#Brain structure formation

[xenonreality]

Image credit goes to Credit: JAMA Neurology (2023). DOI: 10.1001/jamaneurol.2023.2363

So, survivorship bias is involved too, but really it's more than that. There are ways to actually find patterns in our genes for these things. Same with the nurture aspect influence over time.

Which, as a species, we need to do. Just as a way, at the very least, to help our own individual selves, let alone prevent incredibly high risk individuals from being born.

2 prong approaches & a need for incredible oversight to make certain it doesn't go towards what Hitler would do.

How Tumblr Got Basics Of Math & Science Incorrect (factually in all ways)

So, survivorship bias is involved too, but really it's more than that. There are ways to actually find patterns in our genes for these things. Same with the nurture aspect influence over time.

Which, as a species, we need to do. Just as a way, at the very least, to help our own individual selves, let alone prevent incredibly high risk individuals from being born.

2 prong approaches & a need for incredible oversight to make certain it doesn't go towards what Hitler would do.

[vroomvroomgang]

max verstappen 🤝🏻 ollie bearman

having animal outlines on their helmet

[thatoneluckybee]

foreign language classes are weird because you get demoted to first grader for 50 minutes a day

[imwritesometimes]

soooo......... I have this new wip

it's a 5+1.............

[theradicalace]

outlining really does make my fics longer

[sirenofthegreenbanks]

whelp. apparently i just hit the end of the chapter and thats why!!!!!!! honestly this internal clock for chapter length is amazing. its always coming out to be roughly the same size

[mariasont]

can you please write Spencer and shy!reader for valentine's day? 💕💝💖💖💞💝💖 I love them so much and I love you more

Lover Girl - S.R

summary: spencer has a hypothesis about love on vday & it’s not something you agree on pairing: post!prison!reid x shy!medialiaison!reader warnings: r going crazy over something spencer said hours ago (get a grip girl), r kinda goes out of character, spencer being the sassiest human alive wc: 1.9k a/n: thank u sm for requesting i love this and i love you even more ✨💖

The draft on your laptop was starting to look less like a press release and more and more like a psychological cry for help. Words sprawled like abandoned thoughts, entire sentences had been brutally sacrificed to the backspace key, and you'd rewritten the same transition phrase so many times it no longer felt like a real word. The whole thing read like the work of someone who had just sustained a minor head injury.

Objectively? It was bad.

Subjectively? It was an unmitigated disaster.

You blamed Spencer. Or maybe you blamed yourself for still thinking about it, for letting his words linger in your head like an incorrectly formatted footnote that you couldn't stop rereading.

You had never been a hopeless romantic, exactly, but you liked the idea of it, the structure of it. Believed it was more than a sum of its parts. More than just wires crossing in the brain and pattern recognition.

And yet, he had discarded the notion so easily, reducing love to a series of neurochemical reactions misinterpreted as emotional depth, something logical and completely stripped of any sort of real feeling.

He hadn't meant it cruelly, but his voice carried a kind of detachment that made you want to launch your coffee at his ridiculously well-structured face. It shouldn't bother you.

It really, genuinely, in no universe, should not bother you. It wasn't like you had a chance with him, so why did it matter what Spencer Reid, certified romance cynic, destroyer of sentimental ideals, and casual heartbreaker, thought about love?

If anything, his lack of belief should make it easier to kill this absurd crush before it spiraled into something unmanageable.

You squared your shoulders and looked back to the screen, back to the carefully worded Bureau-approved phrases meant to sound polished and agreeable.

Strengthening community trust. Bridging the gap between law enforcement and the public.

Meaningless, hollow, designed to be palatable without saying anything real. Blah. Blah.

I mean, did he really think that love was like an outdated scientific theory? It was Valentine's Day, for crying out loud — if nothing else, wasn't that proof of its existence?

You had considered the possibility that he had stopped believing because he had to. That prison had stripped the softness of him, turned love into just another abstract concept that didn't hold up under scrutiny, like time, like trust, like freedom.

Or maybe (and this was the more infuriating possibility) he had always been like this, too pragmatic to believe in something he couldn't technically hold in his hands.

You groaned under your breath, rubbing at your temple like you could physically press the words out of your skull, like they were just another headache waiting to pass. Why were you still thinking about this? It was stupid. He was stupid. You were stupid of caring.

Except he wasn't stupid. He was obnoxiously brilliant, the kind of smart that made other geniuses insecure, and that was the problem. Because if someone that intelligent didn't believe in love the way you did.... did that mean you were in the wrong? Had you been naive this whole time, blindly buying into a romanticized fantasy while Spencer had long dissected it and found it lacking?

The knock on your office doorframe startled you so badly that your entire skeletal structure attempted to evacuate your body, knee jerking up, colliding with the underside of the desk with an unforgiving whack.

You barely had time to wonder if you'd just concussed your kneecap before you looked up and — Spencer. Standing in the doorway like some cosmic punishment for thinking about him too hard.

Heat flooded your face like an admission of guilt, because why, why, did it suddenly feel like you'd been caught red-handed?

"Hey," he said, tilting his head. "You okay?"

No, you wanted to say. Not at all. Because what were you supposed to do when they very subject of your over analysis materialized in your doorway, looking at you like he could see every freaking unspoken thought folded between your ribs?

You swallowed, forced yourself to look anywhere but directly at him, because everything about this, about him, felt like some kind of cruel irony.

"Uh, yeah," you croaked, voice pitching embarrassingly high. Great. Perfect. Totally normal human behavior.

Spencer's brow furrowed, his head doing that thing he did when something wasn't quite right. But miraculously, he didn't say anything about it.

"I was just...," You gestured to your laptop.

Spencer nodded slowly, either accepting your excuse at face value or deciding it wasn't worth the effort to call you out.

"Right. I was just going to ask if you had finalized the press release for me to proof."

Your stomach lurched, a sharp drop like missing a step in the dark. Finalized. Bold of him to assume you'd done anything besides stare blankly at your screen for the past fifteen minutes.

"Oh! Yeah, of course," you said, throwing out the words with a half-hearted smile as if that would seal the lie. "Almost done. Just... you know, making sure it's perfect."

Spencer stepped inside, moving just past the threshold. His expression changed. Less neutral. More aware.

"You're acting strange."

Which was unacceptable, because if anyone in this scenario should be acting strange, it was him, standing there like a walking contradiction.

"I — what?" The laugh escaped before you could trap it behind your teeth, jagged and surely unnatural.

"You're tense. And you don't usually second-guess yourself this much. If it was almost done, you'd just say so." His eyes flicked to the laptop. "Did something happen?"

Your face went nuclear, looking away, hyper focused on the edge of the desk like it was the most fascinating thing you'd ever seen. "I don't know what you mean. I'm acting normal."

Spencer made a thoughtful noise. "Denial first. Then contradiction."

"I —"

"Oh, and there's the hesitation. That usually happens when you're trying to figure out how to backpedal without making it obvious."

"Do you always do this?"

"Only when people are lying about something." He squinted at you. "And you're a very bad liar."

He tapped a finger a finger against his arm in a way that made your nerves itch, before stepping forward and sinking into the chair across from your desk.

"Huh."

You frowned. "What?"

"You're doing the same thing you did earlier," he said matter-of-factly. "Avoiding direct responses, looking everywhere but me, shifting in your seat."

His gaze lingered, and then — Gods, help you — his lips curved, just slightly.

"Almost like the conversation was bothering you then, too."

Oh. Oh, this was bad. He was trying to talk about the one topic you'd spent the last twenty minutes trying to erase from your brain.

"I just, well, it's not that I had thoughts or feelings on it or anything, I just didn't, well, I mean, I just didn't want to be in that conversation, you know? Not that it was bad. Just — not my thing."

Spencer's eyebrows lifted. "So you disagreed with me?"

"I — I did not say that."

"No, but you just said everything but that." He leaned forward. "So tell me. What was it?"

You finally look at him, actually looked at him, and immediately regretted it.

You tried to gauge if there was any chance you could turn this conversation in your favor.

Nope.

"I mean, I wouldn't say disagreed, per se, I just... thought maybe your take was a little—," you sighed, "dismissive."

"Oh? And what exactly am I dismissing?"

You hesitated. Not because you didn't have an answer, but because you had too many. Love wasn't just science, romance wasn't just a byproduct of biology, that it meant something. It's real. It matters. It's— "You're dismissing everything beyond your own reasoning."

You waited. For the rebuttal, the deconstruction, the inevitable moment Spencer laid your words bare and left you scrambling to rebuild them. But this time there was nothing. He just sat there. Looking at you. Like he was waiting for something else.

You fidgeted. Crossed your arms. Uncrossed them. "What?"

"Nothing. Just... thinking." A pause. "You clearly have an opinion on this, just trying to figure out what it is."

Your lips pressed together, your brain begging you to let it go, to shut up before you started. But the words were already forming, bubbling up too fast to stop.

"Okay, look. I get it. I get the science. I get that love can be explained in chemical terms."

Spencer nodded, like you were finally seeing his point.

"But that doesn't mean that's all it is," you said, sitting up straighter. "Love isn't just an instinct. If it was then why do people stay in love when it doesn't make sense? Why do people wait years for someone who might never come back? Why do people hold on to feelings they know won't be returned?"

You inhaled sharply, only to realize what you had said felt a little too personal. Heat flared to your toes. "I just, uh, you're looking at it like it's an equation when it's more like, like art. You can break down why a painting is visually appealing, but that doesn't explain why it moves people."

"So love is art then?" A small smirk tugged at his lips. "That would mean it's subjective. That one person's version of it isn't the same as another's."

"Well, yeah, that's my point." You nodded. "Everyone experiences it differently. That's why it can't be reduced to formulas. You can recreate the exact conditions of a moment, use the same words, set the same scene but it won't feel the same to someone else. Because love isn't about external factors, it's about who you're with, how they make you feel."

"That sounds dangerously close to saying it's entirely irrational."

You exhaled. "If it is, then I guess that means you'll never understand it."

Spencer pushed himself to his feet, adjusting his cuff like this was just another conversation and not something that had you actively fighting for oxygen.

Then, with an infuriating self-satisfied smile, he murmured, "Well, maybe I just need the right person to teach me."

You nearly choked on air.

And with one last glance, he grinned and said, "Happy Valentine's Day, lover girl."

taglist has been disbanned! if you want to get updates about my writings follow and turn notifications on for my account strictly for reblogging my works! @mariasreblogs

[sirfrogsworth]

This man just loves shooting movies on "hard mode."

The 15 perf, 70mm film he uses is pretty special. In very limited circumstances, it can have the same detail as an 80 megapixel medium format camera. Roughly 12K if you average out the sharpness of the lens (the center is sharper).

It's gotta be the lowest speed film and on a tripod and *nothing* can be moving and there has to be plenty of light and the lens needs to be sharp enough to resolve that much detail and the air cannot be too moist or dusty... but yeah, sure... theoretically you can get a tiny circle in the center of the frame to be 18K. With the entire frame averaging out to be 12K.

And as you watch that 12K image on a 100 foot IMAX screen you can say to yourself, "Cillian Murphy should really try a pore cleanser."

But Nolan *rarely* uses it under those ideal conditions. So he is mostly preserving the resolution of the grain structure.

I know people go to movies to admire the high-resolution film grain structure. Right? Any grain nerds reading this?

So why is he doing this?

There is the "film look" that is a bit of a cheat code to reduce the need for extensive color grading. People just like the look of film. It has a nostalgic aesthetic that gives us comfort. All of the films of my childhood were on film. All of my childhood photos were on film.

But you can get film without film.

They have developed workflows that emulate film to a near-imperceptible level. There are filmvestigators who think they can always tell. But if it is close enough that only a few specially trained people can see the difference, it is imperceptible.

You can also hack digital to be film. Dune 2 took the digital footage and exposed it onto film and then scanned it back to digital.

Looked great.

Looked like film.

So he doesn't need to do this to get the film look.

WHY? What else could compel him to go through this considerable bother to capture his movie?

I could make an argument for gradients.

Any large format is going to capture very nice gradations. Gradations are probably the most underrated aspect of image quality. People get obsessed with Ks and megapixels, but 1080p is enough detail for most people.

Whereas having one color smoothly transition into another color is a very subtle thing that gives our brain an aesthetic buzz. It's that thing that makes people go, "Oh wow, you must have a really nice camera." It's that subconscious element in photos that helps differentiate snapshot from art.

This iPhone photo is great.

It is amazing this can be captured by a phone.

But a large format image just hits different.

And you can't always put your finger on why.

I mean, the why is because a professional photographer took the photo. (Unless that is one of those dentists with a Hasselblad.)

But if you account for the skill of the photographer, what else makes the photo special?

I think it is the gradients. The megapixels are nice. The color science is nice. But the way those tones just seamlessly shift into each other makes my brain tingle.

But the Arri 65 digital cinema camera is also large format. It has nicer lenses that weren't designed before the 90s. It doesn't cost thousands of dollars just to develop a few minutes of footage. It has more dynamic range. It can do the buttery smooth gradients. It weighs an entire 2-year-old child less than IMAX cameras.

And you don't need 4 dudes to deliver the movie to the projectionist.

And unless Christopher had them develop a silent IMAX camera, I guess all of the dialogue is going to be recorded in post.

I mean, IMAX claims they made them "30% quieter."

Which is a bit like when I inquired about an $8,000 treatment and explained that I had 0 money and the doctor offered me a 30% coupon.

So whyyyyyy?

It's heavy. It's loud. It doesn't offer better image quality.

I think it is just because film is cool and he doesn't want it to die.

I wish he would stop saying unscientific things about the magical 15/70mm film and just say "Because it is fucking cool."

I'm sold. That works for me.

By using the most extreme film camera, he brings attention to the use of film. He inspires people to learn about it and maybe even use it in their personal photography. (Film photography is very popular right now.) And he makes other big Hollywood directors think they can manage the pain in the ass of film as well.

I'm glad Nolan is this stubborn and willing to take on the challenges of using the heaviest and loudest cameras in existence.

The large format quality is good enough that it will be preserved well. We won't have a Star Wars crisis where people are trying to stitch together degraded 40 year old film to make sure Han shot first.

An 18K scan of IMAX will stand the test of time.

That doesn't mean IMAX is 18K or any other K.

The Ks don't matter! Stop talking about 18K! All you reddit r/IMAX nerds need to calm down about the Ks.

Talk about them sweet, sweet gradients.

Film is a variable resolution medium. If it is dark and you are using a Russian lens from the 50s, you might be getting 3K IMAX. You could have one scene from two angles be completely different resolutions. It's fine. No one is complaining that a movie isn't Kenough.

The only thing "scanned in 18K" means is that all of the detail will be well preserved, including that sexy grain structure.

Nice.

[smilebackwards]

fic rec ask game

Inspired by the bug me for fic recs ask game. Send an ask with a number and get a fic rec!

Recommend a fic that lives in your brain rent free.

Recommend a fic that is not posted on AO3.

Recommend fic that is less than 5,000 words.

Recommend a fic that is over 50,000 words.

Recommend a gen fic (no pairings).

Recommend a fic that does something cool with format or structure (epistolary, social media, 5 things, non-linear, etc.)

Recommend a fic that uses a trope you love.

Recommend a fic with an interesting premise/concept.

Recommend a fic from a book fandom.

Recommend a fic that is more than 10 years old.

Recommend a fic you think is a hidden gem/deserves more reads.

Recommend a fic that formed or changed your opinion on something (characterization, backstory, relationship, etc.)

Recommend a fic you've re-read multiple times.

Recommend your favorite fic.

Recommend any fic of your choice.

[dreamlifebunny]

how to script your dream life and use it with any method!

hello friends! today i want to share with you how i personally script my dream life, and how this script is both my void list, states list, and precursor to almost every manifestation method i've ever used. i love scripting because it is not only a method in and of itself but it is also a simple list of everything you desire that you can now manifest using any method you love!

check back later for a link to my scripting templates. in the meantime, here are the steps to creating your perfect script from scratch with examples! all you need is a place to write it down.

step one:

time to brain dump! at the top of your page, write out every desire that comes to your head in list format. don't overthink it and don't worry if they sound silly or unrealistic; remember, absolutely anything is possible! you can write out a few desires to start or go hardcore and write out hundreds, whatever you feel inspired by. you can always come back to this step later. here is my example:

step two:

now its time to get organized! look at the desires you've written and figure out what subcategories they fall under. for example, "my eyes are light blue and gorgeous" could fall under the category of "appearance," and "i have $100,000 in my bank account" could fall under the category of "wealth and items." feel free to use any category name that makes sense to you.

step three:

now that you have a couple of categories written out and understand the structure of the script, your mind might start to have even more ideas. "ooh, now that i see revision is a category, there are a couple more things i'd like to revise..." or "why stop at one SP when i could have everyone chasing after me?" for step three, we go a little deeper into these categories and add more details of what our dream life will look like. you can also add new categories that pop into your head - in the example below, i've added "the world and society" and "skills and abilities."

note: the reason why i broke this up into multiple steps instead of just writing "write out all your desires at once" is because our brains can be mean to us and make us procrastinate if something isn't done "perfectly," so that's why adding an extra step is important to bypass the perfectionism.

optional steps:

because scripting is such a creative and expansive process, we might think of ideas we'd like to manifest in the future but not right now/not instantly. i like to organize my script further by adding another category: "future manifestations." these are ideas that i would love to manifest at some point later on but not necessarily while my dream life is manifesting right now.

another idea is separating categories even further into "instant manifestations" (manifestations that happen right now without things needing to unfold) or "perfect timing manifestations" (manifestations that slowly unfold naturally and linearly), if you want to get specific about how they show up in your life! however, these steps are completely optional and just fun details for specificity, and i can make a more detailed post on this later.

how you can use your script with any method:

scripting has been used as a successful manifesting and shifting method on its own forever because it specifically addresses one of the most important steps in the manifesting process - deciding what you want! by writing out what you want in your dream life, you can now decide that your script will manifest on its own or you can use any method under the sun to fulfill yourself within:

the void state: if you enter the void state to manifest, you could affirm "i have everything in my dream life script"

affirming: you can affirm "everything in my dream life script has come true"

visualization: you could create an imaginative scene where all of your desires from your script are fulfilled, or you can imagine looking at your script and smiling because everything came true

subliminals: you can create a very simple subliminal where all of your desires are included, or even a sub where the only affirmation is "i have everything in my dream life script"

the possibilities with scripting are absolutely endless. i hope that this guide has given you the inspiration and direction to write your own wonderful and unique script. now, go and get your dream life!

have fun! bunny 💕

[fight-nights-at-freddys]

MASTER POST OF PROSHIP RESOURCES!!! <3<3

this is just for links (bc i just have No Way of formatting this properly), so for more in-depth stuffs and credits, head to the google doc, or the carrd !! :3c

Fiction ≠ Reality

Violent media -

Does Media Violence Predict Societal Violence? It Depends on What You Look at and When

Video Game Violence Use Among “Vulnerable” Populations: The Impact of Violent Games on Delinquency and Bullying Among Children with Clinically Elevated Depression or Attention Deficit Symptoms

Extreme metal music and anger processing

On the Morality of Immoral Fiction: Reading Newgate Novels, 1830–1848

How gamers manage aggression: Situating skills in collaborative computer games

Examining desensitization using facial electromyography:Violent videogames, gender, and affective responding

'Bad' video game behavior increases players' moral sensitivity

Fiction and Morality: Investigating the Associations Between Reading Exposure, Empathy, Morality, and Moral Judgment

Comfortably Numb or Just Yet Another Movie? Media Violence Exposure Does Not Reduce Viewer Empathy for Victims of Real Violence Among Primarily Hispanic Viewers

Fantasy Crime: The Criminalisation of Fantasy Material Under Australia's Child Abuse Material Legislation

Being able to distinguish fiction from reality -

Effects of context on judgments concerning the reality status of novel entities

Children’s Causal Learning from Fiction: Assessing the Proximity Between Real and Fictional Worlds

Reality/Fiction Distinction and Fiction/Fiction Distinction during Sentence Comprehension

Reality = Relevance? Insights from Spontaneous Modulations of the Brain’s Default Network when Telling Apart Reality from Fiction

How does the brain tell the real from imagined?

Meeting George Bush versus Meeting Cinderella: The Neural Response When Telling Apart What is Real from What is Fictional in the Context of Our Reality

loli/shota/kodocon -

If I like lolicon, does it mean I’m a pedophile? A therapist’s view

Virtual Child Pornography, Human Trafficking and Japanese Law: Pop Culture, Harm and Legal Restrains

Lolicon: The Reality of ‘Virtual Child Pornography’ in Japan

Report: cartoon paedophilia harmless

‘The Lolicon Guy:’ Some Observations on Researching Unpopular Topics in Japan

Robot Ghosts And Wired Dreams Japanese Science Fiction From Origins To Anime [pg 227-228]

Australia's "child abuse material' legislation, internet regulation and the juridification of the imaginationjuridification of the imagination [pg 14-15]

Multiple Orientations as Animating Misdelivery: Theoretical Considerations on Sexuality Attracted to Nijigen (Two-Dimensional) Objects

Positive Impact on Mental Health

Art therapy -

The effectiveness of art therapy for anxiety in adults: A systematic review of randomised and non-randomised controlled trials

Efficacy of Art Therapy in Individuals With Personality Disorders Cluster B/C: A Randomized Controlled Trial

Effectiveness of Art Therapy With Adult Clients in 2018 - What Progress Has Been Made?

Benefits of Art Therapy in People Diagnosed With Personality Disorders: A Quantitative Survey

The Effectiveness of Art Therapy in the Treatment of Traumatized Adults: A Systematic Review on Art Therapy and Trauma

The clinical effectiveness and current practice of art therapy for trauma

Writing therapy -

Optimizing the perceived benefits and health outcomes of writing about traumatic life events

Expressive writing and post-traumatic stress disorder: Effects on trauma symptoms, mood states, and cortisol reactivity

Focused expressive writing as self-help for stress and trauma

Putting Stress into Words: The Impact of Writing on Physiological, Absentee, and Self-Reported Emotional Well-Being Measures

The writing cure: How expressive writing promotes health and emotional well-being

Effects of Writing About Traumatic Experiences: The Necessity for Narrative Structuring

Scriptotherapy: The effects of writing about traumatic events

Emotional and physical benefits of expressive writing

Emotional and Cognitive Processing in Sexual Assault Survivors' Narratives

Finding happiness in negative emotions: An experimental test of a novel expressive writing paradigm

An everyday activity as treatment for depression: The benefits of expressive writing for people diagnosed with major depressive disorder

Writing about emotional experiences as a therapeutic process

Effects of expressive writing on sexual dysfunction, depression, and PTSD in women with a history of childhood sexual abuse: Results from a randomized clinical trial

Written Emotional Disclosure: Testing Whether Social Disclosure Matters

Written emotional disclosure: A controlled study of the benefits of expressive writing homework in outpatient psychotherapy

Misc -

Emotional disclosure about traumas and its relation to health: Effects of previous disclosure and trauma severity

Treating complex trauma in adolescents: A phase-based integrative approach for play therapists

Emotional expression and physical health: Revising traumatic memories or fostering self-regulation?

Disclosure of Sexual Victimization: The Effects of Pennebaker's Emotional Disclosure Paradigm on Physical and Psychological Distress

Kink/Porn/Fantasies

Sexual fantasies -

A Critical Microethnographic Examination of Power Exchange, Role Idenity and Agency with Black BDSM Practitioners

Women's Rape Fantasies: An Empirical Evaluation of the Major Explanations

History, culture and practice of puppy play

What Exactly Is an Unusual Sexual Fantasy?

The Psychology of Kink: a Survey Study into the Relationships of Trauma and Attachment Style with BDSM Interests

Punishing Sexual Fantasy

Women's Erotic Rape Fantasies

Sexual Fantasy and Adult Attunement: Differentiating Preying from Playing

What Is So Appealing About Being Spanked, Flogged, Dominated, or Restrained? Answers from Practitioners of Sexual Masochism/Submission

Dark Fantasies, Part 1 - With Dr. Ian Kerner

Why Do Women Have Rape Fantasies

The 7 Most Common Sexual Fantasies and What to Do About Them

Sexual Fantasies

Pornography -

The Effects of Exposure to Virtual Child Pornography on Viewer Cognitions and Attitudes Toward Deviant Sexual Behavior

American Identities and Consumption of Japanese Homoerotica

The differentiation between consumers of hentai pornography and human pornography

Pornography Use and Holistic Sexual Functioning: A Systematic Review of Recent Research

Claiming Public Health Crisis to Regulate Sexual Outlets: A Critique of the State of Utah's Declaration on Pornography

Pornography and Sexual Dysfunction: Is There Any Relationship?

Reading and Living Yaoi: Male-Male Fantasy Narratives as Women's Sexual Subculture in Japan

Women's Consumption of Pornograpy: Pleasure, Contestation, and Empowerment

Pornography and Sexual Violence

The Sunny Side of Smut

Other -

Fantasy Sexual Material Use by People with Attractions to Children

Fictosexuality, Fictoromance, and Fictophilia: A Qualitative Study of Love and Desire for Fictional Characters

Exploring the Ownership of Child-Like Sex Dolls

Are Sex and Pornograpy Addiction Valid Disorders? Adding a Leisure Science Perspecive to the Sexological Critique

Littles: Affects and Aesthetics in Sexual Age-Play

An Exploratory Study of a New Kink Activity: "Pup Play"

Jaws Effect

The Jaws Effect: How movie narratives are used to influence policy responses to shark bites in Western Australia

The Shark Attacks That Were the Inspiration for Jaws

The Great White Hope (written by Peter Benchley, writer of Jaws)

The Jaws Myth [not a study BUT is an interesting read and provides some links to articles and studies]

Slenderman Stabbings

Out Came the Girls: Adolescent Girlhood, the Occult, and the Slender Man Phenomenon

Jury in Slender Man case finds Anissa Weier was mentally ill, will not go to prison

2nd teen in 'Slender Man' stabbing case to remain in institutional care for 40 years

Negative effects of online harassment

How stressful is online victimization? Effects of victim's personality and properties of the incident

Prevalence, Psychological Impact, and Coping of Cyberbully Victims Among College Students

Offline Consequences of Online Victimization

The Relative Importance of Online Victimization in Understanding Depression, Delinquency, and Substance Use

Internet trolling and everyday sadism: Parallel effects on pain perception and moral judgement

The MAD Model of Moral Contagion: The Role of Motivation, Attention, and Design in the Spread of Moralized Content Online

Morally Motivated Networked Harassment as Normative Reinforcement

When Online Harassment is Perceived as Justified

Violence on Reddit Support Forums Unique to r/NoFap

"It Makes Me, A Minor, Uncomfortable" Media and Morality in Anti-Shippers' Policing of Online Fandom

[glowettee]

✧・゜: how i organize my google drive for maximum efficiency :・゜✧:・゜✧

hey lovelies! ✨

i use google drive to organize mostly everything, and the truth is, my google drive used to be an absolute disaster zone, we're talking hundreds of "untitled document" files and random screenshots saved who knows when. but after one particularly stressful finals week where i lost a paper for three hours, i completely overhauled my system. here's exactly how i organize everything now!

⋆.ೃ࿔:･ the folder structure that changed everything ･:࿔ೃ.⋆

first things first, i use a simple top-level organization system:

📁 𝘢𝘤𝘢𝘥𝘦𝘮𝘪𝘤𝘴: all school-related files

📁 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭: journals, goal tracking, finances, etc.

📁 𝘤𝘳𝘦𝘢𝘵𝘪𝘷𝘦: blog drafts, design projects, photos

📁 𝘢𝘳𝘤𝘩𝘪𝘷𝘦: completed classes and old projects

📁 𝘳𝘦𝘴𝘰𝘶𝘳𝘤𝘦𝘴: templates, reference materials, guides

the key is keeping your top level super simple, i used to have 20+ folders here and it was overwhelming! now i can find anything within seconds because i know exactly which category it falls under.

⋆.ೃ࿔:･ my academic folder system ･:࿔ೃ.⋆

this is the most detailed section of my drive! inside my academics folder:

📁 𝘤𝘶𝘳𝘳𝘦𝘯𝘵 𝘴𝘦𝘮𝘦𝘴𝘵𝘦𝘳

📁 class 1

📁 class 2

📁 class 3

📁 class 4

📄 semester schedule

📄 assignment tracker

inside each class folder:

📁 notes

📁 assignments

📁 readings

📁 projects

📄 syllabus

i color-code each class folder to match my physical notebooks and planner tabs, this visual consistency helps my brain switch between subjects more easily!

⋆.ೃ࿔:･ file naming conventions that save me ･:࿔ೃ.⋆

the absolute game-changer was developing a consistent naming system:

for class notes: DATE_CLASS_TOPIC example: 06.10_psych101_memory_systems

for assignments: CLASS_ASSIGNMENT_STATUS example: econ202_midterm_essay_final

for group projects: CLASS_PROJECT_MYPART_VERSION example: marketing300_campaign_research_v2

this might seem excessive, but it means i never have to open files to figure out what they are! plus, sorting by name automatically puts everything in chronological order.

⋆.ೃ࿔:･ my favorite google drive hacks ･:࿔ೃ.⋆

these little tricks make everything run even smoother:

𝘱𝘳𝘪𝘰𝘳𝘪𝘵𝘺 𝘴𝘵𝘢𝘳𝘳𝘪𝘯𝘨: i star current project files so they always appear at the top of my drive

𝘤𝘰𝘭𝘰𝘳 𝘤𝘰𝘥𝘪𝘯𝘨: right-click folders to give them colors that match your physical organization system

𝘵𝘦𝘮𝘱𝘭𝘢𝘵𝘦 𝘨𝘢𝘭𝘭𝘦𝘳𝘺: i keep a "templates" folder with pre-formatted docs for essays, lab reports, notes, etc.

𝘰𝘧𝘧𝘭𝘪𝘯𝘦 𝘢𝘤𝘤𝘦𝘴𝘴: i set important folders to be available offline (has saved me during wifi emergencies!)

𝘴𝘦𝘢𝘳𝘤𝘩 𝘰𝘱𝘦𝘳𝘢𝘵𝘰𝘳𝘴: using "type:pdf" or "after:2023-09-01" in the search bar to filter results

⋆.ೃ࿔:･ maintenance routines ･:࿔ೃ.⋆

even the best system falls apart without regular maintenance! here's my schedule:

𝘸𝘦𝘦𝘬𝘭𝘺 𝘤𝘭𝘦𝘢𝘯𝘶𝘱 (15 min): every friday afternoon, i sort any stray files into their proper folders and rename anything with default names

𝘮𝘪𝘥-𝘴𝘦𝘮𝘦𝘴𝘵𝘦𝘳 𝘢𝘶𝘥𝘪𝘵 (30 min): halfway through each semester, i check that everything is where it should be and create any new folders needed

𝘦𝘯𝘥-𝘰𝘧-𝘴𝘦𝘮𝘦𝘴𝘵𝘦𝘳 𝘢𝘳𝘤𝘩𝘪𝘷𝘪𝘯𝘨 (1 hour): i move completed classes to my archive folder and set up the next semester's structure

⋆.ೃ࿔:･ sharing & collaboration settings ･:࿔ೃ.⋆

as someone who works on lots of group projects, getting these settings right is crucial:

𝘤𝘰𝘭𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘪𝘰𝘯 𝘧𝘰𝘭𝘥𝘦𝘳𝘴: i create specific shared folders for each group project rather than sharing individual files

𝘱𝘦𝘳𝘮𝘪𝘴𝘴𝘪𝘰𝘯 𝘭𝘦𝘷𝘦𝘭𝘴: i'm careful about giving "edit" vs "comment" access depending on the project

𝘭𝘪𝘯𝘬 𝘴𝘩𝘢𝘳𝘪𝘯𝘨: i always disable "anyone with the link can edit" to avoid accidental changes

⋆.ೃ࿔:･ my best google drive tips ･:࿔ೃ.⋆

create a "quick access" document with links to your most-used files

use google drive's "workspaces" feature to group project files temporarily

download the desktop app to easily drag and drop files

set up automatic google photos backup for screenshots and images

use keyboard shortcuts (shift + n for new folder is my favorite!)

⋆.ೃ࿔:･ final thoughts ･:࿔ೃ.⋆

remember that the perfect organization system is one that works for your brain! mine has evolved over years of trial and error, and i still tweak it each semester. the key is consistency, whatever system you choose, stick with it long enough to make it habit.

xoxo, mindy 🤍

[makairodonx]

Coming right around the Chinese New Year, top to bottom, are two highly scientifically-important dinosaurs hailing from the Aptian-aged (125-118 mya) Jiufotang Formation of China’s Liaoning Province:

Microraptor zhaoianus ranks alongside the late Jurassic Archaeopteryx and the closely-related Sinornithosaurus as one of the first theropod dinosaurs ever to have discovered with full feather and wing impressions. It measured about 80 cm (2.6ft) in length, had a wingspan of 99 cm (3.25 ft) and weighed about 1.25-1.88 kg, sported a uniquely black but iridescent plumage, and is the namesake of the Microraptoridae, a family of raven-sized dromaeosaurs that dominated the Jehol Biota of the Jiufotang and Yixian Formations and are particularly famous for sporting long flight feathers on both their legs and limbs. This “four-winged” configuration, which surprisingly resembles the hypothetical “Tetrapteryx” stage of bird evolution proposed by naturalist William Beebe in 1915, enabled Microraptor and its kin to glide from tree to tree in pursuit of small birds, lizards and mammals as well as achieving some sort of powered flight over short distances.

Psittacosaurus is a basal ceratopsian that is closer in phylogeny to creatures like Styracosaurus and Triceratops than to the more primitive Yinlong from the late Jurassic, and is one of the most well-preserved and best-studied genera of all non-avian dinosaurs. It reached the size of a pig or a retriever dog and lived throughout much of continental Eastern Asia 125-105 million years ago, and is known for having the most species described of any non-avian dinosaur, with 12 different species ranging from as far north as Siberia to as far south as Thailand. Two of these species were both found in the Jiufotang Formation - P.melieyingensis and P.mongoliensis, the type species which measured up to 2 meters (6.2 ft) long and weighed about 80 kg (44 lb). Psittacosaurus had highly-developed senses of smell and vision, a pair of protruding jugal (cheek) bones that were possibly used for display, and was active for short periods at day or night. Psittacosaurus also possessed self-sharpening teeth that were used for cropping and slicing tough plants, and unlike future ceratopsians, it lacked teeth for chewing and grinding food and thus used gastroliths (which would have been stored in a gizzard similar to those of modern birds) to wear down the leaves and bark that it ate as it passed through the digestive system. Psittacosaurus is also unique among ceratopsians for having a large, well-proportioned brain. This indicates that the dinosaur was capable of doing a wide range of complex social behaviors such as bird-like sleeping, nest-building and parental care. This is perhaps true with possible instances of overburdened Psittacosaurus parents brining in a nanny or another guardian to take care of large nests of more than a dozen hatchlings, as evidenced of fossils of adolescent females preserved with several hatchlings together. The Psittacosaurus of the Jiufotang Formation shared their temperate forest habitat with the basal ankylosaur Chuanqilong, several genera and species of paravians and pterosaurs, a large titanosaur, and the 10-meter-long Yutyrannus relative Sinotyrannus, and Psittacosaur hatchlings and occasionally adults were also preyed upon by the large, badger-like mammal Repenomamus. One fossil Psittacosaurus specimen that is on display at a German museum (SMF R 4970) preserves the scales, colors and integument that the living animal would have had, and they indicate that the particular Psittacosaurus had a counter-shaded reddish brown and beige pattern that was blurrier and less-defined compared to the striking orange-and-white colors of Sinosauropteryx (which was suited for a lifestyle of foraging in open areas) and was therefore useful for camouflaging the Psittacosaurus in the woods. The specimen also possessed a strange crest of yellow, keratinized, bristle-like structures protruding from the base of its tail that were quite similar to the thin, filamentous structures found on the heterodontosaurid Tianyulong, which also possibly indicates that feather-like structures or proto-feathers may have appeared early in the evolutionary history of the dinosaurs and were soon lost in the evolution of some dinosaur groups or retained in some form in the evolution of others.

[damienkarras73]

An essay on Furiosa, the politics of the Wasteland, Arthurian literature and realistic vs. formalistic CGI

Mad Max: Fury Road absolutely enraptured me when it came out nearly a decade ago, and I will cop to seeing it four times at the theatre. For me (and many others who saw the light of George Miller) it set new standards for action filmmaking, storytelling and worldbuilding, and I could pop in its Blu Ray at any time and never get tired of it. Perhaps not surprisingly, I was deeply apprehensive about the announced prequel for Fury Road's actual main character, Furiosa, even if Miller was still writing and directing. We didn't need backstory for Furiosa—hell, Fury Road is told in such a way that NOTHING in it requires explicit backstory. And since it focuses on the Yung Furiosa, it meant Charlize Theron couldn't return with another career-defining performance. Plus, look at all that CGI in the trailer, it can't be as good as Fury Road.

Turns out I was silly to doubt George Miller, M.D., A.O., writer and director of Babe: Pig in the City and Happy Feet One & Two.

Furiosa: A Mad Max Saga is excellent, and I needn't have worried about it not being as good as Fury Road because it is not remotely trying to be Fury Road. Fury Road is a lean, mean machine with no fat on it, nothing extraneous, operating with constant forward momentum and only occasionally letting up to let you breathe a little; Furiosa is a classical epic, sprawling in scope, scale and structure, and more than happy to let the audience simmer in a quiet, almost painfully still moment. If its opening spoken word sequence by that Gandalf of the Wastes himself, the First History Man, didn't already clue you in, it unfolds like something out of myth, a tale told over and over again and whose possible embellishments are called attention to in the dialogue itself. Where Fury Road scratched the action nerd itch in my head like you wouldn't believe, Furiosa was the equivalent of Miller giving the undulating folds of my English major brain a deep tissue massage. That's great! I, for one, love when sequels/prequels endeavour to be fundamentally different movies from what they're succeeding/preceding, operating in different modes, formats and even genres, and more filmmakers should aim for it when building on an existing series.

This movie has been on my mind so much in the past week that I've ended up dedicating several cognitive processes to keeping track of all of the different ponderings it's spawned. Thankfully, Furiosa is divided into chapters (fun fact: putting chapter cards in your movie is a quick way to my heart), so it only seems fitting that I break up all of these cascading thoughts accordingly.

1. The Pole of Inaccessibility

Furiosa herself actually isn't the protagonist for the first chapter of her own movie, instead occupying the role of a (very crafty and resourceful) damsel in distress for those initial 30-40 minutes. The real hero of the opening act, which plays out like a game of cat and mouse, is Furiosa's mother Mary Jabassa, who rides out into the wasteland first on horseback and then astride a motorcycle to track down the band of raiders that has stolen away her daughter. Mary's brought to life by Miller and Nico Lathouris' economical writing and a magnetic performance by newcomer Charlee Fraser, who radiates so much screen presence in such relatively little time and with one of those instant "who is SHE??" faces. She doesn't have many lines, but who needs them when Fraser can convey volumes about Mary with just a flash of her eyes or the effortless way she swaps out one of her motorcycle's wheels for another. To be quite candid, I'm not sure of the last time I fell in love with a character so quickly.

You notice a neat aesthetic contrast between mother and daughter in retrospect: Mary Jabassa darts into the desert barefoot, clad in a simple yet elegant dress, her wolf cut immaculate, only briefly disguising herself with the ugly armour of a raider she just sniped, and when she attacks it's almost with grace, like some Greek goddess set loose in the post-apocalyptic Aussie outback with just her wits and a bolt-action rifle; we track Furiosa's growth over the years by how much of her initially conventional beauty she has shed, quite literally in one case (hair buzzed, severed arm augmented with a chunky mechanical prosthesis, smeared in grease and dirt from head to toe, growling her lines at a lower octave), and by how she loses her mother's graceful approach to movement and violence, eventually carrying herself like a blunt instrument. Yet I have zero doubt the former raised the latter, both angels of different feathers but with the same steel and resolve. Of fucking course this woman is Furiosa's mother, and in the short time we know her we quickly understand exactly why Furiosa has the drive and morals she does without needing to resort to didactic exposition.

Anyway, I was tearing up by the end of the first chapter. Great start!

2. Lessons from the Wasteland

Most movies—most stories, really—don't actually tell the entire narrative from A to Z. Perhaps the real meat of the thing is found from H to T, and A-G or U-Z are unnecessary for conveying the key narrative and themes. So many prequels fail by insisting on telling the A-G part of the story, explaining how the hero earned a certain nickname or met their memorable sidekick—but if that stuff was actually interesting, they likely would have included it in the original work. The greatest thing a prequel can actually do is recontextualize, putting iconic characters or moments in a new light, allowing you to appreciate them from a different angle. All of season 2 of Fargo serves to explain why Molly Solverson's dad is appropriately wary when Lorne Malvo enters his diner for a SINGLE SCENE in the show's first season. David's arc from the Alien prequels Prometheus and Covenant—polarizing as those entries are—adds another layer to why Ash is so protective of the creature in the first movie. Andor gives you a sense of what it's like for a normal, non-Jedi person to live under the boot of the Empire and why so many of them would join up with the Rebel Alliance—or why they would desire to wear that boot, or even just crave the chance to lick it.

Furiosa is one of those rare great prequels because it makes us take a step back and consider the established world with a little more nuance, even if it's still all so absurd. In Fury Road, Immortan Joe is an awesome, endlessly quotable villain, completely irredeemable, and basically a cartoon. He works perfectly as the antagonist of that breakneck, Road Runner and Wile E. Coyote-ass movie, but if you step outside of its adrenaline-pumping narrative for even a moment you risk questioning why nobody in the Citadel or its surrounding settlements has risen up against him before. Hell, why would Furiosa even work for him to begin with? But then you see Dementus and company tear-assing around the wasteland, seizing settlements and running them into the ground, and you realize Joe and his consortium offer something that Dementus reasonably can't: stability—granted, an unwavering, unchangeable stability weighted in favour of Joe's own brutal caste system, but stability nonetheless. It really makes you wonder, how badly does a guy have to suck to make IMMORTAN JOE of all people look like a sane, competent and reasonable ruler by comparison?!?

…and then they open the door to the vault where he keeps his wives, and in a flash you're reminded just how awful Joe is and why Furiosa will risk her life to help some of these women flee from him years later. This new context enriches Joe and makes it more believable that he could maintain power for so long, but it doesn't make him any less of a monster, and it says a lot about Furiosa's hate for Dementus that she could grit her teeth and work for this sick old tyrant.

3. The Stowaway

Here's another wild bit of trivia about this movie: you don't actually see top-billed actress Anya Taylor-Joy pop up on screen until roughly halfway through, once Furiosa is in her late teens/early twenties. Up until this point she's been played by Alyla Browne, who through the use of some seamless and honestly really impressive CGI has been given Anya's distinctive bug eyes [complimentary]. It's one of those bold choices that really works because Miller commits to it so hard, though it does make me wish Browne's name was up on the poster next to Taylor-Joy's.

Speaking of CGI, I should talk about what seems to be a sticking point for quite a few people: if there's been one consistent criticism of Furiosa so far, it's that it doesn't look nearly as practical or grounded as Fury Road, with more obvious greenscreen and compositing, and what previously would've been physical stunt performers and pyrotechnics have been replaced with their digital equivalents for many shots. Simply put, it doesn't look as real! For a lot of people, that practicality was one of Fury Road's primary draws, so I won't try to quibble if they're let down by Furiosa's overt artificiality, but to be honest I'm actually quite fine with it. It helps that this visual discrepancy doesn't sneak up on you but is incredibly apparent right from the aerial zoom-down into Australia in the very first scene, so I didn't feel misled or duped.

Fury Road never asks you to suspend your disbelief because it all looks so believable; Furiosa jovially prods you to suspend that disbelief from the get-go and tune into it on a different wavelength. It's a classical epic, and like the classical epics of the 1950s and 60s it has a lot of actors standing in front of what clearly are matte paintings. It feels right! We're not watching fact, we're watching myth. I'm willing to concede there might be a little bit of post-hoc rationalization on my part because I simply love this movie so much, but I'm not holding the effects in Furiosa to the same standard as those in Fury Road because I simply don't believe Miller and his crew are attempting to replicate that approach. Without the extensive CGI, we don't get that impressive long, panning take where a stranded Furiosa scans the empty, dust-and-sun-scoured wasteland (75% Sergio Leone, 25% Andrei Tarkovsky), or the Octoboss and his parasailing goons. For the sake of intellectual exercise I did try imagining them filming the Octoboss/war rig sequence with the same immersive practical approach they used for Fury Road's stunts, however I just kept picturing dead stunt performers, so perhaps the tradeoff was worth it!

4. Homeward

Around the same time we meet the Taylor-Joy-pilled Furiosa in Chapter 3, we're introduced to Praetorian Jack, the chief driver for the convoys running between the Citadel and its allied settlements. Jack's played by Tom Burke, who pulled off a very good Orson Welles in Mank! and who I should really check out in The Souvenir one of these days. He's also a cool dude! Here are some facts about Praetorian Jack:

He's decked out in road leathers with a pauldron stitched to one shoulder

He's stoic and wary, but still more or less personable and can carry on a conversation

Professes to a certain cynicism, to quote Special Agent Albert Rosenfield, but ultimately has a capacity for kindness and will do the right thing

Shoots a gun real good

Can drive like nobody's business

So in other words, Jack is Mad Max. But also, no, he clearly isn't! He looks and dresses like Mad Max (particularly Mel Gibson's) and does a lot of the same things "Mad" Max Rockatansky does, but he's also very explicitly a distinct character. It's a choice that seems inexplicable and perhaps even lazy on its face, except this is a George Miller movie, so of course this parallel is extremely purposeful. Miller has gone on record saying he avoids any kind of strict chronology or continuity for his Mad Max movies, compared to the rigid canons for Star Trek and Star Wars, and bless him for doing so. It's more fun viewing each Mad Max entry as a new revision or elaboration on a story being told again and again generations after the fall, mutating in style, structure and focus with every iteration, becoming less grounded as its core narrative is passed from elder to youth, community to community, genre to genre, until it becomes myth. (At least, my English major brain thinks it's more fun.) In fact there's actually something Arthurian to it, where at first King Arthur was mentioned in several Welsh legends before Geoffrey of Monmouth crafted an actual narrative around him, then Chrétien de Troyes added elements like Lancelot and infused the stories with more romance, and then with Le Morte d'Arthur Thomas Malory whipped the whole cycle together into one volume, which T.H. White would chop and screw and deconstruct with The Once and Future King centuries later.

All this to say: maybe Praetorian Jack looks and sounds and acts like Max because he sorta kinda basically is, being just one of many men driving back and forth across the wasteland, lending a hand on occasion, who'll be conflated into a single, legendary "Mad Max" at some point down the line in a different History Man's retelling of Furiosa's odyssey. Sometimes that Max rips across the desert in his V8 Interceptor, other times driving a big rig. Perhaps there's a dog tagging along and/or a scraggly and at first aggravating ally played by Bruce Spence or Nicholas Hoult. Usually he has a shotgun. But so long as you aren't trying to kill him, he'll help you out.

5. Beyond Vengeance

The Mad Max movies have incredibly iconic villains—Immortan Joe! Toecutter! the Lord Humongous!—but they are exactly that, capital V Villains devoid of humanizing qualities who you can't wait to watch bad things happen to. Furiosa appears to continue this trend by giving us a villain who in fact has a mustache long enough that he could reasonably twirl it if he so wanted, but ironically Dementus ends up being the most layered antagonist in the entire series, even moreso than the late Tina Turner's comparatively benevolent Aunty Entity from Beyond Thunderdome. And because he's played by Chris Hemsworth, whose comedic delivery rivals his stupidly handsome looks, you lock in every time he's on screen.

Something so fascinating about Dementus is that, for a main antagonist, he's NOT all-powerful, and in fact quite the opposite: he's more conman than warlord, looking for the next hustle, the next gullible crowd he can preach to and dupe—though never for long. For all his bluster, at every turn he finds himself in way over his head and writing cheques he can't cash, and this self-induced Sisyphean torment makes him riveting to watch. You're tempted to pity Dementus but it's also quite difficult to spare sympathy for someone who's so quick to channel their rage and hurt and ego into thoughtless, burn-it-all-down destruction. When you're not laughing at him, you're hating his guts, and it's indisputably the best work of Chris Hemsworth's career.

It's in this final chapter that everything naturally comes to a head: Furiosa's final evolution into the character we meet at the start of Fury Road, the predictable toppling of Dementus' precariously built house of cards, and the mythmaking that has been teased since the very first scene becoming diagetic text, the last of which allows the movie to thoroughly explore the themes of vengeance it's been building to. A brief war begins, is summarized and is over in the span of roughly a minute, and on its face it's a baffling narrative choice that most other filmmakers would have botched. But our man Miller's smart enough to recognize that the result of this war is the most foregone of conclusions if you've been paying even the slightest bit of attention, so he effectively brushes past it to get to the emotional heart of the climax and an incredible "Oh shit!" payoff that cements Miller as one of mainstream cinema's greatest sickos.

Fury Road remains the greatest Mad Max film, but Furiosa might be the best thing George Miller has ever made. If not his magnum opus, it does at least feel like his dissertation, and it makes me wish Warner Bros. puts enough trust in him despite Furiosa's poor box office performance that he's able to make The Wasteland. Absolutely ridiculous that a man just short of his 80th birthday was able to pull this off, and with it I feel confident calling him one of my favourite directors.

[exeggcute]

the leaked mrbeast production doc kills me because like, for better or worse, this guy clearly has his shit down to a science. he knows exactly what game he's playing and he knows how to play to win. the actual doc is structured well, communicates its ideas clearly, but also was thrown together by a youtube guy who paid no attention to visual formatting or proofreading. and yet as much as I hate to say it, stuff like this is actually great and widely applicable advice:

What you consume on social media, when you watch youtube, tv, the games you play, etc. are what I like to call your information diet. Chris Tyson (our first subscriber and the guy in the videos) is a wonderful example of an information diet being used to perfection. The dude is funny as fuck. I’ve never met anyone in my entire life that can make people laugh like he can and I never understood why he was so good at it until I lived with him for a few years. The dude watches an obscene amount of cartoons and stupid shit. His eyeballs exsist to inhail copious amounts of just goofy, dumb, and brain numbing content. And as a result he can quote almost any line from any episode of spongebob. He’s able to draw from so much stupid shit in his head as inspiration to make jokes and be quirky. As a result he is fucken hilarious. But let’s imagine a different Chris, let’s say instead of cartoons and stupid shit, his information diet was stocks and investing advice. And for 5 years that’s all he consumed. Do you think he’d be just as funny as he currently is? No. He in my opinion wouldn’t even be 20% as funny. If you’re a writer or director you really need to monitor and perfect your information diet. If your diet is not correct, you won’t have a good pulse on culture. I don’t want you to be a chris, in fact, I think that would probably do you harm. Talent needs to inhale cartoons so they can be funny, writers need to inhale inspiration. Let’s say there is a purple fruit in the middle of Australia that when eaten makes you 2 feet taller. If it truly did exist, you wouldn’t have known that until just right now. But now that you know of it, you can draw on it for inspiration for every piece of content you write going forward. That’s beautiful, it can now sit in the back of your mind waiting for that one video where it is needed. It might take 10 videos or even 100 but eventually you’ll be brainstorming a bit and think of the right one to use the fruit for. Apply this to everything on this fucken planet. You. Can’t. Get. Inspired. By. Things. You. Don’t. Know. Exist. So how do you learn more about what's out there in the world? How do you stay up to date on the latest memes? How do you know what’s going on with celebrities? What’s trending on youtube? What other creators are doing? What’s popping on tik tok? Your information diet. Consume things on a daily basis that help you write better content.

[bethanythebogwitch]

Wet Beast Wednesday: Christmas tree worm

Merry Christmas from the ocean! For this festive occasion, I’ve chosen to cover an animal that certainly has the spirit of the season. The Christmas tree worm is the person who keeps their Christmas lights up all year of the sea and today we’re going to see what makes them tick.

(Image: the crown of a Christmas tree worm. It appears as two stalks emerging from amongst coral polyps. Small feathery, appendages emerge from the stalks in a spiral formation going up them. They are yellow, with brown tips. A smaller, round structure is near the base of the trees. End ID)

The Christmas tree worm (Spirobranchus giganteus) is a polychaete worm of the tube-building fan worm clade Sabellida. While they are called giganteus, that’s only relative to other fan worms as they max out at about 3.8 cm (1.5 in) long. Being tube worms, they build a tube of calcium carbonate that they live in. This tube provides protection for the worm, who can retreat into it if threatened by predators. Polychaetes are defined by the paired bristle-like chaetes on each body segment, which are often used for locomotion. Tube worms like the Christmas tree worm lack these kind of locomotive appendages as they spend their entire lives in their tubes.

I couldn't find a full-body picture of a Christmas tree worm outside of its tube, so this is the best you get. (Image: Serpula vermicularis, a member of the same family of tube worms as the Christmas tree worm, removed from its tube. It is a short, segmented worm with a plug on a stalk and a crown consisting of long, feathery tentacles arranged differently than those of a Christmas tree worm. End ID)

The feature that gives these worms their common name is a pair of feathery, spiraling structures that emerge from the head and look quite a bit like tiny, colorful fir trees. These structures, called crowns, are heavily modified version of mouth appendages called prostomial palps. The feathery bits are tentacles called radioles. The crown is usually the only part of the worm visible, with the rest of its body safely in the tube. The crown is used both for feeding and respiration, as it can perform gas exchange with the water like gills. Christmas tree worms, like other fan worms, are filter feeders. They expose their crows to the water and wait for edible plankton and bits or organic detritus to get caught by the radioles. Cilia then transports the food down to the mouth. Christmas tree worms have a modified radiole called an operculum that acts like a lid to the front of the tube, closing it off when the worm retreats. The crown also has light-sensing structures, allowing it to detect light and shadow. The visual capabilities of these eye spots is poorly studied. The crown makes up about a third of the body length and can come in a wide variety of colors. It can regenerate if damaged.

(Image: a blue-crowned Christmas tree worm emerging from yellow coral. End ID)

Christmas tree worms are found across most of the world, from the Caribbean to the Indo-Pacific, in tropical waters. They are coral reef dwellers who live in burrows built into had corals. Brain coral species are their preferred hosts, but they can live on other corals and have been reported living in sponges and on giant clams. Christmas tree worms certainly have a symbiotic relationship with the corals, it's debatable whether that relationship is parasitic, commensal, or mutualistic. They may damage nearby polyps and could spread harmful algae (that seems to be an open question), but I found sources suggesting they improve water flow around the coral, which could benefit it. When they sense a threat, the worms will rapidly retract into their tubes. Some time later (which can be seconds to minutes), they will cautiously emerge again. Worms living on crowded corals seem to be more timid, taking longer to emerge again. Christmas tree worms are broadcast spawners who release their gametes into the water. Fertilized eggs hatch quickly into larvae who must find their way to a coral and start their burrow. Christmas tree worms can live up to 30 years.

(GIF: a bright yellow Christmas tree worm retracting into its tube. The full retraction takes less than a second and leaves only a hole covered by the operculum. End ID)

Christmas tree worms are considered to have a stable population, but as they are dependent on corals, threats to reefs are threats to them. Thus, global climate change is a major threat to their survival. Predators of the worms include fish, starfish, and other worms. They are not of commercial interest to humans, but are popular among divers and have entered the aquarium trade.

(Image: multiple Christmas tree worms of various colors emerging from a coral. End ID)