#easy hacks

[hinamie]

post-graduation trip airport looks

[catgirlkirigiri]

Have you ever wanted Mr. Ant Tenna to greet you when you turn on your Nintendo 3DS? Now he can! Using this MediaFire link you too can download my Tenna splash screen :D Just unzip the folder and put it in your 3DS's splash folder to use it via Anemone! ThemePlaza link coming whenever it gets approved :)

[agentoffangirling]

I really don't like it when people try to present Team Cap and Team Iron Man as being the same thing, bc they're very clearly not? (And sorry for doing this type of discourse in 2025, but it needs to be said)

Because let's be honest, the mainline MCU didn't really focus on the Sokovia Accords past Civil War. It's not present in Doctor Strange, Black Widow, Homecoming (at least in a large capacity), certainly not Ragnarok or GOTG 2, Black Panther, and almost no one cares by Infinity War. When we look at the projects post Accords, there are hardly any moments where they matter, and by 2025, they're fully repealed. Nine years of being active, five of whom were during the Snap, meaning only four years, and most of the projects don't go very in depth. That tends to lead mainline audiences into believing it was never that bad in the first place and that Cap was being selfish

But we see how the Accords really effect everyday powered people in the supplemental material like Agents of S.H.I.E.L.D. After being introduced, powered people had three options

Go into hiding. Live a normal life. Never show off your abilities

Sign the Accords. If you were part of a government agency like S.H.I.E.L.D., it is heavily implied you had to sign or you couldn't work for them anymore

Don't sign and show off your powers? You go to the Raft

This went for everyone, it didn't matter if your power was making farts smell good, you counted as powered. Imagine the bank down the street is getting robbed, with these in place, you couldn't do anything about it if you weren't signed or you risked going to jail; they're awful options

Or what if you were signed? Great, now all your information (powers, weaknesses, danger level, LITERALLY EVERYTHING ABOUT YOU) is held in a massive server that can be easily hacked and accessed. We see in AoS s4 that signed Inhumans are getting harmed bc the Watchdogs, a hate organization, was able to get their hands on their information and find out exactly where they were. POWERED PEOPLE WORE TRACKERS THAT WAS CONSTANTLY BEING UPDATED ON THEIR LOCATION. THAT'S FUCKING WRONG IN SO MANY WAYS

Let's switch gears for a sec here and go to another side, where thankfully, that isn't happening to you, but you do wanna make some kind of change in your community. You notice that people are going missing, that there's weird power outages and decide that's worth looking into, so you go to the council and present your case. Now, as we all know, politicians never agree on anything, so the chance of getting an immediate yes is almost impossible (I'd argue 1% is far too generous in this case). It may take weeks, months, or the decision is swept under the rug and oopsies, now the entirety of Florida is covered by a blanket of darkness!

Or you get a no, and actually, they want you to check out this tiny little village in New Zealand, and so you have no choice but to go. You quickly realize that this isn't really worth your time and feel like your services are required elsewhere, but again, you're not able to back out. When you return, you find that London has been utterly destroyed. This is a situation that Steve himself brings up, and it's something that absolutely could happen! There are just endless risks to this

Then, of course, the worst scenario, being sent to the Raft, which, bc it's in international waters, they can do whatever they want to you!! Doesn't matter if it's inhumane, no one can do shit about it. It's stated in "Jessica Jones" that prisoners aren't allowed to have any contact with the outside world, and if you go in there, you go in for good. Almost no one makes it out. Again, it doesn't matter who you were and what your powers were, you would be stuck inside with the worst of the worst. WANDA MAXIMOFF WAS IN A SHOCK COLLAR AND STRAIGHTJACKET. How in any situation is that okay??

Steve understood this, understood the true consequences of handing themselves over to hundreds of governments. He wasn't against having regulations (neither am I) but he knew this wasn't the right way to go

One side holds all the power. The other holds nothing. This is in no way equal

[chensaiy]

Alexa, play Reunited by Peaches & Herb

[deehellcat]

okay y'all, I can't be the only one who reads this and hears Nate Ford in my head telling the rest of Team Leverage, 'we've got some time in between the bigger jobs. Let's go steal a swastikar'. :D

[thatsbelievable]

[reality-detective]

In an emergency situation 🤔

[echofades]

Hacks @ SXSW IMDb Portrait Studio & Deadline Studio

[allie-leth]

Script kitty attack? Why are cats hacking???

[kaiserposting]

Theyre trying to blame us x reader writers as a whole for tiktok post-quarantine teenager brain rot spreading to tumblr/fandom again . But I don't let it get to me

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[slow-reader-reads-books]

With the rise of the romantasy genre in Western anglophone fiction, and influenced by my personal love of Scum Villain's Self Saving System, for fun I've tried to imagine the same type of comedic transmigratory deconstruction of svsss applied to a romantasy story a la Sarah J Mass, and honesty it's kinda hard to imagine how that'd be done (if done by me). And I realize that that's bc svsss toes a very delicate line of criticizing a genre (stallion novels) while technically being in one, but it turning into a different genre (danmei) without losing its basic characters or worldbuilding and basic feeling of "love".

Shen Yuan as a pov character toes a very fine line, as his purpose as a protagonist is to color how we the readers view the story he's in. If his derision towards stallion novels was truly a 100% thing, he never would have read the book. And if he never read PIDW, how is he supposed to care about the world? How is he supposed to love Binghe? But if he loves it completely, then he'd not want anything to change. Of course him being put in the role of the villain forces him to care about changing things in order to survive, but he also personally has issues with the story other than his personal livelihood that extend beyond that scope.

In the end, though we the real readers never actually get to read PIDW for ourselves, we are taught via Shen Yuan (and to an extent Airplane) that while it has issues and is shallow and faulty in many regards, we don't actually devalue it. We see the value in it via the exploration of its lost potential through the lens of a danmei romance.

And the framing of stallion novels is subtextually (basically text honestly) equated with compulsory heterosexuality. And Shen Yuan reading PIDW yet having so many issues with it subconsciously takes on the character of a uncracked queer engaging with relationships and senses of self they're not actually suited for simply bc they think it's the normal thing to do, and of course they themself are normal. And of course someone who doesn't subconsciously buy it (but consciously chooses to) would "stick with it" yet complain all the while.

Which greatly sets up Shen Yuan to be in a position to find himself within the thing he used as a tool to run away from himself, making the journey towards self discovery still rooted in who he was before, as it's not as if he was straight and then gay. He was always just himself, but now seen through a different lens. Much like the PIDW-SVSSS dichotomy. They're not actually inherently different, they're just happier and more honest with themselves, or less so. They're not different worlds, in the end, just happier or sadder ones. Their building blocks are near identical (save the odd transmigrator).

All of this to say... I can't say I'd be able to do what mxtx has done with stallion novels and danmei to romantasy turned queer isekai. It'd be hard to do with my personal lack of faith in the grounds of romantasy as fertile soil for a queer reframing that explores compulsory cishetnormativity within its own world building and literary genre. Perhaps this lies in the fact that romantasy is often not a male fantasy like stallion novels, and Shen Yuan is a male character entering the world of a male fantasy he had massive critiques of, and NOT as the protagonist who is the receiver of the male empowerment fantasy (while simultaneously entering the female oriented danmei genre as the male protagonist who is indeed set up to eventually get his man... Layers man, svsss has got them).

The equivalent of that for western romantasy is something a bit too vague in my mind, even though the concept of it fascinates me.

Shen Yuan's funky psychology suits the framing of the story perfectly. He's emotionally involved but in a constant state of tension. If he were a healthy person, he'd simply not involve himself with a story that frustrates him so much, and yet he loves Luo Binghe's existence too much to let go. He's found a point of soothing within the otherwise tar pit of a story. And that turned into him finding his true self and true happiness through him, while learning to let go of the "original version" of both himself and PIDW'S world. He need not attach himself to those things anymore, they're not what makes himself happy. And to find your happy ending not in some foreign world unfamiliar to you (going out, dating strangers, facing others with honesty, facing the unknown), but actually just secretly hidden in the world you're already immersed in, isn't that pure wish fulfillment, the very thing stallion novels are meant to be?

In a way, the stallion novel of PIDW indeed did eventually fulfill its purpose of "wish fulfillment for its male audience", just in a different way (and in a way that sort of bridges the binary gender gap of the male and female audience by having a diagetic male audience/reader character who is meant to be perceived by a real majority female audience/readership, bringing a sort of narrative androgyny to everything, albeit one that Shen Yuan doesn't quite perceive, bringing in fun dramatic irony). And that sort of framing in a way validates stallion novels as a genre, while still communicating that they still kinda suck and have issues.

To imagine this same sort of framing repurposed for a transmigration story into romantasy... I can't quite envision how that would work. I'd love to see it attempted though.

And this as a thought excersize has made me rerealize how great Shen Yuan's character is and how suited he is to his specific story, and how well it works as a multilayered metaphor of... basically all kinds of queerness but especially and textually gayness.

[klaytheguildless]

Galarian Zigzagoon + Linoone + Obstagoon TCG

Card GB1 version:

Cards: Galarian Zigzagoon (Shining Fates SV78) Galarian Linoone (Shining Fates SV79) Galarian Obstagoon (Shining Fates SV80)

[thatsbelievable]

[ranticore]

wip book is officially as long as stbh now and nowhere near complete