even in context this is still

anonymous asked:

Just wanted to say thank you for answering that question with that list of news sites. It's been frustrating to see fans believing what others say. The majority of the ppl talking bout this issue don't even have a clear knowledge bout Korea and are just jumping to conclusions and spreading misinformation. Yea, just wanted to say thanks!

not gonna lie, korean media outlets reported this news slower than usual, but they still did. it might seem less significant because of how overwhelmingly western media outlets are covering this, but blackout? gotta say it’s an exaggeration. also you have to understand the context around this, there was a relatively big celebrity scandal revealed the day before the award show in korea (about moon hee jun), not to mention social and political issues (remains found in sewol ferry, soldier convicted of homosexual behavior, the new government’s moves). between a scandal and a good news, of course reporters would choose to report intensively about the scandal lol. besides, the public have always been holding prejudice against idols, it’s nothing new, the more popular an idol is, the more prejudice and criticism they receive.

every single racist i know instinctively understands that racism is about power dynamics even if they won’t admit it. you can tell because their racism is the most vehement and angry in the context of intimidating people who tell them not to be racist or that their racism is shitty. they swear up and down it’s all jokes and they don’t mean it but i’ve seen all those same people rant and whine and just hate when they’re surrounded by only white people and think they’re safe to express it, and feel either betrayed or extremely skeptical when other white people stand up to them about it. it’s still worth trying to talk people out of it if only so you’ll know you tried, but with each interaction i become more and more skeptical they’re worth trying to “convert”. they choose hate because it benefits them and will continue choosing it until it no longer does. fuck ‘em.

lovinganchortree  asked:

I dont understand why evryone is making a big deal abt isaks comment.I mean its casual convo and he dint mean it any way its just a joke and WE ALL SAY THESE THINGS!😑why is it suuuch a huge thing?? (Im talking of the hanging and the ugh girls comments)

(Pt:2) Also I know that even almost committed suicide but still its just a figure if speech it doesn’t require this mych of attentuon

This a big thing for me because there are people like you out there that seems to think jokes about suicide is nothing serious or even funny, how this is seen as a normal thing to do, which is in my opinion is so wrong.

I get that it was not meant as anything harmful and it wasn’t meant to offend but putting it into context makes it problematic. I just simply don’t like how people use it in a comedic way when there are so many people that has or almost have lost their life or have a loved one that has. 

To joke about suicide shouldn’t be a common thing, that’s my big deal about this.

on fanfic & emotional continuity

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions

The fact that ficwriters en masse - or even the same ficwriter in different AUs - can produce multiple contradictory yet still fundamentally believable incarnations of the same person is a testament to their understanding of characterisation, emotional continuity and narrative. 

mari waits with childish glee as yoshiko continues chatting away, not focused on her spoon as it dips, slowly, agonisingly slowly, into the jar labelled sugar - only mari knows it’s not sugar, but salt. earlier, before everyone arrived, she swapped around the labels, knowing that yoshiko would come in and spoon her regular three spoons of sugar into her mug (a true waste of the coffees original aromatic flavour, but she digresses-)

yoshiko takes her three spoonfuls and stirs her coffee, all the while focused on talking to riko, who also doesn’t seem to have noticed mari’s misdemeanour. excellent. she waits behind her teacup, grinning madly, waiting, waiting, as yoshiko takes a sip. a long draught. and she sets her mug back down on the coaster.

‘wow mari, is this a new blend?’ yoshiko says as if she hadn’t just ingested coffee with three whole spoons (heaped spoons, at that) of pure salt, and in that moment, mari realises she has never met a more threatening opponent.

things i learnt regarding learning languages

recently i finished second stage of linguistic olympiad, which focuses on translating rare languages based on logical analysis, basically you don’t know the language but there is a logic rule you have to guess to translate things, yeah, its fun, now im waiting for the results of the second stage.

the thing is, after practicing, doing many problems from previous years, i found myself understanding languages’ rules easier. i’ve always been convinced that to learn language is not to learn the rules by heart, but to understand them, so here are my tips based on that:

1. native speakers are your best resource. some may disagree due to them often not being aware of certain grammar rules, but thats the point. learn the usage, not the rules. rules will come naturally to you when you analyse them for yourself based on using the language. 

2. ive been learning russian for almost 2 years now and my teacher has been focusing on remembering the rules, as if thats the best way to learn the language. so we didnt have much access to any context, not to mention poorly made textbooks. but now that ive become familiar with lots of usage, i dont need to stress about the rules, but base the grammar on previous, similiar contexts.

3. you dont need the rules unless youre majoring philology. for real, i understand that its not your native language, but whats so bad about treating it as one? learn it just like kids would. use it.

4. about using it, put yourself in native speaker’s position, change the language of your fav sites, talk to people even if you dont know much yet, stop stressing about grammar. imagine people talking to you without using cases, conjugations - youre still gonna understand them, so why not start with that yourself?

summary:

- analyse the grammar yourself instead of learning written rules (thats also gonna make you remember it better)

- vocabulary > grammar

- make friends with native speakers

- embarass yourself, make mistakes, talk bullshit - its all a way to success

so heres what is still so annoying about the pewdiepie shit

we now have lots of youtubers coming to felix’s defense, including h3h3, phillip defranco, matthias, and even ross o’donovan. the argument they make pretty consistently is that felix doesn’t deserve all this criticism because he is so nice behind the camera, is very considerate, is not actually antisemitic or racist, and that the media is giving false claims that he is.

okay, sure. maybe he is all that. i would be able to accept that when he is in real life he is a sweet, kind man. and it is obvious that the media definitely plays up the claims by outright calling him a racist and an antisemite, when in reality he more so has a history of using antisemitic, racist, and sexist terms and phrases for humor. i get it. thats his thing, and his friends want to defend him.

but he fucked up. its plain and simple.

when you have this many people outraged against you, when you have the media pulling out multiple receipts, some misunderstood but some legitimate, of you saying racist and antisemitic things (even if it was allegedly to prove some point), when you have multiple companies withdrawing from deals they had with you, you cannot just say “it was a joke, i’m not antisemitic.”

thats not what this about. your whole deal is pushing things to the limit, and you have simply gone too far. nobody, when defending pewdiepie, is able to admit this. people believe because it was a joke, and because his on-camera persona differs from his real life personality, he is invincible and undeserving of criticism and punishment. ironically, the only person to encroach upon admitting this was ethan from h3h3, who said “maybe he did push it too far, but that’s it.”

except its not it. its not just about him pushing it too far, which he did. its about how he is able to do that unchecked as the most subscribed youtuber. its that hes able to have millions of followers listen to him say these kinds of things, in context or out, and become used to this terminology. its that he is able to make things like this seem funny, even if he doesnt believe in them. its that he is, in fact, not antisemitic, but uses antisemitic stuff for humor. its that he can do all of this and still have people jump to his defense. its that it takes all of this public outcry for him to genuinely apologize, rather than realize what he did was wrong and come out with it right away. or, even better, its that he thought this was a good idea in general, because he knew he could probably get away with it.

i’m not angry at pewdiepie because i believe he is antisemitic. i’m angry at pewdiepie for using his fame, fortune, and backing to trivialize antisemitism and not face immediate repercussions. 

because even if it is a “joke,” even if ethan, as a jewish man, states that he was not offended, me and a lot of other jewish people are offended, and we aren’t laughing.

Best Out-of-Context Lines From Musicals

- “Sit down John, you fat motherfucker!”

- “Screw the middle classes, I will never accept them!”

- “Consider yourself part of the furniture.”

- “Now shut your face.”

- “Henry can’t really stay; he’s got rabies.”

- “I love you even though it does not matter that I still don’t know your name.”

- “The internet is not for porn!”

- “Miss America should just resign!”

- “No one keeps a cow for a friend!”

- “Lot 666 then.”

- “Nothing can bend the will like half-Castilian men!”

- “Sometimes my father appeared to enjoy having children.”

And we all talked about the plausibility of assumed misogyny and general inequality in a world without Christianity and 'Original Sin' i.e. Fuck that noise; your home village burned to the ground and every other person you meet wants to kill you, but at least you don't have to deal with that bull shit.

The gnome bard and half-orc warlock (for context they are played by siblings who enjoy trolling the rest of the party on the regular) are the only players still conscious in the dungeon we’ve been trapped in FOR WEEKS  and even short rests always end in tears

Bard: Sooo, we leave them to die?

Warlock: You’re chaotic GOOD

Bard: … GDI

Warlock: Hey, how ‘bout that random magic archway we found that leads to nothing but a storage closet.

This portal turned our knowledge cleric from a male to female, but had no harmful effects.  She reported it was FASCINATING.  The human barbarian immediately began finding excuses to fondle her new assets.

Barbarian’s player: Wait, WHAT?!?!

Bard and Warlock grin wickedly to each other as they drag the barbarian, cleric, and ranger back to the portal.

- Upon waking -

Bard now female:  Sweet, whole new identity.  I can go back and rob all those towns I’m wanted in.

Ranger now female:  I’m an elf, I’ve lived for 300 years as a dude.  I’m ready to mix it up.

Cleric already transformed: FASCINATING, the apparatus seems to provide only a single use to one creature.

Warlock now male: I’m a half-orc in full plate armor, nobody saw me as a woman before anyway.  So this doesn’t really change my identity.

Barbarian now female to the DM: How do I look?

DM: Your life of battle and hard labor is still apparent, your body is heavily muscled and scarred.  You tower over the rest of the party as before. Your armor fits differently, but you judge it is still fit for combat.

Barbarian: But what about my boobs, how are they???

DM: … Uneven.  The left one is bigger than the right.

Seeing all this stuff about the Alex Tizon discourse is making me wanna throw up. 

Listen. What they did? It’s slavery. We know. We get it.  But it’s not your slavery, it is a product of the broken system which we have been mired in, one which America has been directly complicit in. It’s an unfortunate case, horrifying, not entirely unexpected, but not exactly the norm. The issue here is that foreigners are trying to put words in our mouth and making this discussion about them instead of letting Filipinos process this and have a proper conversation about it without them shutting us down and screaming BUT SLAVERY!!! APOLOGISTS!!! not only that but they’re deliberately misunderstanding our language and honorifics, they are making things out to be something they’re not.

The system is broken. Any Filipino can tell you that. Yelling at us isn’t going to fix it unless you can somehow fix an entire culture with a press of a button and magically remove 400 years of colonialism and oppression, both by foreigners and fellow Filipinos, which has directly contributed to how desperate and helpless our people have become. It just doesn’t work that way.

But what really pisses me off about this? It’s because we’ve already been silenced before. We have been colonized, mistreated, our culture erased and labeled as inferior, our country gutted for resources and labor and this is still happening, just now its happening on more socially acceptable terms. 

Context and the underlying culture does matter, especially when our culture has already been so abused and erased that we have no idea what kind of culture or history we would have had if it hadn’t been beaten out of us by colonizers for 400 years, even the name of our country, our very identity. To this day we still struggle with our identity as a people, with the colonial mentality and nation-wide inferiority complex instilled in us by colonizers.

Keep in mind that every time you yell at us about how culture doesn’t matter, you’re all slavery apologists, without taking into consideration our views, our culture and the system which contributes to this, and how people are still working to correct it despite the fact that progress will likely not come for another 20? 30? years maybe even longer. Progress is slow when you live in a country where every system is designed against you. We are seeing people from a country which oppressed us, attempting to once again erase our narrative and tell us they know better, perhaps then you can forgive us for being wary of foreigners dismissing our culture and views to propagate their own.

I saw Guardians of the Galaxy 2 again today and noticed a bunch more things on the rewatch.

  • First of all I was expecting to be bored at least some of the time (I mean, I just saw it a little over a week ago), but I never, ever was, not even once. This movie uses every minute so well. (Unlike the first one, where most of the Ronon and Thanos scenes dragged horribly even the first time, and were completely skippable on a rewatch.)
  • I love how the end of the movie recontextualizes some of the earlier scenes. For example, Mantis’s misery and fear is so obvious when she first meets the gang, and in most of her scenes afterwards. The first time you watch it, her anxiety is easily read as nervousness around strangers. The second time, though, it’s such a gut-punch to see her standing behind Ego, wringing her hands, and knowing why.
  • Drax mistaking Yondu for Peter’s actual father is another of those fantastically recontextualized scenes. The first time, it’s funny, just a tossed-off joke. The second time, though … right in the feels. Because Drax, for the most part, doesn’t get the whole concept of people pretending to be something other than what they are. He watches Yondu and Peter interact with each other and he totally gets the actual relationship in a way even they don’t.
  • Speaking of which, there is some really brilliant editing in this movie. This time around, I noticed how it cut from Ego’s “I’m your dad, Peter” right to the first installment of Yondu’s storyline (which also involved interacting with his parental stand-in, Stakar). And none of the significance of this is clear if you don’t know the characters’ emotional context! You basically can only pick it up after having seen the movie once.  
  • The pacing on all the emotional arcs is so, so good. I didn’t even really notice, the first time around, how strong the Peter-Rocket arc is, from their fighting in the beginning, through Rocket not wanting to leave him on the planet, to their little moment of connection at the end.
  • I still can’t get over how this movie has eight major characters (not counting Ego; let’s not count Ego) and every single one of them has a) an emotional arc of their own, b) at least one strong platonic relationship arc with a beginning, middle, and end, and c) at least one scene in which they get to be awesome and do something important. EVERY SINGLE ONE OF THEM. Even the noncombatants. Even the baby!
  • The first time around, I didn’t really notice how brutal Gamora and Nebula’s fight is. @sheronm pointed out how incredibly OTT Gamora picking up the ship cannon is (in a way female characters rarely get to be) but the whole fight is like that: brutal, dirty, vicious, and not sexualized in the slightest. Speaking of which …
  • The only shirtless scenes in the whole movie are guys (Peter on the ship, and Yondu at the brothel). The closest the movie comes to a romance arc is Peter and Gamora flirting and dancing. I still adore how Mantis and Drax make it explicitly clear that they aren’t into each other in a sexual/romantic way, and yet the most important relationship either of them has in the movie is with each other, and he’s willing to die to save her in the end. The movie doesn’t completely ignore romantic love (the Peter/Gamora relationship is still important), and it is true that there are a few sexist jokes (like Peter hitting on the Sovereign queen – though he apologizes for it, which is a rare thing). But overwhelmingly, this is a movie that never dismisses its female characters to “love interest” or sexualizes them any more than the male characters are.
  • When I saw this movie the first time, I thought the soundtrack and use of music was better in the first movie, but now that I’ve seen them both back to back, I was so, so wrong. They both have great music, they both have some great musical scenes, but I think it’s mostly that the first movie has a faster, more actiony soundtrack, while the second movie has a slower, gentler, more emotional soundtrack that I didn’t fully appreciate at first. But in the first movie, the music is mostly a (well-done!) melodic accompaniment to the action, while in the second movie, the songs are very carefully fit to the scenes in which they occur – whether the important thing is the peppy/awful contrast (“Come a Little Bit Closer” over the murder montage), or the whole point is that the song is so terribly, cheesily on point (“Brandy”), or sometimes because the song fits the emotional tone of the scene in the best fanvid kind of way (“Father & Son”, or the repeated use of “The Chain” for the characters being separated and then coming all back together in Peter’s love-epiphany/Power of Friendship™ moment at the end).

It’s just sooo goooood. I really didn’t expect a bombastic, ridiculous musical comedy in space to genuinely be one of the best movies I’ve seen in ages.

  • what she says: "g*psy"* by fleetwood mac is a really good song
  • what she means: "g*psy" by fleetwood mac is perhaps one of the most beautiful songs ever written. we, as a planet, do not deserve it. before stevie nicks even sings a note, it is already the most goddamn gorgeous song. the first fifteen seconds alone. everyone will always cite works like "silver springs" and "the chain" for insight to stevie's relationship with lindsey and while those are valid, her clear nostalgia and near-longing for a simpler but meaningful time with him makes the love they genuinely had very evident. they shared a single mattress in a shitty apartment, in a room she would decorate with small trinkets to cheer it up, and this is the place the now-famous musician thinks of. that place, and that time. what must she feel every time she sings it? what must lindsey feel? the "lightning strikes, maybe once, maybe twice" line to describe love alone, jfc. this isn't even touching on the loss of her friend robin anderson, the other inspiration behind the song, who passed away and was "dancing away from you now" as stevie was writing it. it's heartbreaking, it's evocative, and furthermore--
Heal Boners

Context: Happened in Warhammer 40k but I’ll translate into D&D terms as necessary to avoid confusion. Our sniper was badly wounded after a tough fight and my character, a biomancer, was the only other one with any healing ability.

Biomancer: “Hold still, I’m gonna try to heal that wound.”

Me: *rolls what is essentially a Nat 2 or so, healing more HP than the sniper even has*

DM: “You heal him so completely that he now has a boner.”

Biomancer: “Oh Gods why???” *becomes flustered and skedaddles the fuck outta there, questioning his sexuality*

Sniper: “Uhh… Thanks…?”

DM (OOC): “Are your characters gay for each other now?”

Both Players (OOC): “Maybe.”

Context: This happened after basically every fight for the rest of the game. The heal boners never happened to anyone other than the sniper. The biomancer did end up figuring out he was gay.

anonymous asked:

Thoughts on the new gaming vid? They seemed so happy and cute and lighting has improved everything A++ ^_^

(faceapp)

  • 2 seconds in and i’m already shook i can’t believe this is real we are literally looking into their new house they are literally actually filming in a new HOUSE and it’s all just too much to process
  • phil sitting cross legged on the same old futon and fixing the tetris lights and balancing them and the pacman light on cardboard boxes is all too cute his enthusiasm is too much for me and dan definitely thinks it’s so cute too and this whole intro is just so soft
  • i love that phil owns up to the fact that this was his idea while dan is tryna go for his traditional ugh this is too stupid and vapid and too mainstream and not creative enough shtick. phil giving no fucks about a got damn quality threshold is my kink
  • when phil is attempting to take his neutral expression selfie and slightly pouts and he and dan giggle (i’m being generous w that term bc dan’s was more like a squawk tbh) at the exact same moment i just smiled so hard. they’re so cute. and they’re both apparently kind of uncomfortable w the notion of like trying to look sultry in photos which is why that pouty expression made them laugh immediately, and also is a good precursor to the whole discussion that comes later about phil’s ladybird selfie
  • dan’s look into the camera at 2:13 gave me lifeeeeee i like that he’s trying to shade phil for taking forever to get his fuckin selfie but instead he has this ever so subtle up tilt to his lips bc he can’t completely hide his smile ughaierjoaierj
  • omg underrated discussion in this video: at 2:26 once phil has finally succeeded in taking the selfie he turns to dan and says “i look alright there” but w the intonation of a question, like he’s literally asking dan for affirmation that he looks good and  not only that but he full on turns to look at dan and gauge his reaction and that felt so special and genuine to me??? like??? not a sort of thing i would expect to see tbh? and in general this video was obvi silly and just a bit of fun but also i thought the level of feedback they were giving each other on their photos and the way they were reacting was all so,,, warm and comfortable and surprisingly open. in this instance i’m also just frustrated bc dan was about to say something in response to phil asking dan if he looks alright, but he cuts himself off. he says ‘that’s an excep—’ and it def sounds like he was gonna say exceptional or exceptionally and i need to know what his thought was. i also like that the thought he interrupts himself with is about phil still having slight crazy eyes. we’ve talked about phil’s own explanation for his wide-eyed deer-in-headlights expressions in selfies a bit on this blog. according to him, he resorts to doing that bc having his photo taken makes him uncomfortable, so it was cute to me that dan noted that phil still did a little bit of the wide eyes without giving any context for why he was pointing it out bc it’s just an understood thing that they obvi have talked about a lot
  • 3:14 dan’s horrified and squeaky “what have they done to your face?” is so good. it’s just. so good. he sounds so outraged that they’ve fucked w phil’s face i lov it
  • 3:20 is the besttttttttt. this is the exchange where dan teases phil for being old and i love everything about it i love how dan made that comment without even thinking which sort of suggests that teasing phil for being old is just a regular/habitual thing and i love the way phil reacted bc it wasn’t rly irritated or even mock irritation in the end. instead he just played along w dan’s joke and accepted it and the whole exchange was so warmmmmmmm and comfortableeeeeee and flirtyyyyyyyyy and it reminds me of a few other comments that dan has made here and there that allude to their age gap and they’re always v cute and gentle teasing and it’s just so good
  • 3:42 they’re talking about the ‘old’ selfie and 1. dan is captivated and i can literally see him contemplating his future w phil lmao and 2. phil talking about joey graceffa and calling him good-looking w a blatant pause before he said that, making me wonder if he was going to use a word that was a bit more emphatic than “good-looking” either way i’m into it and then there’s a blatant jump cut and i’m wondering if they had a lil side conversation about joey being cute lol 3. phil is still looking at dan basically every time he makes a comment and it’s rly surprising but lovely 4. dan needed to come in w that compliment about old phil rocking current phil’s fringe and how cool he looks :) 
  • here’s dan howell caught right in the act of contemplating growing old w phil:
  • bless them for calling out how dumb the concept of a “female” filter is. also dan’s once again violent reaction to phil in the female filter is so cute and funny i love how incensed he is with the whole concept of anything being different about phil’s face
  • 5:36 dan looking at phil in the male filter and saying “you look so average” in such a disappointed tone is rly one of the best fucking things i’ve ever seen in my life. i’ve often thought about dan’s attraction to phil being based in some of the things that are most striking about his appearance. for example he always talks about how black phil’s hair is and how pale his skin is and back in the day he obvi left that infamous comment on phil’s dailybooth about how blue his eyes are and i feel like dan is probs drawn to these features that are just,,, extreme,,, and i love that even a slight change to phil’s jawline/face shape made dan think phil looked decidedly more average precisely bc what he loves about phil’s face are all the things that aren’t average at all!!!! i’m emotional!!
  • phil was so hype to see all of dan’s ones!!!! i’m crying!!!!! the way he was doing his hee-hee laughs and bouncing up and down quite literally and like hitting his hands on the table and saying things like i wanna be friends w him instead of you and ‘i wanna see old danny! old danny slice!!!’ like calm down mate!!!!! ur cute!!! we know u think dan is cute!!! y do u love every single version of him so much!!!! when he sees the old one he immediately says he likes it and compliments it!!!!! when he sees the old one on the daniel x dream pic he calls him cute!!!!!! and then makes this face at dan while dan looks at it!!!!!! 
  • help!!!!
  • dan talking about embracing makeup was amazing and phil being totally down with it and immediately suggesting a smoky eye look and consulting some tutorials was also amazing and i hope thats something they’ve discussed before tbh
  • dan @ manly dan: ‘i mean i would.’ nice. dancest is real and it’s right before our eyes ppl
  • 8:28 dan saying he hates his current profile picture was so surprising and lovely when he gave his reason—it doesn’t reflect his natural curls. i’m honestly so pleased to hear that he views the natural hair as such an important change for him that he wants his display pic (something we know he spends way too much time thinking about and therefore treats as an incredibly important thing) to reflect this shift
  • 9:05 ahhhh the controversial dan reactions to phil’s ladybird selfie. here’s the thing. i think when dan says it’s a “really cringe selfie” he’s talking about the discomfort they both feel about doing posed/sultry shots. he corrects himself after phil protests that it’s not cringe to saying it’s only slightly cringe instead of really cringe, and that he should’ve included an ironic (i hate dan’s use of the word ironic so much bc he often uses it when what he really means is “sarcastic” or, in this case, self-deprecating/humorous) caption. when phil then says that he did use a funny caption, dan basically entirely revokes his criticism and says that phil actually “nailed it” w the photo/caption combination. basically i think both of them get embarrassed about the idea of unabashedly posing in an attractive way for photos and since they’re so close dan feels that embarrassment for phil as well. i don’t think he was saying he actually dislikes the selfie or that phil looks bad or unattractive or anything negative about phil himself. the only comment i did find questionable was when he almost said that the smile filter was an improvement!!! it seemed weird when compared to how much he disliked all the alterations to phil’s face on the first picture lol but then he also made fun of it so i didn’t take it to mean that dan literally thought the filter is an improvement to phil’s real face, just that it was pretty remarkable how cleanly the filters worked on that particular selfie
  • overall: really liked this!!!!!!! such a good intro to the new office!!! such a warm and chill lil vid where they were mostly casual and just being so soft and flirty w each other and basically calling each other cute in creative ways whats not to love about that it was great
Belle bringing up her freedom



- You think you could be happy here?
- Can anybody be happy if they aren’t free?


I think we can all agree that this is one of the best lines the 2017 adaptation brought us. And it gets better if you think about Belle’s response in the context of that scene.

In both the animation and the Broadway musical, Belle goes basically “Yes, I am happy here, yes, I want to stay with you, but I miss my father.”

In the 2017 version, Belle is more like “I can’t even figure out what I am feeling for you since technically I am still your prisoner, so let’s address it.” Basically, she brought up the issue of her freedom only after the Beast started to talk about feelings.
Creating Diversity from Generic White Script

So, I’m taking a screenwriting class, where we’re writing a short film script. I’m writing basically a story about an RA who’s struggling through the stress of like, cyclical catching students misbehaving, writing them up, school etc. My issue is, it’s a script, and something our prof has talked about is how it’s important to actively build diversity into the story to avoid the hollywood ‘Best (white person) For The Role’ which makes a lot of sense, but on the other hand, my story idea is currently… entirely generic, i.e. 

I’m at that point where I have to make a decision about whether it would be fruitful to specify the race/ethnicities of certain characters. But my problem is, some of the characters speak very little, and most of them say things basically any student would say in the same situation. Even my main character speaks mostly in a professional context using basic RA lines like ‘hand over your IDs.’ 

Because it’s a script, it seems really weird to me to say, okay this character is asian, but then there’s no real reason for them to be or not to be, say, black, or latina, or mixed, etc.? At this point, I have to decide moving forward whether to build my characters to incorporate some indicators of specific racial/ethnic background (linguistic quirks, etc.), but I don’t know a) whether I should or not because it seems necessary only because of trying to subvert an all white cast, and b) how I might even go about this, again, seemingly arbitrary process. 

So how can I build diversity into a script that’s relatively generic without it feeling arbitrary or canned? Or without specifically indicating race/ethnicity in a context in which it wouldn’t really be addressed outwardly?

[Redacted for readability]

Your professor is correct. It’s time to normalize People of Color in scripts, stories, in all forms of media. White is still very much the default for Hollywood and clearly your script as you struggle to place us just existing without it feeling unnatural or obtrusive.  You question whether it is fruitful to specify race where race won’t be addressed. I say it is. This is exactly what many of us want, just a story where we’re included and treated as human beings doing things, with agency, and not table settings and decorations for white characters to interact with.

It seems unnatural or unnecessary to specify race to you because you’re used to the default being white people who don’t need an introduction of race. It’s time to just stop feeling the need to have to explain our existence and just let us be there. Let us exist.

At this point, I have to decide moving forward whether to build my characters to incorporate some indicators of specific racial/ethnic background (linguistic quirks, etc.), but I don’t know a) whether I should or not because it seems necessary only because of trying to subvert an all white cast, and b) how I might even go about this, again, seemingly arbitrary process.

Why not add cultural and personal details, though? Even in the small ways? Honestly, if people are only speaking in professional terms and doing generic actions void of much emotion and personality, your story may come off as bland and the characters undeveloped and unmemorable. Perhaps I don’t have a full understanding of what you’re doing with this script, though.

The way people speak and the words they say, the way they react to things, it’s all informed by where we come from and who we are. You could show culture with a name, from the lunch they eat, the words they mumble in their native tongue in frustration…and those things come off as much more engaging to me than just White/Generic/Everyman does generic/ professional things.

~Mod Colette

I agree. We’d love stories where we’re the protags, but there isn’t a lot of hullaballoo about our identity. But that doesn’t mean wiping the slate completely.

(I’m thinking of a recent video featuring Martellus Bennett of the NE Patriots and how he actually has a book series with a Black protag going on adventures, and how he talked about the importance of having Black characters having their own stories that weren’t just about their identities.)

-Mod Jess

How to solve your problem: backstory.

Any generic script can be modified to PoC, depending on your definition of “generic.” If by “generic” you mean “ethnically uncoded"— well, you’re wrong. Generic is very ethnically coded. It’s white coded. You just don’t notice it because it’s the same markers in your life. If you watch something like Black-ish or Fresh Off the Boat, you’ll see the differences in ethnic coding in a family suburban sitcom.

If by “generic” you mean “uses archetypes familiar to the genre”, then you’re dealing with a situation where there really genuinely isn’t any race marker. As I mentioned— Black-ish and Fresh Off the Boat are family suburban sitcoms. These are generic plots, made different by asking: what would this ethnic group experience in this context?

You don’t seem to know enough about diverse ethnic groups in order to insert them into the narrative. Black people, for example, tend to dress more professionally than is required. This is because the markers of “casual and cool” for a white person (jeans, t-shirt, sneakers) are seen as “slob and inexperienced” for a black person. There are hundreds of examples like this, if you start looking.

As Colette said: you’re used to the default being white people. All of us are! This is something you have to actively unlearn. But the way to unlearn it is to ask the same questions you do in general character building. 

Things like:

- How does this character’s background impact their behaviour?

- How do others see them? (Note- cultural markers like the above dressing professionally example heavily influence this)

- How did their parents push them?

- How do they want to be seen?

In order to build race into your characters, you have to get out of your all-white box and start to understand our perspectives. Just like you learn to write a whole bunch of different white people in writing, learn to write a whole bunch of Black, or Latinx, or East Asian, or South Asian people. We’re all still people, but our experiences have shaped us for who we are— just like white people.
When building characters, you have to ask yourself all of the questions about who they are and how they’re seen in order to write anything good. These are the steps for any character building, so if you’re thinking there’s too much work involved… well, sorry, no, there really isn’t. Not in this industry. 

You live and die by your ability to create relatable characters, and in order to do that, you have to build backstory. And in order to build diversity in, you have to learn how to craft a PoC backstories that have just as much nuance and variety as white backstories.

~Mod Lesya

You can call an experience or relationship traumatic even if there’s no one you can/want to blame for what happened.

If you were traumatized by what happened, that impact is real even if it isn’t anyone’s fault. There are situations where everyone involved does their best with the information and abilities they have and someone still experiences trauma.

Abuse is not the only traumatic experience, just a common one. Not having your needs met for totally blameless reasons can be traumatic. Having your autonomy taken away by illness or other random chance can be traumatic. Many traumatizing experiences can happen when you’re utterly alone. Even ‘ordinary experiences’ can be traumatic in some contexts.

There’s no reason for trauma that’s ‘too silly’. If you’re traumatized, it’s not because you’re 'too sensitive’ and it doesn’t automatically mean you’re minimizing other people’s experiences.

You’re allowed to acknowledge your trauma. You’re allowed to look at experiences you’ve had through the lens of trauma. You’re allowed to grieve and process your traumatic experiences even if you don’t understand why they were traumatic or if similar experiences didn’t tramautize others you know.

You’re allowed to acknowledge how badly you were hurt even if you can’t point a finger at one person who hurt you.

Song Analysis: What’s the Use of Feeling (Blue)?

I’ve been mulling this song over since I’d first heard it. For one, it confirms a lot of things about Homeworld and the Diamonds that I’ve been harping on for a while now. But this post isn’t a sermon about how to sympathise with the Diamonds better. I’m not too big a fan of that perspective. Rather, it’s the power that we receive when we empathise with them.

The thing about the Diamonds is that they’re all powerful, huge, and “human.” They err and have feelings, not necessarily in that order. So when they irrationally do something that hurts a lot of individuals and even entire planets, the answer isn’t to excuse them because “they’re sad.” The answer is to reach out to them in a way they understand so that they don’t do it again, and more appropriate to our context, make amends

Because the two very polar sides of “forgive” and “punish” aren’t constructive. To side with either doesn’t do justice to the people and gems who’ve already been lost or still are losing. It doesn’t make things better for anyone. 

This post will analyse the perspective Homeworld has of Earth and human beings. At the same time, the song reveals a lot about how gems view themselves and one another. I’ll round it up with how PD’s death impacted both Blue and Yellow Diamond and how their respective coping strategies led to the way things are now. And I’ll speculate on the immediate future of Earth in that regard.

So let’s get to it!

1. The song implies a falling-out among the Diamonds before PD’s shattering

Why would you want to be here? What do you ever see here
That doesn’t make you feel worse than you do? And tell me, what’s the use of feeling, Blue?

When the Steven Bomb opens in Steven’s Dream, we get a rare moment of hearing Blue’s thoughts. Bent over PD’s palanquin, she expresses deep regret. She says, “If only I had done more.” 

We know that Blue is sad over PD’s death. And we know from the first verse that visiting anything related to PD makes both surviving Diamonds uncomfortable. But we can find, within the lyrics, something specific about why instead of just sad, regret is interspersed in their mourning of PD.

In sharp contrast to Blue’s lament of wanting to do more, later on in the song, YD says, “Now there’s nothing we can do.” That implies at one point in time, the Diamonds were in a position to do something that could have prevented PD’s shattering. And they didn’t do it.

I want to bring back one of my older posts regarding the circumstances of PD’s shattering. In it, I mention that there’s been some sort of historical scrubbing of PD’s memory from Homeworld, such that only older gems are aware of her or feel any affinity for her. The Great Diamond Authority Logo, colour schemes, and even gem factions show no sign of PD’s ever existing, when this wasn’t the case for older structures on Earth. 

But in a slightly contradictory manner, we know the truth to be the opposite. The Diamonds didn’t take PD out of Homeworld’s memory because of the fight. Rather, they erased her because it hurt them personally to be reminded of her existence. 

When we look at the circumstances of their argument, there are a few theories I can posit. The main one being this: PD had an unconventional relationship with her Earth gems. I say this because now we have two Homeworld “subordinates” as examples in contrast.

I brought up before that Jasper felt a deep personal affinity for PD. And this may be even without having met her personally, even with the possibility of her being created after PD was shattered. On the other hand, Peridot and Holly Blue talk about their Diamonds with a sense of detachment. There is a great divide that Peridot puts between herself and YD. YD is perfect; she is not. YD is the most objective; that is what she aims to be. YD is a great decider; she was there to reaffirm the logic of the former’s decisions.

It’s much the same for Holly Blue. BD decides to maintain the zoo; she is grateful for the opportunity to serve. BD is arriving; she wants to assure a pleasant visit for her.

In both these cases the gems don’t feel like they’re coerced into serving their Diamonds. They openly acknowledge that because their Diamonds are superior in different (and at times all) aspects, they’re worth following. It’s very similar to idolising someone and hoping they’d mentor you, or even that you could contribute to their cause in some way. This cause being the betterment of Homeworld. 

2. PD’s close relationship with her gems

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i always laugh bitterly to myself when i read a medical website that describes fibromyalgia as a “treatable” condition. i’m sorry, treatable? really? treatable, where? because i’ve tried every form of “treatment” available in the last decade and am still suffering on a daily basis–suffering so much, in fact, that i can’t remember the last time my life was even remotely close to functional without marijuana, hot baths, and long days (sometimes weeks) spent incapacitated in bed–which, within the context of survival under capitalism, isn’t really functional at all.

please direct me–and all the doctors who have dismissed my symptoms with, “well, there’s not much known about your disease/not much we can really do for you/not a lot of belief in the medical community that your illness even exists”–to whatever form of “treatment” is supposably capable of giving me the illusion of a normal life, because apparently my firsthand experience of disability and discrimination is contrary to the “treatable” nature of my disorder.

labelling chronic illnesses like fibromyalgia as “treatable” creates the notion that it’s “not that serious,” which contributes to chronically ill people not being taken seriously, pushed to the wayside, viewed as “lazy/faking it/attention-seeking,” and, ultimately, silenced (see reference: ableism).