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my creative writing prof also HATES fantasy. as in if she asks for an example of symbolism in a book, and you give something from a fantasy novel, she’ll ask for an example from a “non-commercial book” instead.

I dunno man, people can have preferences, but the second you discount the artistic merit of sci fi and fantasy I stop taking your opinion seriously. and there’s such a big culture in Canada of only valuing literary fiction, to the point where one of our biggest authors, Margaret Atwood, refused for a while to classify her books as sci fi or fantasy. she said they were “speculative fiction”, which is entirely separate and very highbrow (sarcasm).

and I could go on about how Octavia Butler and Ursula Le Guin wrote books every bit as intellectual (and honestly, even more so) than their literary counterparts, but I am also an enjoyer of schlock!! I think there’s artistic merit in animorphs, and in isekais where a japanese schoolgirl reincarnates into a magical spider who has to level up like it’s a video game! it’s like with everything, you can’t draw a clean line that separates ‘art’ from ‘non-art’ or even ‘lesser art’, and pretending you can do so just makes you look ignorant and goofy. in my opinion.

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I ain’t saying shit no more

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Rooney Mara as Mary Magdalene smoking a cigarette beneath crucified Jesus

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OC intro: Marco Bianchi

Marco Bianchi (ITA)

Born: 23 April 1999, Naples, Italy (age 24) Debuted: Australian Grand Prix, 2020 Race number: #36 2024 team: Scuderia Rossolini (ITA) Favourite track(s): Circuit de Monaco, Monza

2016 French F4 champion 2018 GP3 Series champion 2019 Formula 2 Drivers’ champion

Scuderia Rossolini’s poster boy is entering his fifth season in Formula One—and hoping to make it his first championship-winning one. Marco Bianchi rocketed through the ranks, winning his rookie campaigns in Formula 4, GP3 and Formula 2. After stunning the paddock in his rookie season at Arrignon Grand Prix,he moved to Rossolini for his 2021 campaign, winning his first Grand Prix at that year’s Monaco round. With eight more race wins to his name over the last three years, Bianchi surely looks to be Rossolini’s best shot at a World Drivers’ Championship since Devon Holtzman—as long they can build him the car to do it. Furiously quick over one lap, Bianchi’s main flaw has been his lack of adaptability and consistency—attributes he worked on considerably during 2023. The Italian heartthrob is widely-known as the ‘face’ of the Rossolini brand—he has a modelling contract with Armani and was voted TIME’s Sexiest Man in 2023. He has been in a relationship with French influencer Kiki Troussard since late 2023, though his extensive partying habits are rumoured to be driving a rift in their relationship.

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Star Wars really did a number on my brain chemistry as a kid, not because of the plot or story or the hold it had on science-fiction media, but because the aesthetics were so on point. All the Rebel ships look like they were built in a shed, the Morningstar craft look like hastily modified shuttles, the Millennium Falcon is the galactic equivalent of a space hauler, all battered and tactile.

Even the more 'impressive' craft like the N-1 Starfighter and the Lambda-class Imperial shuttles are visibly retro-looking. The N-1 in particular has an aesthetic reminding me of 1940s/50s-era fighter planes:

It's just awesome that, even as a 'soft' science-fiction franchise, Star Wars still incorporates this realistic, used-future-style hard sci-fi design tropes into it's aesthetic, rather than the squeaky-clean look of earlier science-fiction films and TV.

And don't even get me started on the Alien franchise. I could be here all day.

I think the big thing that makes Star Wars aesthetically unique among sci-fi settings is that it all has the look like its form had to be constrained by its function.

Like an engineering team were operating under conditions that required some sacrifices of aesthetics/symmetry for the sake of utility in the final product.

It's something that you see all the time in real vehicles and machinery but that's kind of rare in sci-fi (and in Star Wars it might be partially because they kitbashed everything out of things like old cameras, engine parts, and model kits).

Even the lightsabers, the “elegant weapons from a more civilized age,” just look like a random piece of machinery with buttons and knobs jutting out at odd angles (aside from the fancy ones in the prequels like Mace Windu’s).

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painting this on the ceiling above my bed so it's the first thing i see upon waking in the morning and the last thing i see before falling asleep at night

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I want this photo on my wall

Michele Alboreto (Ferrari 126C4) and Nigel Mansell (Lotus-Renault 95T) - 1984

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Source

Video of Tama

Follow Ultrafacts for more facts

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Thinking about it again. Fermi's paradox. Wouldn't it be nice if we were first?

The universe and our galaxy was unhabitable for life as we know it for most of its past. Galaxies colliding, the fusing of elements, sweeps of sterilizing radiation that neutered a billion worlds, all with their own unbuilt gods. The Sun was born at the end of that phase, so in a sense Earth is one of the earliest planets to have life in a safe cradle - us. But statistically, young stars like our sun are rare, and die too quickly, running out of fuel in 6-10 billion years before dying. Red dwarf stars (the most common type of star and 75-80% of stars in the Milky Way galaxy) last for trillions of years before going out - hundreds of times the current age of our universe. Civilizations would have billions of years to rise and fall and they'd just never see or meet each other. And if these civilizations rose and failed to fall, if aliens were alive today and much more advanced than us, we'd know. They'd have colonized the galaxy a thousand times during the lifespan of the Earth. Even if they were dead, we'd probably notice the ruins. Except we haven't. The universe is a waiting room for something, and we're just in it. The prologue. The decoy protagonist. We aren't the universe's main characters, because the odds are, the main characters of our universe aren't even born yet. Or this IS the climactic battle, and we're just an unwitting participant in a future interstellar war, a grand game for the right to be the singular dominant spacefaring race of the galaxy? Are we destined to destroy, born from stellar fire with the future's blood stained into the fabric of our very being? What's to say we're not caretakers, the guides, the mentor figure to the universe instead? A garden is only a garden if someone is there to perceive it. Without observation, a garden is just a forest. We have to observe the universe, take care of it, make sure we did do best to prepare it for later alien species - the main characters of our story, still twenty billion years in the future.

I think I prefer that to the other option - that aliens do exist but just don't care about us, or that they wouldn't even recognise us as civilization or sentient life by THEIR standards? Think about it. When you fumigate your house to exterminate all the ants, do you notice them? You own the house, and this improves your house by killing useless bugs, but what if the bugs knew you were there, saw you as gods and prayed to you? You've killed them all. In their eyes, you've enacted divine retribution upon them because, well, what need do bugs have for a God?

If the universe is a house, then does that make us the exterminators today, or the ants?

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mmm. frosted cake planet.

Saturn's polar hexagon

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Hey, y’know that crazy-ass video that was recently making the rounds. yeah. that one. You know the one. Turns out it’s not the whole thing.

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Syd Mead, 1988.

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"Hey babe, want to go on holiday?"

"Sure, where were y-"

"The Czech Republic."

"...why?"

*frantically deleting search results for 'Hranice Abyss'* "Oh, uh, it looks cool, I reckon."

Hey you all know about that fungus that possesses ants to make them climb on the tip of grass blades in hopes of getting eaten by a cow, so that the fungus can continue its life cycle in the cow's guts? Because I think that's the kind of thing that's wrong with cave divers.

We don't know what's down there. We don't know what's gotten into their heads that makes them so determined to physically, personally go down there to find out. But I wouldn't entirely dismiss the possibility that whatever has gotten into them is very invested in getting eaten by whatever is down there.

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Michael Whelan cover art for Foundation's Edge by Isaac Asimov, 1983.

(Humanoid History)

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The one thing men in the 1700s did right was have long hair they tie back into a low ponytail with a little ribbon and also have a few stray strands at the front. Almost everything else they did that century was inexcusable though