#research summary

[my-neurodivergent-education]

Summary written with help from scholarcy.

van der Putten, W. J., Mol, A. J. J., Groenman, A. P., Radhoe, T. A., Torenvliet, C., van Rentergem, J. A. A., & Geurts, H. M. (2024). Is camouflaging unique for autism? A comparison of camouflaging between adults with autism and ADHD. Autism Research, 17(4), 812–823. https://doi.org/10.1002/aur.3099

Abstract:

Camouflaging (using (un)conscious strategies to appear as non-autistic) is thought to be an important reason for late autism diagnoses and mental health difficulties. However, it is unclear whether only autistic people camouflage or whether people with other neurodevelopmental or mental health conditions also use similar camouflaging strategies. Therefore, in this preregistered study (AsPredicted: #41811) study, we investigated if adults with attention-deficit/hyperactivity-disorder (ADHD) also camouflage. Adults aged 30–90 years filled in the Dutch Camouflaging Autistic Traits Questionnaire (CAT-Q-NL), the ADHD Self-Report (ADHD-SR) and the Autism Spectrum Quotient (AQ). We investigated differences in camouflaging between adults with ADHD, autism, and a comparison group in an age and sex-matched subsample (N = 105 per group). We explored if autism and ADHD traits explained camouflaging levels in adults with an autism and/or ADHD diagnosis (N = 477). Adults with ADHD scored higher on total camouflaging and assimilation subscale compared to the comparison group. However, adults with ADHD scored lower on total camouflaging, and subscales compensation and assimilation than autistic adults. Autism traits, but not ADHD traits, were a significant predictor of camouflaging, independent of diagnosis. Thus, camouflaging does not seem to be unique to autistic adults, since adults with ADHD also show camouflaging behavior, even though not as much as autistic adults. However, as the CAT-Q-NL specifically measures camouflaging of autistic traits it is important to develop more general measures of camouflaging, to compare camouflaging more reliably in people with different mental health conditions. Furthermore, focusing on camouflaging in adults with ADHD, including potential consequences for late diagnoses and mental health seems a promising future research avenue.

[reyofsunshne]

Oh! I've updated again!

For those of you who are more interested in the research I've invested in the chapter, let me run through it in order.

The Skald telling of The Ship of the Dead made of toenails of the dead.

This piece is funnily enough something that one of our skalds in my reenactment group LOVES to tell around the fire, last time he had me on the drum, approximately 2 hours before I threw up everywhere :)

Ring a Ring of Rosie

This version is a distinctly Aussie playground version, and recounts a version of the history told to me by my teachers to make me stop singing it, as I kept making myself sick by playing the spinning song. It didn't work.

Deer antler belt design with tablet weaving

This is actually a pattern from The Barony of Allyshia, and can be found here

Eivor's amber hair bead

This one is based on the baltic trade for amber beads (evidence in Coppergate, York), they make a good closure if you don't have very even ends, as the hair is held together in the bead and whatever leather you have tying your hair together.

Drengr sleeping in the longhouse

This one is anecdotal from our summer camps, where I often find the other members of the garrison asleep in the longhouse when I go in for my breakfast.

Skuld's loom

This is described based on the warp weighted loom reconstructed in Moesgård Museum, which has the two beam system, where the back warp threads are tied to one cross bar, and the front are tied to another, so that it can act like a Rigid Heddle Loom, and make the weaving process much quicker.

Some tapestries, like the one Skuld is weaving, and like the Bayeux Tapestry, have the design embroidered instead of woven in, to make the pattern clearer, and easier to create.

The waxed canvas tent

The process of waterproofing a tent in the early middle ages/ Viking age, involves painting a melted beeswax and linseed oil mixture onto both sides of the linen to create a barrier for the waterproofing, but also allowing it to soak into the fabric to penetrate any small stitching holes. This takes forever to do. And everything smells like linseed for ages.

The names of the Norns

I'll be the first to admit I just googled this one.

Anywho, I love you all for reading, and if you want any more in depth research, let me know!

[lithospteryx]

New Dromaeosaurid Dinosaur and Biodiversity at the end of the Cretaceous

Open access | Nature | Jasinski et al. 2020

Jasinski et al.(2020) named a new species of dromaeosaurid Dineobellator notohesperus, meaning Southwestern Navaho warrior after the Bisti/De-Na-Zin Wilderness where it was discovered. It was found to be upper Maastrichtian, late Cretaceous, in age, and the second known North American velociraptorine, suggesting a geographical separation after dispersal from its Asian ancestors.

Dineobellator was determined to be a new species by several morphological differences, including a large deltopectoral crest, an enlarged dorsomedial groove, and an opisthocoelous vertebrae, see figure 1, near the base of the tail, among others. The listed characteristics have implications for the behavior of this animal, suggesting greater relative strength of flexion of the forearm, grip strength, and range of movement in the base of the tail, implying an agile predator that was similar in size to velociraptor. The deltopectoral crest in combination with the 12-14 secondary feathers, suggested by what appears to be quill knobs on the ulna, may have been used as stabilization for hunting.

Phylogenetic analysis suggests at least three more lineages in the Campanian and Maastrichtian eras, with two in northern and one in southern Laramidia. More late cretaceous dromaeosaurids are needed to clarify its relationships within Dromaeosauridae.

(Figure 1: An opisthocoelous vertebrae showing the convex anterior and concave posterior centrum. Weasel,2018)

Jasinski, S.E., Sullivan, R.M. & Dodson, P. New Dromaeosaurid Dinosaur (Theropoda, Dromaeosauridae) from New Mexico and Biodiversity of Dromaeosaurids at the end of the Cretaceous. Sci Rep 10, 5105 (2020). https://doi.org/10.1038/s41598-020-61480-7

Weasel, Slate. “Centrum Morphology.” Wikimedia Commons, June 2018.

[weirdly-specific-but-ok]

doctor who but i've never watched it

and so it begins again. the people asked for it. the people got it. i will ensure the people regret it.

i have never watched this show, or seen an edit, but i am a thorough researcher and i feel that i've got the essence of it.

this is what i have gathered. academicians worldwide take note.

Firstly, so I don't anger anyone, I accept and acknowledge that the tardis is blue and not yellow. My misinformation was from a Drarry fanfiction, and I had hitherto regarded Drarry fanfiction as the absolute truth.

There are doctors, and there are at least fifteen of them. At least two of them are David Tennant, which I can respect.

I'm not sure why the doctors are doctors, because I can find no trace of any medical procedure except for one doctor who licks things, which he learned from the previous doctor. If this is sufficient reason, I apologise for doubting their credentials.

On the other hand, if they are doctors thanks to a postdoctoral degree, this is also fine, though I have never seen anyone study anything. There is however a doctor, and there were people upset about her, but the fandom pointed out she set the tardis on fire, which is apparently a very doctor thing to do. Setting things on fire is absolutely something any research scholar would love, so again, apologies for doubting their credentials.

At least one doctor is gay. It is probably one of the David doctors, which checks out. He says someone, I think a dentist, is hot. I envy the maybe-dentist.

A t least one doctor is trans. I was unable to find them. But they exist. Oh yes, the fandom assures me they exist.

David Tennant as well as Ncuti Gatwa were fanboys, first of the show, and second of David Tennant, and thus they got into acting. Just a fun tidbit from me, since I am now the authority on this fandom.

There are time machines with which the doctors have sex by piloting them, which is questionable because the time machines are only partially sentient. I am not sure if the time machines are the tardis. But the tardis is blue, and not yellow, of that I am certain.

There was a stage play. Or maybe that was a metaphor for the production budget of the early seasons. I am not sure, but toddler David Tennant watched it. I assume no one took a 3 year old to a stage play, so through scientific deduction, it must have been a metaphor.

At some point, Death is an agony aunt and they have to spill secrets to it, or drown in a lake of human skulls. Who is this they? It's so obvious that the fandom sees no need to explain it, and neither do I. I do know it though. Of that you may remain certain.

A David doctor has a niece and she likes being his niece.

A David doctor has a best friend named Donna. He kisses her head. She supports his fruitiness. It is wholesome. It killed him when he lost her.

Slight tangent, but younger David doctor looks like Andrew Garfield. Current David in photos does give Ben Barnes energy. Any Wolfstar shippers, I believe you've found the Wolfstar kid. It is David Tennant.

A lot of people are David Tennant. A reliable Pinterest post on Doctor Who, clearly well researched, gave me the statistic that 15% of Doctor Who is David Tennant. From the amount of David Tennant that I ran across in my research, I don't understand it but I don't doubt it, either.

Speaking of Andrew Garfield, he in involved in this somehow. I am not sure how, but you cannot escape Andrew Garfield. He is even a part of fandoms he never acted in.

There is an individual named Catherine, I think she is the actress, but she could be a character. She seems to have much less knowledge about Doctor Who lore than I do. David Tennant finds it funny. Maybe he would find me funny, too.

The doctors installed some things in the tardis, from a wheelchair ramp to a jukebox. I don't know why a jukebox was needed. If I'm honest I don't know what a jukebox is. I don't know what the tardis is. But it is blue, and not yellow.

There is a French catchphrase.

Something happens in Wales. I don't know what it is, but something always seems to be happening in Wales in these fandoms, so I don't doubt it.

There is an old Doctor Who in a wheelchair, and he is happy to see a David doctor.

They go around in space, and do things. Who is this they? You and I both know the answer, so we needn't talk about it.

The show intro is "doo wee doo".

There is an alien who is not a mouse, the alien is The Meep, and uses the definite article as pronouns. David doctor is supportive of this, which is very good.

I found baby Yoda in the show, but apparently they call it a 'goblin' there, and someone doesn't like it.

There is a lot to do with time. There is a time hole, and things happen, and people die and are resurrected. There is danger, but it is fun.

They have CGI, and it is not good, which is the best thing about it. Who is they? Please stop asking me. It is rather obvious and something I definitely know.

Someone's boyfriend dies and the boyfriend is then resurrected but then gets lost with his boyfriend but then is reincarnated as a girl who would still call herself the someone's boyfriend but then she is replaced by the boyfriend but he's different now. I apologise for any errors that have crept it, but the tardis is blue and not yellow.

Someone named Martha is a doctor, and someone is very proud of her for it.

The eleventh and twelfth doctors like bow ties.

David Tennant wants to be ginger. David Tennant always gets what he wants. Who can refuse David Tennant? David Tennant is then ginger.

A David doctor gets a happy ending.

Someone yelled at Neil Gaiman about this. It was a mistake. He said that since it had already been done, he wouldn't want to give David's character a happy ending in S3, that would be a trifle unoriginal.

A lesson to be learned, Good Omens fandom, just a bit of advice from your son, do not yell at Neil Gaiman, it does not go well. Rumour has it he murdered the people who complained about him always wearing black. Of course, there is the fact that he doesn't exist, but that doesn't seem to have stopped him.

The doctors manifest in the previous doctor's clothes, which is apparently so last season. The tardis also manifests. I don't know where, or how. But it is blue, and not yellow.

I know, there was a lot of lore, so many of you thought I wouldn't be able to gather it all. But look how much research I did! I've got it better than maybe-actress-maybe-character Catherine, I'm sure :"]

Anyway, all the major plot points are covered above, so anyone who hasn't watched Doctor Who, feel free to refer to this and impress your Whovian friends with your knowledge! [not to be judgemental, but what a dreadfully Dr Seuss name, I rather like it]

[outfoxt]

Another Käärijä Research Project

aka: käärijä style-shifting project

as a preface, here are my (non) qualifications for this project and the circumstances under which it happened:

I am a linguistics student, and this past semester I took a course on sociolinguistics. the goal of this project was to become familiar with the concept of and analyze style-shifting (it's more commonly known as code-switching online but theres a difference and this is style-shifting), specifically by analyzing the speech of one person. We had the option to study oprah or to have someone else approved by my prof, so you know I had to ask my prof if I could study jere. This project is solely my intellectual property; even though I had a tutor help me a lot, everything written in this paper and on this post was my work alone.

now, on to the actual findings! the full paper and transcripts will be linked at the end :D

the actual variables (words or sounds) that I studied were the pronunciation of r, and use of the word "the".

to make things a lot easier from the get-go, i'm going to introduce you all to one of my favorite websites, ipachart.com (the international phonetic alphabet [ipa] chart is a big chart with an entry for every sound that exists in a language. this handy dandy website has an audio recording for each one of those sounds).

go to this website, and then scroll down to the table. go to the column labeled "post alveolar" and then click on ɾ and ɹ. those are the sounds i studied in this paper! ɾ is the finnish r and ɹ is the american r :)

so basically what i did to find instances of my variable was i just looked up a bunch of esc interviews and listened out for use of the different r sounds. i also transcribed the entire dinner date live because i love torture apparently :) the specific interviews and lives/stories are in the bibliography of the paper :p

after i transcribed all the interviews and lives/stories i went through and highlighted every instance of the r sound. then i calculated the ratios of ɾ to ɹ based on the context they were spoken in. the two contexts i looked for were formal contexts (sit-down interviews) and informal contexts (literally anything else).

i found that jere uses ɹ WAY more often in formal contexts than he does in informal contexts, and the same in reverse with ɾ.

i then went back to the transcripts and looked for all instances of the word "the". i also looked for instances where i thought it should be present, but was omitted. i calculated the ratio of present vs omitted "the"s in formal vs informal contexts and made some charts.

the graph with the smaller black section is "use of 'the' in formal settings" and the one with the smaller green section is "use of 'the' in informal settings" (the images are transparent, sorry)

i found that jere uses "the" WAY more often when in formal settings! there were also some instances where he added a "the" where it was unnecessary, which is studied at length in this wonderful paper by @alien-girl-21

something i also noticed that i elected not to study because this paper took enough energy on its own was that in formal contexts, whenever the "or" sound came in the middle or at the end of a word, jere wouldn't pronounce the r. it stuck out to me mostly because i heard words like "performance" turning into "perfomance", which i thought was an interesting quirk.

unfortunately i was somewhat limited by both my brainpower and capacity to do more work on this paper in the relatively short timeframe i was given (2 weeks) and the fact that i was given a 5 page MAX for this paper (not including a bibliography). i had a lot of fun doing this though and am definitely planning on studying jere for for academic credit again in the future if given the chance!

also i would like it to be known that i spent an hour searching for that 5 second clip of the urheilucast where jere said that he used to sell kitchens and understands english better than he can speak it.

link to a google drive folder with the actual paper i wrote and the transcripts of the interviews with notation:

please feel free to send me asks and dms with questions or comments about this paper! i absolutely love rambling about linguistics :3!!

[hephaestuscrew]

"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character. 

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her. 

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.) 

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage. 

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…"  While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her. 

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity. 

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into. 

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with. 

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work. 

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation 

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on!  JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes?  MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind.  Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really?  LOVELACE: Sorry, Minkowski. It's... it's a little funny.  MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection 

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path. 

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be. 

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings.  HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care.  HERA: I think it's interesting.  MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals.  HERA: I don't see what's funny about it.  MINKOWSKI: Well, thank you Hera, but you're not exactly... you know.  HERA: I'm not... what? 

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS.  EIFFEL: Hey, Minkowski, we've - What are you guys talking about?  MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music?  BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY.  EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it. 

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done.  MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more.  EIFFEL: - one day more.  They both stop, dead in their tracks. MINKOWSKI: Did you just - ?  EIFFEL: Was that what I - ?  They look at each other: No way. And BURST INTO LAUGHTER.  EIFFEL: Man... this is really it, huh? The end of everything. 

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

[larissa-the-scribe]

OC Ask Game

Send me an ask with an emoji and a character name, and I'll give you a fun fact or a snippet of writing that relates to both.

[baeshijima]

IM FREE RAAAHHHH

[pjsk-story-summaries]

you are an angel

just having fun, mostly! i love this game's story so much, so might as well share it, eh?

[lesbianwithchainsaws]

*ignoring the fics I've started writing and haven't updated in months* what if I start writing an enemies to lovers Annie Edison x Annie Kim fic?

Plot idea currently is that both Annie's are in a debate club/class but they're always on seperate teams. And they absolutely hate each other. They want their team to win and be the best, so they keep constantly trying harder and harder to win. Sometimes Annie Kim's team wins, and sometimes Annie Edison's team wins.

Annie Kim's team is the most recent winner, so the other Annie is going to do whatever the hell she can to win next time. So she stays in the library until late and, when finally heading back home, she hears crying in an empty classroom. Opening it up, she sees Annie Kim inside.

Hesitantly Annie Edison walks inside and asks the other Annie what happened. Annie Kim admits that she quit her debate team because they've made her feel uncomfortable after they found out she's a lesbian. Annie Edison ends up suggesting that Annie Kim joins her debate team, and together they can defeat the jerks who made her quit. Annie Kim agrees.

Initially they have a really tough time doing this. The two have different ways of studying, and they keep getting into petty arguments. They think maybe it was a bad idea to team up.

Still, they continue to try and slowly some progress is made. The two Annie's have an easier time preparing. The two start hanging out more often, even outside of debate preparation. And Annie Edison is surprised to find she actually enjoys hanging out with Annie Kim.

They talk more and more, and hang out more and more, until the two start really looking forward to hanging out. Feelings start developing.

There's another debate, and they're going against the team Annie Kim was on. The two crush them, and win the debate.

Then they kiss, and become girlfriends!

[my-neurodivergent-education]

Summary written with help from scholarcy.

Klein, J., & Macoun, S. J. (2024). Person-environment fit and social camouflaging in autism. New Ideas in Psychology, 76, 101112. https://doi.org/10.1016/j.newideapsych.2024.101112

Abstract:

Social camouflaging is a set of behaviours used by autistic people to conceal social differences. This paper provides an analysis of social camouflaging within the developmental context of autistic persons. We suggest that autistic people achieve person-environment fit with their social environment by using social camouflaging as an inauthentic form of trait expression whereby autistic traits are masked and neurotypical traits are displayed. The resulting consequences for autistic individuals may be interpersonally beneficial, but conversely intrapersonally detrimental, when considering existing theories or models of person-environment fit throughout development. The current paper explores this dichotomy and suggests implications for future social camouflaging research in autism, such as considering a broader developmental context through which to study the consequences of camouflaging. Clinical implications include an increased focus on reciprocity between autistic individuals and their social environment.

[toadlessgirl]

20 Names More Common in the Regency Era than any of the Bridgerton Girls' Names

Araminta

Asenath

Brittania

Cherry

Christmas

Cleopatra

Dorcas

Dove

Easter

Etheldred

Happy

Keren-happuch

Mehetabel

Peace

Petronella

Philadelphia

Seabright

Urania

Virtue

Zilpah

[waitineedaname]

Greed was ten years old when he ran away for the first time. He got his ass kicked for that stunt, but that didn’t deter him. He’d gotten a taste of freedom, and he wanted more. He tried again when he was thirteen, and fourteen, and twice when he was fifteen. It wasn’t until he was sixteen that it finally stuck. He loaded all his worldly possessions into the back of a friend’s car under the dark of night, and he never looked back. He still wasn’t sure if he’d truly succeeded or if they had just given up on chasing after him. He was thirty-two now, and yet as he stood in his family’s driveway, he couldn’t help but feel like that ten year old again, awaiting the punishment that was sure to come.

homunculi family drama, modern au edition! this one is a bit shorter than the others, but boy does it have me Thinking about things

[lesbiancocksucker]

i don't want to add on to the post about the treaty principles bill but i will add that this bill is just one movement the government is making to undermine māori rights and te tiriti. the current government is basically foaming at the mouth to strip māori of the supposedly "privilege" they have in legislation (which btw they don't, the crown/government has an active duty of protection towards māori which is why things like separate māori authorities are created and the principles of the treaty of waitangi are added into legislation, so that the rights and needs of māori are recognised) and this is just one movement amongst so many more. the bill is a massive part of that but luxon and his government have been pushing the idea that 'we are all one people' ever since they got elected in the hopes of stripping away whatever māori power they can

[djarinova]

Not super familiar with the UK politics and such. Can you explain or give some sources that do on what this racism and fascism problem is all about?

of course i can! i highly recommend finding other sources if you wish to learn about these riots though, as i am just one person. but i will link some extra articles at the end:)

the protests were caused because of the tragic attack in southport where 3 young girls were killed at a taylor swift themed dance class. mutiple other children were injured and 2 adults were harmed as well.

Police then arrested a 17 year old male and false information circulated on social media that the suspect was a muslim migrant, which led to violent anti-Muslim protests in Southport the following day and an attempt to attack the town's mosque. (the attacker was born in Britain and the attack was not treated as a form of terrorism)

people began rioting all across the country, from the south west all the way to the northeast and northern ireland. the targets of these attacks have been muslims and migrants, mosques have been targeted as have hotels that house asylum seekers. many buildings and police cars have been attacked, with bottles and bricks. and the rioters have also been seen to throw fireworks and graffiti on houses.

last night there were planned riots of almost 100 in different places around the country, but fortunately there was instead a massive turn out of people leading peaceful anti-fascist and anti-racism rallys. the numbers ended up being about 1 rioter to almost 100 peaceful protesters (i think) and it is a very hopeful sign that the number of anti-racism rally marchers outdoes the rioters in such a high way.

i have taken most of my information from this article, please please read up on these riots yourself as i am sure I've missed some things and it's important to get your information from a variety of resources!

this Instagram account is a good source, and here are a few articles: article 1, article 2, article 3

[gausses]

o(*≧▽≦)ツ🎉