If there was one photoset that best described me as a person, this would be it.
I just discovered my favourite entry on the DC Wiki. I didn’t know they were a TEAM! And with such a catchy name! I have two questions, though:
1. Why haven’t Superman and Robin joined?
2. Who the hell is Queen Bee?
"Even though I love music so much, I was so terrified to put my singing out there, because I want to sing like Whitney Houston, but I can’t. I want to sing like Kelly Clarkson and Adele, but I can’t. But I finally realized I just had to learn to sing like me, and my voice might not be a big voice, but it has something to share, stories to tell.”
palau’s jellyfish lake was once connected to the pacific ocean, but when the sea level dropped its population of jellyfish were left to thrive in the isolation of its algae rich waters. no longer needing to defend themselves from predators, the jellyfish lost their sting, allowing snorkelers to now swim with them as they make their daily 800 metre migration from one end of the lake to the other.
The backlash against Ridley Scott’s Exodus is gathering momentum. After Noah’s mixed reception earlier this year, more and more people are sick of seeing movies with “whitewashed” casts: White actors representing historical figures who almost certainly were not white.
The latest accusation of Exodus whitewashing relates to someone who technically isn’t even a character: the Sphinx.
The likeliest explanation is that the sculpture in this picture is not the Sphinx, but is in fact a statue of Ramses. This means that it would have been based on actor Joel Edgerton’s face.
Unfortunately, this just makes the whitewashed casting even more blatant, because real statues of Ramses II simply do not look like that. So while Exodus may not have made a “white version” of the Sphinx, Egyptian culture is still being erased and rewritten to fit in with the film’s predominantly white cast of actors.
tl;dr, yes, they made an Egyptian statue’s face white.
MIT’s Tangible Media is coming along nicely,
"Almost like a table of living clay, the inFORM is a surface that three-dimensionally changes shape, allowing users to not only interact with digital content in meatspace, but even hold hands with a person hundreds of miles away. And that’s only the beginning."