#my science project

[vapormaeve]

[monsterasia-zero]

The Cinema Movie Of The Week - My Science Project

Directed By Jonathan R. Betuel

Story By Jonathan R. Betuel

Starring John Stockwell, Danielle von Zerneck, and Fisher Stevens

Music By Peter Bernstein

Distributed By Buena Vista Pictures

Release Date August 09, 1985

Country United States

[veryslowreader]

Heretics of Dune by Frank Herbert

My Science Project

[greensparty]

2024 Super Megafest Wrap-Up

This is the season of comic conventions. Just a few weeks ago I got to cover Fan Expo Boston. This past weekend I got to cover MetroWest's super fun Super Megafest at the Verve Hotel in Natick, MA. The last time I attended was in 2016 when I got to chat with William Zabka. This year was loads of fun!

logo

I must be in the right place if the Ecto-1 is parked outside!

Here are some of the highlights of the Super Megafest guests I got to speak with:

Roger Christian

Production designer and set decorator Roger Christian is a significant part of the Star Wars Universe. He won an Academy Award for his Set Decorating on Star Wars Episode 4. He was also a 2nd Unit Director on Star Wars Episode 6 and Episode 1. With so many Star Wars spin-off series now on Disney+ and films in development, I asked if he might possibly return to the Star Wars Universe? He said "They have such a different attitude about it now without George Lucas. When they were doing The Clone Wars, I got them some stuff that I had and they interviewed me. It's just kind of a different mode." He is also working on a book and a documentary about his experience with Star Wars.

Christian is also a director and I wanted to ask him about directing the 1985 music video for Arcadia's "Election Day". He said "A friend of mine, George Miller who directs the Mad Max movies, they'd asked George to do it, but he said 'I can't do this, but here's Roger Christian'. I met with the managers and came up with some ideas at the time. I thought the song was amazing, they were big. So I got the job and had to go to New York. I met Simon Le Bon and Nick Rhodes and hung out. They took me to see Tina Turner live. When I heard the track I had an inspiration of Jean Cocteau's Beauty and the Beast [the 1946 film]. We went to Paris to film it. There was this film Round Midnight where they re-created some famous jazz clubs, so I was able to use that. It stands up today". I remembered getting that 45 single from my sister at the holiday. I remembering seeing it on V66, which was based in Natick and now I was meeting the music video directing in Natick!

Bruce Kulick

Musician Bruce Kulick was the guitarist for Kiss from 1984-1996, the era after the classic line-up and without make-up. He's done some solo albums and has played with a number of other bands, but as a longtime fan of Kiss, I always enjoyed that era of Kiss. The 1993 live album Alive III is one of my favorites of all the Kiss live albums. I asked Mr. Kulick if he had a favorite Kiss album he was on? He said "Each one of the albums I was on I had highlights. I always felt that Revenge was a great album. A real no-compromise kind of vibe. I got to find a good voice of lead playing too. I had a great time working with Bob Ezrin too." That's also a great album as the late great Eric Carr recorded some tracks before he died in 1991. Mr. Kulick said "He got to do the video and some background vocals on 'God Gave Rock 'n' Roll to You II'.

Ron Rudat

The Father of G.I. Joe, Ron Rudat designed every G.I. Joe figure that was released by Hasbro from 1982-1986. Countless figures I, myself, played with constantly as a kid. [Full disclosure: Ron's son is a friend of mine from college and I knew of him, but never met him until this convention]. I asked if he had a favorite G.I. Joe figure? He said "Everyone asks me that. I always say, they're all my favorite figures."

Christopher Atkins

Everyone knows actor Christopher Atkins for his starring role opposite Brooke Shields in The Blue Lagoon. But I know him for a a film that I worked on. In 2001, my friend Dan Hannon was a producer on the indie film The Color of Water, which filmed in NH. He brought my friend and I in as production assistants. I never saw the final film, but I asked Mr. Atkins about his memories of filming that movie? "There were spectacular views of that location. The lake was crystal clear. It was one of the most scenic locations, besides Blue Lagoon, that I've ever filmed at." He said he actually lives in New England now and is in the process of raising funds for a film to shoot here.

Nicholas Hammond

After getting his start as a child actor in Lord of the Flies and The Sound of Music, actor Nicholas Hammond is known to genre fans as the first live-action Peter Parker / Spider-Man after he appeared in the TV series The Amazing Spider-Man (CBS 1977-1979) and the three TV movies that aired between 1977 and 1981. In the last Spider-Man movie Spider-Man: No Way Home with the multiverse of Tobey Maguire and Andrew Garfield joining Tom Holland, I asked Mr. Hammond if he just wanted to see him join in as well? He laughed and said "Well, I would've liked to. I think the fans would've thought it was really fun to have all of the Peter Parkers in one film. You never know, it may still happen in the future, but that was a golden opportunity to do it. I mean I'm not an executive at Sony, I don't know why they do that they do, but I do know it annoyed a lot of fans. I got an awful lot of response to that myself. I mean these things happen, but I would've loved to have done something like that just for the sheer fun of being part of all that again. But at the same time, I'm very grateful I created the character. I feel proud of the fact that something we did for very little money back in the 70s has grown into this huge franchise globally that the whole world loves."

Hammond as Sam Wanamaker in OUATIH

The other big thing I know Mr. Hammond for was his portrayal of director Sam Wanamaker in Quentin Tarantino's Once Upon a Time in Hollywood (which I named my #1 Movie of 2019). I asked him what it was like working with QT and making the film about that era in Hollywood? He said "Funny enough, Quentin is a big fan of this Spider-Man series as well. He ran the pilot episode in his movie theater in Hollywood the New Beverly Cinema as a double feature with Tobey Maguire's first Spider-Man. I've always been a fan of Quentin Tarantino and when I heard he was running the pilot at his theater, I said to my manager 'I'd just love to meet him'. I had no idea he was making another movie. So I went in and met with him. We talked about Spider-Man quite a lot and he began talking about westerns that I'd been in back in the 60s and 70s. He asked if I had ever worked with Sam Wanamaker, I said I knew who he is. And that was the end of the conversation, I thought that was a really fascinating chat. Then soon after, I got a call asking if I wanted to play Wanamaker in the movie. It came out of the blue, but it turned out to be one of the best things I've ever done in my life. I just loved every minute of it. For me it was like time travel, because being on that set where everything was immaculately reconstructed like it was 1969, I first went to Hollywood in 1970 as a grown-up. So I just walked in and it looked the way everything had looked when I first arrived in Hollywood. It was huge fun to do and Wanamaker was such a big theatrical kind of guy. It was great playing a character that was so fun like that."

Wesley Eure

Actor, musician, author, producer Wesley Eure is known for playing Will on Sid and Marty Krofft's Land of the Lost (CBS 1974-1976), while he was on Days of Our Lives at the same time. But in addition to Land of the Lost, another staple of my childhood was the Nickelodeon game show Finders Keepers (1987-1989), which Eure produced and hosted. That was the era of game shows where you had a limited amount of time to ransack a room or an obstacle course. What was his experience like? Eure says "It was so much fun! We shot 5 shows a day, a whole week. They brought in schools. It was in Philadelphia on an IMAX theater that was tall enough for the two-story set of all the rooms."

Kathy Coleman

Speaking of Land of the Lost, Eure's co-star Kathy Coleman was there as well. I asked what her favorite creature on Land of the Lost was? Coleman says "Probably Dopey. He was my pet brontosaurus. I got to ride him and I loved riding horses, so it was just a fun day on the set."

Jackson Bostwick

Actor Jackson Bostwick is known for the title role in TV's Shazam! (CBS 1974-1976). But I was excited to ask him about playing a sentry in the 1985 sci-fi comedy My Science Project. Bostwick says "It was fine. We shot that in Tucson. They blacked out the city. But it was fun. Good cast. I enjoyed it, a good two weeks out in Tucson."

Sid Krofft

There were a ton of staples of 70s and 80s pop culture at this year's Super Megafest, but the one who co-created so much of my childhood TV intake was Mr. Sid Krofft (who turns 95 this month). The puppeteer, TV creator and producer and his late great brother Marty created many shows I got into when I saw them in syndication as a kid, notably The Banana Splits Adventure Hour (NBC 1968-1970), H.R. Pufnstuf (NBC 1969-1970), The Bugaloos (NBC 1970-1972), Sigmund and the Sea Monsters (NBC 1973-1975), Land of the Lost (NBC 1974-1977), and Pryor’s Place (CBS 1984-1985). All shows I remember fondly as a kid and really enjoyed watching the wacky almost drug-induced puppets getting into crazy situations each episode. In addition to the children's shows, he reminded me that he did 26 series including Donnie & Marie (ABC 1976-1979) and The Brady Bunch Hour (ABC 1976-1977) as well. He says "I've had and I'm still having the most incredible career. This is my 84th year in show business. Before television, I was a performer. In 1946, I was here [Massachusetts] with the Ringling Brothers Barnum and Bailey Circus. When the big top sat 15,000 people. I'm a puppeteer and one of the biggest honors I ever had was when the biggest star in the world was going out on her first tour, for a whole year we toured the country and I was her opening act. It was Judy Garland." I asked Mr. Krofft of all the shows he produced or created what stood as his personal favorite? He says "It has to be your first child, which was H.R. Pufnstuf. Before that I only created and built the costumes for The Banana Splits. That's what got us into television since that was a big hit, the network asked us to come up with an idea. We never did a pilot. We sold everyone based on an art show of the characters and the executives would sit around and I would tell them the story with pictures. So that's how it all happened. I'm still working! I tell everyone when they ask me where I came up with all my ideas, ever since I was 10 years old, I went left. Everyone else goes right. So take the chance and go left!" I fully agree. Mr. Krofft is truly a TV legend and he could not have been any nicer!

For info on Super Megafest

[dalt20]

Tooning In 16. Craig Clark part 3 of 7

DL: In 1983, you worked at a Company called Tigerfly.

What was that?

CC: That was and is Arnie Wong's company. I met him at Duck Soup in 1974. Arnie now lives in Hawaii. Tigerfly was in Santa Monica. We did commercials, development on a Möbius feature, Internal Transfer, Automan VFX etc. Superman director Peter Ramsey worked theirs as well as Disney FX sup. Marlon West. Also surf artist Rick Griffin.

DL: how was the environment at the studio?

CC: Creative , hip, funky , family of westside surf artists

He sends me a teaser of an project which ultimately never got made which was the collaboration with French comic artist Moebius, Internal Transfer, which he worked as an animator

Also some Sunkist and G.I. Joe commercials he sends me, also worked on as an animator. I’m surprised the latter one wasn’t done by Sunbow.

DL: You were on The

Philadelphia Experiment as a special effects animator, how was that?

CC: Cool, that was at New World in Venice at Roger Corman Studio......later became Digital Domain. hand drawn electro fx. There was a lot of work west of Sepulveda at the time. The guy on the bed with the electro fx https://youtu.be/WAmpXDi53YQ?si=vrhhlmW1wD0-u5n9

He sends me a trailer for The Philadelphia Experiment (1984)

DL: What was My Science Project, as you were

Special effects animator.

CC: My Science project was done at Namebrand FX in Santa Monica off the lot. John Scheele produced the FX, we shot the elements at his studio. The T rex at the end was my shot sequence.... https://youtu.be/nB2ToxVtoc4?si=21cPOJqje2orJAuX

He sends me a trailer for My Science Project (1985).

A bunch of electro fx not pictured there. Boy that was some cheesy 80's synth music on there lol!

DL: Well I guess you’re the electricity guy who drew the electric on paper than scan them into the film.

CC: Exactly. I would do the same over at Boss Film on Poltiergiest 2, Big Trouble in Little China, and SolarBabies. But it was all 70mm. Huge 22 field paper, later hand inked.

DL: You were special effects director for the TV series, Misfits of Science for NBC. And How did you felt being moved to

VFX director and what role does

he or she does.

CC: That was a Namebrand again, that was my day job, the night job was at Boss film from 6pm to 1am. Universal trusted me since I did a good job on Automan. So much so I was on call for other Universal shows like Miami Vice. The fx producer were David Garber and John Green. David Garber was famous for Battlestar Galactica so he was in good standing at Universal. I still love that show. Misfits was part of the Universal power line up on Friday Nights. we got good numbers but Knight Rider was already 3 seasons in and was closer to Syndication so we lasted one season. We did some cool stuff like slitcan stretching high speed fx with the characters. When ever my hand drawn electricity came on the the ratings went up, so they called for more of it. The Producer was James Parriot who later did Grey's Anatomy, It was also Courtney Cox's first show before Friends.

He sends me a compilation of the series where one of the main characters uses his electric powers.

DL: Ah, thought it was Mac and Me but I remember that was Jennifer Aniston!

I send him a laugh out loud emoji 😂

DL: You Worked as FX Assistant Animator for Boss Film company, did you felt like that was a downgrade from your previous Title?

CC: Yeah, but it was a feature with some IlM guys so that was cool. I met Wes Takahaski who helped me get into ILM later in 1994. Boss had just finished Ghostbusters at the time.

DL: How was the environment of Boss Film company?

CC: Fun, like an fx nightclub. Music playing, free popcorn. The day crew was more serious I think, but we just had a good time and did great work. Some Disney guys were there too like Scott Santoro, who I later worked with at Amblimation in London on Fievel Goes West.

DL: That's awesome!

CC: We were nominated for a VFX Oscar on Poltergeist 2. https://youtu.be/mjhr8EdGyD0?si=RldZcwzw_9-rMM0V

He sends me the trailer for Poltergeist 2 (1986)

DL: You was assistant special effects animator for Poltergeist 2.

CC: Yes, Following up of Mauro Maresa who later worked with me on Bill and Teds Excellent Adventure.

Sends me a clip from the film featuring all the times the characters use the iconic phone booth.

I did fx on it, phone booth.

DL: You were an

Special effects animator on Big

Trouble in Little China. How was that?

CC: Yeah , I think we already went over the Boss film stuff, part of the night crew when I was working on Misfits of Science during the day. Mauro Maressa, Scott Santaro, Kevin Cachaver, Ed Coffee, Wes Takahashi all on the show. There were Ghostbusters fx model sheets sitting around ....

He sends me the climax to Big Trouble in Little China (1986)

DL: So as we talk about previously, how worked

at Dream quest Images.How was

the enviroment at the studlo before the

company got bought by Disney in 1997?

CC: Dream Quest was a small but active studio stated by 5 UCLA students in Culver City. They did Vistavision work as well as 35mm work. They got all the fx shots that Boss Film could not do since they were all 70 mm.  The first Predictor movie was done there as well as Nightmare 3. I animation directed a few commericials, Taco Ball ,Golden Grahams, etc. https://youtu.be/aFwKhPnBs3Y?si=OtpjisO0bot3et6_

He sends me a commercial for Golden Grahams which he animated on.

DL: Is that supposed to be sonny? The Golden Grahams mascot?

CC: he didn't have a name....just called him dollop. I animated it solo. no assistants.

DL: Wow! That’s impressive!

CC: Thanks. I think I was 26 with a few credits so they gave me a shot.

DL: So, personal thoughts, I

Wanna spill on you that I find it strange that Disney would go on to buy Lucasfilm, which owns ILM, which you worked for later in 1994. Why did Disney bought the studio only to shut it down and buy Lucasfilm? (That’s a question for you, I forgot to mention.)

CC: Disney is a corporation looking for quarterly profits for their shareholders. It is no longer a company run by their family as you know.

DL: Yeah, I mean they own ILM now, so they own all the great special effects in the world! But anyway, you worked on Nightmare of Elm street 3 as a special effects animator, an upgrade from storyboard artist. How was the experience?

CC: Good, hears the shot do your stuff. This time we finished the plasma animation using watered down inks that were shot and comped. We went over that as well.

DL: What’s your thoughts on the Elm Street franchise ?

CC: Surprised it lasted. I've outgrown it but my kids love it. The horror genre has exploded over the years. There was a crew fan based  meeting at Notre Dame high school in the Valley in the 90's. Kids asked questions to the old crew. I forget most of it.

DL: You worked on My Demon Lover as a special effects animator, what was that about?

CC: That was through Chris Cassady's Roto FX of America studio. Quick fx job, I remember some faces or masks exploding. I did the animation over at Chris' studio, he shot the elements over at his place. I think he sent it our for opticals some were else. The studio was a Saward in Hollywood behind the old Bob Clampett building where we did the first Simpsons series. There were lots of Film labs there , CFI, Glenn Glenn sound. Old Republic Pictures and the Columbia Cartoon studio was there a long time ago. Historical street for film. Seward st.

DL: Your claim to fame, Bill Melendez Productions, how was the environment of the studio?

CC: Wow I'm famous for that? I'd like to work on the new ones in Canada... I worked directly under Bill Melendez for a week in studio. Then I just worked at home animating four Peanuts specials for him, as well as Cathy and Frosty Returns. And later another Peantuts one in the 2000's.

DL: What was the studio like? Was it magical?

CC: It was like a little house, actually two houses together. Folks were very nice. I love working there.

DL: Ah, so I think it was the only studio besides filmation who were doing TV animation in the US. And I believe the last.

CC: maybe so, but a few months later I started working on the first season of the Simpsons down the street in totally in house. 1989. Melendez was 1988 during the last bad writers strike.

DL: Ah, did you met Bill or Lee? The other guy who owns the studio. Lee Mendelson?

CC: Never saw Lee, just Bill. Shep Menkin also did voices but I did not know it at the time. (Forgive and Forget movie 1968)

DL: Ah, ok, so your friend was also on Peanuts.

CC: This is America Charlie Brown,yes.

DL: Did he did the adults? The “waa waa” voice?

CC:no?

[waste-it-on-something-useful]

Dennis Hopper as science teacher Mr. Roberts in My Science Project (Jonathan R. Betuel, 1985)

[gatoburr0]

Blog ain’t shit without acht in it

Quick doodles

[brainmuncher]

So I had another idea come at me while making lunch (I'm starting to sense a pattern with myself, lmao)

What if when Jazz sends out letters to the colleges she wants to get into, she gets sent rejection letters from every single one... except the local community college. She's absolutely devastated about it. She thought that she did everything she could to be chosen. How could every single one reject her?

Danny, of course, hears about it and asks Tucker to check and see if something happened digitally. Surely, Technus or Vlad or someone messed with something to sabotage her. But when Tucker checks, there's absolutely nothing wrong. She still has her perfect grades and attendance record all set with no marks. Her community service hours are all there. It's only when he looks at the letters themselves that he finds the problem...

After looking online to see what the letters look like, he comes to a puzzling realization... the letters were fake. It's a good fake, but it's not the real thing. The signatures were off, and the writing had been changed.

This is what leads him down the rabbit hole.

He tries to ask about it online to ask others who've also been rejected. Except nobody is answering him.

Sam tries to call the numbers listed on the websites of the colleges... but the person who answers is strangely unknowledgeable about the college they represent.

The only college that seems normal about it was the nearby community college. And that somehow feels the least normal about everything.

It was only when he heard his mom complaining that they never heard from family anymore after they moved to Amity that he figured it out.

Containment. Nothing is leaving Amity. No emails, texts, letters, or posts online. Everything was being blocked.

Of course, this sends him on a mission as to why and how. He spends weeks on it. Sam and Danny actually began to become concerned for him. No, this isn't a pride thing, Sam. And yes, he is taking care of himself, Danny.

Technus is the one who gives him the answer. It was just a passing comment about how he needed to funnel through the GIW in order to infect the world. It didn't make sense to any of them because surely that's the last place you would want to do that. But then it dawned on Tucker. That's who has the power needed to do it! That's where he needed to look!

So he hacks into the GIW and is astonished by what he finds.

The anti ecto acts aren't real. There's no laws even acknowledging ghosts.

There's a file on Phantom, marked as 'candidate for X'.

And all he can find on the containment is a name he's seen described as the creator of the GIW and the main supplier of funds.

Amanda Waller.

[es-draws]

If You Gain Faster, Does It Go to Your Belly?

Strap in folks, we’re going to take a deep dive into the Science of Weight Gain™. And for those impatient readers, the answer is…

Yes! Gaining weight quickly does seem to lead to more belly gains

As a precursor, I am not a doctor or medical researcher. I thought this study was interesting, and wanted to talk about it! But please don't take this as advice. Please don't go and gain based on the information presented here.

Let's start with some definitions. What types of fat are there? There are generally two categories - subcutaneous and visceral. Subcutaneous is the fat we all know and love; the soft fat that forms just under your skin, and is most commonly associated with the appearance of being "fat". This fat can form anywhere on the body, and is generally considered to be the healthier kind of fat. Then there is visceral fat, which is fat that accumulates deep in the abdomen behind the muscle layer. This kind of fat leads to a "ball belly" or "apple" shape, where the midsection is rounded but also firm, since fat is under muscle. Visceral fat surrounds organs, and for that reason is generally considered to have higher health risks.

Next, when you gain weight, what normally contributes to where the weight will go? There's a lot of research that shows this is mostly determined by genetics. What foods you eat, what exercises you do, and other environmental factors contribute little to where the weight goes[1]. In general, people tend to gain more subcutaneous fat than visceral fat[2].

So now to the question at hand - anecdotally among gainers, it's said that if you gain weight quickly, it will go to the belly. Is this true?

Turns out, a study has already been done on this very subject.

Let's talk about the Science™

23 subjects (15 men, 8 women) - all of whom were relatively thin (23.6 BMI) - were placed on an "overfeeding interval" of 8 weeks, where they were given 400–1200 extra calories over their normal intake. This was done in the form of ice cream shakes, snickers bars, or boost meal supplements[3]. In particular, this overfeeding period is similar to a lot of the rapid weight gain methods used in the feedism community.

Participants were weighed daily, and body fat was measured at the beginning and end of the study. Body fat was broken down into 3 categories; visceral fat, upper-body subcutaneous fat (fat around the midsection), and lower-body subcutaneous fat (fat around the butt and thighs).

Here are the results: on average, subjects on average weighed 158 lbs to start, and gained around 8 lbs over two months. On average, they gained 1 lb of visceral fat, 2 lbs of lower body fat, and 4.5 lbs of upper body fat.

What does this mean? It means that during rapid weight gain, over half of the fat gained goes to the belly. But importantly, it goes to subcutaneous fat - the fat directly under the skin that we associate with soft, jiggly bellies. Very little went to the visceral fat associated with firm, round bellies.

Anecdotally, this seems to correlate with what’s commonly seen with rapid weight gain in the feedism community. Most gainers, especially thinner gainers, tend to notice rounder bellies when they first put on weight. But this weight also tends to be soft - often times, gainers can still squeeze and squish their midsection, which seems to prove fat has built up just under the skin. Later, once they've gained more or the weight has settled, the fat may distribute more evenly over the body. Again, this is just anecdotal. But the data seems to support what we see!

There are still some things this study does not answer. There's no data published on biological differences, for example. There are almost double the amount of men compared to women in the study, and AMAB folks are known to gain more upper body weight compared to AFAB folks. We do not know if these participants are gaining in different ways. Also, while subjects were on average at a healthy BMI when the study began, we know that BMI is a flawed metric. It does not mean they were all thin. Some may have been overweight, or may have gained weight or lost weight previously. These factors might also contribute where weight is likely to settle, and we cannot infer from the published data alone.

And though this study shows that gaining weight quickly will lead to belly gains, it doesn’t answer why. For this I have a theory, but that will have to wait for the next installment of the Science of Weight Gain™.

So there you have it! If belly gains are what you’re searching for, gain and gain quickly! But be careful… once you start, it may be hard to stop. And soon you may find that your newly-formed belly is just the start.

[1]There's research showing sugar-dense and high-fat foods leads to more visceral fat gains, but proportionally this is very small compared to genetic or sex factors.

[2]AMAB folks, in particular, are more likely to gain visceral fat.

[3]This study sounds like a feeder's dream and it gets my blood up just reading it. How do I become an official Science Feeder™?

[vapormaeve]

[pepsimanan]

these two together!!

[night-the-starfish]

Forgot to post this lol. Original manga edit made by @awe-24!

[butch-reidentified]

fact: there is so much of the natural world we don't understand yet

many forms of women's spirituality is just... celebrating how cool that is. not believing in any fictional narrative. just celebrating nature and how much we have yet to understand.

that's why I take issue with the "it's just as fictional as Christianity etc" narrative. some forms, sure, but not any I'd ever be interested in.

it's just ignorance. your idea of witchcraft vs what I'm actually talking about. but you aren't taking the time to ask or listen. there's literally nothing "unscientific" about what I personally practice. it's just about my relationship to the scientific unknown.

edit to add some of what I just included in a different reblog:

fwiw, I still don't consider myself spiritual as (like I've repeatedly said) my witchcraft is, to me, artistic self-expression and is fundamentally about my personal connection to the universe, womanhood, nature, and, despite what certain women on here are insisting, to science. I've never been able to convince myself to believe in specific unseen/supernatural things like deities (learned this at a very young age trying to make myself believe in the Christian God, then tried with other gods, never believed in Santa even).

women engaging in scientific pursuits have historically so often been the ones labeled witches. new scientific creations have so often historically been called magic, witchcraft, heresy, etc., and those involved persecuted for it.

historically, women called witches have so often BEEN scientists, and that & the erasure of women throughout scientific history is exactly WHY using the term is so important to me, WHY I don't respect the patriarchally-derived dictionary definition* of "witch" or "witchcraft." I have a peer-reviewed neuroscience publication with my name on it, and that, to me, is part of my witchcraft. idc how anyone else feels about that but calling it antifeminist is absurd.

[chubbychiquita]

bitter that life is not a wg fic and i have to participate in society and fulfill obligations

[polymerclay]

Miscellaneous h*r stuff i never bothered to post

[waste-it-on-something-useful]

Dennis Hopper as science teacher Mr. Roberts in My Science Project (Jonathan R. Betuel, 1985)