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linnlarsnhansn · 1 day ago

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SKAM 10 year anniversary podcast -

English translation

NRK is celebration a decade of Skam (😭) with a nine episode podcast. You can listen here

I'm collaborating with @kosegruppie who will be posting my translations and make subtitled videos with them. Make sure to follow them here on insta for all the latest!

Below the cut you'll find the transcript of the first episode (I've skipped a few summaries, the radio hosts watching the show etc, but all cast and crew interviews are there!). Enjoy!

From 03:50

Torkil Risan: It’s hard to measure that kind of thing, but Skam has to be Norway’s biggest tv show success. It was a small productio with low budget, had unknown actors and no traditional marketing. But the show would go on to break streaming records, set the agenda for public debate and take part in changing the language both in Norway and abroad. It would change the lives of many young people and entertain hordes of adults, and not only in Norway, no. There were people using their free time to translate the Norwegian episodes to a steadily growing international audience. Episodes were downloaded both illegally and, well only illegally really. But whatever. People all over the world were watching Skam. Skam has, up until this point, nine international adaptations, with Sram in Croatia as the latest one - it came out in October 2024. And all of this, that is the Norwegian original version, is created, written and directed by one person - Julie Andem.

JA: It became very difficult after a while to film and keep the storylines secret, because we were recorded wherever we went. Especially the outdoor scenes. Like at Nissen there were suddenly hordes of fans from all over the world when we were supposed to film, so that made it a bit difficult.

TR: And you can’t picture what it would become like when unknown 16 and 17 year olds get cast in a new show at NRK.

JA: Before these actors got their roles, at the last round of auditions, I had a talk with each one of them where I said: “I don’t know how big this show will become, it can become nothing, but it might become big. And if it becomes big and you become famous, you give away part of your freedom - the freedom to be anonymous to people. Today, when you’re on the bus, having a bad day, no one bothers you. But after you’ve become famous, people will walk up to you and want to talk to you and you can’t get away from that. When I call you next week and give you the role, if I do, I’ll ask if you’ve thought that over, and what you think of it - because you have to think that over now.” And I said that to each one of them before they got their parts. And then I think it was Josefine who said, we talked later about what I had said, that she thought “that lady is delusional. She’s making a small P3 show”. My talk went in one ear and out the other.

JA: It’s hard to imagine things like this for people that haven’t experienced success like that, and what it demands of you afterwards. And the freedom you lose to be anonymous. It is a really difficult pressure and it can be challenging. We thought a lot about it throughout and one of the main reasons that we ended Skam when we did, was because of that pressure on the young actors.

TR: Is this an ongoing conversation with the cast?

JA: I always think - there’s no one outside of it who understands what we experienced with Skam. So the best ones to talk to, always, about these things are the cast and the production team, who understand it and have the same feelings.

TR: That Skam also changed the lives of those who created it, we’ve established. I am curious about how Julie Andem, who has no clue how big the show is going to become, created these characters?

JA: As I remember it, I did loads of research with the target group to understand what that group, girls in Norway aged 16, needed, what stories it needed. And I think my goal was to develop 10 characters who could fit into a universe about them. That’s where I started. And the plan was that all the characters would develop in a way that they could carry their own season. So all of them were developed as main characters. I created them before the seasons, before the storylines.

TR: In September it’ll be ten years since Skam was released. It was released more like an event than a traditional tv show. Short clips could be dropped at any point during the week and people in the show posted on social media. It was Mari Magnus who was responsible for these digital updates.

MM: All the characters, even if they don’t have open accounts on social media, have a bunch of email addresses. I have a box full of sim cards and burner phones. Everyone had a facebook account. They were private, but it was so that it would feel a little real if you searched “Isak Valtersen”.

TR: Someone else that became well known to the audience, was media professor Vilde Schanke Sundet. She saw the format as unique enough that she had to start doing research on Skam while it was still possible.

VSS: I binged the entire first season one night. I remember laying in the cosy corner at home, watching on the ipad. I went to bed at 2:30 am and thought “now I understand what they are talking about”. I was interested in analysing it the same way researchers have been interested in analysing multimedia storytelling - how the story is built, how you make the different components, what it is NRK wants with this show, what it is trying to tell. And you become so drawn into the story that the ability to analyse goes a bit up and down through the different seasons.

TR: What makes Skam different from other tv shows?

VSS: There’s both things that make it very different and things that are very similar. Because the dramatic curves are similar to other dramas we know of. It’s love triangles, good vs evil, the struggle to find yourself, all things similar to the high school/coming of age genre. And it’s well made, but that’s not what’s groundbreaking. The groundbreaking part is how the story is told. You're doing it real time, so if you’re following the blog it will appear very close. You never know when something is coming. It’s unpredictable, it drags people in. It’s based on the needs of the audience. They did loads of research when developing the show and it appears closer when the setting is a Norwegian high school than an American one. That makes it different and innovative. I think all the fans know they are fictional characters, but they feel much more real because we are not sitting down in front of the tv to watch, they are just there in your everyday life. It’s much more at the top of your mind than other things you watch and put behind you until the next episode is released.

TR: The way Skam was created made it special. But that was not the most important part for Morten Hegseth.

MH: The format has been given too much credit. It was a good format to post clips in that way, but the reason it was so good was that the content was amazing. It wasn’t the publishing strategy that made Skam an international phenomenon.

(Skip to 13:26)

TR: Before they created Skam, the show creator Julie Andem and a few others made in depth interviews with young people in the target group. And the challenges Eva has in season 1, was pretty common with the group.

JA: What is that life like? When you’re coming from secondary school, where you have a friend group and a familiar and safe environment and you’re thrown into a new universe. Everything is starting over and you have to find your place again. But she starts out as a girl who has become totally dependent on her boyfriend. She’s been thrown out of the friend group because of the choice she’s made to be together with her boyfriend, with Jonas, and that makes her dependent on him.

TR: A successful way to independence is to become friends with a confident, stylish and cool new girl, like Noora. That, despite being good in Spanish, isn’t as crazy about russ as the other girls Eva start’s to hang out with - Jente-Chris, Vilde and Sana, who has concrete plans to fix a spot on a russebuss. And there you have our girl gang. Do you, the listener, think they are cool? Are they supposed to be cool?

JA: Socially, in school, they are not a cool group. That’s what the first storyline is about. The Pepsi Max gang are the cool, pretty girls and the other girls are not so cool. But I think they are very cool.

TR: What about the boys, aren’t they cooler?

JA: Yeah, they do at least have cooler references and masks. I’s more important to them to be cool. So they might be “cooler”.

TR: To actress Lisa Teige, it was a bit like starting a new school - moving from Bergen and start working as an actor in Skam. How much of Eva is really in Lisa?

LT: In the beginning I felt very different from Eva, because she went through very different things, I thought at that time. But things like finding friends in high school, I do identify with. I didn’t have that boyfriend drama, at least so early on. But looking back at it now, I would say I see myself in a lot of the things Skam talks about. I’ve also been in girl drama, had partner problems and the vulnerability in finding new friends. But back then, I felt the need to be like “No! I’m not going through the same things as Eva right now”. But really I did eventually go through those things.

TR: And like Eva, Lisa did find some good friends on Nissens’s school yard.

LT: I remember I noticed they were a few years older than me. I thought they were incredibly cool. That was my first thought “shit, these are cool people with experience”. It felt very cool to be part of that group. And I have so many good memories from the set with all the girls together. Especially because there’s a lot of humor surrounding the Vilde and Chris characters. They improvised many funny parts and we were laughing so hard on set. The dynamics of the group was really good.

TR: But Bergen, where Lisa is from, and Oslo are two different cities and they have different accents.

LT: Some things were difficult for me, as someone from Bergen. Like when I was supposed to say vors (pre-game) for the first time, which I had never said before and I don’t think I had ever been to one. And they said vors in the Oslo dialect and it was so difficult for me. I had to call mum and dad back home to ask how I was supposed to say the word.

TR: Eva is also one of the characters who is making out the most in the show. And here both Lisa and actor Marlon Langeland, who plays Jonas, got thrown into the deep end from the start.

LT: We had a workshop before filming, where we got to know each other and we played some games, as warm up. But to start kissing that person is something totally different. I remember dreading that quite a lot, because we were making out the first day of filming.

LT: And that’s the kind of thing you dread a lot, but when you first get going it’s very mechanical in a way. You don’t think about what you’re really doing and it’s like “can you place your hand there”, “turn a bit that way” and “make the kiss a bit more intense, because it looks good on camera”.

(skip to 27:19)

TR: Mari Magnus mentioned The penetrators, the coolest russebuss at Nissen.

MM: Penetrators has a song, that’s on Spotify and I don’t know if it has been said before, it probably has, but *whispers* it’s Tarjei.

TR: That’s rapping?

MM: Yes.

TR: So they guy singing lines like “Penetrators cums on your face, the weather report says flooding, it’ll rain cum”, that Tarjei Sandvik Moe, who plays Isak. Tarjei went to Nissen himself during this time and managed to sneak in several references to actual things going on in the school. And to blur the lines between the fictional and reality was one of the show’s goals. To make the show as real as possible they had instagram accounts and could start chatting with each other on friday evenings.

MM: It was a Friday evening and Julie was probably at work and we posted a photo on Jonas’ account, a Big Smalls reference, that he tagged Isak in. And we are logged into one account each, one on Isak’s, one on Jonas’. And we decided to have some fun in the comment section, hoping that maybe three people would see it, but that these three would have such a weird experience that they in school on Monday would say “You won’t believe what I say on instagram on Friday”. So Isak and Jonas drag Eva into it, but Eva is on a russebuss. And the audience is so cool, there are fans playing along and commenting things like “I saw you in the cafeteria today” “what did you get on your maths test?”. This is week two maybe, and those things we could do a bit more strategically at the start to get the engagement going.

TR: It’s a bit slow in the beginning, but interest in Skam grows quite fast. So to chat as the characters on instagram becomes too difficult, there’s too many others taking part in the conversation. And some audience members were more engaged than others. One of them was Julian Dahl, who was very active in the comment section. Active enough to get mentioned in the show.

TR: You’re living alongside these characters and sometimes that creates problems. Because Eva wants Jonas and Isak to go with her to the revy-party but they can’t. Why not?

Isak: We can’t

Jonas: Why not?

Isak: The tickets to Kindred Fever.

Jonas: I had totally forgotten that.

TR: You’re excused if the name Kindred Fever doesn’t ring any bells. They had a mini hype right around the time when this was released and they happened to have a concert the same day as the revy-party.

JA: The only reason we picked that concert was because it was Oslo that day. We just thought what band could they possibly be interested in that’s playing in Oslo that day?

TR: To make the right references is hard when you’re making a show. How do you know what 16 year old boys are saying, doing and would post? Sometimes Mari Magnus asked the actors to do it themselves.

MM: In season one we sent Isak, Eva and Jonas out on the town with some phones and told them to make some content as if they were a friend group eating burgers in town. And they came home with loads of nice stuff we could post.

(Skip to 33:40)

TR: I’m at your disposal - you can ask questions about the show and leave your thoughts and tips. There’s many easter eggs and symbolism in Skam that might be fun to dig deeper into if we come across it. There’s a messaging function on NRK radio. You could for example ask, like I asked Julie Andem, why is the show called Skam?

JA: We had loads of suggestions and we hung big sheets of paper at the auditions where they could write suggestions for the name of the show. And we got a lot of strange ones and Ingvild Marie Nyborg, who was on the team, came up with Skam and no one of us hated it, so that was the one.

TR: Do you remember any of the ones you hated?

JA: I remember “the 99:er gang”.

TR: I’ve found some questions the fans are wondering by sneaking around in some of the many Skam online fan forums: Like, who in the Skam universe is Lisa Teige?

LT: During the auditions I very much wanted to be Noora. Especially when I was 16 I thought Noora was super cool. But I do feel closest to Eva. I recognize myself in the insecurity and the fun parts and being someone with principles. It’s a boring answer, but it is Eva. That’s why I got to play her.

#im baaack #feels like ive been unemployed but finally have something to do lol #if you see any grammatical errors or wrong uses of the english langugage youre very welcome to lmk #praying i can keep the energy going for nine eps #no promises tho #skam #skam norway #julie andem #lisa teige

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honeytonedhottie · 11 months ago

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master list⋆.ೃ࿔*:･🎀🍰

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#honeytonedhottie⭐️#master list #girl blog #girl blogging #that girl #blog organization

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religion-is-a-mental-illness · 1 year ago

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By: Jesse Singal

Published: Jun 27, 2024

In April Hilary Cass, a British paediatrician, published her review of gender-identity services for children and young people, commissioned by NHS England. It cast doubt on the evidence base for youth gender medicine. This prompted the World Professional Association for Transgender Health (WPATH), the leading professional organisation for the doctors and practitioners who provide services to trans people, to release a blistering rejoinder. WPATH said that its own guidelines were sturdier, in part because they were “based on far more systematic reviews”.

Systematic reviews should evaluate the evidence for a given medical question in a careful, rigorous manner. Such efforts are particularly important at the moment, given the feverish state of the American debate on youth gender medicine, which is soon to culminate in a Supreme Court case challenging a ban in Tennessee. The case turns, in part, on questions of evidence and expert authority.

Court documents recently released as part of the discovery process in a case involving youth gender medicine in Alabama reveal that WPATH's claim was built on shaky foundations. The documents show that the organisation’s leaders interfered with the production of systematic reviews that it had commissioned from the Johns Hopkins University Evidence-Based Practice Centre (EPC) in 2018.

From early on in the contract negotiations, WPATH expressed a desire to control the results of the Hopkins team’s work. In December 2017, for example, Donna Kelly, an executive director at PATH, told Karen Robinson, the EPC's director, that the WPATH board felt the EPC researchers “cannot publish their findings independently”. A couple of weeks later, Ms Kelly emphasised that, “the [WPATH] board wants it to be clear that the data cannot be used without WPATH approval”.

Ms Robinson saw this as an attempt to exert undue influence over what was supposed to be an independent process. John Ioannidis of Stanford University, who co-authored guidelines for systematic reviews, says that if sponsors interfere or are allowed to veto results, this can lead to either biased summaries or suppression of unfavourable evidence. Ms Robinson sought to avoid such an outcome. “In general, my understanding is that the university will not sign off on a contract that allows a sponsor to stop an academic publication,” she wrote to Ms Kelly.

Months later, with the issue still apparently unresolved, Ms Robinson adopted a sterner tone. She noted in an email in March 2018 that, “Hopkins as an academic institution, and I as a faculty member therein, will not sign something that limits academic freedom in this manner,” nor “language that goes against current standards in systematic reviews and in guideline development”.

Not to reason XY

Eventually WPATH relented, and in May 2018 Ms Robinson signed a contract granting WPATH power to review and offer feedback on her team’s work, but not to meddle in any substantive way. After WPATH leaders saw two manuscripts submitted for review in July 2020, however, the parties’ disagreements flared up again. In August the WPATH executive committee wrote to Ms Robinson that WPATH had “many concerns” about these papers, and that it was implementing a new policy in which WPATH would have authority to influence the EPC team’s output—including the power to nip papers in the bud on the basis of their conclusions.

Ms Robinson protested that the new policy did not reflect the contract she had signed and violated basic principles of unfettered scientific inquiry she had emphasised repeatedly in her dealings with WPATH. The Hopkins team published only one paper after WPATH implemented its new policy: a 2021 meta-analysis on the effects of hormone therapy on transgender people. Among the recently released court documents is a WPATH checklist confirming that an individual from WPATH was involved “in the design, drafting of the article and final approval of [that] article”. (The article itself explicitly claims the opposite.) Now, more than six years after signing the agreement, the EPC team does not appear to have published anything else, despite having provided WPATH with the material for six systematic reviews, according to the documents.

No one at WPATH or Johns Hopkins has responded to multiple inquiries, so there are still gaps in this timeline. But an email in October 2020 from WPATH figures, including its incoming president at the time, Walter Bouman, to the working group on guidelines, made clear what sort of science WPATH did (and did not) want published. Research must be “thoroughly scrutinised and reviewed to ensure that publication does not negatively affect the provision of transgender health care in the broadest sense,” it stated. Mr Bouman and one other coauthor of that email have been named to a World Health Organisation advisory board tasked with developing best practices for transgender medicine.

Another document recently unsealed shows that Rachel Levine, a transwoman who is assistant secretary for health, succeeded in pressing WPATH to remove minimum ages for the treatment of children from its 2022 standards of care. Dr Levine’s office has not commented. Questions remain unanswered, but none of this helps WPATH’s claim to be an organisation that bases its recommendations on science.

[ Via: https://archive.today/wJCI7 ]

So, there are 6 completed reviews sitting somewhere, that WPATH knows shows undesirable (to them) results. And they know it. And despite - or perhaps, because of - that, they wrote the insane SOC8 anyway. And then, at the behest of Rachel Levine, went back and took out the age limits, making it even more insane.

This isn't how science works, it's how a cult works.

When John Templeton Foundation commissioned a study on the efficacy of intercessory prayer, a study which unsurprisingly found that it's completely ineffective, it was forced to publish the negative results.

So, even the religious are more ethical than gender ideologues when it comes to science. This is outright scientific corruption.

#Jesse Singal #Johns Hopkins #Johns Hopkins University #WPATH #World Professional Association for Transgender Health #anti science #gender cult #corruption #medical malpractice #medical corruption #medical scandal #systematic review #Cass review #Cass report #gender affirming care #gender affirming healthcare #gender affirmation #ideological corruption #religion is a mental illness

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petercapaldi-press · 4 months ago

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INTERVIEW

Doctor Who Magazine

October 2014

"The Doctor sees himself as a cosmic, timeless philosopher, an explorer, adventurer, righter of wrongs, and hopeless piece of flotsam and jetsam. I think he has to be all of those things..."

Simple, stark, and back to basics. No frills, no scarf, no messing. Just 100% rebel Time Lord. The Twelfth Doctor is in the building...

Interview by Benjamin Cook

[transcript under the cut]

Peter Capaldi is cool. This time last year, bow ties were cool, and fezzes, or Stetsons, possibly bunk beds. But now it’s the Doctor himself. Cool and composed, still never cruel or cowardly, and just the right amount of scary. If you’re anxious about this new, unfamiliar Doctor bursting onto our screens this month in his first, feature-length adventure, don’t be. Firstly, he’s brilliant. Secondly, you’re not alone. Because beneath his cool, unflappable exterior, 56-year old Peter is anxious too.

“I’m terrified,” he admits. “I have been since the very first day. At the first readthrough, there were so many people, the room was packed, you’re being filmed from the moment you step through the door. You think, ‘Oh God, I’ve got to do something good with the part now.’ When I got to film it, I was very frightened. I still am. It’s actually getting a bit more frightening now, because the show is coming on shortly. You’re in a bubble when you’re making it, because it’s so all-consuming. You sort of forget that it’s going out into the world, people are going to have opinions about it, and it’s going to work or it’s not. Once all that enters your head, you get scared all over again. You know? It’s a big challenge, because it’s sort of not about acting chops; it’s about whether or not the people like you, and there’s no guarantee of that. But you can’t spend every day terrified or you’d never get anything done - it’s not much use to you, if you’re on edge – so you sort of have to just not look down. You have to try to get on with that scene, with those words, coming through that door, running after that monster. Concentrate on those elements, and not on the bigger picture. The Doctor is rarely that frightened.” A pause. “I think it’s good to be frightened.” He mulls this over, before adding: “But also it’s delightful.”

It's well documented that Peter is a fan of Doctor Who. You’ll have read the letter he wrote, as a teenager, to Radio Times, lamenting the death of original Master actor Roger Delgado and applauding a recent article on how to build a Dalek. (‘Who knows, the country could be invaded by an army of school Daleks,’ wrote 15-year-old Peter. ‘Ah, but we’d be safe, as we’d have Dr Who to protect us!’) You’ll know that he collected the Doctors’ autographs, wrote fan fiction, drew fan art, and once interviewed Bernard Lodge, the designer of the show’s original title sequence, for a Doctor Who fanzine. You might even know that Peter was involved in the early days of organized fandom, and penned numerous letters to the Doctor Who production office inquiring about how the show was made. One time, producer Barry Letts wrote back, sending Peter two shooting scripts for 1972 Pertwee serial The Mutants, “a trigger to my ambition to work somehow – I didn’t know how – in TV,” Peter has said.

Which makes it all the more satisfying that forty-something years later, on a blisteringly hot Saturday afternoon in July 2014, Peter is stood on the steps of St Paul’s Cathedral – the real one in London, not, as showrunner Steven Moffat teases, "an exact replica that we’ve built in Cardiff” – shooting the two-part finale of his first series as the Doctor. He still can’t quite believe it. “I’m amazed,” he tells DWM, “to find myself close to the end now. It’s all gone very quickly.”

Stood next to Peter, fellow Glaswegian Michelle Gomez is all Edwardian and chic – and probably up to no good – as the intriguingly-titled Gatekeeper of the Nethersphere. A passing London cabbie rolls down his window and yells, “It’s Doctor Who and Mary Poppins!”

Peter starts to sing. “Feed the birds, tuppence a bag…”

Off camera, five Cybermen lurk. They’re not joining in. (Cybermen can’t sing.) They were last spotted stomping around St Palu’s in the 1968 serial The Invasion, which Peter watched on its original airing. Of course he did. “It’s great to recreate it today,” he says. “Although, I think they had more Cybermen back then.”

“But we can CGI in extra ones,” points out Steven. “And will! Come on, it’s pretty impressive.” He’s right, it is. As the Cybermen march down the cathedral steps, Peter takes photos on his mobile phone. “It’s terrifying when they come straight at you,” marvels Steven. “They look quite funny on the stairs, but then - uh oh!”

For the past six months, Peter has divided his time between his home in London, and Cardiff, the spiritual home of twenty-first century Doctor Who. He saves the universe Mondays to Fridays, then returns to London at weekends to spend time with his wife and daughter. Peter and his wife have been married for 23 years. Remarkably, he has been reading DWM for even longer. “For as long as I can remember,” he says. See, he’s a proper fan. Right now, a few feet away from us, there are several hundred fellow fans, watching the filming from behind police cordons. “It’s nice for them to have something to see,” Peter says. “The best days are always those where we’re blowing up monsters in broad daylight.” He heads over to meet the fans between virtually every take – signing autographs, posing for photos. His dedication is relentless. This man cares.

What was it that first attracted Peter to Doctor Who? Growing up in the 1960s in Glasgow, BBC TV Centre must have seemed a world away…

“Well, yes, regional accents were few and far between on television,” he remembers. “That’s how shows were. That’s how drama and entertainment was presented. But it absolutely didn’t feel a world away. It’s odd now when you think about it, as most drama then was London-centric, but we didn’t think about that. It was full of monsters, and creatures, and mystery, and darkness, and fun, and magic. Anybody who enjoyed the show had a very intimate relationship with it, so it never occurred to me for a second where it was made. It didn’t feel as though we were watching different people, other than when they were supposed to be not human. People have often asked me, since I took up the role, what the attraction is, and I find almost any answer is wanting. You can break it down into constituent events or psychoanalytical nuggets, but in the end it’s a sort of myth to me; a curious mix of sci-fi, and the fairytale, and the mysterious. It’s quite a darkly magical thing, I think. I like to keep it a mystery.

Does it feel like the same show he’s working on now?

“To me it does, but I know that it isn’t. The show is clearly, on lots of levels, very different. It’s a very huge, commercial concern. It’s international in a way that it wasn’t before. That’s the show that we’re making. But at its heart it’s the same, because it’s made by people with a very deep and respectful affection for the show through all its incarnations. Also, it’s not about standing still. It’s constantly moving and looking forward. It must bring the past with it, without being slavish to it. Of course, sometimes we make a very specific reference to the past. Sometimes the past does assert itself very powerfully…”

Let me tell you about my first meeting with Peter. It’s 1 May 2014, and I’m in a Nottingham Castle vault. In Cardiff. This is perfectly normal. They’re shooting Episode 3, Mark Gatiss’ Robot of Sherwood. I first glimpse Peter standing beneath a Medieval tapestry, practicing the yo-yo. Ben Miller is here too, playing the Sheriff of Nottingham, but looking spookily like Anthony Ainley’s Master circa 1983. During a break in filming, I slink out of the castle, and onto the empty, darkened TARDIS set next door. Because I’m nosy, and I want to see what they’ve done with the place since the new Doctor arrived. He has left his mark. The console room now boasts bookshelves, a chalkboard, a small workshop… but it’s dark and I can’t really see, so I venture in a little further. It no longer feels like I’m in a Cardiff TV studio or that Robin Hood is next door, or that this isn’t actually the TARDIS. And that’s when I hear a voice. “Hello, you must be new.” It’s him! Not Peter Capaldi, but the Doctor. Looking a lot like Peter Capaldi. He’s sitting on a fold-up chair, in the shadows, where he was rehearsing his lines before DWM broke in. But he smiles warmly, and says he loves the magazine. “It relaxes me after a long day,” he explains. “I’m enjoying Doctor Who Magazine very much at the moment, and I’m glad that someone is documenting all of this stuff.”

Then the Doctor shows me around his TARDIS. “Essentially, it’s Matt [Smith]’s TARDIS, with a few additions,” he says. “You can’t see today, but it’s usually lit quite differently. Lots of orange. I think we might stick with this next year, too.” He’s talking about next year already! This man loves his job. “How could I not? It’s Doctor Who.” He talks enthusiastically of the fans he’s met since taking on the role (“They see the Doctor, not Peter Capaldi. That’s better, I think. The Doctor is much more interesting than I am”), and of how thrilled he is with this year’s crop of scripts, even those that are delivered at the eleventh hour (“I’d much prefer that than them arriving a week earlier and not being as brilliant”), and of how important it is with a show as huge as this that everyone who works on it cares as much as they do. His only regret about taking on the role, he confesses, is that he’s aware that one day he must give it up. “So I’m determined to enjoy every day as much as I can.”

Then he shows me his binder. This is the binder in which Peter keeps his scripts. It’s covered in photos from old episodes of Doctor Who. “It’s kind of like a school thing, really,” he explains. “I was looking for some stuff to decorate it. There’s a certain childlike thing… You surround yourself with images, and try to conjure a creative environment, even within the little plastic folder that I’ve bought from the stationary shop, that’s going to constantly remind you of things, put ideas in your head. I found these pictures on the internet.” There’s a photo of an out-of-costume Jon Pertwee and Liz Shaw actress Caroline John rehearsing a scene from 1970 serial Inferno (“He looks very dashing,” comments Peter, “and I like that, because I sort of don’t imagine any of the Doctors in their own clothes. It’s unusual to see him like that on the TARDIS set, and a reminder of how elegant he was in real life”); another of Pertwee and Delgado sharing a smile during the filming of 1971’s The Claws of Axos; one of a beaming Tom Baker in the mid-70s, at the height of his powers, surrounded by a sea of adoring children and curious old ladies; a photo of Baker during a visit to the Royal Edinburgh Hospital for Sick Children, enjoying a light-hearted moment with the nurses (“It looks like it was taken in the 30s,” says Peter, “which it can’t have been but it’s a picture of great warmth”); another of William Hartnell, in full Who regalia, signing a girl’s plaster cast during a visit to a children’s ward in the 60s…

“It’s a reminder,” says Peter, “that whatever people might think about William Hartnell, this was somebody who was going out to children’s hospitals on his days off, making sick kids feel a little bit better. It reminded me of that element of the show, that connection that kids and young people make to it.” It’s clear that Peter isn’t taking the responsibilities that come with playing the Doctor lightly. The photos adorning his binder are, he says, “fun little signals of the show’s past, for me, and a connection with childhood, I guess. I realise now, as I’m saying it to you, it’s an underlining of where Doctor Who was born for me. It was my childhood.”

When I next meet Peter, he’s shooting Episode 8, Mummy on the Orient Express. It’s the second week of June. Peter, Clara actress Jenna Coleman, and guest star Frank Skinner – another diehard Doctor Who fan – are on the fully-lit TARDIS. Frank is transfixed by the orange glow of the central console. “Stunning, isn’t it?”

“It’s like Alien under there,” nods director Paul Wilmshurst.

Frank isn’t even in this scene. He just wanted to be on the TARDIS set to watch Peter. “It’s like I’m watching Doctor Who live,” grins Frank, “but from a really, really good seat.”

Peter is worried that the Doctor is too solemn in this scene. “That’s a very serious face,” he says, watching himself back on the camera monitor. “There’s tension there. The Saturday night audience, they want it to be, ‘Yeah, hooray, now whoosh, let’s go,’ but that ain’t happening.”

“The Saturday night audience is a mixture of people,” Paul reminds him. “No, I like it.”

This weekend, Peter read the scripts for his first season finale. “It’s a stormer,” he tells me, then fixes me dead in the eyes and asks: “The Caves of Androzani. Why’s it so popular?”

Um. It looks amazing… The whole serial oozes class… It’s probably Peter Davison’s finest performance as the Doctor… It’s everything you could want from a Doctor’s swansong.

Peter looks satisfied, for now. “Interesting. Thank you.” He bounds off to film a scene. (Later, on board the Orient Express, I overhear a conversation between Peter and Frank. “Sharaz Jek,” Peter is saying. “Don’t you think he’s brilliant?” “Yes!” Frank replies. “Oh, I love Sharaz Jek!” I leave them to it.) Ten minutes later, Peter is back. “Ben, how long can Time Lords live for? Also, what’s the best Colin Baker story?”

Okay. Weill. Thousands of years. And I nominate The Trial of a Time Lord, controversially. (So sue me. Or send your letters of complaint to the editorial address.) But Trial aired in 1986, I point out, at a time when the BBC wasn’t all that supportive of Doctor Who.

“That must have been hard,” says Peter, “for the people who worked on it back then. Fortunately for us, that’s no longer the case. This show couldn’t be more supported.”

A few weeks later, back in London, I ask Peter about this day, and his questions about former Doctors. “It’s two things,” he explains. “This is an extraordinary part, with an extraordinary history to it, so I’m very conscious of arriving in this historical context. But also it’s very, very personal, because your own experience of the show informs it, so I was keen to make myself more familiar with Peter and Colin, because that’s when I sort of left the show behind. I was about 17, 18 years old midway through Tom Baker, and I started to drift away a bit. I don’t mean I didn’t watch it, but… I’m not as familiar with it. I wasn’t there as religiously on Saturday afternoons as I had been previously, and in those days there were no VCRs, no DVDs. If you missed it, you missed it. I wanted to learn about my ‘lost years’. I think it’s important to know and to understand what was going on in the show back then. Actually, Doctor Who Magazine has been a great help to me with that, so thank you. The great challenge of the show and this part is to keep it personal, while being respectful to its past.”

So how do you go about making the part of the Doctor your own? Where do you even begin?

“Well,” says Peter, “you begin with yourself. You begin with those elements of yourself that you feel would be at home in that role. There’s an old actors’ adage that you don’t become the role, the role becomes you. It’s trying to find those parts of you that will fit with the Doctor, and understand those bits that don’t come so naturally to you, that you have to fabricate. I kept looking for people in real life who I thought had elements of the Doctor about them and were inspirational in some ways. I composed a list of those.” He won’t reveal who’s on the list. All he’ll say is, “I was trying to stick in ideas about people who would be Doctor-ish and if I could expound on that or deploy any of their tics… I tried to generate a microclimate of Doctor Who creativity. Also, it’s recognising what’s been written. My Doctor is written slightly differently from some of the other Doctors, and the Doctor changes quite dramatically from episode to episode. Some demand more of your comedy chops, graver or more serious episodes demand a more sombre creature. All these variations have to live in the same body, in the same face. Putting all that together is tricky.” He shrugs. “I’m saying all this, it hasn’t gone out yet. I don’t know if it’s worked. It remains to be seen whether or not I’ve been successful.”

Which bits of his Doctor are most like Peter, I ask?

This stumps him at first. He thinks hard for a good 30 seconds, before saying: “Um. Well, I suppose there’s a sort of, uh… there’s a kind of division that happens in the eighteenth century between science and art. Previously science and art had belonged in the same box. Leonardo da Vinci could be a fabulous artist and a fabulous scientist. To me, the Doctor is an artist-slash-scientist. He’s incredibly bright. I don’t think my Doctor would welcome any of those definitions. He’d think they’re quite primitive, from his point of view.”

So how does this new Doctor see himself?

“Good question. I think as a cosmic, timeless philosopher, explorer, adventurer, righter of wrongs, and hopeless piece of flotsam and jetsam. I think he has to be all of those things. I didn’t want him to be in charge as much as perhaps we’ve seen him before. He’s someone who sees great beauty in things, but that can be in stars being born in the outer reaches of the galaxy, or in litter blowing across a supermarket car park at dawn. He finds all of these things beautiful, and I think he should constantly stop and see them. He wants to pursue beautiful things, but he gets shocked into adventures. I think he just wants to range around up there, back there, in the future, looking at it all, enjoying it all, and seeing it all, but he’s constantly drawn into areas of conflict.”

I point out that Peter’s Doctor has a bit of an edge to him – he can seem quite severe at times – but Peter insists, “It’s less him being hard on people; it’s more that he doesn’t understand quite how you talk to human beings. It’s less ‘I don’t suffer fools gladly’; more ‘Oh, they’re quite complex, these human beings. They need to be comforted from time to time.’ He becomes impatient with them. Some of the previous Doctors have been more sensitive to what their companions and other human beings need from him. My Doctor needs them to get up to speed with him. He can’t really be bothered hanging around and making life lovely for them, making them welcome. It doesn’t mean they’re not welcome. A lot of this is in the writing: Steven’s concept of how far you can take the Doctor. I never think my Doctor is unpleasant; he just isn’t great at dealing with humans. He doesn’t mean to be short with them. He just doesn’t quite get it sometimes.”

You’ll know this, but Peter has appeared in Doctor Who before. In 2008, he played Caecilius opposite David Tennant’s Doctor in The Fires of Pompeii. “When I was offered it, I was so excited, I couldn’t actually read the script,” he told DWM earlier this year. “I just wanted to phone my agent and say, ‘Yes!’ But I was persuaded that the professional thing to do would be to read it first. So I did, loved it, and off I went.”

Will we get an explanation for why the new Doctor has Caecilius’ face?

“It’s addressed,” smiles Peter. “Is it Caecilius’ face? Was that man really Caecilius?”

The tease! What else can he tell us about the Doctor’s journey this series. Did Steven tell Peter everything from the start?

“He gave me a very entertaining evening,” chuckles Peter, “when he went through the entire 12 episodes, basically acting them out for me. I said to him he should get a job as a performance artist. He did them all. All the characters. He’s like a chameleon. He told me what was going to happen in the show.”

Was there anything where you thought, ‘That sounds too bonkers’?

“Well, you just go, ‘Uh huh. Yeah. Okay. That sounds…. good luck with that.’ But then it comes to fruition, when you actually see it, it’s amazing. I have great faith in Steven and this amazing crew. I’m always amazed at how they pull it off. Of course, a lot of actors love to know what’s going to happen to their characters well in advance, because they think that allows them to pace their performances. I’ve never really been convinced of that. I operate on a need-to-know basis. If something dramatic’s going to happen, I’d rather that I discovered it when it was happening, not six months beforehand. The actual scripts don’t arrive till maybe a week before the readthrough, which will be a couple of days before we start shooting, and the surprises I like are the smaller ones; the little moments, the asides, the remarks, the experiences, the things that go on in the by-streets of the episodes. Those are the things that delight me.

“What I think sometimes happens with long-running shows,” he continues, “is that you get into a groove. You learn how to do the part in a certain way, and you just keep doing it. But you’ve got to constantly niggle it, probe it, find out those little moments, push it, see how far you can take it. At the same time, the audience switches on to see a certain thing. You’d be disappointed if Tom Baker didn’t at some point produce a jelly baby, or if Jon Pertwee didn’t give a politician or a soldier a withering look. I used to find this with The Thick of It [BBC Four/Two, 2005-2012]. I’d always say ‘Do we have to have Malcolm [Tucker, the aggressive and profane spin doctor that Peter played] come in doing a great, sweary tirade?' And they’d say, ‘Well, yeah, because that’s why people switch on.’ A director the other day told me that another director had suggested, ‘Let’s have a shot of the TARDIS materialising, but let’s not see it materialise,’ and everyone had looked at him in horror. What’s the point of having a show where it happens out of shot? Part of the fun is seeing the TARDIS materialise, the Doctor and Clara step out, and – where are they this time?”

How will he be watching the series when it airs on BBC One this August to November?

“The problem for me is, I’m a Doctor Who fan,” he laughs, “so I can’t not watch Doctor Who. Even if it weren’t me, I’d be watching it. I’d miss not watching it. But yes, that’s an interesting point – I don’t know what I’ll do, to be honest. It is quite difficult to watch yourself. The episodes that I’ve seen, I find that the sticking point of them all is me. That’s what I find the most troublesome, is watching me. But there are wonderful things that happen when suddenly it all comes together, and it becomes Doctor Who, and then you have to remind yourself… you know, when I forget that it’s me, that’s when I enjoy it. One of the key things I’m finding out about it now is that it’s created by all of the efforts of the people working on it, so watching these episodes with me playing the Doctor in them, has been extremely illuminating. They’ve shown me more about who my Doctor is than me sitting in a quiet study trying to figure it all out. So it’s a kind of self-feeding thing, if we’re going in the right direction – and I hope that we are.

“The funny thing is, we’re starting to have these conversations about next year and I’m like ‘There are some amazing things coming along there!’ Steven is telling me, and I’m like, ‘Wow! Yeah!’ So we’re already ahead of the curve on all this. We’ve some great ideas coming for 2015.”

So Peter will be back next year?

“Well, I’d like to be. It’s not up to me. I’ve had a wonderful time doing the show, anybody would, but having a wonderful time is no guarantee that they’re going to keep you there. I’ve loved it, so I’d be very, very happy to carry on, but we’ll have to see. We’re doing a Christmas one. As I say, we’ve discussed 2015. But there’ s no guarantee it’s certainly me. But I hope it is.”

Last summer, when it was announced that Peter had been cast as the Doctor, there was much excitement, some trepidation, and plenty of speculation about how he’d play the part. In March this year, a couple of months into shooting, something wonderful happened: a shaky mobile-phone recording of a touching encounter between Peter and a young fan appeared on YouTube, and went viral – over 180,000 views to date – and reminded us, as if we ever doubted it, that as well as being an excellent actor, Peter was as compassionate as the Doctor himself – without doubt the right man to take on the role.

“This little girl, her parents were concerned that she loved Matt so much and she would genuinely worry that he was gone,” recalls Peter, when I ask him about the video, “and what was going to happen, and how was that going to affect her?”

In the video, we see Peter get down on one knee and gently tell five-year-old Roxann: “Matt was really nice to me, and Jenna was too. They were both very welcoming to me when I came into the TARDIS. Matt said to me to look after Doctor Who, and he gave me his watch that he wears, and he said that in his own way he was happy that it was me who was coming in. So I will do my very best to be as much fun and as friendly as he is. So they say it’s okay for me to be the Doctor. I hope you think it’ll be okay for me to be the Doctor, too.”

‘Even though Roxann wouldn’t look at them or talk, which is due to her autism,’ explained Roxann’s mum in a blog post, ‘she took everything in that was being said to her by Peter. I cannot express how overjoyed and thankful I am.’

“All I could do was to try to show her that both Matt and Jenna had approved of me, and hopefully if they did – and Matt particularly – then she would feel that it might be okay,” Peter tells DWM.

“But you just sort of busk it, really, because you don’t know what people are going to ask you, and you don’t know what people are going to bring to a meeting with you. Certainly when they’re youngsters, they’re so enthusiastic about the show, you’d have to have a very cold heart not to try to make them feel good about it.

“It’s a fairly new experience for me,” he concludes. “it’s difficult, when you’re offered the role, to anticipate what’s going to happen to you. Matt and David have both been very helpful to me in trying to prepare me and talking to me about it, Russel T Davies [former showrunner] has been very supportive too, but I remember from being a fan myself how important the show was to me, so I simply try to be respectful of that, of their affection. I’ve read lots of interviews with all the Doctors, and they often refer to this sort syndrome: people project the Doctor onto you when they meet you, so they’re already smiling. They’re really pleased to see you. That’s a privilege that is rare among human beings, that you get this warm welcome, and you haven’t done anything to deserve that. I am simply playing this part for the time that I have it, and to look after the character of Doctor Who while I’ve got him. Part of that is to be kind, I guess. It’s a fairly privileged position to be in. You get the best of people. That’s wonderful. That’s what this show does you see. I think it’s what it’s always done. It brings out the best in people.

#peter capaldi #interview #doctor who #doctor who magazine #2014

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girlietips · 1 year ago

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How to get things done ✔️📝📚

Methods I use to get all my to-dos done each day! Hope these will help with the stressed to blessed challenge or just life in general!

Create a set time each day that you will work on tasks

Find a time each day that you will always start eventually you will find it easier to start each day on that time.

Eat the frog

Whatever task is scaring you the most or is the one you dont want to do start with that.

During your set productive time always start with the worst one and get it out of the way.

If it’s a massive task that will take a long time make it so you at least start it. Set a timer work for that long.

Race the timer

Estimate how long you think each task will take set a timer than try and beat the timer.

This will help with anxiety because you will most likely way over estimate how long each task will take and you will get even more satisfaction knowing you finished a task and got it done in a timely manner.

5 minutes rule

If it takes less than 5 minutes do it immediately. Don’t wait as soon as you think of it do it

No phone during breaks.

I’m a full supporter of taking breaks but you should never scroll social media during breaks!!!!

You are more likely to stop working if you get interested in your phone!!

I recommend during breaks tidying your space, stretching, making a snack, clearing out some unused tabs on your computer, deleting spam from your email, anything that lets your brain have a break without a ton of stimulation.

Pomodoro timers for long hauls

If you absolutely need to do a long work block you should be taking frequent breaks. I use the YouTube pomodoro timers often typically it’s work for 25 minutes and break for 5.

You become ineffective if you just work work work. Those influencers who say the study for 4hrs straight are not using time wisely and are going to burn out fast.

Do not multitask.

It is not more effective and won’t save you time.

Focus on getting one thing done at a time and you won’t have to go back and fix as many mistakes.

That’s all I have for now but if I come up with more I’ll add to it. Hope this helps you be more productive cuties🤍🎧🧘🏼‍♀️

#that girl #it girl #girlblogging #glow up #self care #self love #coquette #becoming that girl #stressed to blessed july #becoming her #studyblr #study motivation #productivity challenge

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kisses4kaia · 1 year ago

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MORE BROTHERS BEST FRIEND BILLY THE KID I BEG OF YOU

GIBSON GIRL .ᐟ

pairing— brothersbestfriend!william h. bonney x fem!reader

warnings— smut, forbidden relationship, p in v, oral (m and f receiving) EVERYONE IS LEGAL!!

a/n— this took an absurd amount of time sorry! she’s here now tho so plz reblog if u enjoyed! (also not a part two to the first one 🤍)

“billy, make sure she’s safe while i’m gone, will you?” jesse asks his best friend in reference to you, his innocent, sweet, little sister. and naturally, without any hesitation, billy nods. “of course, always,”

there’s something about his tone when he says it, something that hints that his opinion of you isn’t entirely fraternal, but perhaps something more profound. jesse doesn’t catch onto that, though; never having been the brightest tool in the shed.

almost ignorantly, he just nods at billy in respectful acknowledgment, kisses you on the cheek, all before leaving the house, heading into town for whatever errands needed running, leaving you and billy alone for many unsupervised hours.

god, the tension between the pair of you was palpable—thicker than molasses and sweeter than it, too. to make matters worse for the outlaw, recently, you took up a new hobby—making billy squirm. making innuendos just barely passable as innocent banter, being on your best behavior and letting him know you were like this just for him, then going and turning it around completely, becoming a complete and total brat, not heeding to mind a single word he speaks.

and fuck, it was driving him insane. he felt so ashamed of himself on nights when all his mind could conjure up before bed was images of you—images the lord would frown upon sincerely—and end up with a cum-splotched torso and a still unsatiated cock. he hated you for it.

you, with your too-tight denim shorts in july, and with your ribbons in your pigtail plaits, and your sweet, soft, wickedly tantalizing, eyes and even more venomous voice. everything about you drove him mad, and it was the very nature of your relationship that irked him the most—because, he knew, as desperately as he wanted, he could not have you. you were his best friends little sister, for christ’s sake! it was never bound to end well for him. honestly, he felt like the fates had fucked him.

so now, when you are in your bed, reading a romance novel you’ve already read twice, something outside of your window catches your eye. billy is currently out on the farm with the horses, tending to them. not an uncommon sight, however since it’s august, and this is the midwest, and it is hot—almost naturally—billy has abandoned his linen, button-up, shirt and is wearing nothing but a dirt-stained wifebeater, his trousers, and gun holster—and of course, his cowboy hat. you bite your lip at the display, sure this must be a product of one of your many erotic dreams about your brothers best friend, but all of that is debunked when he looks up at you, his catching the way your bottom lip is folded behind your teeth and your lingering gaze is burning onto his toned arms—probably a result of workin so hard as a farmhand and cowboy his whole life, you reckon—and meeting your piercing gaze.

you decide to push yourself off of your pretty, bowed, sheets and make your way downstairs to the trouble that lies within the man you grew up right next to.

“you know, it’s rude to stare,” billy chimes while you sit on an old, rackety, rocking chair residing on the back porch of your house, watching billy on the ranch. “and you think i’m above being rude?” you cock your head slightly, almost challenging him but not quite. he rolls his eyes, obviously wanting to snap back but can’t find it in him, not when you’re looking at him like that.

soon, he’s done with the work needed to have been done (admittedly, he did make haste so as to keep you waiting on him), and he’s grabbing his shirt off the pole of the wooden fence that is caging the horses in, tying the sleeves around his waist. he doesn’t spare you a single glance as he walks into the home, but you know he’s silently beckoning you to trail after him—after all, you were only out here to ogle at him, weren’t you?

when you enter the threshold of your home, your eyes land upon billy, who is pouring himself a glass of cheap whiskey and plopping down onto your couch.

“c’mon, sit down,” billy offers, sweat on his brow as the brown liquor swirls around the crystal glass, his legs spread wide and his demeanor exuding assertiveness. “well, now don’t be silly, there’s no other seat,” you acknowledge the lack of another sofa in the cozy living room, and the one billy did sit on, was only big enough to seat one. “oh, that’s no problem, doll, just sit on my lap, hm?” he cocks his head at you, daring eyes telling you all you needed to know. your raise your eyebrows and smile. “are you sure that’s what you want me to do?” your voice is a single warning, and billy is clearly throwing all caution to the wind, because he laughs. “c’mon, baby, i’m a big boy, i know what i want,” you knew what his underlying message was and the implication urged you to begin walking towards the couch.

blue eyes bore into yours as you throw a leg on either side of his thighs, skirt splaying over the tops of your thighs. he downs all the liquor in the glass before placing it onto the small coffee table next to him, eyes never leaving yours. carefully, but not fearfully, he drags a finger from your calf all the way to your waist, before both of his large hands take a rest at your love handles. “careful, billy,” you say in a singsong voice, allowing your hips to slowly, very slowly, begin moving downwards unto billy’s crotch. your arms lazily wrap around his neck, forearms resting on his strong, broad, shoulders. he kisses his teeth, bringing his face closer to yours ever so slightly, whiskey breath fanning over your face, chest, décolletage. when his lips finally encase yours, there’s so much built-up tension flowing in the passionate manner in which he kisses you, his palms grip onto your hips possessively before pressing all over your back, grappling desperately to get his calloused hands everywhere on your body all at once. he felt like he was drowning in you, but he would never call for help, for he needed you this instant and there was nothing stopping him from having you right here, right now.

“get on your knees,” he grits through his teeth, lust seething through the low growl that is his voice. you hardly think twice before moving back onto the plywood floor, knees already taking splinters, but you didn’t care, not when billy was unbuckling his denim trousers and letting his cock spring free from the confines of his boxers.

billy revels in the wide-eyed expression on your face as you take in his size. his cock was beautiful—angry, red, and proud, tip leaking with precum, pretty veins running vertically along the length. you swallow your surprise and slowly, you wrap a soft hand around the base of his length, bringing your lips down to his tip and pressing teasing kisses on it. the man above you lets out a soft groan, relaxing his muscles and allowing a strong hand to run through your hair, not quite gathering it yet, but maintaining it out of your face.

after peppering gentle kisses all over his hard cock, you finally flatten your tongue against the underside of him, licking up to the tip. you wrap your lips around his achy head and take as much as you can of him into your mouth, warm throat tightening around him. it takes everything inside billy to not immediately start fucking your fragile face, and when your tear-pricked eyes met his darkened blue ones, he roughly pulls you off of him. he throws you onto your back on the couch, like you weigh no more than a feather, hikes up your skirt and pulls your pale, pink, cotton, panties to the side. as he begins sliding his cock between your puffy folds, his tip brushes against your sensitive bud, and you whine, needing him to quit dangling the carrot and fuck you already. at the pathetic sound, billy just coos, pressing a gentle, loving, kiss to your pouted lips, before slamming his cock into your unprepared, sopping, cunt. you cry out against his lips and as he begins rutting his hips against yours, he’s trying to find restraint. he knows you probably won’t be able to walk properly for a week if he keeps fucking you like this, but the pent up tension finally being released urges him to keep fucking you primally—and plus, you wanted this, didn’t you? with your teasing, and your fucking miniskirts, everything you did was a beg for billy to fuck you into your place, right?

even in his sex-crazed state, billy’s still a gentleman who’s concerned with your pleasure just as much as his, and uses one of the hands he had rested beside your head to draw fast circles on your clit, pulling the most melodic sounds from you. they pushed him closer and closer to the edge and before you both knew it, billy was pulling out of your cunt, making you whine at the empty feeling, stroking himself a few times before painting your abdomen in his seed.

when he came down from his high, billy dropped down to his knees before you, skipping all the teasing he wanted to do (he would, next time) and licked a fat stripe up your slit, stopping at your clit and sucking momentarily. the muscle continued to work at you, dipping and fucking into your achy hole, and within minutes, your orgasm had crashed into you like a powerful ocean tide, struck by poseidon himself. you cried out his name, explicit weaved between your moans. billy just rides you through it, strong hands holding your wildly bucking hips down as you spasmed through your release.

“good girl, such a good girl,” billy cooed, the praise making your face go warm, even after he saw the most intimate parts of you. you brush off the compliment, afraid your own voice would betray you and instead reply “i take it this won’t be the last time we do… this?” and billy just chuckles darkly, picking you up off the couch and sitting himself back down, placing you prettily on his lap. “no, sugar. after this, you’re mine. understand?”

#.𖥔 ݁ ˖ִ ࣪⚝₊ ⊹˚ 𝐤𝐚𝐢𝐚 𝐰𝐫𝐢𝐭𝐞𝐬 !#kai's got mail <3📑#angelnon 🤍#𝐲𝐨𝐮’𝐫𝐞 𝐮𝐩 𝐧𝐞𝐱𝐭.. ✮⋆˙ !#billy the kid smut #billy the kid x reader #billy the kid imagine #billy the kid #billy the kid 2022 #billy antrim #william h bonney smut #william bonney #william h bonney #william h bonney x reader #billy bonney x reader #tom blyth smut #tom blyth x reader #tom blyth #tom blyth x you

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izztreme-art-n-stuff · 1 year ago

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Day 9 is weird since it was essentially a free space, so why not use it for a little teaser for a rewrite I've been concocting.

Btw, I'm treating Calobi as a character as presented in the film, with no relation to his youtuber self, if that's what you're wondering.

#izztreme #calobi #calobi productions #our drawings #our drawings calobi productions #rewrite incoming #july doodle + letter #free space #monthly drawing challenge #just a drawing

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inspireartnotwar · 5 months ago

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Art. Can. Die.

This is my battle cry in the face of the silent extinguishing of an entire generation of artists by AI.

And you know what? We can't let that happen. It's not about fighting the future, it's about shaping it on our terms. If you think this is worth fighting for, please share this post. Let's make this debate go viral - because we need to take action NOW.

Remember that even in the darkest of times, creativity always finds a way.

To unleash our true potential, we need first to dive deep into our darkest fears.

So let's do this together:

By the end of 2025, most traditional artist jobs will be gone, replaced by a handful of AI-augmented art directors. Right now, around 5 out of 6 concept art jobs are being eliminated, and it's even more brutal for illustrators. This isn't speculation: it's happening right now, in real-time, across studios worldwide.

At this point, dogmatic thinking is our worst enemy. If we want to survive the AI tsunami of 2025, we need to prepare for a brutal cyberpunk reality that isn’t waiting for permission to arrive. This isn't sci-fi or catastrophism. This is a clear-eyed recognition of the exponential impact AI will have on society, hitting a hockey stick inflection point around April-May this year. By July, February will already feel like a decade ago. This also means that we have a narrow window to adapt, to evolve, and to build something new.

Let me make five predictions for the end of 2025 to nail this out:

Every major film company will have its first 100% AI-generated blockbuster in production or on screen.

Next-gen smartphones will run GPT-4o-level reasoning AI locally.

The first full AI game engine will generate infinite, custom-made worlds tailored to individual profiles and desires.

Unique art objects will reach industrial scale: entire production chains will mass-produce one-of-a-kind pieces. Uniqueness will be the new mass market.

Synthetic AI-generated data will exceed the sum total of all epistemic data (true knowledge) created by humanity throughout recorded history. We will be drowning in a sea of artificial ‘truths’.

For us artists, this means a stark choice: adapt to real-world craftsmanship or high-level creative thinking roles, because mid-level art skills will be replaced by cheaper, AI-augmented computing power.

But this is not the end. This is just another challenge to tackle.

Many will say we need legal solutions. They're not wrong, but they're missing the bigger picture: Do you think China, Pakistan, or North Korea will suddenly play nice with Western copyright laws? Will a "legal" dataset somehow magically protect our jobs? And most crucially, what happens when AI becomes just another tool of control?

Here's the thing - boycotting AI feels right, I get it. But it sounds like punks refusing to learn power chords because guitars are electrified by corporations. The systemic shift at stake doesn't care if we stay "pure", it will only change if we hack it.

Now, the empowerment part: artists have always been hackers of narratives.

This is what we do best: we break into the symbolic fabric of the world, weaving meaning from signs, emotions, and ideas. We've always taken tools never meant for art and turned them into instruments of creativity. We've always found ways to carve out meaning in systems designed to erase it.

This isn't just about survival. This is about hacking the future itself.

We, artists, are the pirates of the collective imaginary. It’s time to set sail and raise the black flag.

I don't come with a ready-made solution.

I don't come with a FOR or AGAINST. That would be like being against the wood axe because it can crush skulls.

I come with a battle cry: let’s flood the internet with debate, creative thinking, and unconventional wisdom. Let’s dream impossible futures. Let’s build stories of resilience - where humanity remains free from the technological guardianship of AI or synthetic superintelligence. Let’s hack the very fabric of what is deemed ‘possible’. And let’s do it together.

It is time to fight back.

Let us be the HumaNet.

Let’s show tech enthusiasts, engineers, and investors that we are not just assets, but the neurons of the most powerful superintelligence ever created: the artist community.

Let's outsmart the machine.

Stéphane Wootha Richard

P.S: This isn't just a message to read and forget. This is a memetic payload that needs to spread.

Send this to every artist in your network.

Copy/paste the full text anywhere you can.

Spread it across your social channels.

Start conversations in your creative communities.

No social platform? Great! That's exactly why this needs to spread through every possible channel, official and underground.

Let's flood the datasphere with our collective debate.

#wootha #art #not mine #artists #artist #2025

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probablyasocialecologist · 11 months ago

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The new global study, in partnership with The Upwork Research Institute, interviewed 2,500 global C-suite executives, full-time employees and freelancers. Results show that the optimistic expectations about AI's impact are not aligning with the reality faced by many employees. The study identifies a disconnect between the high expectations of managers and the actual experiences of employees using AI. Despite 96% of C-suite executives expecting AI to boost productivity, the study reveals that, 77% of employees using AI say it has added to their workload and created challenges in achieving the expected productivity gains. Not only is AI increasing the workloads of full-time employees, it’s hampering productivity and contributing to employee burnout. To add insult to injury, nearly half (47%) of employees using AI say they don’t know how to achieve the expected productivity gains their employers expect, and 40% feel their company is asking too much of them when it comes to AI. Workers are feeling the strain from rising productivity demands, with one in three full-time employees saying they will likely quit their jobs in the next six months due to feeling overworked and burnt out. The majority of global C-suite leaders (81%) acknowledge they have increased demands on their workers in the past year. Consequently, 71% of full-time employees are burned out, and 65% report struggling with their employer’s demands on their productivity.

Archived from Forbes.

23 July 2024

#work #artificial intelligence #ai

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absolutebl · 1 year ago

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This Week in BL - I'm Muddled, there is SO MUCH on, but also I have FEELS

Organized, in each category, with ones I'm enjoying most at the top.

July 2024 Week 2

Ongoing Series - Thai

Wandee Goodday (Sat YT) ep 11 of 12 - Yak is such a demanding babygirl princess type. It’s kinda hilarious in a fierce boxer dude. I do adore the core brother friendship in this show. It’s so sweet. Also I guess Yak is out OUT now, on TV and everything.

YES PLEASE GMMTV!!! This ship! Sail it!!!!

The Rebound (Weds Gaga) eps 4-6 of 12? - So it started out as a relatively simple sports romance: first love, separation, reunion. But then just went entirely off the rails: gay mafia orgies, kidnapping, druggie ex teammates with knives, I am Spartacus. All erratic Thai pulp mumbo-jumbo aside? MeenPing are doing great in these roles. Zen's hurt confusion, Ryu’s struggle with internalized homophobia that keeps hurting Zen as much as him.

Am I wrong to ship FrankPing Just a little bit? I only wanna see them kiss. It’s not asking too much, is it?

Not sure what’s going on with Gaga and their "ep 6 of 6" thing. Or why they bundle-aired them. Did they just get the rights for the first half? Where is the rest?

Sunset X Vibes (Sat iQIYI) ep 5 of 12 - I always end my Saturday with these 2 simply because I love this pair. I also enjoy the show. It’s sweet and I giggle a lot. I like that they’re dressing (and letting) Lin be a bit femmey - with his pussycat bows, coco bag, and little heels. I’m not sure about the pet names but I’ll accept them if I must.

My Stand-In (iQIYI) ep 12 fin - I would like to watch an entire show about the older brother boss and his hot secretary. Bit of a bully romance? Please & thank you?

This was a good solid ending, less predictable than I expected, which I appreciat. I liked that they had a full conversation about forgiveness. But overall, I am left in a muddle.

The show itself? A summation? Oof, here we go...

Adaptation of Chinese novel "Professional Body Double" by Shui Qiang Cheng. Stars Up (Lovely Writer) and Poom (Bake Me Please) directed by the same team as KinnPorsche. Stuntman Joe dies on the job and wakes up in the body of another Joe with an entirely different life. But Joe just starts repeating the mistakes of his previous self - love, work, play. I enjoyed the experience of watching this show, I looked forward to it every week. I thought everybody did a great job with it and in it, and I liked that is was something substantially *different* for Thai BL. But I’m not sure I'll rewatch it or if it's bingeable. It left me feeling more sanguine than happy. Is there, objectively, anything wrong with it? No. But am I in love with it? No. I think that rests on the central characters, Ming in particular. I never liked him or warmed to them as a couple. I spent most of this show just very very sorry for poor Joe. Thus I was never rooting for their romance. I would recommend it, if you enjoy your BL more cerebral, with complicated unlikable love interests, and a downtrodden sympathetic lead. Is it, perhaps, more JBL that ThBL? Am I biased because it's a Thai production and I had expectations? What magical carnage could Japan have done with this IP? I'm left with questions, but I'm ultimately glad I watched this.

All this means that this show should, by all my own standards, get at 9/ 10. But I'm giving it an 8/10. So there.

We Are Cute (Weds iQIYI) ep 15 of 16 - It really is the antidote to Friend Zone. Like GMMTV just set out to make a nice little show about nice boys being very nice and kissing each other nicely. And it makes me very happy.

Century of Love (Weds Gaga) eps 1-2 of 10 - DaouOffroad are back, this time as fated mates in a quasi historical paranormal moment. Very much Director Who Buys Me Dinner meets First Love Again, hopefully better than both. I love this pair and think they can handle the premise, it's whether the storytelling is up to the challenge.

So far? I like it a lot. I love it when Thailand gets all up in its own historical business and reincarnation and bullshit like that. I’ve always liked this pair too (it’s not their fault I didn’t enjoy most of their first series.) Daou’s wushu is pretty snazzy. We got a fun meet cute. (Erm... Remeet cute? Meet cute 2.0?) And this is a very PRETTY show. With more comedy than I was expecting.

This Love Doesn't Have Long Beans (Fri iQIYI) ep 2 of 8 - I like the friendships, but so far I’m not sold on the personalities of the main couple. Of course I love the pair, and I know they can handle it, but I hope the story justifies their chemistry.

My Love Mix-Up Th (Fri YT) ep 6 of 12 - They are so damn teen dramatic and over-the-top. To have really played into the impact of the counselor character's original casting, they should’ve had Krist play the role! (GET IT?) That’d be ridiculously ironic. Not that I object to GMMTVs #1 Daddy Papang. Never that.

The Trainee (Sun YouTube) ep 2 of 12 - Ah ha, I figured it out. This reminds me of The Devil Wears Prada. I’m finding most of the rest of the interns too caricature and thus annoying. But I’m still liking this more than I expected.

Love Sea (Sun iQIYI) ep 5 of 10 - The bullying GL subplot is just bad. And I’m getting an overall squick from the fact that the two rich privileged characters are essentially taking advantage of the two lower class poor characters. Trash watch here.

Knock Knock Boys (Thurs Gaga) ep 8 of 12 - I’m coming around to Almond + Latte, but I’m not super sold on any of the other plot lines.

Ongoing Series - Not Thai

I Hear the Sunspot AKA Hidamari ga Kikoeru (Japan Weds Gaga) ep 3 of 10 - It’s still good and it’s still sticking relatively closely to the mango. So I’m still enjoying it.

Takara's Treasure AKA Takara No Vidro (Japan Mon Gaga) ep 2 of 10 - I just don’t really like the dynamic of the younger, poor, country kid desperately chasing the older hot boy. It’s a bit too desperate or something. It’d be different if Takara were a nicer person, but he doesn’t have much going for him but a pretty face.

It's airing but...

Meet You at the Blossom