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Remus

@son-of-land

no not lupin that's just my name
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do you ever watch videos of youtubers reading their own crappy wattpad x self insert fics and think to yourself man i would love to explain the sold to one direction trope to these kids, it would absolutely break them

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it was the morning after the big move (a/n idk where she moved too lol) and you swept your messy dark brown hair that was slightly wavy with sun kissed blonde streaks in it up into a messy bun and swiped mascara across your thick lashes that brought out your shining blue ocean colored orbs before throwing on the large frumpy sweatshirt that i had thrown on the floor the night before. i heard the doorbell ring from downstairs. “y/n!” your mom yelled “get down here quick!” “what is it mom?” i yelled back, she was so annoying sometimes. “your new owners are here,” she stated. “my- what?” you stammered, perfect pink lips opening in shock. “yes honey, how else do you think i was able to pay for this house and my alcohol addition? now open the door” you opened the door and saw them on the doorstep, one direction. they looked mostly bored but harry opened his arms and gave you a brilliant smile, his pearly white teeth glistening in the sun. “hey princess get your stuff.”

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We live in a dystopia....

If the background actors don't come in for work because they exist virtually then the background costume and background hair and make up and their catering and transport and all the other departments that look after them get cut too. These things have knock on effects...

They’re also shooting for 100% renewable plastic sources by 2030! All of the soft plant/leaf elements in sets right now and going forward are made out of bioplastic made from sugarcane, and they’re working on getting the regular hard plastic bricks out of that, too.

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They’ve done it, actually! The full bricks are in the prototype stage now, and are expected to be 100% biodegradable without the need for a commercial compost facility. It’s very cool. Right now they’re testing the durability and playability of the bricks and seeing what needs to be revised/reworked on their final model.

So its that easy huh

Of course it is

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Actually, this isn’t “easy” and is huge news. You see, Lego is absolutely meticulous about their quality control. Their standards for manufacturing are stupidly high, as are their safety requirements. You know that distinctive “click” when you pop two Lego bricks apart? They engineered that. That sound is so distinctive that it can be used to tell genuine Lego bricks from counterfeits and it’s a sound that would be based on shape and material.

Furthermore, one of the hard requirements for a Lego brick is that it must be compatible with any other Lego brick. If I buy a set today and pull a set from the 1980s? Those bricks would fit together perfectly. This requires a huge amount of precision engineering and controls on manufacturing quality. (I can’t remember the source, but I’ve at least heard that once the brick molds wear to a certain point, they’re pulled from the line and either melted down or turned into construction material for Lego HQ. Point being, no one is getting their hands on a worn Lego mold)

Recycled and non-petroleum plastics are different from other plastic. The chemistry is different. The timing and process to use them is different. This has been a reason why more companies haven’t moved to them, because there’s a drop in quality for material (so they claim).

What Lego just did is completely obliterate that argument. The corporation with some of the strictest quality control requirements for plastic just kicked the basic foundation of the “bad quality” argument out from under it, because if they feel confident enough to guarantee the same experience as using a brick from over 40 years ago, if they are confident enough that they can meet their own metrics at a huge industrial scale….

Nobody else has any excuse.

I was on a plane this weekend, and I was chatting with the woman sitting next to me about an upcoming writer’s strike. “Do you really think you’re mistreated?” she asked me.

That’s not the issue at stake here. Let me tell you a little something about “minirooms.”

Minirooms are a way of television writing that is becoming more common. Basically, the studio will hire a small group of writers, 3-6 or so, and employ them for just a few weeks. In those few weeks (six weeks seem to be common), they have to hurriedly figure out as much about the show as they can – characters, plots, outlines for episodes. Then at the end of the six weeks, all the writers are fired except for the showrunner, who has to write the entire series themselves based on the outlines.

This is not a widespread practice, but it has become more common over the past couple of years. Studios like it because instead of paying for a full room for the full length of the show, they just pay a handful of writers for a fraction of the show. It’s not a huge problem now, but the WGA only gets the chance to make rules every three years – if we let this go for another three years and it becomes the norm? That would be DEVASTATING for the tv writing profession.

Do I feel like I’m mistreated? No. I LOVE my job! But in a world of minirooms, there is no place for someone like me – a mid-level writer who makes a decent living working on someone else’s show (I’d like to be a showrunner someday, but for now I feel like I still have a lot to learn, and my husband and I are trying to start a family so I like not being support rather than the leader for now). In a miniroom, there are only two levels – the handful of glorified idea people who are already scrambling to find their next show because you can’t make a decent living off of one six-week job (and since there are fewer people per room, there are fewer jobs overall, even at the six-week amount), and the overworked, stressed as fuck showrunner who is going to have to write the entire thing themselves. Besides being bad for me making a living, I also just think it’s plain bad for television as an art form – what I like about TV is how adaptable it is, how a whole group of people come together to tell a story better than what any of them could do on their own. Plus the showrunner can’t do their best work under all of that pressure, episode after episode, back to back. Minirooms just…fucking suck.

The WGA is proposing two things to fix this – a rule that writers have to be employed for the entire show, and a rule tying the number of writers in the room to the number of episodes you have per season. I don’t think it’s unreasonable. It’s the way shows have run since the advent of television. It’s only in the last couple of years that this has become a new thing. It’s exploitative. It squeezes out everyone except showrunners and people who have the financial means to work only a few months a year. It makes television worse. And that is the issue in this strike that means everything to me, and that is why I voted yes on the strike authorization vote.

The LGBTQ community has seen controversy regarding acceptance of different groups (bisexual and transgender individuals have sometimes been marginalized by the larger community), but the term LGBT has been a positive symbol of inclusion and reflects the embrace of different identities and that we’re stronger together and need each other. While there are differences, we all face many of the same challenges from broader society.

In the 1960′s, in wider society the meaning of the word gay transitioned from ‘happy’ or ‘carefree’ to predominantly mean ‘homosexual’ as they adopted the word as was used by homosexual men, except that society also used it as an umbrella term that meant anyone who wasn’t cisgender or heterosexual. The wider queer community embraced the word ‘gay’ as a mark of pride.

The modern fight for queer rights is considered to have begun with The Stonewall Riots in 1969 and was called the Gay Liberation Movement and the Gay Rights Movement.

The acronym GLB surfaced around this time to also include Lesbian and Bisexual people who felt “gay” wasn’t inclusive of their identities. 

Early in the gay rights movement, gay men were largely the ones running the show and there was a focus on men’s issues. Lesbians were unhappy that gay men dominated the leadership and ignored their needs and the feminist fight. As a result, lesbians tended to focus their attention on the Women’s Rights Movement which was happening at the same time. This dominance by gay men was seen as yet one more example of patriarchy and sexism. 

In the 1970′s, sexism and homophobia existed in more virulent forms and those biases against lesbians also made it hard for them to find their voices within women’s liberation movements. Betty Friedan, the founder of the National Organization for Women (NOW), commented that lesbians were a “lavender menace” that threatened the political efficacy of the organization and of feminism and many women felt including lesbians was a detriment.

In the 80s and 90s, a huge portion of gay men were suffering from AIDS while the lesbian community was largely unaffected. Lesbians helped gay men with medical care and were a massive part of the activism surrounding the gay community and AIDS. This willingness to support gay men in their time of need sparked a closer, more supportive relationship between both groups, and the gay community became more receptive to feminist ideals and goals. 

Approaching the 1990′s it was clear that GLB referred to sexual identity and wasn’t inclusive of gender identity and T should be added, especially since trans activist have long been at the forefront of the community’s fight for rights and acceptance, from Stonewall onward. Some argued that T should not be added, but many gay, lesbian and bisexual people pointed out that they also transgress established gender norms and therefore the GLB acronym should include gender identities and they pushed to include T in the acronym. 

GLBT became LGBT as a way to honor the tremendous work the lesbian community did during the AIDS crisis. 

Towards the end of the 1990s and into the 2000s, movements took place to add additional letters to the acronym to recognize Intersex, Asexual, Aromantic, Agender, and others. As the acronym grew to LGBTIQ, LGBTQIA, LGBTQIAA, many complained this was becoming unwieldy and started using a ‘+’ to show LGBT aren’t the only identities in the community and this became more common, whether as LGBT+ or LGBTQ+. 

In the 2010′s, the process of reclaiming the word “queer” that began in the 1980′s was largely accomplished. In the 2020′s the LGBTQ+ acronym is used less often as Queer is becoming the more common term to represent the community. 

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I dreamt that people found out that tumblr posts had a secret hidden text field that you normally couldn't put anything into that was called a post's "wungle text", and it wasn't normally displayed in any way, but someone made a browser extension that allowed you to write and view a post's wungle by flipping it over like an index card. The user's picture and name and all that would be backwards, but the wungle post looked otherwise like a normal post, though empty unless the author had written something in there. It worked in reblogs too.

People were using it for jokes, and a bunch of seemingly boring and innocuous posts got really popular with funny wungle sides.

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It looked kinda like this:

The post would be the same height vertically, it would just be a ton of blank space on the wungle side, so if you wrote more text on the wungle than you did on the post itself, it would just overflow and get hidden under the other UI elements.

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lá náisiúnta na mban sona <3

An mise an t-aon duine a bhuil mícompordach leis an pictuir sin? Tá sé có,,,,, ait??? Is aoimhin liom é ach is fuadh liom é lmfao

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the best part is that the obligatory "buy this game here" link instead links to trans crisis hotline

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“There’s a direct correlation between how open Rowling becomes about her bigotry, and how flat and heartless Wizarding World media becomes. I don’t think that’s a coincidence. I think it’s because LGBTQIA+ people and genuine allies are some of the best creative minds in the world, and these films and this game were made largely without them. 

The game industry is far queerer than most people realize. All the things you know and love about your favorite games were made by queer people. I don’t just mean directors or executive producers. I mean the concept artists who bring your favorite games to life, the sound designers, the engineers, the technical artists, the composers, the musicians, the writers, the testers, the producers—the hands that make the best games in the world are queer. We’re the life, the heartbeat, and the magic of great games.

In the yawning emptiness at the heart of Hogwarts Legacy I see the quiet solidarity of queer people and our allies in game development. The people who just said no when the job offers came their way. The ones who didn’t answer the emails from Portkey Games, the ones who politely let their coworkers know that working on a Harry Potter game would be harmful to the trans community, the ones who listened and said, “Okay, yeah, thanks for letting me know.” The people who put their morals, and their loved ones, above an easy paycheck.

I probably won’t ever know your names. But you know who you are—I see you, and I appreciate you more than words can ever express. Thank you for making it easy for me to close the book on Hogwarts and Harry Potter. The magic is gone and won’t ever return, because without us, the Wizarding World is as heartless as its creator.”

SO tasty.

Please read this man’s description of his dachshund and its most annoying habit

“I have a ridiculous dog named Walnut. He is as domesticated as a beast can be: a purebred longhaired miniature dachshund with fur so thick it feels rich and creamy, like pudding. His tail is a huge spreading golden fan, a clutch of sunbeams. He looks less like a dog than like a tropical fish. People see him and gasp. Sometimes I tell Walnut right out loud that he is my precious little teddy bear pudding cup sweet boy snuggle-stinker.

In my daily life, Walnut is omnipresent. He shadows me all over the house. When I sit, he gallops up into my lap. When I go to bed, he stretches out his long warm body against my body or he tucks himself under my chin like a soft violin. Walnut is so relentlessly present that sometimes, paradoxically, he disappears. If I am stressed or tired, I can go a whole day without noticing him. I will pet him idly; I will yell at him absent-mindedly for barking at the mailman; I will nuzzle him with my foot. But I will not really see him. He will ask for my attention, but I will have no attention to give. Humans are notorious for this: for our ability to become blind to our surroundings — even a fluffy little jewel of a mammal like Walnut.

When I come home from a trip, Walnut gets very excited. He prances and hops and barks and sniffs me at the door. And the consciousnesses of all the wild creatures I’ve seen — the puffins, rhinos, manatees, ferrets, the weird hairy wet horses — come to life for me inside of my domestic dog. He is, suddenly, one of these unfamiliar animals. I can pet him with my full attention, with a full union of our two attentions. He is new to me and I am new to him. We are new again together.

Even when he is horrible. The most annoying thing Walnut does, even worse than barking at the mailman, is the ritual of his “evening drink.” Every night, when I am settled in bed, when I am on the brink of sleep, Walnut will suddenly get very thirsty. If I go to bed at 10:30, Walnut will get thirsty at 11. If I go to bed at midnight, he’ll wake me up at 1. I’ve found that the only way I cannot be mad about this is to treat this ritual as its own special kind of voyage — to try to experience it as if for the first time. If I am open to it, my upstairs hallway contains an astonishing amount of life.

The evening drink goes something like this: First, Walnut will stand on the edge of the bed, in a muscular, stout little stance, and he will wave his big ridiculous fan tail in my face, creating enough of a breeze that I can’t ignore it. I will roll over and try to go back to sleep, but he won’t let me: He’ll stamp his hairy front paws and wag harder, then add expressive noises from his snout — half-whine, half-breath, hardly audible except to me. And so I give up. I sit up and pivot and plant my feet on the floor — I am hardly even awake yet — and I make a little basket of my arms, like a running back preparing to take a handoff, and Walnut pops his body right into that pocket, entrusting the long length of his vulnerable spine (a hazard of the dachshund breed) to the stretch of my right arm, and then he hangs his furry front legs over my left. From this point on we function as a unit, a fusion of man and dog. As I lift my weight from the bed Walnut does a little hop, just to help me with gravity, and we set off down the narrow hall. We are Odysseus on the wine-dark sea. (Walnut is Odysseus; I am the ship.)

All of evolution, all of the births and deaths since caveman times, since wolf times, that produced my ancestors and his — all the firelight and sneak attacks and tenderly offered scraps of meat, the cages and houses, the secret stretchy coils of German DNA — it has all come, finally, to this: a fully grown exhausted human man, a tiny panting goofy harmless dog, walking down the hall together. Even in the dark, Walnut will tilt his snout up at me, throw me a deep happy look from his big black eyes — I can feel this happening even when I can’t see it — and he will snuffle the air until I say nice words to him (OK you fuzzy stinker, let’s go get your evening drink), and then, always, I will lower my face and he will lick my nose, and his breath is so bad, his fetid snout-wind, it smells like a scoop of the primordial soup. It is not good in any way. And yet I love it.

Walnut and I move down the hall together, step by bipedal step, one two three four, tired man and thirsty friend, and together we pass the wildlife of the hallway — a moth, a spider on the ceiling, both of which my children will yell at me later to move outside, and of course each of these creatures could be its own voyage, its own portal to millions of years of history, but we can’t stop to study them now; we are passing my son’s room. We can hear him murmuring words to his friends in a voice that sounds disturbingly like my own voice, deep sound waves rumbling over deep mammalian cords — and now we are passing my daughter’s room, my sweet nearly grown-up girl, who was so tiny when we brought Walnut home, as a golden puppy, but now she is moving off to college. In her room she has a hamster she calls Acorn, another consciousness, another portal to millions of years, to ancient ancestors in China, nighttime scampering over deserts.

But we move on. Behind us, in the hallway, comes a sudden galumphing. It is yet another animal: our other dog, Pistachio, he is getting up to see what’s happening; he was sleeping, too, but now he is following us. Pistachio is the opposite of Walnut, a huge mutt we adopted from a shelter, a gangly scraggly garbage muppet, his body welded together out of old mops and sandpaper, with legs like stilts and an enormous block head and a tail so long that when he whips it in joy, constantly, he beats himself in the face. Pistachio unfolds himself from his sleepy curl, stands, trots, huffs and stares after us with big human eyes. Walnut ignores him, because with every step he is sniffing the dark air ahead of us, like a car probing a night road with headlights, and he knows we are approaching his water dish now, he knows I am about to bend my body in half to set his four paws simultaneously down on the floor, he knows that he will slap the cool water with his tongue for 15 seconds before I pick him up again and we journey back down the hall. And I find myself wondering, although of course it doesn’t matter, if Walnut was even thirsty, or if we are just playing out a mutual script. Or maybe, and who could blame him, he just felt like taking a trip.”