*gasps out of respect*

i wanna talk about this shot

if forum signatures still existed this would be mine

God fucking damn it

Nahhhh not a therapist saying this what do you think you get paid for

fandom therapist turns out to be high school mean girl more at 10

doc davis actually isn’t associated with the tiktok user—and they’re really salty about the video

oh g o d, NO jlsfdlksfdjkjsdfkjlsdfjlksdf BRUH

Reblog this version. The response of the real doctor is very important as well as the keymash.

Deleted Scene | EP 10 ★ 1

bonus:

They’re in love Your Honor

Happy Pride!

The way The Eighth Sense plays with lights, colors and focus has me in a chokehold

The color completely leaving after the accident? The narrow field of vision with rest of the world blurred? The shaky angles and stumbling shots that makes us fall with the characters? The many many many scenes that we are never shown?

The things that the characters are trying to keep inside being omitted or barely seen? The montages and quick shots?

Anyways, watch The Eighth Sense it's a cinematographic masterpiece

The Eight Sense and missing pieces

(this is going to be long. I apologize in advance)

The Eighth Sense, from the cinematography to the narrative, is about what is missing, what isn’t shown, what we don’t see. The whole show feels like peering at the edges of a jigsaw puzzle: the uneven margin of tabs and blanks hinting that there is something missing, a broader picture, just beyond our line of sight.

I’ve talked about this before, but the filming style of The Eighth Sense leaves so much out. The backgrounds of shots are often so blurry we can’t see what is lurking out there, though sometimes we know there is something we are missing out on, something we can’t fully see. Other times, the shots are shaky and tight, leaving pieces we would generally consider important out of frame, like the filming of their ocean kiss in ep. 6.

And then in the narrative, like @chaoticfandomthot and @asianmade mention in their posts (1, 2), there are so many things we don’t see or know.

There are large parts of Jaewon’s backstory missing to us (and to Jihyun) which are filled in a bit as the show continues, but not all the way. We never see Jaewon’s brother’s accident, or Jaewon’s dad. We don’t see the incident where the camera is broken, just flashes of it smashing on the ground and the aftermath. These are things Jaewon doesn’t even share with his friends - they don’t know about his home life, or his brother’s death, as @lurkingshan points out. Jaewon hides things from the people in his life just as the show hides them from us.

Though, like Jihyun, we the audience get closer than anyone has before. We step into Jaewon’s life, we see his therapist, we catch those occasional flashes like with the camera incident, we watch him open up to Jihyun, and like Jihyun we get many of the pieces of Jaewon and his story he hides from everyone else.

There are other scenes in the story missing from the show too. We never see Jihyun’s accident, or Jihyun in the hospital. We never even really hear what happens. We don’t see Jaewon reuniting with Eun Ji after the accident, or much of their relationship before the first breakup or the second. We do hear about what precipitated their first breakup in a rare moment of explicit explanation, but this comes after much of the show has gone by and we don’t see it, we just hear about it.

“the hole they left inhabits the narrative more than their presence ever would have” - the show is about what we don’t see. It’s about the trauma that haunts Jaewon, his home life, what he hides from others. It’s about Jaewon’s brother, who isn’t in the show except briefly in flashbacks, but has shaped Jaewon’s life and his relationships with others in innumerable ways. It’s about the trauma that Jihyun and Jaewon experience at the beach that isn’t shown, even to the audience.

@respectthepetty writes about how The Eighth Sense is all about tradition: Tae Hyung wants to continue the traditions of their seniors even though it caused him pain, Ae Ri wants to break with traditions she finds are stifling, much of Jaewon’s trauma comes from his family and familial expectations (the death of his brother, his desire to pursue a career in photography, etc.), and so on. But this “tradition” is in many ways curiously missing from the show. We don’t see the forces and people imposing tradition on Jaewon, like his time in the military, or his father, or his home life. We don’t see the club seniors or hazing Tae Hyung references, even in flashbacks. “Tradition” structures the characters and therefore the events of the show, but it is also more of a looming spectre, blurry in the background, just out of frame.

Half the show we have to piece together - what happened on the beach? Is Jihyun really dead? What happened to the camera? Who did that? Things are missing, told out of order, fragmented… and the cinematography echoes that.

This style of storytelling and filming works so well for the characters. Many people, like @emotionallychargedtowel, have talked about how Jaewon is a survivor of trauma and how that affects how he acts and sees the world. He is depressed, he has been through horrible events, he hides from others - and the narrative and camera work of The Eighth Sense reflects that. The backgrounds are blurry and unfocused, the shots are shaky, the framing shows flashes but not always the full picture, sometimes the chronology of shots is unusual.

@emotionallychargedtowel and @jjsanguine and many others offer (1, 2) that the filming style of The Eighth Sense, particularly at the end of ep.6 reflects/is caused by Jaewon’s mental state. He has just been through another traumatic event, which greatly resembles the one from his past, so consequently his recollection of events will be blurry, shaky, incomplete. Even the colouring gets darker and greyer. Jaewon’s mental state and emotions are so strong they are altering the form and the filming of the narrative. He is responsible for many of the conspicious absences in the show. We don’t see his brother’s accident or Jihyun’s accident or confrontations with his dad because we can’t - Jaewon can’t or won’t let himself remember them, at least not in their entirety.

The show also feels so queer because of this style. I talked about this in my other post, and @talistheintrovert​ talked about it in this post too, but the way the cinematography is fragmented into close up shots, shaky camera work, montages… the tension of being queer, not knowing if you crush likes you or could ever like you or if them knowing you like them is a threat to your safety, the dream-like safe bubble of two people loving one another amongst the outside world… Being queer, sizing up another person, it’s all about looking closely but not lingering, searching carefully for details that are hidden to most others. Like @jemmo​ says, “queerness can often hide in plain sight” - it’s the things broader society doesn’t see that hold the most significance for queer people. Of course a queer narrative wouldn’t be able to show things clearly, of course they must be hidden and hinted at but never explicitly said, never fully or clearly shown - eyes lingering in the shower, hands held for a moment and then released in the next shot, montages of an evening at the beach together.

We see the edges of the pieces, and from that we can understand most of the picture. The Eighth Sense is about the holes, the absences, the lingering presences of characters and scenes and moments we don’t see. It is about what isn’t shown explicitly, what the character’s can’t remember clearly, what the characters are avoiding remembering, what the characters hide from themselves and others and even us, the audience. It is about paying attention to what isn’t there and why it isn’t there and how we know what is missing.

I've noticed that people take writing advice way too literally and then get really mad about it, so here's a quick guide of what the typical "bad' writing advice is actually trying to tell you.

[Note: you don't have to take literally any piece of advice. It's just there for your consideration. If you hate it, leave it and do things the way you want. But the reason all of this advice is regurgitated so often is because it has helped a lot of people, so it's okay if it's not for you, but it may still be life changing for someone else.]

"Write every day" is NOT supposed to be a prescriptivist, unbreakable rule that dictates anyone who doesn't write literally every day isn't a real writer. It's supposed to be a shorthand way of saying "establish a writing routine. Get used to writing at certain times or in certain places or in certain patterns, both so that you can trick yourself into writing even when you don't feel like it by recreating certain conditions, but also because if you only write "when you're in the mood", you may never get around to finishing a project and you likely won't be able to meet publishing deadlines if you decide to pursue publication."

The point of this advice is basically just to get used to seeing writing as part of your daily routine, something that you do regularly. But if you decide you can't write on Tuesdays or weekdays or any day when you have certain other activities, that's literally fine. Just try to make it a habit if you can.

2. Show Don't Tell

"Show don't tell" DOES NOT AND HAS NEVER meant "never state anything plainly and explicitly in the text". Again, "show don't tell" is a shorthand, and its intended message is "things tend to feel a lot more satisfying when your reader is able to come to that conclusion on their own rather than having the information given to them and being told they just have to accept it." It's about giving your reader the pieces to put the puzzle of your book together on their own rather than handing them a finished puzzle and saying "there. take it."

So if you have a character who's very short-tempered, it's typically more satisfying that you "show" them losing their cool a few times so that the reader can draw the conclusion on their own that this character is short-tempered rather than just saying "He was short-tempered". Oftentimes, readers don't want to take what you tell them at face value, so if you just state these sorts of details, readers will push back against that information. People are significantly more likely to believe literally any information they are able to draw conclusions on without being told what to believe, so that's where this advice comes in.

3. In Medias Res

This one is so often misunderstood. "In medias res" or "start in the middle", DOES NOT MEAN to literally start halfway through your plot. It also DOES NOT MEAN that you should start in the middle of an action packed scene. It just means that when you start your story, it should feel like the world and the characters already existed before we started following them. It shouldn't feel like everything was on pause and the world and characters only started acting the moment the story begins.

This is why starting with a character waking up or something similar can feel jarring and slow. We want to feel instantly compelled by your character, and the most efficient way to do that is [typically] to have them already doing something, but that something can be anything from taking a shower to commuting to school to chopping off a dragon head. We just want to feel like the story is already moving by the time we enter.

4. Shitty First Drafts

The idea that you should let your first draft suck and not revise it as you go is a tip presented to combat the struggle a lot of people have with not being able to finish a draft. If you find you've been working on the same first draft for five years and barely gotten anywhere, you might want to try this advice. The point is to just focus on getting to the ending because finishing a draft can give you renewed energy to work on the book and also makes it easier to get feedback from readers and friends.

That said, if your story is flowing fine even as you go back and make edits, then don't worry about this. This is advice specifically designed to target a problem. Likewise, this doesn't mean that you can't clean up typoes when you see them or even make minor edits if you want to. It just means not to let yourself get completely bogged down by making changes that you never move forward.

A "shitty first draft" also doesn't mean that your story has to be completely illegible. It just means that you shouldn't let perfectionism stop you yet. I see a lot of people say "well, I can't keep going until this first part makes sense", and that's totally reasonable! Again, the point of this advice is just to get you out of that rut that keeps you from making progress, but if you spend a couple weeks editing and then move on or you find the book is still making forward strides while you edit, then you're fine. You don't need this.

5. Adverbs

The idea that you "shouldn't use adverbs" DOES NOT MEAN that any time you use an adverb, you're ruining your story. It just means that you shouldn't *rely* on adverbs to carry your story, namely in places where stronger verbs or nouns would do a lot more heavy lifting.

For instance, you can write "she spoke quietly", but generally speaking, that "quietly" there is a lot weaker than just subbing out this clause for "she whispered". You probably have the word "spoke" all over your draft, so subbing out one instance of it here for a stronger verb in place of the same verb + an adverb makes for stronger prose. This doesn't mean that you'll never want to use the phrase "spoke quietly" over the word "whispered". For instance, if I write, "When she finally spoke, she spoke quietly, like that was all the volume her weakened lungs could muster." In this case, I'm using "spoke quietly" specifically *because* it echoes the previous spoke earlier in the sentence, and it evokes a certain level of emotion to have that repetition there. I also used it because she's not actually "whispering", but trying to speak at full volume only to come off sounding quiet.

So when people tell you to cut adverbs, they're saying this because people often use adverbs as a crutch to avoid having to seek out stronger verbs. If you're using your adverbs intentionally, having considered stronger verbs but ultimately deciding that this adverb is what does the job properly, then there's nothing wrong with using them. This is just a trick to help you spot one common weakness in prose that a lot of authors don't even realize they have.

6. Write What You Know

This is potentially the single worst-underestood piece of writing advice. "Write what you know" DOES NOT MEAN to write only what you know or that you have to put all of your life's knowledge on the page. It just means that drawing from your own experiences and already there knowledge will help you craft a better story.

So, for instance, being an eye doctor doesn't mean you have to write a story about an eye doctor. It doesn't even mean you need to write a story that directly deals with any eye knowledge. It just means that there are likely things you've experience as an eye doctor that can help inspire or inform your story. Maybe you remember a patient who always wore the same yellow shoes, and so you include a character who does exactly that. Maybe you spent a lot of hours dealing with insurance so you decide to write about insurance agents. Maybe your practice was located next to a grocery store so you decide to write a zombie apocalypse story that takes place in a location inspired by that shopping center.

The point is that, as people, our lived experiences allow us to relate to other people and craft more believable worlds. So don't limit yourself to your lived or experience or feel obligated to only write the things you've done, but when you find yourself wondering what to write about next or how to give a character more depth or how to describe this random location, pull things from your life and let what you already know bring a certain level of unique you-ness to your writing.

And the MOST important advice I can give you is to stop looking at writing advice as some holy, unbreakable rules passed down by the gods that you cannot ever deviate from. And if a piece of advice sounds totally bonkers, do some research on it. There's a good chance that whoever's passing it to you has no idea what they're talking about. But even if every other writer swears by a certain piece of advice, you absolutely do not need to take it. Try it on if you want, and throw it away if you don't, but stop making yourselves miserable by letting random internet people dictate your life. Most people giving advice on the internet aren't where you want to be anyway, so don't expect them to be able to guide you somewhere they've never been.

Everything's made up, and nothing matters. Write what you want.

in the middle of witnessing history rn as the trigun yaoi fandom propels a queer scifi novel into amazon bestseller status thru the endorsement of a twitter user with the display handle bigolas dickolas wolfwood. the author of said novel is jumpscared by the sudden success and has publicly thanked them. one of the stampede producers has tweeted that hes bought the book. this event is now on the novels wikipedia page

This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone

Notebook cover of MDZS vol. 5 special edition by Seven Seas

I wanted to put on the piece both past and present of wangxian — the night they met each other (I mean, they met earlier but they closely communicated the first time at night!) and the day they now spend with each other

These are Cloud Recesses, by the way!

How Not to Sit on a Sofa with the MDZS Gang

//commentary by JGY, getting increasingly unhinged

//styling by Mianmian //refreshments by OYZZ

//the yi city kids are off doing yi city things

BONUS:

STUDIO GHIBLI + ART 🎨

I’m my humble opinion there’s only 3 things that men should be and that is

Bloody

Slutty

And pathetic

Kaz fits "pathetic" too

That one scene in Pekka’s house be like

(i had to)

Rewatched The Good Place for the first time since s4 dropped and. Oh my god. The Good Place said "people are a result of their environment but we always have a moral responsibility to be better" and The Good Place said "every day the world gets a little more complicated and it gets a little harder to be good" and The Good Place said "even in the face of total nihilism, when nothing you do will matter, you still have to at least try. Because trying is better than the alternative" and The Good Place said "if you have bills to pay and shit to deal with you don't have time or energy to become a better person" and then The Good Place really said "people get better when they get external love and support. How can we hold it against them when they don't " and THEN The Good Place really said "no one is irredeemable. Everyone can try to be better today than they were yesterday" AND THEN! The Good Place said "Heaven is just enough time with the people that you love" OH MY FUCKING GOD.