this is the acting on camera era

Lucille Ball biopic with Cate Blanchett taking shape.

I missed Lucille Ball’s 106th birthday this weekend because I was drinking & thotting, but Happy Belated!

Also:  I hope drag queens realize they owe their overlined lips to Miss Lucy.

Anyway, while I was looking for a picture, I came across this Deadline item about a biopic with Cate Blanchett attached to star as Lucy herself.

EXCLUSIVEAmazon Studios has acquired Lucy and Desi, the Aaron Sorkin-scripted drama from Escape Artists that has Cate Blanchett attached to star as TV’s pioneering star Lucille Ball. The feature project has been percolating a couple years. Escape Artists Todd Black, Jason Blumenthal and Steve Tisch will produce.

I’m told that there already is movement toward finding a big star to play Ball’s former husband Desi Arnaz, with names like Javier Bardem in the mix, as well as for Fred and Ethel — originally played by William Frawley and Vivian Vance — who rounded out the quartet behind one of TV’s classic early sitcoms.

(cont. Deadline

I’m here for it!  I think Cate is one of the few actress who really has the range to pull off Lucy’s humor, her up & down relationship with Desi, and her groundbreaking position as the first woman to lead a major production studio.  And just so y'all can get a sense of how legendary Lucille Ball really is (outside of her timeless sitcom which *still* holds up today better than most comedies from even 15 years ago) here are a few bulletpoints about Lucy the businesswoman:

Keep reading

Rurouni Kenshin Fight Sequence Analysis Series: Production Design

Welcome back to my series analyzing the filmmaking techniques of the RK trilogy! Over the course of roughly over a year now, we’ve discussed how choreography can grant us insight into a character’s state of mind or even their philosophies as well as how costumes can help us keep track of the characters as they move throughout the screen. They have formed an exciting foundation and are instrumental in the grand scheme of a movie’s visual language: Production Design.

Production Design, like many aspects of filmmaking, is a nebulous term. In previous posts, I’ve mentioned that choreography and costumes can be useful tools to reveal a lot about a character and their environment. If that’s true, then production design is the world itself and its aesthetic presentation. People like set decorators and costume designers, art directors, prop makers, hair and make-up artists for anywhere between high fashion or blood or gore, and many other people all work hard to bring the vision of the director to life. Some properties of production design are so iconic that, not unlike costume designs, you don’t even have to be familiar with the film or franchise to recognize its aesthetic. See Star Wars for example. 

This essay, however, will be more concerned with the overall production design relating to the final aesthetic of the finished movie rather than breaking it down technically. Occasionally, I will comment on a specific aspect, but mostly we’ll be looking at the overall aesthetic presentation of the film and how it’s used to convey its story and of course, how it is an integral part of a fight sequence. As a result, it will be very generalized for reader convenience. 

This post, as all the others may spoil ALL of the live action films thus far, so if you haven’t seen them yet…seriously, why not? 

                                              CRAFTING A WORLD

Production design -sometimes called Art Direction-  is one of the most important aspects of filmmaking and it’s the heart of any film’s aesthetic. Some cinematographers, for example, can’t even begin to light or plan shots and camera movements until the set or location is ready, making the production design absolutely essential to the production process. Think of it like the setting of a story; the set is where the audience is going to believe these events are taking place, and strong production design is necessary to have the effect of every scene maximized. 

Production design is really a series of decisions, much like cinematography and directing -decisions from things as small as what kind of lamps to decorate a scene with or what kind of chairs characters should sit in, to designing entire sets that transport us to a different time or even a different universe. These decisions are essential in creating worlds that are believable and weave seamlessly into the story, adding to it rather than distracting from it. And this brings us to the ultimate question: how does the RK Trilogy’s production design contribute to the fight sequences?

On the top of the food chain in the art department, as well as one of the most important people in making a film besides the cinematographer (Director of Photography or DoP), the Director, and the Producers is the Production Designer or PD, sometimes referred to as the Art Director. To simplify for the sake of brevity, the production designer’s job is to meet with the producers and/or director to discuss the visual aesthetic of the world they’re trying to bring to life in film, with regards to the script and story they’re trying to tell. During these talks, the production designer might provide sketches and designs, as well as lay out plans that take the film’s budget into account. Essentially, one of their responsibilities is to balance the needs of the story and the artistic vision of the director with the amount of money available to them and communicate to the rest of the art department to ensure those perimeters are met.

The man who shoulders this particular burden is named Hashimoto So, according to Variety. Unfortunately, I couldn’t find a picture of him or most of the people I wanted to highlight in this section, which is a bit awkward, but please bear with it. 

                              THE WORLD OF RUROUNI KENSHIN

The setting of our film is obviously 10 years into the Meiji era for a majority of all three films, which means that there is a unique challenge the production designer faces: there’s a lot of integral details that need to be accounted for, such as making sure everything used existed either within the source material or belongs in that time period, otherwise, it can conflict with the immersion at best and cause distraction at worst. On top of that, they must also decide which parts of the historical setting they want to emphasize, with regards to the script/story.

Unlike the seemingly endless stream of huge budget films in Hollywood, most movies have a limited amount of money and audiences have even less attention span. Audiences more often than not are not willing to give movies second chances if it doesn’t grab them immediately or bores them. As a result, a movie needs to minimize details to the essential as to not overload the audience with useless information that doesn’t serve the narrative. The emphasis placed on aspects the story requires can cause movies that take place in the same time period to look very different. If you examine a movie that takes place in the Meiji era like, say, The Last Samurai, it looks very different from the Meiji era of Rurouni Kenshin. This is because the two films are completely different narratively and everyone, including their respective production designers, must make decisions that suit their stories.

This means that we can potentially examine a film’s subtexts and themes through the backgrounds the characters traverse to. Production design is more than simply making a world feel alive, it can be used to tell a story, even just by examining extras. There is an enormous amount of thought that goes into extras, like making sure they all have costumes, closing down streets and dressing them to look like they turned the clock back, making sure every location and set is juuuuuuust right for the scene, and making sure it doesn’t run too expensively on the budget. 

                                           ESTABLISHING A WORLD

Before we can examine how production design services a fight sequence, we must examine the impact that it has on the story and what the director uses it for, and one of the ways Otomo uses the production design is to introduce the audience to two pivotal time periods: The Bakumatsu, and the 10th Year of the Meiji. So-san must work with the art department to decide how these worlds should look and what details about the time period should be emphasized. Because the central theme of the story is the turning of an era and the story stating that the Bakumatsu was a turbulent time in Japanese history, and the Meiji era was an era of change and modernity, So-San’s primary concern here is to create visual distinction between the two worlds, which we see in the first film’s opening act. 

The first things we see when the film first opens and the text crawl ends is a world draped in cold, January snow falling on the battlefield of Toba-Fushimi. The camera slowly pans like an invisible observer as we follow it through the bloody, war-torn battlefield. We’re introduced to a lot of important information in this scene: we see people at war, lots of explosions, dirt, and people dying before finally leading us into Kenshin at the height of his skills in battle. This also serves as our introduction to Kenshin as a character, or more aptly, his legend. Suddenly, he hears his comrades call out victory cries and he realizes he has been victorious. He has successfully won a battle to secure a new future for Japan.

Shortly after we see Kenshin put down the sword, we’re now in a Japan 10 years after that battle where we see bustling and lively streets, people running around and celebrating. Bright summer sun, people sweating, vibrant music… All of this persists, even after the corpse of one of Kanryu’s opium dealers is discovered with Battousai’s call sign. This expresses to the audience visually that this is the start of the Kenshin killed for. This is the world he wanted. When we see men like Kanryuu and eventually men like Jin-e, and Shishio, we begin to realize that they’re out of place. The world and the aesthetic Hashimoto So created contrasts against the main antagonists and serves to highlight how weird and outmoded Jin-e, Gein, Banjin, and the twins look in this world. It’s because they don’t fit in the Meiji Era that Kenshin helped create, and that contrast will boil into the conflict the film revolves around.

This visual motif is repeated even once more with even more to say in the Kyoto Taika-Hen film when we see modernity blooming in Tokyo. We see Caucasian men dressed in western clothing of their time period, Japanese people dressed in western clothing, jazz musicians, and a bustling trade opportunity. These introductory scenes give us the impression that this is a typical day in the Meiji, which reinforces to the audience the stakes Kenshin faces as he eventually goes to battle forces that seek to destroy this fragile new era. 

Already, we see a clear distinction between the nature of the two worlds, not just in the color grading, but in the framing itself. So-san takes advantage of his extras and reduces the space between them in both scenes to create a sense of chaos but to polar opposite effects. The opening sequences have chaos in violence, and the new era shots have chaos in celebration. Otomo and his cinematographer then shoot these scenes in medium to longer lenses, which put more emphasis on snippets and details of this world rather than the world itself, making the stakes feel very personal as we see individual people celebrating. Every single one of these people feels important to Kenshin, at least on a thematic level. It runs parallel to the theme that modernity wasn’t Kenshin’s goal: the happiness of the people around him was, and he felt modernity was the best way to achieve that, and that’s reflected in these scenes. 

This is the strength of So-san’s production design when directed by Keishi Otomo. Not only does it establish the world of the film, but it also visually reinforces both its central theme, and the most important thing to Kenshin as a character by creating a contrast between the two eras he’s is torn between.

And keep in mind, these are not real people. They’re probably just told to look like they’re having fun, but a costume designer dressed every single one of them. Set decorators designed this set or maybe even dressed up a street to look like Meiji Japan and because it looks so authentic, we believe it which is the sign of a production designer who knows what they’re doing. This plays wonderfully into a later section of this post.

                                        EXPRESSION OF CHARACTER

Have you ever noticed when watching a movie and we’re introduced to a character in their room, we always see other characters walking around as the camera slowly tracks them, revealing to us little details like their bookshelf, or maybe their wardrobe? Maybe the main character fidgets with something casually sitting on their dresser? 

The reason for this is because, even as we’re engrossed by the dialogue, our eyes are being treated to visual information given to us by the director and production designer. Much like our real lives, our rooms or personal spaces can carry a lot of details about us, and sometimes those details might be relevant to an audience. 

What does this room say about the main character of Black Swan? Can you tell whose room it is by the image? What kind of personality do you think she has?

What does this say about her character? What does it say about her mind and world view? Another example: 

Just by looking at the environment and the characters in this shot, who do you think this space belongs to? What does it say about that character? 

Now that we’re on a roll, how about this?

In this set, we’re introduced to the main antagonist of the latter two films and this set immediately establishes the essence of Shishio’s character. It’s dramatic and gaudy, we see old, decadent structures being consumed by fire, and an insane man and his posse standing behind him. In a lot of ways, it creates a parallel to the first film when we see Kenshin in the Meiji era for the first time, only inverted. This is the world Shishio seeks to create, and it is utterly horrifying. This parallel and contrast in production design also sets up the conflict between Kenshin and Shishio immediately as well as their similarities.   This warring ideology motif is echoed again later on in Kyoto Inferno when we see the same blue tinted war ground we saw in the first film’s opening, only this time at the end, we see a bright contrast of the orange fire against the blue-ish snow, symbolizing Shishio’s desire to rebuild the world through fire just as he was.

So how does this relate to crafting a fight sequence? Well, simply put, the essence of a great fight scene isn’t just two people hitting each other: it is the conflict between characters, themes, and environment expressed through the background is the true essence of production design. Each major battle/fight that takes place in the three films all occur in enemy territory since Kenshin doesn’t really have anywhere to protect except the Kamiya Dojo, which means that the main stages for the final conflict of each must express his opponents. He’s walking into enemy territory and the production design must reflect that. Consider the first movie. Each major fight in the third act of the first film takes place in Kanryu’s mansion except the final one. Observing each room, we can tell what kind of character Kanryu is and subsequently, what each of his henchmen is about.

Something unique to So-san is that he uses his production design and choice of location for each fight sequence to constantly remind us what’s at stake, both literally and narratively. The battle for the holy sword in Kyoto Inferno against Cho takes place in a shrine, like the manga. The shrine as the main battle stage could thematically sanctify the ideals of the Sakabatou as well as Iori, while two unworthy titans clash for the future of those ideals. The location for the battle isn’t simply cool, it’s thematically important to the fight sequence and subtly but constantly reminds us what Kenshin is up against and thematically reinforces the situation rather than simply being a cool area for characters to fight. It’s part of the statement the overall scene is trying to make.

Another example we should consider is the Rengoku as it is blasted into oblivion by modernity. This war galley, a symbol of the spark that ignited a revolution, goes up in flames much like Shishio himself. We watch Shishio and his empire crumble under modernity as cannons tear through the ships halls and decks, and Shishio himself exhausted to the point of combustion burns surrounded by the fires that consume his ship. 

These sets are not simply the battle stages of a fight, they are carefully and elegantly crafted to express the story’s characters and ideologies. They are important storytelling tools that are a necessary component in creating a compelling action sequence and good production design, through themes and tone, can create memorable and powerfully cinematic experiences when working together with the rest of the filmmaking team.

                                   THE BATTLEGROUND AS A WEAPON

Here’s a mouthful: Verisimilitude. It is what drives all cinema and RK is no exception. For an experience to work and for all the lofty stuff we discussed in the previous sections to pay off, the most basic and crucial element must be secured: the audience MUST believe it.  We know it’s a set. We know the light is artificial in a lot of scenes, and we know that the sword Kenshin is smacking people with is just piece of rubber. We know the people falling are just actors. Hell, Kenshin isn’t even Kenshin, he’s just some dude in his mid-twenties playing pretend. But when the opening text pops up on-screen telling us about the backdrop, as the camera pans through a snowy battlefield, and as we see a single red-haired kid tear through a legion of soldiers without even needing to catch his breath, we’re sucked in. It *feels real, and we believe it despite ourselves. We believe it because we want to believe it. 

Arguably, the director’s job can be boiled down to them forcing us to want to believe it. They need to lull our incredulity into taking a backseat to anticipation and excitement, and that works, not necessarily by creating a realistic experience, but by creating an authentic one and that requires all of TeamOtomo to accomplish, including So-San.

They have plenty of techniques to accomplish this and to cap this long post off, I want to focus on just one thing TeamOtomo does incredibly well in conjunction with So-san: incorporating the battlefield into the fight by having characters directly interact with their environment. 

This involves all of the production team working in tandem. The costumes and actors get sufficiently dirty. The swords get damaged and whack at objects in the environment. The choreography calls for a moment where a character kicks a staircase and sends the splinters flying towards an opponent. The stunt team plans a sequence where Kenshin has to use a tree to maneuver and flank his opponent, and the production design is the hub that all of these decisions are based on.

So-San’ s decision making, choice of location, and aesthetic all play into crafting what amounts to a springboard, from which all of these ideas sore. The gif above can only work in that location because it is a decision Kenshin made BASED on his location. It’s a small detail, some might even say trivial as we’re too busy being dazzled by the high-speed choreography, which judging from the popularity of my choreography post is something a lot of the people notice immediately, but let’s take a moment to appreciate that the choreography is directly informed by production design, which is informed by the script, which in turn informs the cinematographer how to light and move the camera, which feeds back into the costume designs creating costumes and making sure the colors are good for the shot and so on.

When we consider this, we can see how So-San’s production design truly is the bedrock the film’s action sequences are built on, and I don’t think there is a more elegant or telling expression of this than when I see Kenshin run up a wall in Kamiya dojo to procure a bokken to fight with, or when Kenshin actually uses an enclosed area underneath the shrine to limit Chou’s swing to unleash devastating hand-to-hand combat on him. We see the world inform the fight because we see characters use the environment to gain an advantage or to compensate for a weakness. It makes the characters feel richer and alive, autonomous even in a tightly scripted situation, and maybe even real.The emphasis is never drawn away from the character, and the conflict feels real because it comes directly from them. Because of this, at least in part, the fight feels verisimilitudinous; it feels real and authentic. 

All great martial arts films do this since it’s an old technique. Jackie Chan, for example, is probably the greatest choreographer when it comes to working with the environment. That said though, Otomo’s Rurouni Kenshin films takes words from the vocabulary established before it and uses it to compose excellent fight sequences that will remain in our memory for as long as we can remember as well as employing old techniques in new ways unique to the story that we all love. Each decision from every member of this team is filled with hard work and faithful to the essence of what made the original manga so amazing. This wouldn’t be possible without men like Otomo at the helm, or men like Hashimoto So designing magnificent sets that bring the manga to life. That’s the magic of filmmaking, and pertinently, that’s the magic of So-san’s production design. Thank you for reading.



for creating HYRK as well as providing most of the graphics of this post. 

@heckyeahruroken For giving all Rurouni Kenshin fans a place to congregate and providing a platform for me to share these posts with a larger audience.

And you guys for even taking the time to humor me and read these rambling posts!

I used to like Jimin a lot, but I’ve really gone off him with the Blood, Sweat and Tears era. Ever since his blond makeover he seems so full of himself, and during award shows the way he’d act like he didn’t know the camera was there and try to look ethereal was so annoying. I hope the fame doesn’t go to his head, there’s nothing worse than when a celebrity starts to believe their own hype too much.

Please be kind to Luke fans...
  • Star Wars fans in the 70s-90s: Think of Luke every time Star Wars is mentioned, he is the star. Go years without much merch. See crappy bendable figures set in the store in the mid 90s, buy it because it's the only Star Wars toy merch-- BUY IT IN DROVES. Watch the crappy special edition re-release in theaters and shed a tear because they're finally seeing it on the big screen.
  • Video games: Expand the universe and popular cast of characters. Some new Luke adventures!
  • EU Books: Expand the universe and popular cast of characters. Lots of Luke adventures!
  • Prequels: Expand the universe and popular cast of characters. Causes some plotholes, some people hate it to death. No Luke, except tiny baby Luke. For some reason Luke's dad shares a ton of parallels with his life. Odd.
  • Clone Wars movie and animated series: Two cartoon series' get popular, expand the universe and popular cast of characters, still no Luke.
  • Disney buys Lucasfilm and changes the canon books: A few new Luke adventures, but all the old ones are no longer canon. RIP Luke's entire family that we grew up with I guess?
  • Rebels animated series comes out: Finally we're in the right era for Luke in these cartoons, but still no Luke, he's not old enough to go on adventures yet. 3 popular animated series and we still don't have one about Luke. The original star of the franchise. Who's actor has been in voice acting for cartoons for decades... We get to see a tiny ant sized silhouette of child Luke running home for dinner in the distance.
  • The Force Awakens: A girl who seems to be living a parallel life to Luke. But we only see Luke at the very end. Luke stares into the camera for a minute. Roll credits.
  • Rogue One: For some reason, a Star Wars movie without any Jedi about stealing some plans to the death star, full of new characters we barely get to know is one of the most beloved Star Wars films and breaks lots of records. Causes some more plot holes, but no one cares. We see CGI Leia, still no Luke.
  • The Last Jedi isn't out yet but rumors go around: Luke is in it a lot, hurray! He might also die, or not have any family, he might also be some sad hermit who hides out on an island instead of helping his friends. No one is sure what to believe.
  • Luke fans of all ages: loose their minds in anticipation. They won't release the teaser trailer, we're slowly dying.
  • Jerks in the fandom: "Luke is the worst character. There are like 500 other characters we like better why do you people like Luke!"
  • Other jerks: "You want Rey to be Luke's daughter? Haha that's dumb, I sure as hell hope she's not a stupid SKYWALKER!"
  • Luke fans: "Why are you kicking us when we're down? We haven't seen Luke walk and talk on screen since 1983 PLEASE LET US HAVE THIS ONE MOVIE?"
Why I like yoonkook

@tankun first of all congratulations on the 500+ followers on your blog !!!! i’ve been following you for a while now, and it’s really nice to see that you’ve been receiving the appreciation you deserve 😊  

anyway, the reason why I love yoon/kook is really something that I can’t explain well with words? i remember my friend asking me in real life once why i liked the pairing, since she hadn’t ever even considered it before (she was a v/kook gal), and honestly? i couldn’t even explain it properly to her. because how do you exactly describe the feeling that two people can give you in just a few words? i couldn’t tell her that they were together all the time or openly touched each other or told each other that they loved each other a lot on camera, because it wasn’t true. sure, there are pairings out there that are really open with their skinship and genuinely mean it, but the dynamic between yoongi and jungkook just isn’t like that. they’re the type of pairing that look at each other softly when they think the cameras aren’t on them, or touch hands without looking at each other. they’re the type that don’t seem like they would get along well in theory, both being quiet and introverted, or serious unless given a reason to be otherwise, and yet they still do. they click so well, and always sync up perfectly with each other, whether it be in terms of interests, hobbies, habits or fashion style, and frankly it’s a little scary how perfectly they match. they’re both unexpectedly playful with each other as well, like in the 360 VR cam interview, where they can be seen pulling at each other playfully, or basically anytime jungkook thinks it’s a good idea to slap yoongi’s butt for no reason. you can tell that yoongi has a really soft soft for jungkook as well, by the way he always praises him and encourages him, and never for a second lets him doubt himself. you can see this in the way he always slings one hand over the younger’s neck, and in the way he gently squeezes, as if wanting to provide some kind of reassurance. you can see this vice versa in the way jungkook isn’t afraid to annoy yoongi, or do something silly with/to him, as if to say ‘hey, i trust you, and i trust the fact that you won’t get angry at me because you love me’. you can also see it in the way jungkook hangs onto every word yoongi says, and laughs with pure unadulterated joy whenever yoongi makes a joke, even if no one else finds it funny, because to jungkook, yoongi is the funniest person in the world. you can also see it in the way he always finds some way to put his arm around yoongi’s shoulder, even if it’s done unnaturally, because he wants to let his hyung know that he’s there. and of course, i always love how mischievous these two are together, even if no one can really tell. you can see this at times like when they both sprayed jimin with waterguns, or when jungkook kept piping up and interrupting yoongi with demands of lamb skewers during that one run era interview. or especially that time when yoongi had the nerve to palm jungkook’s crotch in plain view of the camera, and act as if nothing had happened. or even when jungkook kabedonned yoongi at the bbmas, which people only eventually found out about through grainy fancams. anyway, i know that this got really long (i’m sorry, i just have a lot to say ;;;), but i just love how much they care for each other and love each other, even if it’s only through soft touches and intimate moments behind the camera, and the way they can openly flirt with each other and everyone would be none the wiser, because they don’t seem the type to be able to match well with each other, when they know they do. and i think that’s all i have to say.

as for the last part, it’s too hard for me to choose, but i definitely think one of my favourite moments (well i’m not even sure if it counts as a moment) is the vlive they took in bv s1. i really liked the quiet and peaceful atmosphere that they had, and the way they were able to just relax in each others’ presence without fear of interruption, or without being forced to by some external force (like a game punishment…although i’m not going to lie, those are my guilty pleasure too). i liked the way they were able to laugh freely with each other, and the way jungkook felt comfortable enough to softly rest his chin on yoongi’s shoulder and stare at him for a solid couple seconds, as if there were no one else in the world. it just struck me as something really intimate, and that’s definitely one of the reasons why i like this pairing as much as i do. anyway, thanks for reading this rambly post (if you haven’t already fallen asleep by the end of it), and thank you for holding this giveaway…i hope i was able to convey everything well ;;;;

over sexualizing idols

I’m gonna get shit for this, but I’ve come to a realization that i really hate how Baekhyun is being portrayed as the sexy, mysterious guy nowadays.

[calm your tits till end]

like don’t get me wrong, he literally slays dem bitches. but i just don’t like it when they force it in campaigns, photoshoots, concerts, when he feels like in order to be accepted he needs to grow muscle and show off his abs and or sexier side. The way the pose him in photoshoots is not to smile and be bubbly[like how irl bb acts], but to smirk and stare at the camera. back in the Love Me Right Era, that was him feeling himself, he was showing off his skills [in concerts], his true sexiness without taking off his shirt and later asking the fans if that’s what they wanted. Appreciate Baekhyun for who he is in reality, at times he can be disrespeCTFUL and show off dem curves but if he’s not feeling it who the fuck cares.

I also wish for media to stop hiring idols to act then complete opposite of who the are [ex: chanyeol - i married an anti-fan]. Same thing goes for the rest of exo, do not push em’ to show off their fucking body. the exo fandom are full of thirsty bitches, i mean artificial love live is our krypton, but i want us [as a fandom] to appreciate our dorks for who they truly are <3

I was also so sad when Sehun apologized for not being able to show his body off at a concert because he had a smol stomach. Some exo-l’s fucking encouraging Kyungsoo to take off his shirt and that’s never okay, let him do whatever he wants.

* again, i’m not trying to judge these artists it’s just that i want their fandom and social media in general to appreciate them for the goofy idiots they are, not when they act sexy *

erica jones headcanons!

- shes a leo, born the day before harry potters birthday (july 31st) and shes a geek about it

- oldest child of three brothers, two 12 year olds and a 9 year old

- favorite music is hayley kiyoko, paramore, lorde, and pretty. odd era panic at the disco

- really mad that she doesnt show up on camera because she loves the pinkish purple flower halo on snapchat

- super protective of benny ethan & rory even tho she doesnt act like it

- her and rory tease each other all the time and she pretends to hate him but hes probably her second best friend

- found out ethan started reading dusk and now calls him all the time or goes over to talk about it because theyre both NERDS who LOVE IT and they bond over it. they never talk abt it at school but they Know

- asked sarah out after their senior graduation when sarah asked “what do we do now” and then erica just kissed her

- (she needed the boys’s help bc she had no idea how to do it and they gave her that idea)
- loves horror movies

- would do anything for her friends

- wants to go to london really bad




Okay, so I know this topic has been brought up a countless number of times. But I really need to get this off my chest, as not just someone who stans VIXX, but as another human being. We are all just people. It doesn’t matter how famous you become, or how loved you are. Idols are human too. They’re not gods. They’re not objects. And they don’t deserve abuse, just like no one deserves abuse. The topic of Cha Hakyeon’s skin colour is something that I see brought up a lot. And I mean a LOT. Whether it be good comments or bad comments. Hakyeon is an idol. But he’s a human, and a person, just like everyone reading this. He has emotion, and esteem, and body image. He struggles with accepting himself, as a wide variety of people do, for a wide variety of reasons. In his case, he has trouble with accepting his skin tone. It’s not something he can change. It’ll never go away. And yet, he is constantly harassed for it. He has many times been told to “change” his skin tone, a thing that quite simply just can’t happen. Everyone is born with a pigment. It’s what makes you hair and eyes the colours that they are. It’s not something you can help. It is a result of your background, and your personal genetics. That’s it. Sure you can tan, or you could stay out of the sun altogether. But that will only be a temporary change. Your original colour will always be the way it is. In Korea, beauty standards are very strict, and many incredibly outdated. One being the obsession of “light-skinned.” In Korea, the beauty standard is to have dark eyes, dark hair, and pale skin. Now, the thing about pigment is that it normally stays within the boundary of a base tone. Meaning, if two out of three of your colours are dark (if you have brown eyes and black hair), chances are the third (your skin) will be dark, and vice versa. It is rare to find someone with the variable (a black person with blond hair, etc) So, similar to North America, only a small amount of people actually fit the pushed standard of beauty.

The difference between North America and South Korea, is that in Korea, it is socially acceptable to publicly humiliate someone if they do not fit that narrow beauty standard. Yeah, you read that shit right. They can openly bully someone for the way their fucking body was created, something they have no control over. Cha Hakyeon is an example of this sort of abuse. No, I’m not going to deny the fact that his skin is darker than many of the people I see around him. It is. But he can’t help that. And he doesn’t deserve to be shunned for it. Now, I am not only defending Hakyeon with this post, either. There are many other idols, and non-idols who suffer the same shit as him. I’m not going to say “regular people,” because wether we are in the public eye or not, we are all regular people. I’m simply using Cha Hakyeon as an example, because he IS in the public eye, he is someone I idolise, and he is a human. I have seen time and time again that he is reprimanded for the colour of his pigment, even by those who are close to him, such as his band mates. It is a topic that is brought up constantly, and constantly taken lightly. They’re ‘just kidding.’ Throwing offensive comments, and then treating it as a joke. If you want details to such comments, I suggest you go to @offensivekpop, as they have a full explanation. It is quite clear that Hakyeon is not comfortable with these comments, and that he gets offended, as anyone would in such situations. The issue is prominence and reoccurrence. It’s not just a snarky little joke anymore. It’s gone beyond the pail, and is just flat out abusive. Hakyeon is a very beautiful and kind individual. He doesn’t deserve this kind of treatment. Nor do any of the people that are affected by colourist comments.

When I first got into VIXX, the first person I saw was Hakyeon. I had never seen an Asian person with dark skin before, and my first thought was that it was beautiful, and that he must be admired. In North America, people want to tan. It’s something that is sought after. In Korea it’s looked down upon. I first started noticing this while watching an episode of Seoul’s Secret Box, that was featuring VIXX (situation is also mentioned in the above blog). They were to pick questions off the wall, and answer them. I noticed that throughout the duration of the episode, Hakyeon was constantly bashed, with comments such as “make sure the camera picks you up,” and “red hair doesn’t suit you, it makes you look darker.” When it really sunk in was when they had to pick a member, who had to answer yes to every question asked. Hakyeon was promptly grabbed, despite him fighting against them, and trying to open the door. Sanghyuk restrained him by pinning his arms to his side, while Wonshik berated him about his physical appearance, and his role as leader. It was quite obvious that Hakyeon definitely didn’t want to be in this situation, by the end of it being so defeated that he couldn’t even yell at them anymore. It was a harsh wake up call for me, exposing the reality and seriousness of the situation. This was not just some inside joke, or something that was funny. It was bullying. It was unwanted. It confused me. At the time, I had only seen two videos by them, and didn’t really know anything about the fandom, or the members. Up until then, I had idolised Hakyeon because I thought he was beautiful. I thought that since dark skin was rare among idols, it must be sought after.

My immediate thought was “but Ravi also has ‘dark skin.’ Why isn’t he teased the way N is?” In Korea, the only time it is acceptable to have dark skin is if you are a rapper, or someone in a sex profession. Basically, someone who is “badass” or “dirty.” It is presentable only among the grungier appearances. Wonshik is a rapper, and therefore it is okay for him to be tanned, similar to someone such as Hyuna. Hakyeon is a vocalist, and has a “cleaner” appearance and way of presenting himself. Therefore he is not allowed to be darker. What only furthers this is the fact that out of all the members, Wonshik seems to be the worst when it comes to teasing/bullying him. I am not bashing him in anyway by saying this. I love his music and his writing, and I think he’s very talented. I’m just pointing out what I’ve seen. He seems to jump at every chance he can to make fun of Hakyeon, almost as if trying to gain superiority, and to make sure the attention stays on Hakyeon, and doesn’t slide onto him. I’ve also noticed that Hakyeon likes to put on this persona, this kind of erotic image, such as the dances he performs on stage. It seems as though he puts on this act, almost as if saying to the audience “look at me, I’m a sex toy.” Like a cry for positive attention. He seems to almost whore himself out. Even the way he looks so confident when applauded. As if he’s achieved something. It seems as though he sluts it up for the camera, just so he can be seen as attractive by someone. It seems as though he just wants to be seen in some sort of positive light by anyone. He wants to be noticed in a good way. And the only way he won’t get teased is if he exploits himself. If he’s a slut, he fits the standard, and no one will harass him. He is allowed to be dark, as long as he is sexualised. He seems outwardly happy, but he always looks sad, as if he’s proved that he’s worth something. The kind of “see? I’m pretty too,” attitude. The sugar high of temporary self esteem. I find it very depressing whenever I see him act like this on camera. He seems so desperate, and he shouldn’t have to.

The final thing I’ve noticed is the ever increasing light patches on his skin. Hakyeon’s skin does noticeably change colour from era to era, he says because he uses whitening cosmetics. For example, during On and On, he was very tan, and now, just after Hades has come out, he is sheet white. But it doesn’t look like just makeup. He looks tired and sad and sick, and not at all healthy. I was almost horrified to see this recent picture of him during a performance of Dynamite that he posted on social media. The most noticeable thing is the overall colour of his skin. He looks flushed, and unhealthily pale. If you look, you can see these random splotches on his cheeks and chin, where the skin is much lighter, almost to the point of being yellowed. I don’t care wether or not he says the cosmetics he is using are harmless, it’s obvious that they aren’t. Those are scars, and they are from him using bleach creams on his skin. This is also evident, due to the almost raccoonish circles around his eyes, where his skin is much darker, like it was during On and On. He has dark bags under his eyes as well, and looks very tired. His smile looks fake. He doesn’t look happy at all. It hurts my heart to see someone I idolise in this kind of situation. Bleaching is a very painful process, and it causes rashes and skin irritation. Prolonged use can cause the patches you see on his face, the scars. If it is used too much those scars could never fade. I have a personal experience with my friend who used to bleach her skin. She was shunned by her mother for being dark, and was forced to bleach her skin. She stopped three years ago, and the scars are still there. I don’t know when Hakyeon was bleaching his skin, or even if he’s doing it currently. It just stood out to me almost immediately, and I found it very upsetting.

Hakyeon is a very kind, beautiful man, and doesn’t need to go through this level suffering to prove that to people. He shouldn’t have to validate his worth by hurting or exploiting himself. People should just respect him, and appreciate him for who he is, not the colour of his skin. It disgusts me that it is the year 2016, and yet skin tone still matters. He can’t help the way he was born. He has that skin tone because for most of his life, he was outside helping his parents, and working his ass off, which is more than what most of the fucks who abuse him online could ever hope to be doing. We need to understand that everyone looks different, and that anyone can be beautiful, regardless of their colour or ethnic background. Everyone needs to just shut the fuck up and mind their own business, he’s perfect the way he is, and doesn’t need to change to impress anyone. He’s a good person, and doesn’t need this shit. Please, just give it a rest. I sincerely hope that the other members will start seeing that this isn’t a joke, and that it’s hurting him. They need to stop. Everyone needs to stop. It’s not funny. It’s not just a joke anymore. It’s verbal abuse. And no one deserves to be abused.

Hakyeon needs to start seeing that he isn’t just an object, and that he should stand up for himself. He did nothing to deserve this. He isn’t ugly. His worth isn’t defined by his colour. He is a capable, sweet person that only wants to do what he loves, and succeed. He has feelings and dreams and goals just like the rest of us. He’s just another person, and he’s only twenty six years old. He shouldn’t feel like he has to stand by and let himself hurt like this. I find it sick that he has to go through so much pain at such a young age. He gets so uncomfortable when people mention his skin, and is always so desperate to change the topic of conversation. It really takes a noticeable toll on his self esteem. It’s heartbreaking to me, and I hate seeing it. I wish I could find a way to tell him that he’s strong, and he’s beautiful, and that everything is going to be ok. I wish I could make more of a point than just ranting on Tumblr.

To anyone who is suffering from colourist abuse, I want you to know that you are courageous, and you are gorgeous, and that you are so, definitely worth it. I don’t want you to feel like you deserve this because you don’t. No one does. Just keep holding on, and keep being brave. You will make it through this, it will be ok. They’re just jealous. They WISH they could be as tolerant, and as powerful as you are. Keep being you, and don’t feel like you ever have to change yourself for anyone. You are perfect the way you are. Your brown is beautiful, and don’t let anyone tell you otherwise.

I really hope someone reads this and cries, because I sure as fuck did writing it. Thank you to whoever actually finished reading this because it really means a lot to me. Rant over.

anonymous asked:

Hiya, do you by any chance know or have a link to the video where it seems like jimin is ignoring jungkook? Well maybe not exactly ignoring him, but Jimin was hardly talking or making any physical contact with him. I think this was during the run era?? :)

I think this is the video you were talking about. It seems like whenever Jimin and Jungkook are on camera together Jungkook is acting silly, possibly trying to get Jimin’s attention, and Jimin is just going on doing his own thing not really paying Jungkook any mind. Finally at the end though Jimin starts to laugh at silly Jungkook and they seem okay lol

It’s possible Jimin was upset or maybe he was just tired and stressed out.

Like Jimin said when he’s stressed he’ll stay quiet but Jungkook will come around and make him laugh so maybe Jungkook knew that Jimin was stressed and was working hard to make him laugh. Jimin always seems happy on camera but that might just be for show. When he’s laughing with Jungkook you can see how genuine it is.

Tell me if this is the wrong video and give me some more details so I can find it.


It was era of rock and roll and Led Zeppelin was one of my favorite bands of the time. They were at the time Hard Rock and Blues. What a talented group of musicians. Jimmy Page, Robert Plant, John Paul Jones, and John Bonham. I was fortunate enough to see them play 4 times and 4 different tours. This was my last time seeing them and having my camera with me.

Back then they did not care about cameras in the audience as they do today. I would walk around and act as if i’m from the newspaper or some source for musicians, and no one bothered me. I could walk right up to the front or side of the stage. There were even times where I went back stage, although not with Led Zeppelin.

I had my Nikon F/2 and a small bag that held two lenses and more film. As long as you look and act the part no one bothered me and I just kept on moving around and shooting.

I would take 2 rolls of black & white Kodak Tri-X, Kodak high speed slide film, and a couple rolls of color.


anonymous asked:

okay, can we take a moment to realize that Youngjae is finally showing some form of affection towards Jaebum. i mean the birthday post says everything because Youngjae doesn't really post too much. anyways, my pint is 2jae is more alive than ever.

My dear anon,

I absolutely agree that Youngjae’s Instagram post for Jaebum’s birthday is a beautiful sign of him showing affection for his favorite hyung! He really is so shy about showing his real emotions about things, and he doesn’t tend to be cheesy or sappy as much as Jaebum when in public… but the fact that he rarely uses his Instagram and yet still used it to post about Jaebum’s birthday (by sharing a predebut 2jae selca!!) really does show how much he cares and how alive 2jae is lately!!

I mean, they might never be as prone to fanservice and “couple moments” as they once were or as much as other members are when they play around (or… y’know… be Markjin…), but I feel like they’ve been becoming more and more comfortable being close and intimate in public again lately, especially since their Hard Carry date!

I kind of mentioned it before, but I really can’t shake the feeling that being able to act all close and affectionate with the excuse of the cameras helped them to relax a lot about the way they act with each other instead of being so shy all the time and acting like they’re afraid they’re going to give something away every time they look at each other! (Which, actually… is a valid fear. x x x ) I mean, let’s not forget that this is also the era in which this happened!

2jae has definitely been alive and thriving lately, and even if those two instances can mostly be attributed to Jaebum, Youngjae’s Instagram post proves that it’s not just one sided!! At the very least, (if not to go so far as to claim that 2jae are publicly declaring a relationship…) they are definitely proving how biased they are towards each other through the increase in skinship and intimacy, through the things they say ( x x x ), and now through the things they post! (Though… I still think that Youngjae has been using his Instagram posts to talk about his love for Jaebum for a while ( x x x )… but that’s just me being a trash can!)

2jae have always had so much love for each other, and they’ve always been so incredibly close, but they got shy about showing a lot of their closeness for a while, and Youngjae is still more skittish about open affection than he used to be ( x x )… but he still loves his Jaebumie-hyung so much in his own ways, and it’s so beautiful to see him showing it so clearly once again!!

Even if his face shows that he’s pretending to hate it once again!!

Fave Exo things part 2

- The chest bobbing move in lotto
- When members eye fuck the camera
- When dance line dance & the other members look at them like WOAHHH
- Sehuns hair in his and Yixings Mama teaser
- Mama
- Mama album
- BlOnDe KAI
- Blonde Baekhyun😭
- Every acting role Kyungsoo has ever played, or ever will play in the future and his next reincarnated life
- Baekhyun and Chen in musicals asdfghjkl
- Tao doing flips like a badass
- Yixings english
- Suho throughout monster and now lotto era (bitchhh ive gone blind)
- The members love for Suho
- Sesu
- When Chens hair is styled up
- Casual clothed exo
- Chanyeols red hair
- Xiumins no holding back sexy dancing
- Baekhyun dressed as a girl

The question is..just how many parts am I gonna make ??


8x06 “Southern Comfort” // 10x01 “Black”
Supernatural Rage Caught on Camera

Posted as part of the Series “Of Blood, Bone and Darkness”:
A Carver Era Rewatch Hiatus Meta-Series

The bit about two brothers fighting on opposing sides of the civil war has of course always been meant as a direct and obvious parallel to Sam and Dean as vessels for Lucifer and Michael. Two brothers fighting on opposite sides - one on the side of Heaven, the other on the side of Hell. Interestingly enough one killed the other and overcome by guilt later brought his sibling home. The spectre possessed people and made them act on old grudges, things they usually suppressed and ignored - emotions they commonly had under control.

I don’t know about you, but when Dean got possessed by the spectre then and voiced all of his resentments outright and tried to kill his brother of course we couldn’t know that just one season later  Dean wpuld accept a mark on his arm from none other than Cain, the father of murder, who killed his brother so he would go to Heaven while his soul would get bound to Hell. It’s another brother story, another tragedy and I think one can wonder whether Cain, plagued by guilt, maybe visited his brother’s grave too like he did with Colette’s. In any case I find it really neat that we have a parallel between the brothers of 8x06 “Southern Comfort” and Demon!Dean and Sam in S10. And that not just visually when this supernatural rage is caught on camera, but mostly because wen we see this tape of Dean we follow Sam who is trying to get his brother home…

Some interpretations of early tintypes of women with their backs to the camera, believe the women are showing off their (lovely) long hairstyles. While very long hair was fashionable at the time, I like to think part of the popularity of this pose was a cheeky act of subversion.

With rapid technological developments in the late 1800s (including photography!) women began to fight for their own social equality. The camera allowed these women to create images of themselves, and they felt empowered enough to challenge the viewer by turning their backs to the camera and keeping their image to themselves.

Or they thought their hair looked great that day!


I rewatched “Loss of a Teardrop Diamond” starring Bryce Dallas Howard and Chris Evans. Thus I come bearing screencaps of Chris Evans’ face and gifs of Bryce Dallas Howard’s flawless reactions.  It’s pretty much a feelbad movie that will leave you confused and uncomfortable (standard Tennessee Williams fare really), but it’s gorgeous and the acting is wonderful.

(Content warnings for scary 1920’s era mental health institutions, assisted suicide topics, and Chris Evans making sad eyes at the camera)

anonymous asked:

Am i'm the only who thinks that B gets ridiculously shy whenever he's around C? He's my bias and i know him pretty well, when B is with the other members who aren't C, he is always joking but when he's next to C he never really speaks that much as usual, he only laughs and things like that. I also notice how B sits when he is around C, his legs are more closer and most of the time he is always seeing the floor, it seems to me that B doesn't really know what to do when he is with C.

Believe me, you’re not the only one.

He is insanely shy and vulnerable around Chanyeol. A huge part of their interactions are Chanyeol teasing/flirting with/bothering Baek and Baek being shy and vulnerable as hell.

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I mean, this can’t be normal guys. It says a lot how he behaves around Chanyeol, compared to other members. He is flirty with the other members, that’s very true, but there’s just such a noticeable difference when it’s with Chanyeol, it’s too big to ignore.

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I totally get what you’re saying, anon. I’ve noticed this certain mannerisms before, and they haven;t changed what so ever. It’s like he indulges in the attention Chanyeol gives him, and acts cute in order to receive more of it.

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Only Chanyeol can turn Baekhyun into a mess of cute and feels.

-admin SFS

Yeah, Baekhyun’s body language is different around Chanyeol. That goes without saying. But…

Sorry, it’s theory time. I hope you won’t mind if I use your ask, but I’ve just gotten inspired.

Notice how all the gifs are from Mama era? I wanted to share some too, more recent ones, but couldn’t really find gifs that would fit. That would be as obvious and in your face, as they ones SFS shared.

I feel like something has changed now, you know? Baekhyun still act differently around Chanyeol compared to his interactions with other members, but it’s more… I guess tentative, but in the same… assessing? Like what he can or can’t do, how he should or shouldn’t act, but it’s not necessarily about Chanyeol himself, but about them being in public, on cameras. Because to me Baekhyun isn’t just acting bashful like he used to. Like “I’m so attracted to you, I can’t take it, what to do”. There is certain inner knowledge about his actions now. And sometimes just pure longing.

Lately, more and more I feel like we are missing something, and I start considering what if… What if they already reached a certain stage about their relationship, but they can’t or won’t show it openly (as openly as they could considering who they are I mean)? I feel like they are too careful, too self-conscious. And maybe I would believe that they are just two friends who don’t want to be shipped anymore, but I look at them, and I can’t.

It’s like… Recently, even though they may seem a bit similar to how they used to act in Mama era, they share these knowing looks now. Knowing smiles. Like a secretive language only they understand. And they use these small subtle touches to convey things they can’t show differently.

Idk guys, just look at them.

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It was just a couple of examples. The aura around them is different now, don’t you think? Baekhyun isn’t exactly shy around Chanyeol now (unless you mean the moments where Baekhyun’s feelings are spilling, and just being near Chanyeol makes him giddy). More like he is hesitant. “Is it ok?” “Is it acceptable to do it?”. And not exactly because of Chanyeol, or not always, but because of some outside factors. And Chanyeol is like that too.

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And now I just gave myself a headache… Sorry if I went kind of off topic. It’s just… these thoughts have suddenly popped into my head, and I had to let them out.

-admin MTL


Yesterday I received this message on my most recent upload to YouTube, no doubt a dig at the current content being uploaded to the channel but still a fairly accurate comment none the less.

I haven’t really spoken publicly about the direction I’m taking World of the Orange for 2015, mostly because I simply don’t know. So instead I’m just going to explain where I’m at and what’s going on with me and then y’all can rest easy once and for all.

In January this year I started working essentially full time on video editing for an external company. Completely separate from any of the personal editing I’ve been doing for the past 4 years on WOTO.

Reasons for accepting the job as opposed to forging forward with a YouTube-centric career?

The channel wasn’t providing a huge income for me and YouTube’s ever more broken platform for channels with less than 6.8 gazillion existing subscribers didn’t help matters. So yes, money obviously plays a factor. I have rent and bills to pay. I live with my girlfriend and my dog and sometimes we like to eat. Sponsorship deals would poke their heads around the corner from time to time but I’m not hugely into acting or presenting or generally portraying a false version of myself in front of the camera, which seemed to be what most of the offers coming my way required, so most of the opportunities I was turning down anyway.

There have been many incarnations of WOTO but generally people only think of one (2013/#CONTENT era). The channel how it is now is just another regeneration. (I’m aware that’s a Doctor Who reference and I’m sickened by it.) To explain I will have to cover essentially the entire timeline of WOTO. So here goes.

2011/2012. The channel actually started off as a comedy VFX channel. 4 years ago both myself and Liam were slightly below par video editors with some small experience in video effects software like After Effects. So we made little sketches like Epic Mundane Task’s etc.  

Then we gave that up. The stress of producing high quality content regularly whilst juggling work and university was insane. So we actually ended the channel. During 2012 we ended the channel. It was dead. We had retired. Resigned to the fact that it simply wasn’t for us. Then at the beginning of 2013 we sat down and turned on a camera, poked fun at the system and broke every rule that YouTube had asked us to follow with their “Creators Handbook” and made a stupid, poorly shot, poorly edited, piss take of a video. Then we did it again… every week, for an entire year. That was the peak of WOTO. The chaotic 2013 era that saw multiple collabs, sofa banter, #CONTENT and nothing but laughter. The second incarnation of WOTO is what most people think of it as being, still, even after Liam left, even now.

At the beginning of 2014 we tried to branch out with our brand. We reached out to radio and television to see if we could push WOTO beyond YouTube and further the brand. We spruced up the channel. We even attempted a longer format (incarnation three) over the summer to test our skills but after 6 months of mostly fruitless attempts we stopped pushing and not long after that Liam wisely decided to throw in the towel.

That was obviously a huge blow to the channel. It left me at square one. I didn’t know how to run a solo channel. Since I can’t do makeup tutorials or direct short films, I was faced with the crossroads of either vlogging or gaming. So I tried vlogging (incarnation four) and I hated it and myself within about 2 weeks. I had spent 4 years honing the skill of bouncing comedy off of my partner in crime Liam, not sitting alone in a bedroom classic vlog style. At the end of the year a pretty decent opportunity was offered to me as an editor. The years of WOTO weren’t fruitless, in fact they honed my skills as an editor better than a performer or comedian. So I took the job expecting to be able to easily continue providing content for the YouTube channel.

There was a transitional period, I moved house and settled in at my new job and it was pretty tough to find time to upload. So I didn’t. But without the guillotine of rent dangling above my head I was able to step back and take a look at the last few months of the channel. Did I want to keep uploading vlog-style solo videos? Is YT even a thing I want to do anymore? Was I just doing it to pay rent?

No, no and yes.

Honestly, I probably could easily keep uploading at least a single video a week but I realised I didn’t want to. For one thing the whole landscape of YouTube has changed so dramatically over the last few years that it’s not even a platform I like anymore regardless of whether I am on it or not.

But aside from that, I found that, bit by bit I was carving away at my own personality. Forcing myself to be very vanilla to appeal to brands and make sure that nobody watching the video would be offended or turned off by anything I said or did. The pressure to be something your not starts to really affect your ability to have fun and enjoy the content you’re creating. WOTO was supposed to be fun first and foremost and frankly it wasn’t anymore. In reality I would never heavily censor myself like that. I had built a version of myself that was starting to feel more like an act than anything else.

Recently, I started live streaming on Twitch in my spare time. Mostly I wanted to chill out after working all day and play a game. But I still love the interaction with an audience so streaming on Twitch seemed like a good idea. The reason I made YouTube videos was to have a laugh with my friend and provide something decent for everyone to watch. The comments on our videos used to make us laugh as much as much as filming the video did. It was like YOU were all involved with us. A huge group of friends from all over the world. But by the end of last year it was just me churning out a video containing a false version of myself in the hopes somebody would pay me enough money to promote something so that I could make rent that month. I had become the same as every other channel on the platform and WOTO made its name by swimming against the current. I no longer represented my own brand. I no longer represented myself.

So for the time being WOTO is in its next incarnation. Number 5. On a whole different platform. And yes, I guess that what’s left on YT is a gaming channel in a way. If you subscribed for me and Liam, we’ll pop up from time to time playing a game. If you subscribed for collabs with other YouTubers on a sofa, that ended 2 years ago. If you subscribed for me then I haven’t really gone anywhere. But if you subscribed for a specific type of content then likely it is gone. Essentially it’s complete overhaul number 5. Me, working as a video editor, then coming home and streaming games and possibly uploading that to YouTube for those who want to see it.

So if you wanna hang out with me this year I’ll most likely be at If you wanna watch whatever bits and bobs I upload to YT then go for it! That’s great! But I think we have to say goodbye to WOTO 1,2,3 & 4 and accept that everything eventually moves on.

Honestly, I think you’ll be okay.

Disclaimer: This was ghost written.