown subsurface scattering.

Jasmine, meanwhile, has hair that is so deep black we sometimes see it as blue. This is black hair with cool undertones, as opposed to Mulan’s hair with warm undertones. Which in pure color speak is impossible, but is something that happens with hair, since hair is mildly translucent and reflective. 

You can even compare that further with Esmeralda, who has grey lines that give the illusion of neutral undertones.

They can also use color to give characters that fantasy feel or the feel of completely unnatural hair. Princess Aurora, for example, has technically darker hair than Charlotte LaBouff. But, with the lighter outlines? Aurora’s hair looks absolutely fairytale golden, while Lottie’s looks like a more natural flaxen blonde.

How disney uses color isn’t the be-all end-all, but they can give you some really neat ideas for showing a lot of information in a condensed drawing. 

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Power Signalling

Kneeling. (It’s not popular for no reason.) Ordered to kneel as punishment or as a show of deference. Shoved physically to the ground by hands on their shoulders, maybe a kick to the back of the knee. Picking themself up off the ground but only getting as far as hands and knees. Crawling because they haven’t got the strength to stand any more. Dropping to their knees from exhaustion, or despair.

Personal space. Casually invading it. Uninvited touch - from the deeply creepy to something as simple as a firm hand on the shoulder. Standing too close - especially if taller or otherwise physically stronger. Conversely, hurrying to get out of someone’s way.

Eye contact. Staring someone down. Who is first to look away? Averting eyes for one’s social superiors. Insisting that someone maintain eye contact while you’re talking to them. Insisting that someone never look you in the eye. Trying to de-escalate by avoiding eye contact. Singling someone out just by looking at them. Too frightened or ashamed to look someone in the eye.

More generally, attention. The room falls quiet when they walk in. Who cuts in, and who gets talked over. Ignoring those who are beneath your attention. The excited attention given to the object of respect and idolisation. The careful, wary focus given to a potential threat. Deliberately attending to something else to appear less threatening. Deliberately burying oneself in something else to avoid attracting unwanted attention.

Codified status behaviours. Bowing to one’s superiors. Bonus points if there are differentiated kinds of bowing for different status differentials. Soldiers coming to attention when a superior officer comes in. Saluting. Who greets whom first? Serving food in a particular order. Standing up when a respected person enters the room.

Non-verbal threats. Just resting a hand on a weapon, or perhaps even just near a weapon. Cracking knuckles or rolling shoulders. Clenched fists. The little come-get-some-then lift of the chin. Stepping from a conversational stance into one that’s balanced for fight or flight. Pointing a weapon at someone. Casually brushing aside a weapon.

Conversely, de-escalation and surrender. Open hands, spread in front of them. Hands above head. (Raised slowly, transitioning from the simple woah-calm-down gesture to full on surrender as the situation gets tenser.) Going still. Slow, careful movements being sure to keep hands where they can be seen. Laying down weapons. Hands on head. Getting down on the floor. Deliberately making oneself vulnerable to prove non-hostile (or non-resisting) intent.

Alternately, deliberately showing “vulnerability” to demonstrate how little of a threat you consider the other person. The slouch of villainy. Casually putting weapons away or turning one’s back, confident that they won’t do anything. Open posture, casual, relaxed in the face of apparent danger.

Signs of fear. Flinching. Trembling. Closed, defensive posture. Tension. Backing away. Fidgeting. Lip-biting. Arms hugged close to chest. Or refusing to lower defences. Checking for escape routes. Trying to insist that they don’t come any closer.

Offers of or requests for help. Extending a hand to help someone up off the ground. Reaching out a hand in a silent plea. Do they have to ask for help? Are they willing to accept it? Do they get a choice? Who has plenty and who has to rely on the other’s goodwill? Picking someone up off the ground. Carrying them. (Dropping them?) Adjusting someone’s clothes. Withholding aid.

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medieval backstreet boys: you are… my friar

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No I’m not attracted to you. Quit your evil putting your finger under my chin to make me look up at you. I know I’m your nemesis and all but we really need to set some boundaries when you’ve got me tied up like this.

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As a lesbian, it’s happened twice already that one “guy” stands out to me and I think “huh maybe they’re kinda cute and interesting, I wanna get to know them” and then I get to know them better and it’s a closeted trans girl who I somehow sniffed with my little nonbinary lesbian nose

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Shout out to the day i killed the queen via AO3, legendary (name of the fanfic is jigens sick adventure, yes it is a sickfic)