Who Is The Main Antagonist In 'A Plague On Both Your Houses'?

I get such a kick out of optimizing money-making runs in 'Old School RuneScape', and birdhouses are one of those wonderfully chill methods that reward planning more than twitch skills. If you want raw profit, focus on the higher-value seed drops and make every run count. The baseline idea I use is to place the maximum number of birdhouses available to you on Fossil Island, then chain together the fastest teleports you have so you waste as little time as possible between checking them. Use whatever higher-tier birdhouses you can craft or buy—players with access to the better materials tend to see more valuable seeds come back. I also time my birdhouse runs to align with farming or herb runs so I don’t lose momentum; that combo raises gp/hour without adding grind. Another tip I swear by: watch the Grand Exchange prices and sell seeds during peaks or split sales into smaller stacks to avoid crashing the market. Sometimes collecting lower-volume but high-value seeds like 'magic' or 'palm' (when they appear) will out-earn a pile of common seeds. In short: maximize placement, minimize run time, and sell smartly — it’s a low-stress grind that pays off, and I genuinely enjoy the rhythm of it.

Setting up birdhouses on Fossil Island in 'Old School RuneScape' always felt like a cozy little minigame to me — low-effort, steady-reward. I place the houses at the designated spots and then let the game do the work: each house passively attracts birds over time, and when a bird takes up residence it leaves behind a nest or drops seeds and other nest-related bits. What shows up when I check a house is determined by which bird ended up nesting there — different birds have different loot tables, so you can get a mix of common seeds, rarer tree or herb seeds, and the little nest components used for other things. I usually run several houses at once because the yield is much nicer that way; checking five or more periodically gives a steady stream of seeds that I either plant, sell, or stash for composting. The mechanic is delightfully simple: place houses, wait, return, collect. It’s one of those routines I enjoy between bigger skilling sessions, and I like the tiny surprise of opening a nest and seeing what seeds dropped — always puts a smile on my face.

Houses in horror are like living characters to me—blood-pulsing, groaning, and full of grudges. I love how a creaking floorboard or a wallpaper pattern can carry decades of secrets and instantly warp tone. In 'The Haunting of Hill House' the house isn’t just a backdrop; its layout and history steer every choice the characters make, trapping them in a psychological maze. That kind of architecture-driven storytelling forces plots to bend around doors that won’t open, corridors that repeat, and rooms that change their rules. On a practical level, bad houses provide natural pacing devices: a locked attic creates a ticking curiosity, a basement supplies a descent scene, and a reveal in a hidden room works like a punchline after slow-build dread. Writers use the house to orchestrate scenes—staircase chases, blackout scares, and the slow discovery of family portraits that rewrite inheritance and memory. I find this brilliant because it lets the setting dictate the players' moves, making the environment a co-author of the plot. Ending scenes that fold the house’s symbolism back into a character’s psyche always leave me with the delicious chill of having been outwitted by four walls.

Wow — this is one of those chart questions that gets my brain buzzing. I like to start with a simple rule I use when reading charts: an exalted Rahu intensifies whatever that sign naturally rules and the house it actually sits in, and it also amplifies the influence of the sign’s dispositor (the planet that rules that sign). So, in plain terms, if many traditional astrologers say Rahu is exalted in 'Taurus', then Rahu in an exalted state will very strongly color whatever house 'Taurus' falls on in your natal chart. That means practical things like money, family speech patterns, possessions and self-worth (Taurus’ natural domains) become charged with Rahu qualities — obsession, unconventional paths, sudden opportunities or losses, foreign or technological connections tied to that theme. At the same time, Venus (the dispositor of Taurus) and the house Venus rules in your chart get pulled into that intensity, so relationships, artistic talents or career angles connected to Venus might flare up. Beyond that, I always watch the hidden houses — the 6th/8th/12th themes — because shadow planets tend to stir up behind-the-scenes, transformative or disruptive events. So an exalted Rahu can deliver high-profile gains or awkward scandals depending on dignity and aspects. In my readings I look at the sign’s natural meaning, the house placement in the natal chart, the dispositor’s condition, and any close conjunctions or harsh aspects to gauge which houses will actually be impacted. That method usually makes the chart speak in a way that feels real to me.

I get this question a lot when friends want a spooky read that’s also emotionally rich, and my go-to pick is Shirley Jackson. Her novels and stories—most famously 'The Haunting of Hill House'—are obsessed with the idea of people who feel like mirror-images of each other or of a place, what I’d call kindred spirits. In 'Hill House' the house almost behaves like a character, drawing certain people toward it and amplifying their loneliness and longing. It’s not just jump scares; it’s about how places and people can reflect each other’s wounds. If you want more Jackson vibes, try 'We Have Always Lived in the Castle'—the sense of a family bound together by secrets feels like a kindred-spirit knot, and the house plays a huge role. I love rereading passages where the narrator’s inner life blurs with the house’s presence; it hits differently depending on the mood I’m in. If you like adaptations, the Netflix show 'The Haunting of Hill House' spins the themes in a different direction, but reading Jackson’s prose first gives you that slow, uncanny burn I can’t get enough of.

I've been geeking out about Philip Cortelyou Johnson for years, and if you want the full-on Johnson residential vibe, you have to go to Connecticut. The crown jewel is the 'Glass House' in New Canaan, CT — that’s Johnson's own estate and it's open to the public through guided tours. The property isn't just the transparent living room people always post about: tours often include the Glass House itself plus the surrounding landscape and some of the other structures on the site (like the painting and sculpture pavilions and the Brick House), depending on the program. The place is managed by a preservation organization, and you normally need to reserve in advance, especially in spring and fall when the foliage is gorgeous and everyone wants to see the light play across the glass. Aside from that public spot, most of Johnson's private houses are, sadly, still private. Some are occasionally included in curated house tours or open-house weekends run by local preservation groups or architectural societies, but those are sporadic. If you want to chase them down, the best practical route is to monitor the 'Glass House' website and sign up for newsletters from preservation groups, plus check event programs for Open House weekends and architecture tour operators. Also keep an eye on guided architecture tours in New York City, where you can at least view and photograph the exteriors and lobbies of his major public buildings if you can't get inside a private home. If you go, bring comfy shoes — the grounds are worth lingering over, and the light at sunset feels like its own exhibit.

'The Plague' by Albert Camus dives deep into the human experience in the face of crisis, and it's such a fascinating exploration of resilience and despair. The central theme is the absurdity of existence—how people grapple with chaos and suffering when a mysterious plague sweeps through the town of Oran. Camus paints a vivid picture of fear and isolation, capturing the emotional turmoil of the inhabitants as they confront mortality in a world that feels suddenly chaotic and random. What really stands out to me is the theme of solidarity versus isolation. You see how the characters initially grapple with their own struggles, feeling isolated as the plague separates them from their loved ones. However, we also notice how they begin to band together to fight the common enemy of the disease. There’s a beautiful message in how adversity can unite people, which resonates deeply when you think about real-world issues. Additionally, the exploration of existentialism feels incredibly relevant today. Characters like Dr. Rieux often ponder the meaning of life amidst such suffering. As they try to find purpose, readers are challenged to ask themselves what it means to live authentically, especially when faced with something as indifferent as a plague. It’s a rich text that keeps giving layers upon layers, making you reflect on humanity's place in an often cruel universe.

Whenever SCP-049 pops up in my feed I end up staring at how perfectly it borrows the gothic shorthand for plague-era medicine — that long cloak, the beaked mask, the terrible calm. The visual DNA behind SCP-049 is less a single painting and more a lineage of imagery: medieval and Renaissance woodcuts and engravings that treated plague and death as theatrical, symbolic subjects. Pieces like Pieter Bruegel the Elder’s 'The Triumph of Death' and the woodcut cycles collected under the title 'The Dance of Death' contributed the macabre tableau: skeletal fate, processional doom, and the human figures in antique dress that make the idea of a personified healer/harbinger so compelling. Those works didn’t show plague doctors per se, but they shaped the mood and iconography of death-as-character that SCP-049 channels. Digging into more literal sources, the 17th-century illustrations of actual plague doctors matter a lot. Historical prints and later 19th-century engravings that depict beaked masks, long waxed coats, and the staff used to poke patients are the clearest ancestors. The beak itself — originally stuffed with herbs to “filter” miasmas — is a hugely potent visual cue, and modern artists have amplified it, turning a practical medical oddity into a symbol of ominous wisdom. Fans and early contributors on the site leaned into that by adding surgical gloves, alchemical or occult sigils, and Victorian tailoring to the silhouette. That’s why SCP-049 feels like an intersection of medical history, theatrical costume, and Victorian nightmare fiction like 'The Masque of the Red Death', which supplies atmosphere even if it doesn’t show the mask directly. On top of historical art, cinematic and gothic tropes also nudged the design. Think of the shadowy, lanky figures in early horror films such as 'Nosferatu' and in later illustrated magazines: high-contrast, elongated silhouettes that make a plague doctor both human and monstrously other. And within the community, the image evolved: artists iterated on a base concept, introducing stitches, metal clasps, pocket watches, and the kind of surgical tools that make SCP-049 read as both doctor and executioner. If you want to trace the inspiration visually, start with those Renaissance woodcuts and Bruegel, then look at historical medical prints and 19th-century engravings of the plague; from there it’s a short step to the gothic fiction and fan art that polished the design into the iconic SCP figure I keep bookmarking.