#this is for a specific audience of people

[soundbulb]

I feel like drake just keeps trying to do his nonchalant laughing it off hyperonline schtick that worked with meek mill (the only beef he ever won) and he doesn't realize he'd actually have to switch it up. I don't think his strategy or persona are why he beat meek mill, I think he beat meek mill because it's meek mill. did you win or did he lose, you know. kendrick got famous off what I would call a very magnetic and ghoulish intensity. like he's always taken on very heavy material and he specifically doesn't want to cover up the amount of intensity and effort and emotion on display. so that's what he's doing here, he's like "I'm the biggest hater" and "I think he should die" and shit he is ❌NOT❌ trying to look unbothered. so drake is still trying to, but he doesn't know how to balance the heaviness of the shit he's slinging with an actual funny affect. like "tryna strike a chord and it's probably a minoooooooor" and "WHAT IS IT? THE BRAIDS" is just objectively funny as hell. calling someone a pedophile on a dj mustard beat is funny. going to the restaurant kendrick name dropped when he was mocking your fake accent is....almost there, I feel like that's what I mean, it's the wrong type of funny. crushing the gkmc WOULD be funny if you were playing up the same level hater shit as kendrick. nonchalant people don't do that as a move though, it's just not working.

I feel like this is generally what people don't like about drake; resentful but dispassionate; sensitive but too insecure and stunted to put that into something, so he just cowers behind an unconvincing performance of what he thinks is a Real Cool Guy. and what he finds cool is widely read as corny and loserly, but that's it's own thing I guess. I get the impression everything gets to him but instead of doing boogie man shit he's trying to be the coolest senior at his highschool about it. and the hyperonline thing worked with meek mill because back then it was niche. like being able to play two different audiences -- hip hop hubs + the hip hop pages -- would've been seen as clever. but now everyones so sick of the internet and it's way more alluring to have some old fashioned celebrity, like kendrick is completely inaccessible which goes way further now than knowing memes. being online as an artist has become synonymous with mediocrity. unrelated but this is the main thing holding doja cat back, people think it's her personality but it's really that she's rapping about twitter. but no one cares about that -- the thing is I hear his diss tracks, and I've heard every kendrick album minus the last like hundreds of times, so I'm always thinking.....there is actually stuff you could go at. kendrick's complexes are not invisible you know, maybe find a ghostwriter who's heard his music. but drake just keeps projecting instead, he's never actually touching down on kendrick's deal. "gotta b sharp d major" WHAT are you talking about? there's no way all you know about him is that he's short and a hotep. meanwhile if you so much as look at a picture of drake you know his entire deal it's eeking out of him so strong. he emanates a very I-remember-every-sideways-thing-said-to-me-in-seventh-grade energy, he's got that I-need-to-relive-my-prom-night-until-it's-perfect patina. I don't know, it just seems like he's trying to do something that worked* one time ten years ago

*did it? who tf likes meek mill

[nyancrimew]

You do a lot of really cool stuff and you do it As You. How do you overcome the fear of being Perceived and Known? Especially when the stuff you're raising awareness about is controversial or big? I have anxiety and while the "fuck it we ball" mindset has gotten me fairly far, I still find myself regretting putting myself out there or regressing back into a shut in.

i feel like what helped me kinda deal with getting pretty well known is probably not really applicable to many other people, because most of it really was that ive just been slowly more and more exposed to a bigger and bigger level of fame since i was like 16 or so. long before i was at the point i am now i was a really well known person in the android modding community and then the broader and broader tech community, i definitely didn't deal super well with some of my first minutes of fame and there's lots of stuff i regret (i def let it get to my head for a while and because i was also slowly burning out at the time i was quite an asshole to a lot of people). i don't think that was necessarily the best for me at the time, but i learned some lessons especially about community building and i did a lot of media work already at the time so ive been honing my communications skills for almost 10 years at this point.

i first started blowing up with hacktivism related stuff around 2019, and then everytime i did again it was bigger and bigger, making massive international headlines for the first time in 2021 (with the verkada story). i still fucked up a lot and got very stressed at that time, especially with my mental health being extremely abysmal and paranoia growing as state repression became inevitable.

after the indictment in 2021 i did more and more press work again (there are lots of portraits of me from that era) but still wasn't like A Celebrity except for those brief moments, which (as i took a break from hacktivism) gave me some more time to grow and learn. by the time the no fly list hack happened in 2023 i had been spending a few months already doing various smaller cyber security related work and working with many of my journalist friends in the industry. in a lot of ways the no fly list leak and the media reaction to it was just routine work for me already at that point, which i think allowed me to take in all the social fame way better as well. it still all felt quite surreal, but i was already mostly media trained, had quite a bit of experience with working with an audience already so it was just kind of a matter of adapting to my new environment.

this isn't to say i was like specifically working towards fame (especially this level) but ive always cared about community/audience building and media communication. i don't think im like "fake" or whatever, but you do have to consider that despite my laid back style im still someone with an autistic special interest in personal branding and media communications. i just don't wanna do that for corporations or for profit and instead use it for my activist and journalist self advocacy to give things a platform.

[far-beyond-saving]

I know everyone wants a Solitaire movie (and so do I) but I honestly think they'd fuck it up beyond anyone's imagination.

[markrosewater]

Do people at Wizards ever design cards for their own decks? I know there's a sort of running joke that "Someone over there must have an XYZ deck because this card is perfect for my XYZ deck," but does that idea hold any water? Also, would such a practice be frowned upon or accepted? I could see it going either way, where designing a card that specifically fills a slot in *your* deck might be selfish vs cool cards are cool cards, and the underlying reasoning might not matter as long as it works as a design.

Every once in a while, you'll design a card for yourself, but it's not the vast majority of what you design. Also, there's often an audience that's likes what you like. Doubling Season was a card I designed for myself, as an example, but plenty of others enjoyed it.

[ciozio]

Hello welcome to my horrible new AU.

ISAT Happiness AU !!

The AU where everyone is happy..

Yippee !!!

Nothings wrong.

Summary of the AU !!

Still needa add and develop more, but heres the basics ✨️

The King is looping people in a small period of time. When someone is stuck, they're reliving a moment over n over.

It's so they're at their happiest forever. Vaugarde in its perfection.

They're basically broken records / movie clips.

The party has seen people in conversations rehearsing the same lines again and again.. and such.

Sadnesses don't exist in this au. They're happinesses now !

The Happinesses of this au are the fake joys of the people stuck in these miniature loops.

The freezing tears are replaced with musical notes. They're magical and seeable. When you get close, there's a specific tune unique to each one.

Touching one will loop you in that moment.

You're stuck in the same thought and action. Doing it over n over again.

For Siffrin, he does it until the universe (his looping) takes him back due to him not progressing by being looped in such a small timeframe.

The Happinesses sing instead of cry.

The King though cries and sings. I can't not make him cry lmfao. He's still King.

I say they're more joyful tears tho, cuz he thinks he's winning.

(Some Main Game Spoilers down here!!)

Siffrin declines into insanity bc they start seeing King's pov. Doing good things right.. the smiles on his party's family member's audience's faces..

The main wish is the same. He wants to stay with them!!

But it morphed into "they'll only stay with me if they're happy."

<3

[lennythereviewer]

After sitting and digesting the new Amazing Digital Circus episode, I've come to the conclusion that I really appreciate Jax for the simple fact that he's the first character in a popular series I can recall in a long while who's just an absolute, unabashed asshole.

It feels like in today's media and storytelling no one wants to make their characters too mean or too unlikable. They're afraid to alienate the audience: The absolutely abysmal sanding down and softening up of The Grinch in the Illumination adaptation back in 2018 specifically comes to mind; their flagship franchise is about villains but they can't make the Grinch, the mean one, MEAN.

If a character is in the 'asshole'-archetype, they always fall into the "Stands off to the side and spouts one-liners and pretends to not care but absolutely has a soft side for this one thing/person" type of character.

Jax is mean, he physically pushes people over and out of the way, he insults everyone around him and bullies Gangle, and his only source of joy is seeing people miserable and suffering; even if they're just NPCs. He's not the type of mean where it's fun to watch what he does, like you would a charismatic villain, he's uncomfortably awful.

He's not the Tumblr Sexyman, watered down and digestible-type of asshole, he's genuinely an awful fucking person and it's honestly refreshing to see a character with some bite to them, and the creator not being afraid to make a polarizing character on purpose.

[prontaentrega]

@fluctuating-fixations It's mostly about some specific word choices that don't really change the plot or the whole direction of the story so it's not like, an entirely different book, but they alter the whole tone of it and makes it worse to me. The first thing i noticed I didn't like about it was when Valentín first mentions Marta and he says "my girl" i immediately went he would not fucking say that!!!!!

In the original Spanish the word he uses for Marta is "compañera" which translates to partner or comrade (F). It's not the most common word to talk about your girlfriend in spanish so it's a deliberate choice on his part. What was the need to change it? to make it sound more natural? to make him sound less political?

In that same page he goes on to talk about his guerrilla comrades and he actually uses the word compañeros for them. The masculine/neutral form of the word he uses for Marta

But the one that really annoyed me is this one

Because in this part the word he uses in Spanish is, again, compañera. And idk about you but i think it has a completely different meaning if you say "if she's my woman, it's because she's in the struggle too" or if you say "if she's my comrade/partner, it's because she's in the struggle too." And besides he would never call anyone "his woman" it's just completely contrary to his whole character... this and a bunch of other small stuff like it mischaracterizes Valentín as more of a macho figure than he really is. And this is an issue i have with literally every adaptation and translation of this book tbh everyone's always so fixed on making this college educated communist latino more violent and sexist and angry. I wonder why

This one's minor but it also bothers me, when talking about the panther woman movie there's a character that in Spanish is "the architect colleague" but in English she's "the assistant" ????? what reason was for that other than misogyny

Maybe this is a non-issue and I'm nitpicking but with the book's narrative being exclusively a dialogue between two people, word choice is fundamental because this is the only way we have of knowing these characters. And especially on a book where gender expression and gender roles are such a main theme this is not like, getting mad because they switched coffe for tea on a sentence. Which I'm also mad about btw. They completely ditch any mention of the characters drinking mate and switch it for tea. Once again I'm asking what was the point? to make it all less exotic? to make it easier to understand to English speakers? having to look up what a mate is or just guess it from context isn't gonna kill anybody, but the translation is so afraid of alienating its gringo audience that it discards cultural context and reduces its only two characters to shallower versions of themselves. And I'd say the cultural context is pretty relevant because this is a book about two political prisoners under a dictatorship that was written and published when Puig's own country was under a neoliberal dictatorship. It's not Vonnegut's cat's cradle with a made up dictator in a made up country, this was actually the situation in Argentina in 1976.

And obviously someone who only speaks english won't notice any of this. What makes me sad about this is that none of the problems i have with it have to do with impossible cultural clashes, it would be extremely simple to fix all of that. It's a tragedy that the only english translation of a latin american book about gender and propaganda was made in 1976. But still I'd rather someone read the book even with the bad translation than not read it at all

[the-modern-typewriter]

helloo just wanted to know your thoughts on the recent tik tok commentary on “booktok” about how literature is being “ruined because of spicy books” and authors who cater to tropes I definitely see both sides!

Caveat: I don't have tiktok. I don't spend a lot of time on bookstagram either. So while I'm vaguely aware of the discourse, assume I spend most of my time blissfully unaware of everything, under my rock, writing my own little things.

Spicy books:

As with everything, there is nuance to be had. I don't think there is anything wrong with spicy books. There is clearly an audience for them and it's great to have books that recognise this desire! Western society can be weirdly puritan about sex and anything that challenges that get points from me. I've enjoyed the spicy scenes myself when they happen to miraculously meet the very specific vibes I personally like.

However, I also don't think every book needs to or should be pressured to be spicy and I personally get annoyed when I feel like spice replaces adequate plot or character development (which is something I've come across a few times in the last few years). I don't say this in a 'every sex scene must only be there to develop plot/character' way! I say this in a, oh my god, why has the plot stopped for sex in every chapter instead way. In a 'you guys used to have interesting conversations! why are you doing this to me!?' way.

But, you know. I'm not typically the target audience for sex scenes. So I'd just not read another book by an author who did that and let other people enjoy it, if that's what they're looking for. I still feel that there are still plenty of other books in the world I can read.

Tropes:

Tropes have and always will be a tool in writing. It's not new that writers are using them, but I think it's just a trend at the moment to be particularly upfront about them (especially in the romance genre tbh). Specifically, I think this is a marketing trend not a writing trend.

(Does trad publishing like books that are easy to market? Obviously. It's a business.)

I don't inherently mind this, because book marketing is really hard and realistically a lot of people don't stop to engage with original content or long descriptions about original content. Especially not on social media. Tropes are an excellent shorthand for conveying information/vibes, and then people can get more information and decide for themselves if they want to engage with the story.

(In a way, to me this is like when people add 'it's queer!' when they make me a recommendation. Does it make me more likely to go and look at the thing? Yes. Is it the deciding factor on if I actually read/watch/like it. Nope. It's just a quick flag for me to consider it and make my own decision.)

Maybe there are people who are specifically just writing tropes without much more to it...but I haven't really seen it in the books I personally read. At least not any more than the usual.

Some great books I've read this year so far:

The Luminous Dead By Caitlin Starling

Our Wives Under the Sea by Julia Armfield

Rolling in the Deep by Mira Grant

(They are all horror to some degree...I've been on a kick.)

[olderthannetfic]

https://www.tumblr.com/olderthannetfic/749218521745145857/while-i-love-some-queergay-whatever

“Kissing on the forehead isn’t necessarily romantic” makes sense if we are talking about a work of media that is made in a time/place where that was a common thing between same gender platonic friends.

But are you, anon? Or are you talking about like, a piece of Western mass media from the past 50 years? Or are you talking about anime — because if anything, kissing is even more loaded in Japan than it is in the West, especially if there are other people around. (Lots of people in anime fandom love to use “but Japanese culture” arguments to no homo, but are banking on no one reading them actually knowing jack shit about Japanese culture — because it’s almost never true or based on any real Japanese cultural difference, there’s just making shit up. It assumes people will take for granted anything that frames Japan as “foreign and inscrutable and impossible for Westerners to understand” which is just Orientalism tbqh)

Just saying, because I almost never see this shit said about like, a novel from 1820 or something from a culture like, say, some Middle Eastern countries where men kissing other men platonically is a thing…. and almost always see it said about current media from a culture where kissing on the forehead would be seen as something you’d likely not do to a platonic friend of the same gender.

You can’t “impose your cultural norms” on something from the same culture as you lol, or something from another culture that has the same norm! And an (for example) American assuming that modern American media plays by the rules of modern American culture and seeing it through that lens, doesn’t necessarily mean that American is unaware that different norms exist in different cultures. But like… it just makes sense to analyze a current American show for American audiences set in America in the modern day through the cultural standards of 2020s America and not, say, Bangladesh or Namibia or 1850s America.

And on another note, if you were as much of a fan of “queer readings” as you claim to be, you’d know that they often have little to do with authorial intent. In fact, it’s often specifically about reclaiming media that didn’t have you in mind as the audience.

(Seriously, I really doubt you have read many of those queer readings, bc if this bothers you so much, the stuff queer studies academics and cultural critics see as “gay subtext” in old Hollywood movies — hell, the stuff that gay, bi and sympathetic-straight directors and actors and writers often very much INTENDED as gay subtext in those movies — would make your brain explode.)

Anyway, we’ve all been in fandoms where there’s a ship some people insist has a ton of subtext but it’s just two guys sharing a scene occasionally and they just WANT to believe it’s there when it isn’t, and it can be annoying sure if there are so many people insisting this that it’s inescapable and becoming fanon that affects the fic about the ships you like, or if they’re pushy and sanctimonious about it. (My current fandom has a group of people who insist the only reason other people don’t see all the “subtext” for their random rarepair is racism or something, and then ignore how much textual stuff they have to deliberately leave out or misinterpret for their reading to “work” lol. Like scenes where their starry eyed expression is directed at a different character and that’s obvious in the actual episode but not in their selectively edited gif set or meta post.) But that is not the same as doing that with KISSING ON THE FOREHEAD ffs. And also, let’s not pretend that slash (or femslash) shippers are the worst offenders, like het shippers — and the broader culture — doesn’t constantly treat “a man and a woman interact” as meaning “they could/should be a couple,”

If you’re not bothered by that, but you’re bothered by when people do it with two men or two women… yeah you gotta ask yourself why that is. I have an idea why, and it’s not bc of your greater cultural open mindedness lol

--

[cowgirleddiediaz]

Can I ask you why you think that queer Eddie isn’t happening? I agree with you, but for the different reasons (I think): Tim writes for himself and that’s true, but there are things related to ABC and views and general audience -these people aren’t fully on board with bi!Buck, I wonder how they could actually react to queer Eddie. Do you have any opinions on that?🌻

so from a buddie angle, i think if this bucktommy arc specifically was meant to be setting up jealous/pining eddie they would've made it obvious by now. imo there's not really a narrative reason to drag that realisation out until the end of s7/s8 (at least not one worth taking the risk that a longer arc gets derailed by some irl problem)

just thinking about eddie's sexuality, tim said in an interview after 7.04 that he wasn't interested in telling a coming out story weighted down by angst, which combined with the fact they apparently did consider giving eddie a coming out arc but decided against it, makes me think they're just not interested in telling the kind of story that a gay!eddie arc would be.

obviously bi buck was apparently pitched earlier on and they eventually came back around to it so who knows. however, from what (very little) we know it seems like that was killed by someone higher up whereas (to me at least) the decision not to make eddie queer looks like it could've been a creative one.

as far as the general audience goes, idk the reaction to bi buck seems to have been a net positive for the show, however there's always the risk they don't want to take another big swing.

[crumblinggothicarchitecture]

While I agree with most of your posts

I think bringing up grammar in song writing is just kinda weird

Like as long as a song isn't as egregiously grammatically incorrect as 'I'll do what I should have did' (thank you deacon blue) it just isn't a relevant criticism?

Even the song writer you respect most probably doesn't write their songs like an essay they can lose marks for. And that's a good thing! Songs would be a lot worse if writers were worrying about these things

It's just such a bizarre thing to bring up- and unfortunately it kinda makes your other points look less valid because it comes across as weird and petty and like you'll drag Swift for anything (Plus obsessions with 'correct' grammar is just rooted in abliesm, classism and racism- so yeah not a good look)

Plus bringing up your literature degree... like you never studied poetry? Which famously plays with grammar and sentence structure? Like that's inherent to the genre and while very little of TTPD is poetic, lyrics are still most similar to poems then they are to essays or journal articles

Sorry you just really hit a nerve here cos it's just such a ridiculous thing to bring up.

Okay, yes people don't write songs like essay's. However, they often still use determinable grammar rules in art.  

You are keying into the difference between prescriptive and descriptive grammar rules. 

The prescriptive rules are ones that you are most likely to find first listed in dictionaries or textbooks. Descriptive grammar rules contend with the dialectal differences and slang. In either case, rules and stipulations or exceptions are noted in various linguistic analysis of the demographic's dialect. Both subgroups of grammar are consistently evolving as the use of the English language changes over time.  

Before I move on, I just want to say that I am well-aware of the deep history surrounding the debates on proper grammar. These debates, of course stem, from sociohistorical issues surrounding class, race, and ableist attitudes. You are correct. However, the academic conversation on grammar and linguistics has advanced dramatically into the subdivision of grammar-practices with respect to dialectal and cultural differences. I judge Taylor Swift's grammar as similar to my own, since she claims to be from my “neck of the woods.” Thus, I feel it is entirely appropriate for me to throw metaphorical tomatoes at her.  

 In the juncture of this difference on prescriptive and descriptive, I want to make that point that people who utilize the difference well often take prescriptive rules and bend them to fit their specific thematic point, thus the lyric forms to its set of descriptive grammar rules. These artists do it with such finesse and precision, unlike Taylor Swift, that it’s nearly awe-inspiring.  

For instance, Kendrick Lamar uses many AAVE typical syntactical structures to make his music personalized art. He won a Pulitzer for it. Take, as an example, the intro to his song “Humble” in which he writes, “Nobody pray for me / It been that day for me” (2017). This is not grammatically correct according to the prescriptive grammar rules laid out in the 1940’s. However, linguistic scholars do not operate on so strict a pendulum anymore. Notice, too, that Lamar is not actually breaking any grammatical rules, only playing with the purpose and form of his syntax, when we take into account the dialectical intention with which he uses “it been” as a poignant use of the past participle form of the verb “to be.” Thus, the simple sentence of “it is” changes into the “it been” as a subjective call first to his cultural dialect and to the thematic gesture of the song. As the phrase “it been” leaves out the helping verb “have” which would put the phrase into present progressive tense should it be present; however, it’s noticeable absence as a stiff detraction from prescriptive grammar rules, focuses Lamar’s thematic point on moving the audience to mediate on the past as it intrudes on the present time. His use of language discrepancy between prescriptive and descriptive rules focuses recognition on his dialectal culture and on his main thematic point as it hinges on making sure to notice where you’ve been in life in order to stay humble and live with authenticity. He is a masterclass on descriptive grammar being used in such a beautifully artistic way that I am damn near in tears for his music.  

Okay, moving onto to your point about poetry not being grammatically correct. You are quite wrong here, because poetry "plays" with syntax but it does not throw the rules out. Much like the example I laid out above, poetry does the same thing wherein it plays with prescriptive grammar in a thoughtful way that often ties into the moral or theme of the work. Poetry centers on a different form of syntactical methodology... yes, you are right. However, the emphasis is still on the necessity of understanding grammar structures like poetic feet, meter, rhyme scheme (etc). It's not a free-for-all. The best poets of the last 6 centuries have been some with the most linguistically precise sentence structure that I've ever read. I can give you examples, but if I do that this answer will become a million words long.  

I am, however, sorry to have struck a nerve or come-off like a know-it-all. I was only expressing my frustration that Taylor Swift is apparently one of the biggest artists in the world and she doesn't even bother to ask a friend if the meaning of her phrases gets lost in excessively languishing grammatical structures. For instance, in her song “Chloe or Sam or Marcus or Whatever” she is stacking so many phrases hinging on coordinating conjunctions that the meaning of the phrase itself loses any poignant message. She writes:

Named Chloe or Sam or Sophia or Marcus And I just watched it happen As the decade would play us for fools And you saw my bones out with somebody new Who seemed like he would've bullied you in school And you just watched it happen (Chloe or Sam or Sophia or Marcus).

In this stanza alone there are 6 coordinating conjunctions stacked together, interspersed with additional prepositional phrases and 2 extra relative clauses. It is the most egregious run-on sentence I have ever seen published before. I've seen better, cleaner prose in the work I've graded from High School freshmen. Not only could she have said it in less words, but the way she is writing it makes it drag on and on. The meaning gets lost, and any emotional impact is shut down because people get lost in the wordiness.

It’s a failure on her part, and it’s clear how just writing a run on sentence with no meaning is so much different than the way that someone like Lamar is masterfully arranging language to fit his purpose.  It's offensive that she gets to make a million-billion dollars off so little effort. 

Sorry, I wrote you an essay, but I am so incredibly passionate about writing. Also, I’ve been listening to Lamar a lot today because of his recent diss track, and it just reminded about how much of a lyrical genius he is. Sorry, I detoured into a rant about how cool he is too. And I need people to understand that I am not critiquing Swift because I need to dunk on someone in order to bolster my own sense of self-worth. I just want better mainstream art, and I want people to have better, stronger art with which to engage.  

I did not mean to hurt your feelings.  You are quite right that obsession with "proper" grammar is bullshit; however, I am not looking for some old fashioned "proper" nonsense. I want people to write like Lamar, with intelligence and passion while he bends the notions of grammar, not like Taylor Swift with obvious run-on obfuscated and stupid phrases.

edit: Also, good writers do actually worry about grammar. It has to do with illocutionary forces behind the phrases. The best among us knows the language inside and out, and that is why they are the best writers.

Edit 2: Also, I've been thinking about this, but what do you think literary and poetry critics do? You say it's bizarre to critique Taylor Swift’s poor grasp of the English language? Of course, I'm critiquing that... she's the one who calls herself a writer. I don't go around checking everyone's grammar, but if you call yourself a "good" writer and a poet, obviously expect people to analyze the words on the page.

[glade-constellation]

We try to stay away from interacting with drama, as it can be very stressful on us, but yesterday’s TSAMS episode was genuinely upsetting and it’s something I feel needs to be talked about.

TW for alcoholism and suicide, do not continue reading if you feel you cannot handle these topics!!!

(I would like to state that I am not just throwing my opinion around. These are both topics I have dealt with in my life, either from someone I know or myself. I have personal experience with these issues. These opinions are based off of real events in my life that I had to go through.)

Let’s start with how the episode was set up. The thumbnail is funny, the title is obviously mean to get people’s attention. Looks like a normal TSAMS episode where Miku does some weird shit and leaves. Starts out pretty funny. Sun randomly is being given a child and Miku is trying to get him to pull some friends to lovers speedrun that is failing.

There are no TWs on screen anywhere that potentially triggering topics were about to be discussed. They just started talking about alcoholism and suicide.

They made it look like a completely normal episode and gave no warnings that heavy topics would be discussed. They used a joke video to talk about things such as alcoholism and suicide.

That is 100% not how you handle a situation like this. The VAs all have social media, and are in the TSBS discord server. If they were having a problem with people forcing their headcanons to be made canon, they have the ability to use these online platforms and talk about these situations as adults. Literally a kind PSA to the fandom would have done the trick.

“Hey TSAMS Community! We just wanted to give you all a quick reminder that, while headcanons are nice to have, they aren’t factual to the canon. Bullying and harassing others because they don’t agree with you is bad etiquette, and creates an unsafe space with in the fandom. Please be considerate to others around you, even if have different opinions!”

Post that on their social medias and boom. You don’t have to make an entire episode to explain one quick fix! Not a single TW needed! When you are an online content creator with a decent sized fan base, you have to step up and be able to handle situations in an adult way. Using a roleplay YouTube video was just not the way to handle this situation.

Now, Miku is supposed to represent the TSAMS community. Sun was representing the TSAMS staff. When Sun was talking to Miku, it was really the VAs of the show harshly criticizing the audience for having opinions. This is a disgusting way of treating your fans, especially with the topics being talked about. Like I said earlier, you need to be able to be the adult in the situation. You need to treat your fans with respect or they will stop watching your show.

Next, the topics of alcoholism and suicide. With the way the situation was presented, it could definitely be read as Sun becoming an alcoholic. A bottle of wine every day after having never drank before? To a human, that’s a lot of drinking, and a lot of sudden drinking. Until Sun explained that a bottle to us is a glass to him, it sounded like he was getting drunk every night. That would definitely make him an alcoholic. Even then, small drinks each day can eventually lead into addiction. There was valid reason for the fans to believe he was becoming an alcoholic. If you guys didn’t want your fans to see Sun as an alcoholic, then why even turn it into a possible plot point in the first place? It would have been better to just completely dodge the situation if you didn’t want it happening. “How would we address all the wine bottles in the house?” Easy, it’s sparkling grape juice. It’s a fancy cider. It’s some sort of non-alcoholic beverage packaged as one to make it fancier and cost more/sell better.

The part of the episode that upset me the most was how the handled the talk about suicide. Specifically when Earth and Sun were talking about “there are signs that people show when they are suicidal and Sun wasn’t showing anything”.

Sometimes there are signs. Sometimes it’s obvious when people aren’t okay. But it is 100% incorrect to say that every single person who has contemplated suicide, attempted suicide, or died by suicide showed all of the same exact signs of how they were feeling. Not everyone is going to show the same signs. Some signs are so minor that they don’t look like signs at the time. Sometimes signs are overlooked because people close to the person believe the person will tell them if something is wrong, so obviously nothing is wrong since they haven’t said anything. Sometimes the person who is hurting doesn’t want people to know they’re hurting, and they hide it as best they can so people won’t notice. Yes, there are signs, but those signs are so rarely actually caught and treated because people don’t want to believe another people would ever actually go that far.

Sun is a character we have seen past suicidal tendencies from. Often times, these urges or emotions come back, even is situations that don’t seems stressful to others. We as fans were being told that a character with past suicidal tendencies was showing concerning behavior most would associate with relapse (drinking alcohol, becoming more reclusive, etc.).

Calling your fans crazy and gross for being concerned for someone’s life is disgusting behavior.

Saying that the fans are projecting their own problems and then making fun of them for doing so, especially when what they’re projecting is suicidal tendencies? Downright fucking deplorable.

Once again, all you guys needed to do was actually use your social medias.

“Hey guys, we know you’re all worried about Sun right now. We just want to clear up a few misconceptions. As shown in [list of specific episodes], Sun is not dealing with any sort of mental health issues right now. He’s perfectly fine! Please remember that, while it’s okay to have headcanons, your headcanons are not actual canon and are not something to fight other people over.”

That would have stopped both problems addressed in the video without doing so in a harmful and completely unnecessary way. What you guys did was disrespectful, rude, and insensitive. Especially to your fans that are dealing with these things.

When you want to handle talking about heavier topics, you have to be an adult about it. Especially with the big following that TSAMS has. There are moments where you guys have to step out from behind the characters and straight up address the community.

I’m sure that are still a few minor things about the episode that I could talk about, but these are the main things. The fans had every right to believe what they did with the evidence given. Turning it into content for a joke video was not the way to handle this.

[writingquestionsanswered]

Hello!

I am currently writing a novel that takes place in a traveling circus. Since all the primary characters are performers, their acts are, of course, a very important part of the story/who they are. Therefore, I'm wondering if you have any advice on how to go about describing the performance acts (i.e., contortion, trick-riding, clown acts, etc.) in the book? I fear the descriptions will end up sounding boring, being confusing, or seeming convoluted. I've primarily worked on screenplays for films, so this has been a great struggle for me. Any advice is greatly appreciated! Thank you so much!

Describing Circus Acts

1 - Map Out Your Need - Before you do anything else, it will help to map out the specific moments in the story where these performances will occur. What specific feat, trick, or sketch is being performed and by which character? Is it a performance, audition, or practice? Who else is watching? Who is the POV character? Does anything unusual need to happen with the performance?

2 - Research the Details - Once you have the specific moments mapped out, it will be much easier to research the details, and having a grasp on the details is essential to good description. You can create a much more authentic image if you know the names of different contortion poses or different trick riding moves, for example. Since you mapped out the need in step one, you should have a good idea of how much of the performance will need to be described to the reader, too.

3 - Consider Sensory and Emotional Details - Another part of creating an authentic and impactful description is remembering to consider the sensory and emotional details. What can the POV character see? What can they hear? What can they smell? What can they taste? What can they feel, both physically (touch, internal cues) and emotionally? See: colorful costumes, props, the joyful faces of the audience. Hear: prop noises, music, audience laughter. Smells: popcorn, circus animals, people smells from the crowd. Taste: circus food, bile rising in throat from nervous anticipation. Feel: warmth of the crowd, numb butt from hard seats, butterflies of anticipation, sense of thrill and joy.

4 - Resist the Urge to Overdo it - Even if these performances play a big role in the characters' lives, if the reader wanted eleven hours worth of circus performances, they'd probably just watch eleven hours worth of circus performances on YouTube. The performances themselves should play only a very small role in the actual action... like Katniss Everdeen's bow skills, Luke Skywalker's piloting prowess, and Arya Stark's Faceless Man shapeshifting abilities. They're shown only when they add something to the story, and never just for the sake of showing them.

5 - Some Telling is Just Fine - Obviously in fiction we want to rely on showing as much as possible, but there are certainly times when "telling" makes more sense, and telling is a great way to make sure these performances feel like the important part of the characters' lives they are without feeling every scene has to highlight such a performance. For example, once you've shown a couple of contortionist performances, you might instead have the contortionist doing something else in a scene... helping another performer, making repairs on a costume, or doing whatever they do in their spare time, and maybe have them talk about an earlier performance or something they're going to do in a performance that night. You and even have other characters refer to other characters' performances. For example, "I don't know where Ribena went. She was monkeying around with her horse's saddle while Lian was doing their Double Marinelli bend finale, and I haven't seen her since."

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[clairedaring]

more my stand-in thoughts and other ramblings about joe/zhou xiang best boi

!!!!!!!!!!! POSSIBLE NOVEL SPOILERS WARNING !!!!!!!!!!!

as my stand-in begins to air, even though we're only two episodes in, the series itself has already established very clearly and explicitly that ming is a HUGE RED FLAG and he's not... the nicest guy.

and as we are told by the narration of joe, this time he had with ming was not a dream as he had though but rather a nightmare and that it was ming who led joe to his death (literal translation of his last line in ep 1, iqiyi engsub you lack accuracy i hate you).

and while i am just one among the joe's protection squad, i feel like i don't share this overwhelming opinion i've been seeing of people thinking joe 2.0 should pull a 180 change or to be as bad as ming or to become some kind of monster and take his revenge on everyone who's ever hurt him as if this is some makjang kdrama.

i once wrote a bit about my thoughts on why joe/zhou xiang is such a compelling protagonist and what separates him from other 188 novels' main characters. but since that piece was written before my stand-in had aired and i think the characterization of joe has been slightly changed in comparison to the novel, so i want to take this chance to elaborate a bit more on my point in that post as well as update it to fit with the series version of zhou xiang.

so, like i've mentioned,one of the traits i love most about joe/zx is this inherent kind-hearted nature of his and i think the series has not only just done well in this aspect, but also greatly amped up this quality in the series portrayal of zhou xiang.

you can seeeeee it through joe's acts of services for this STRANGER he had just met. be it offering ming a ride to the BTS station or cooking for ming even though they didn't fuck.

however, i do agree with my friend @dragonsandphoenix's observation that with the series, since they're trying to speed through joe 1.0 and ming's relationship, the series has joe falling much quicker (literally him using the L word on ep 2 pls joe) than zhou xiang did, considering it took mingjoe only 2 ep before they started their period of domestic life and yanzhou 17 chapters to do the same thing.

i feel like this specific adaptation change in regards to characterization can cause audience to be even more protective of joe than novel readers already were of zhou xiang. one of my biggest fears for this adaptation (i say one of bc novel readers would already know my biggest fear of one specific scene) has always been the doormat allegations against joe. but like i've also said before, it's that specific trait that 'joe has the ability to fight back but he simply won't because he refuses to hurt others and his soft heart has him in pain whenever he sees others hurt' about him that i hold so dear. even in the series, we know joe has the physical capability of taking sol down... and the man did give sol a deck to his neck making him passed out.

... but it's also the same joe who would take care of sol after accidentally decking him.

did anyone watch ep 2 started counting how many times JOE apologizes in this episode... literally in the car scene, he said sorry to ming TWICE because he was scared he had hurt ming's feelings for his assumptions (right ones at that). or when the hot water dripped from the lid of the pot, joe immediately said sorry and checked to see if ming was hurt.

whether it is in the novel or the series, joe/zhou xiang is just really the type to sacrifice himself for the sake of others, he's never been able to put himself first and puts others' feelings above his (⁠っ⁠˘̩⁠╭⁠╮⁠˘̩⁠)⁠っ

which is why i was pleasantly surprised reading professional body double. because one would generally assume that after all the miseries thrown his way, he would become a bitter person, full of grudge and resentment against people who had hurt him, but he doesn't. that just isn't who joe is.

while joe's bad experience in his 1.0 life does change how he navigates his social life and the relations he has around him, it doesn't change the inherent kind hearted nature nor the optimistic outlook on life he once had. i love that for joe in his 2.0 life because his first and foremost goal was to restart a life happily and we gradually got this journey of self-respect and joe 2.0 finally being able to put himself first and fight for the things/people he love.

while there are obviously bad consequences to the "antagonists", i like that it has never been the direct result of joe 2.0 actions but it's more karmic. although i'm very open and would glad to see the antagonists getting even worse consequences than what happened in the novel (which i think was pretty mild) i think i'd rather be interested to see more of series!joe being happy and successful (big emphasis on successful because if i don't see joe with his 20+ blockbusters he deserve i'm suing for emotional damage)

in regards to the wife chasing arc in the second half of the series, i think this part will be rather controversial since there are diverse opinions on how audience want the wife chasing arc to be executed, or from joe 2.0's perspective: his responses/actions to being chased by ming again. and trust me, i do want to see ming grovelling in pain and suffer just as much as the next joe's protector. but at the same time for me it'd just be... ooc of joe to intentionally and/or maliciously inflict pain on ming. granted i do have some qualms as to ming's chasing method that i hope the series will adjust, i do think that zhou xiang's approach to being chased by yan ming xiu was rather sufficient without the need to give zhou xiang a 180 personality change, so i really hope that doesn't change.

all in all, while it's probably quite early to tell how the second half will progress and whether it does/doesn't diverge from his journey in the second half, i just think it was very in character for zhou xiang to make the decisions he does in the novel in his second life (except for one noble idiocy move that lasted like a day) and hopefully joe 2.0 also does in my stand-in for his new life. *sighs* joe is just truly best boi... i love him... look at he... that's my baby angel （づ￣3￣）づ╭❤️～

[greensolsikke]

On my way back home. 25 hours in Finland - what a madness!

Böle was incredible! The new visuals look so great, there were video sequences for nearly all of the songs. Not to talk about the purple lightning added to the show. And the pyro 🔥

The new stage outfits are awesome. Käärijä's new spiky jacket with light elements fits in so well with his prior bolero jackets. The new trousers look like they're made to move, which is totally necessary 😂 and the broad belt reminds me so much of Rammstein, but in a good way.

The Daltons also got new suits - they wore netted shirts and black dungarees, along with new spiky accessories. And one leg was rolled up, so we have another well-working blend with the prior overalls.

Häärijä wore his usual yellow suit and some song-specific attire, like a white outfit with a mushroom head for "People's champion" and the yellow bolero for CCC. I was a bit surprised that both Kä and Hä continued wearing their boleros. They're iconic, don't get me wrong, but I had slight hopes that he'd let it go.

The gig itself was great. People were cheering so much, singing along and even jumping. I was at the top row, surrounded by lots of families, so there wasn't a lot of party 😅 so I made my own party!

It was interesting to see that many of them seemed to be waiting only for CCC. Whereas foreign fans that came there (even from Japan!) were cheering for all the songs 😂

But the best part of the evening was the afterparty. Sonny put up a whole Kä set list up, including rarely heard songs, and many people danced along. Around 23:30 Kä and his crew came on stage and it was 🤩🤩🤩

You could feel the energy seeping through him and the audience, he's really made for club performances. He sung the first CCC version, Kovis, unreleased songs AND Paidaton Riehuja!!! I was waiting for that song for so long, it was awesome!

I had so much fun and enjoyed every minute of it. Even though I missed the afternoon concert and the (nice part of) queueing, I still met some people and mutuals 🥰

Thanks for an incredible night 🫶

[junoverses]

I'm generally not very keyed into a lot of mainstream pop culture, specifically hip-hop and rap in this instance, mostly because i feel fairly removed since a lot of the time I just don't vibe with a lot of the more popular music, but the Kendrick-Drake beef really started to pique my interest. Not just in terms of the drama/spectacle, (which I usually just completely ignore most of the time when it comes to literally anything else) and it is admittedly very captivating in a sense, but it's also lit a sort of fire under my ass to maybe broaden my music taste because ever since Like That came out and tons of people talked about Kendrick's feature on it, I've been very intently listening to the tracks he's been putting out and all of them have been very good in their own ways.

I've had a lot of respect for Kendrick as an artist before as someone who didn't listen to his music, but still understood how impactful and how skilled he was technically, how he talked about his life experiences and how he communicated them and reflected on himself through his songs. And this also just generally extends to genres of music like rap or hip-hop, where just because it's popular and the popular stuff can give off a bad impression, it's obviously never a good idea to write off an entire section of an art form just because of a small amount of works that may leave a bad taste in your mouth, because it's still art. It's still an outlet for people to express themselves, to talk about important topics while also being enjoyable to experience for an audience and have it be also be able to spread and resonate with people.

All this to say, while it's very much not the main point of all these diss tracks, I'm very happy that they could act as a sort of personal catalyst to maybe listen to something else besides the same few rock songs and video game osts for once in my life, because there's so much other good stuff out there that you could miss out on because you're too stubborn to break away from the one playlist you have.

Also, while this wasn't what this post was specifically about, it's still important to keep in mind that while it's very entertaining, it's not purely a spectacle and the things being said are very heavy and serious, (like Drake being a fucking creep) and while obviously this is music being released to the public for people to listen to and enjoy, the accusations levied shouldn't be ignored for the sake of personal enjoyment, but I think that's obvious.

P.S.

Fuck Drake, part of me does kind of hope Kendrick keeps releasing more stuff about this purely because of how funny it'd be for him to just keep going off while Drake just handles these responses horrendously