Bobby was legit like, “my son’s cougar gf has left him to go find herself in Ireland. i must gift him something to make him happy so he’ll forget about her. ah yes! this ex-army medic will do nicely”
Today I saw a pic of a baby cowbird next 2 its nest "parent" and it was so much bigger!!!!! Which is the sort of thing that gets normal people upset about the injustice of nest parasitism but makes *me* worry if baby cowbirds get bird dysmorphia
This (from Cornell Labs via Merlin) is the pic I was looking at. It's just a little baby but it's so much bigger than its "parent"!!!! Do baby cowbirds feel isolated? Do they understand they're a different bird, or are they just a really bad sparrow?
hey, good news! ecologists have been studying this very thing! it seems young cowbirds have some kind of innate sense that leads them to sneak out of their foster nest at night to hang out in grasslands where they—more often than not—meet other cowbirds and learn more about what they really are.
Thanks I am going to cry so hard I throw up ;-;
Seven Sentence Sunday
Um. Hello.
This is more than seven sentences clearly, but, aside from the fact that I'm bad at counting, I do feel like I owe some back sentences from the last two months or so.
Worked on a chunk from LWH this weekend so here's Eddie and Buck dealing with Christopher running away to his apartment.
Leaving Christopher on the couch with his backpack (his go bag, Eddie’s brain fills in) and instructions not to even think about pulling out one of Buck’s video games, Eddie heads back into the kitchen. There’s no sign of Taylor, which is a relief, and no sign of Buck either, which is confusing until Eddie turns his head and finds him out on the balcony. Buck’s back is to him and the thick glass of the windows keeps the sound of his conversation locked outside so Eddie doesn’t realize he’s in the middle of an animated phone call until he’s opening the door and joining him outside. “-kind of driver just picks up a kid without talking to the parent first? He’s still supposed to be in a booster seat! No, I don’t want a-a-a- refund. I want you to send me the driver’s contact information so I can- No. No, he’s the one who picked up an unaccompanied minor. Don’t you care that you could have a kidnapper working for your company?” Buck clenches his free hand and leans against the balcony as he’s evidently interrupted by the person he’s arguing with and Eddie closes the door again with himself on the outside. “Yes, he was dropped off where he was supposed to be. No, he’s not hurt. But that’s not the point! No- That’s not-” Furious energy spins Buck around and Eddie gets a glimpse of rare and intimidating anger before Buck’s eyes widen in surprise at seeing him there. “Look, do you have a supervisor I can talk to? No, right now, please. I don’t want a call back.” “Sorry,” he mouths to Eddie as his cheeks go a little pink. Shaking his head, Eddie leans back against the door and tucks his hands into his pockets. He doesn’t know exactly what Buck’s apologizing for, but suspects that it’s not for keeping Eddie waiting while he finishes the call. It makes Eddie want to shake him a little even as his heart overflows with warmth.
I'm gonna do this weird because it's late and I've been tagged by so many lovely people that there's just no way I can remember them all so I'm just gonna go ahead and tag everyone I can think of. If you've already posted today, just consider this a tag for next time or just a note to say that I'm glad you're in my tumblr-sphere: @rewritetheending, @devirnis, @mellaithwen, @panbuckley, @bigfootsmom, @princessfbi, @renecdote, @fleurdebeton, @gayhoediaz, @fcntasmas, @sibylsleaves, @walkinginland, @buckactuallys, @hopeintheashes, @shortsighted-owl, @tulipfromtheinternet, @thekristen999, @try-set-me-on-fire, @nymika-arts, @like-the-rest-of-la, @lovebuck
“You didn’t have to trick me, you know,” Buck said as he threw on his hoodie. The warm kiss of spring was already making the air too warm but the room’s AC was blowing cold air from two different units in the room. His toes were already starting to go numb from the cold. Buck tossed his towel onto the small desk chair to dry. “Really?” Eddie drawled and Buck didn’t know if his condescension made him want to punch Eddie or tackle him to the bed with his mouth. “You expect me to believe you would’ve agreed if I said come with me if you want to live?”
Maddie Kendall has agreed to help the federal prosecutors take down her husband on one condition: her brother has to be put in protective custody.
Buck handles that about as well as you would expect. Especially when he finds out that he's sharing a room with Deputy US Marshal Eddie Diaz.
Read on Ao3
TAGS: Enemies to lovers, forced proximity, Buck put the B in Brat, Alternative Universe, Protective Eddie Diaz, Protective Buckley Siblings, Insecure Evan Buckley, Angst with a Happy Ending
Rated: M | Multi-Chapter | COMPLETED
New 'Bootcamp' boyband.
According to sources a new boyband has been formed at Bootcamp with 5 solo contestants thought to be more promising as a group.
The boyband made up of auditionees: Louis Tomlinson, Harry Styles, Liam Payne, Niall Horan and Zayn Malik
(Liam being one of this years re-auditonee’s) The boyband are yet unamed.
Previous groups formed at Bootcamp have usually been doomed from the start and although usually making it through to the live shows don’t go much further. Futureproof, Hope and Miss Frank to name the most well known,
larry-rendezvous
This is literally a blog post from 2010.
Anonymous asked:
https://twitter.com/Cloudmobile2021/status/1682466648207286273?t=ZQt2Qy9szBefpRkSpNz9VA&s=19
🫢
this is worth forever to me
Buck/Eddie, 1.7k, rated Gen
“Oh, right,” Buck nods, punching in the digits on autopilot. “Thanks.”
“God,” Eddie mutters, “it’s like I’m your husband.” And Buck’s entire being freezes, for just a moment. The machine beeps at him, and all he can do is stare blankly at it for a moment before flushing and yanking his card out. “Or – wife?” Eddie muses. Buck isn’t even looking at him, but he knows exactly what face he makes. “No, I’m gonna go with husband.”
The cashier is watching them like they’re a particularly riveting television show. All Buck can think to say is, “You’re not hot enough to be my husband.” Lie. The biggest lie in the world.
fun fact: this one-shot is based on a real-life interaction i once witnessed as a cashier! shoutout to those guys, hope they're doing well, wherever they are.
We live in a dystopia....
If the background actors don't come in for work because they exist virtually then the background costume and background hair and make up and their catering and transport and all the other departments that look after them get cut too. These things have knock on effects...
eddie saying buck's name but it gets progressively worse and worse
one time in my last job a woman came up to the register explaining that when she bought stuff a day prior the clerk forgot to scan a pair of socks worth less than €2 and it was only right for her to bring it back to the store and pay for it proper. unfortunately my manager was directly next to me at the time and took over the register to handle this serious issue. the receipt she had brought with her said which register performed the previous transaction that forgot the socks and the manager could find out who was running that till on that day. poor dude had a manager yell at him for a half hour about how much of an incompetent fuck up he was, he left the job immediately after but i couldnt tell you if he quit or was fired
i think about this moment a lot. the customer seemed like a sweet woman with only good intentions and when she paid for the socks she had a look on her face that said "i feel good because i did the right thing". and a guy lost his job because of a pair of socks. if shit like this ever happens to you and a clerk forgets to scan an item just think of it as a small blessing or that you had good luck or something. keep it.
#Amazon #Unions
And remember, don't blame Jeff Bezos for Amazon's current policies, blame Amazon CEO Andrew Jassy. Say his name loudly, and often. ANDREW JASSY, CEO OF AMAZON
"The studios thought they could handle a strike. They might end up sparking a revolution"
by Mary McNamara
"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.
Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.
This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.
More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.
But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.
Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.
Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”
“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”
If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.
“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”
Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.
A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”
When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.
Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)
Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.
Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.
Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.
The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”
Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.
Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.
At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.
It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."