visual striking

Image by Christina Ascani/NPR

“The provocative title is hard to ignore,” says reviewer Silvia Viñas, “and so is the book’s cover.”

Seen from afar, it appears to be called Why I’m No Longer Talking About Race, which is intriguing enough on its own. You have to look closer to see To White People hiding underneath it in debossed letters. It’s a striking visual representation of white people’s blindness to everyday, structural racism — one of the central ideas that British journalist and feminist Reni Eddo-Lodge presents in her debut collection of essays. 

Find Silvia’s full review here.

– Petra


In collaboration with the esteemed Professor Oak, rising star Professor Cedar has put forth a study on variations of Kingler that have been cropping up in the oceans of both Kanto and Hoenn regions. By consuming the molted shells of pokemon crustaceans before molting themselves, Krabby seeking a competitive edge go through drastic changes upon evolution following this pre-molt behaviour. Trainers are also taking advantage of this new information with the creation of the Toxic Dancer variant. By reviving Lileep fossils for their tentacles and shells, ambitious trainers of questionable morality are feeding Lileep molts and grafting their tentacles onto their Krabby. The result being a deadly and visually striking Kingler with less crushing power than the standard Kingler, but a considerable advantage for enfeebling foes and winning top rank beauty contests.

Storm in the Room thoughts

I’m about to go to sleep but I wanted to share a few thoughts on Storm in the Room!

I loved it. Easily one of my favorite episodes of the series (maybe even like, top ten). This meeting between Rose and Steven is something people have been thinking and theorizing about since literally episode one, and I just felt like the payoff was so good.

The thing that cements it as great in my book is the last couple of minutes, when the storm starts. First of all, the storm is so visually striking and the animation is stunning!! Rose’s hair looks great, Steven’s expressions and the framing of everything felt totally perfect. I really, really liked the way the colors of the room changed to a darker pallette that was still colorful. Normally depicting storm clouds in cartoons is so dull, because the only thing that changes is the clouds turn gray. For this, we got a beautifully animated and colored scene that definitely sticks out. The visual of Rose in the center of a storm with Steven kneeled down in front of her was really heavy hitting. And I feel like making peace with his role with regard to Rose will help Steven move forward, for sure.

It seems like he has to come to terms with the fact that he will never *actually* know or have a relationship with his mom. But then, the ending really tied it together by showing that despite not having his mom in his life, he still has a *great* support network and a loving family that will ALWAYS be there for him, so he’s never truly alone. Plus oh my gosh it was adorable seeing them all roll in and cheer Steven up, even though they had no idea what had just happened–it was exactly what he needed. And you know what I need? More adorable fluff, slice-of-life type stuff that includes the Gems. Cuz this pizza party is just so cute?? I also need sleep, so I’m gonna head out. Love you guys!


Splitting of The Breast is remarkable for its striking, supersaturated visuals. It’s no accident that the episode is marked by such high contrast, light and dark, when the subject matter involves Shinji embarking on a psychoanalytical voyage within the surrealist confines of a shadow. The “angel of the week”, Leliel, is a massive floating behemoth in black and white – diametric opposites – and likewise the entire episode is built upon complementary inter-textual contrasts: the rational vs emotional, parent vs child, boy vs girl, physicality vs the soul. After 15 episodes of relative tame and exposition, Episode 16′s harsh colors, formalist diagonal structure, and oppressive shadows allow the more arcane Freudian undertones to finally take their command.


European Silver Medallion with a Rider Killing a Chimera (Bellerophon?), Migration Period, 5th-7th Century AD

The medallion is surrounded by a stylized laurel wreath interspersed with flowers and shells. The center is occupied by a horseman galloping from left to right. He is armed with a spear that he points at the open mouth of a chimera. He wears a long tunic and a cloak floating behind his shoulder. The harness of the animal is rich and composed of pendants (croup and chest), as well as of a blanket, the edge of which copies the dotted pattern of the lower tunic of the rider. The chimera (a mythological creature with body and head of a lion, the head of a goat and the tail of a snake) moves to the opposite direction of the horseman. The open mouth of the creature is pierced by the pole of the spear, while the goat’s and snakes heads exhale their last breath.

This iconography strikes our visual memory, because it is close to the representation of the horseback saints, such as St. George. Nevertheless, this representation stylistically refers to the early Middle Ages, during which the cult of this saint had not appeared in the West yet.

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