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https://fktrop.github.io THE GAME | The Date Sim of Power | POV: Mirdania | Crime | Forging | Sindarin | Mystery | This is absolutely serious, I swear | 4 endings | ~10-min gameplay

We love Mirdania so much that we dreamed up an alternate story — a romantic adventure with blacksmithing and a dash of mystery. Made for fun, from fans to fans. Hope you enjoy it as much as we did creating it — choose wisely, drop the drama, and have fun!

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If we wanted to engage in nuance (lol, lmao) on the "are audiobooks reading" debate, we really do need to bring literacy, and especially blind literacy, into the conversation.

Because, yes, listening to a story and reading a story use mostly the same parts of the brain. Yes, listening to the audiobook counts as "having read" a book. Yes, oral storytelling has a long, glorious tradition and many cultures maintained their histories through oral history or oral + art history, having never developed a true written language, and their oral stories and histories are just as valid and rich as written literature.

We still can't call listening in the absence of reading "literacy."

The term literacy needs to stay restricted to the written word, to the ability to access and engage with written texts, because we need to be able to talk about illiteracy. We need to be able to identify when a society is failing to teach children to read, and if we start saying that listening to stories is literacy, we lose the ability to describe those systemic failures.

Blind folks have been knee-deep in this debate for a long time. Schools struggle to provide resources to teach students Braille and enforcing the teaching of Braille to low-vision and blind children is a constant uphill battle. A school tried to argue that one girl didn't need to learn Braille because she could read 96-point font. Go check what that is. The new prevalence of audiobooks and TTS is a huge threat to Braille literacy because it provides institutions with another excuse to not provide Braille education or Braille texts.

That matters. Braille-literate blind and low-vision people have a 90% employment rate. For those who don't know Braille, it's 30%. Braille literacy is linked to higher academic success in all fields.

Moving outside the world of Braille, literacy of any kind matters. Being able to read text has a massive impact on a person's ability to access information, education, and employment. Being able to talk about the inability to read text matters, because that's how we're able to hold systems accountable.

So, yes, audiobooks should count as reading. But, no, they should not count as literacy.

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My toxic trait is that I am far more interested in the socio-economic and geopolitical implications of ABO settings than the smut.

For example: I can't read any ABO AUs set in England or France because while I can suspend my disbelief far enough for a gender trinary set up, I can't suspend it enough to believe those two countries would still be distinct entities in a alternate history where Richard the Lionheart could have impregnated Philip II.

If there was a viable dynastic future with Richard, Philip would have climbed him like an oak and dragged him to the altar if he had to. It's a match that makes perfect sense from both their point of view: Philip gets Aquitaine back under French rule, the best general in Europe on his council, and powerful check on the Angevians....and unexpectedly (after Henry bites it) the entire Kingdom of England for his Capetian dynasty. Richard meanwhile gets to stick it to his father, secure Aquitaine's prosperity, and gets the leverage to start pushing for his mother's release. Then when Henry kicks the bucket Richard doesn't actually have to be King of England in anything but name: Philip can run the countries and unify the Crowns and what not while Richard runs off to go Crusading.

Plus they also like, loved each other and stuff and being able to get to be together long term instead of being torn apart by politics would have been cool. But I'm mainly obsessed with the historical implications and dynastic implications.

All this to say any ABO au set in England or France should mention that doesn't have them united as a singular Anglo-Frank empire is doing it wrong.

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Did a school visit today and asked a group of 8th graders if they could define the term "contemporary art" for me [for context, I work at a contemporary art museum], and one of them said "Is it art that's made with contempt?"

And unfortunately that's the funniest thing a student has ever said to me in 10 years of teaching

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ERICA DURANCE as LOIS LANE SMALLVILLE | 06.07 RAGE

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we know that samwena is canon bc rowena died

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Oh yeah there's a part 2 of the horse desensitizing that I love.

🐎: Hey what's with that tiny predator, the one you're hold- WOAH WHAT THE FUCK WHY IS IT UP SO HIGH

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ACT UP, 1990

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i was so sad, i drew a little bat so i wouldn’t be sad. and now i am no longer sad.

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You're telling me Eliot Spencer, the guy who wipes the floor with 6/7 bad guys in SECONDS, the guy who got rid of a goon in the kitchen and didn't even have to stop garnishing and plating coz he'll be damned if he got an order late, that guy, just, tells his Hardison to stop eating his food? Doesn't try to wrestle it away? When we know he could take it away and paralyse him with one hand without even using all the fingers? Instead he just says stop eating my food and grumbles how Hardison can't run a brew pub and then cooks for said brew pub? Huh.

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When you tune in to an episode of Leverage and the sequel Redemption, you know you’re in for an entertaining 40-something minutes. The crew of bad guys will take down the corrupt and powerful, and along the way, the heist of it will provide some solid entertainment. Fifteen years ago, during the original run on TNT, “The Rashomon Job” aired, and it is not only one of the best episodes of the franchise but also just so quintessentially Leverage.

At the time, the crew — mastermind Nate (Timothy Hutton), grifter Sophie (Gina Bellman), hitter Eliot (Christian Kane), thief Parker (Beth Riesgraf), and hacker Hardison (Aldis Hodge) — are three seasons into working together. But in that episode, they discover that they actually crossed paths five years earlier when Sophie, Eliot, Parker, and Hardison were all trying to steal the Dagger of Aqu’abi and Nate still worked at IYS, the company that insured the artifacts in the museum. Each person tells their side of the story, with Nate the one to put the pieces together to form a complete picture, and that means we see how they all view each other … to hilarious results.

When TV Insider spoke with Beth Riesgraf, Christian Kane, Gina Bellman, and executive producers Dean Devlin and John Rogers (who wrote the episode) during Leverage: Redemption Season 3, we had them reflect on this outstanding episode.

“I think that may have been the greatest piece of writing we ever did. John Rogers did it, and it nearly put him in a hospital, it was so difficult,” shared Devlin. “But what I love about that episode and the original Rashomon is by telling the story several times from different points of view, you really get to see how the characters view each other. And it’s done as a joke. But I love in that episode how everyone hears Sophie’s accent completely differently, and it tells you a lot about who they are by the way they perceive the others around them.”

Rogers agreed with Devlin’s assessment. “It nearly killed me writing it,” he said “There’s actually a photo you can find online of me at the table with three shot glasses with the character names on them as I explained to the room exactly how, who, and what object. What it does is it allows — in a way very few episodes are structured — each character to take the showcase fully. And so you get a full dose of each one of them, and you get their own impression, and each actor reveled in both playing the best version of themselves and then in the other people’s versions, the worst version of themselves. So it’s one of the few episodes where all five of them just get to bang it off the guardrails both sides, of being hyper competent and cool and being goofy and useless and bad, and actors revel in it.”

He continued, “It comes across in their performances, and I think all of the performances elevated it well beyond the script. There’s a moment where Sophie is doing her horrible British accents because that’s the viewpoint of everybody. When it comes to Parker’s, all it says is in the script is ‘indecipherable British gibberish,’ and so everything Gina does after that is her interpreting that one line read. I didn’t write anything. Gina knows, Gina’s a great comedic actor, she’ll get this. And she does. It’s hilarious every time she talks for that entire act. It’s a real actor showcase. I think that’s what makes it stand out.”

Bellman, Riesgraf, and Kane also pointed to Sophie’s accents, with the women admitting they got the giggles.

“I had to make up that language and she kept laughing and every time she laughed, she set me off, and then we were so tired and we just couldn’t recover,” Bellman recalled of Riesgraf. “It was such a complex episode. I think we were all feeling the strain of that. We had to hit so many comedy notes. We had to hit so many action notes. We had to hit so many character notes. And we all were playing multiple characters.”

Added Riesgraf, “It’s quintessential because it’s all of us getting to be campy and funny and silly and goofy and nonsensical at the same time. Gina’s speaking in a language that doesn’t even make sense. The comedy between Aldis and Christian, Eliot and Hardison, it’s all of it wrapped in there. It was just letting us run with the imagination in a great way while keeping the thread of a flashback con vibe, right? It just shows this chemistry in the characters and also cast. It was just so iconic. It was so great.”

Kane agreed, “It’s the best episode. It’s so much fun.”

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The Librarians S03E02 And the Fangs of Death.

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