#Budget 2011

[kvtnisseverdeen]

GET TO KNOW ME MEME: FAVORITE SHOWS ↳ Teen Wolf (2011-2017)

"I'm going to tell you a story, maybe it will sound familiar. There was this kid, 16, alone, and running for his life. He couldn't see them, but he could hear them getting closer. They had guns, crossbows. They were hunting him. It started on the night of the full moon. Something came at him. Something bit him, and it changed his life. It changed everything."

[courseyoulovemeyoudontknowme]

Chronicle (2012, Josh Trank)

31/07/2024

[patrocles]

i rewatched the eagle to decompress and let me tell you, i miss classic gay cinema. hays code subtext, incredible 35mm cinematography, the exact moment where you know there was meant to be a kiss but they pussied out, the mid-to-bad rotten tomatoes score. its like cocaine to me

[paceplace]

it's kind of a shame the devs back in tto never thought to give certain NPCs, particularly the storyline and SOS-relevant ones, special outfits that no one can obtain as a way for them to stand out from the others. i'm pretty sure i've said this before but i've always been fond of the alternative outfits clara, flippy, and professor pete wore in their character trading cards and i think it would've been neat to see how they'd go about making personalized designs for all of them in accordance to their role in the tooniverse/personality/shtick (if applicable).

pretty sure the closest thing the folks over at disney did to give their npc's "uniqueness" aside from their shops was altering flippy's in-game model/making it so that his name can't be something that's accepted by players so people can't make a toon thats an exact replica of him and giving two (2) npc's colored gloves but that's it.

[ars-ceratinus]

Coloured a pencil sketch of Jacob from Midnight Son. Horrible movie, do not recommend. 2/10

Plain sketch + others under the cut

[ruleof3bobby]

PARIAH (2011) Grade: B-

Fantastic coming of age with a tight script that doesn't waste a second. Also, the budget looked bigger than it was probably. Lighting was good. Loved the ending.

[rajkhateek]

[jikookuntold]

What Is Like Crazy About?

Since the day "Like Crazy" was released, I wanted to post about it, but couldn't get the time to focus and do a comprehensive analysis. Finally, right before the first anniversary of this masterpiece, I got the time, and the post is ready now. Before starting off, I have to remind you of the fact that a work of art can be interpreted in many different ways, and none of those interpretations are necessarily right or wrong. Every work of art contains a message that is the artist’s main intention from that creation, but the artist doesn’t have to explain it to the audience because a true work of art speaks for itself, even though not all audiences can receive it thoroughly.

I know that in the past year, so many different types of analyses and theories were made by fans to explain this song, and most definitely, I couldn’t keep up with all of them. Therefore, I’m not claiming my analysis to be a breakthrough, and you might have read most parts of it somewhere else. In this post, we are going to discuss “Like Crazy” from a lyrical and conceptual point of view, trying to find out what message or messages Jimin wanted to convey by creating it.

About “Like Crazy”

“Like Crazy” as the title track for Jimin's first solo album, "FACE", stole the hearts of millions of fans and locals around the world, and inarguably became one of the most successful pop songs of the year 2023. I can talk for hours about how beautiful and successful “Like Crazy” is, and how it broke KPop boundaries and countless records. But, in this post, we are going to break to the surface and talk about the meanings and motivations behind this song and answer the questions like “How this song was made?” “What was Jimin's intention in writing these romantic lyrics?”

As I mentioned earlier, artists usually don’t directly address their main message and their intention in creating a form of art, but many of them speak about the motivations and inspirations that led them to the creation. Jimin hasn’t talked much about the sources of inspiration behind individual tracks of “FACE”, but I guess “Like Crazy” was an exception for him because he revealed on several occasions that he was inspired by “Like Crazy”, the movie. And this piece of information is the key to our analysis:

"I tried to express the feelings of that movie. You know, the somewhat complex, somewhat lonely, somewhat happy emotions. I tried to express all these ambiguous and subtle emotions in a slightly sexy way, but I’m not sure how it’ll end up being received by people.”

Like Crazy, The Movie

First of all, we need to keep in mind that “Like Crazy” is a completely original song, and Jimin has not used or sampled any songs, lines, or dialogues from the movie in his lyrical or visual concepts (even the intro and outro dialogues in the song were original and not from the movie). If Jimin had not stated his source of inspiration directly, the only hint that could have led us to it would be the title of the song, which duplicates the title of the movie since the title never appears in the lyrics.

So, Jimin chose this specific name for his song and announced his source of inspiration to make it clear that there is a straight and strong connection between the song and the movie. He made it clear that this connection is 100% conceptual and emotional, and if we want to know what “Like Crazy” is about, and what ambiguous and subtle feelings Jimin is talking about, we have to redirect the analysis to the concept of the movie, “Like Crazy”.

As we all know, “Like Crazy” is a romantic movie, and Drake Doremus directed it casting "Felicity Jones" and the late "Anton Yelchin" as the main characters, Anna and Jacob. Doremus based the storyline of this low-budget movie on his experience being in a long-distance relationship with his partner and developed it into a 90-minute-long movie, which was released in 2011 and became relatively successful.

Anna and Jacob

A few days before the release of “FACE”, I was informed that the title track, “Like Crazy” is based on a movie of the same name. After learning this fact, I had to re-watch it because I couldn’t remember anything after a decade, and I had some questions like: “What was in this movie that made it so special for Jimin?” “How would Jimin feel watching this?”. Having this mindset helped me to see the movie differently, but before explaining those new insights we need a short storyline of the movie:

Anna is a British exchange student in LA, where she falls in love with Jacob, an American student, and they start dating. Anna, blinded by her love for Jacob, overstays her student visa and consequently gets banned from re-entering the United States. After experiencing a forced LDR, Jacob flies to London to visit Anna, and her father suggests that getting married might resolve the issue, but they are not ready for this big step. Jacob goes back to LA and basically chooses his job over Anna, but after some time, they realize that they can’t be apart, and they decide to get married. Six months after the marriage, when the time for the appeal of Anna’s ban comes, it gets rejected, and they lose their last hope of being together. Again, they go back to their sad lives, but after some time, Anna is finally offered a visa, and she leaves everything behind to reunite with Jacob. The ending scene shows how this separation has damaged their relationship, and things will never be the same.

The movie portrays the hardships of a long-distance relationship and the damage the separation can do to two souls and their connection. I think the recent movie by "Celine Song" named "Past Lives" was partially similar to like crazy, but also there was a big difference; unlike Nora and Haesung in “Past Lives”, Anna and Jacob don’t leave it to fate, they don’t forget about each other and don’t settle down with others just because their love seemed difficult or impossible.

They found true happiness only next to each other and did everything against all odds (especially Anna) to take that back. Maybe if Anna and Jacob weren’t in love like crazy and were more mature and realistic, they would end up like Nora and Haesung (Sorry if this spoiled that movie for you), but they didn’t and made their own bittersweet ending.

Many people claim that “Like Crazy” is a breakup movie with a sad ending, therefore, Jimin’s song also must be a breakup song. But, first of all, the ending can somehow be considered an open ending. We don’t know what happens after the shower scene, but we see them together, in each other’s arms, and this is not a totally sad ending by any movie standards. Other than that, Anna and Jacob became separated a few times, but they don't officially break up by choice, their separation is the result of contractual rules and laws, made by society.

This movie, as its director explained, might be originally about a long-distance relationship, but also the main relationship in this movie can be seen as a relationship that gets strained by laws and regulations, it’s about the rules and imaginary borders that decide if two people can be together or ban them from it. It’s a story of the “love against law”.

A Heterosexual Love Story?

When “Like Crazy” was released in theatres back in 2011, it got positive reviews for good acting that made the movie feel sweet and intimate with mostly improvised dialogues. Meanwhile, the negative reviews were focused on the plotline of this drama, calling it far from reality. Other than the fact that Jacob could have easily resolved this issue by taking his job from LA to London, in reality, the couple wouldn’t have faced this much difficulty over the legal complications, especially after getting married.

The fact is, straight couples usually never face this kind of hardship, and governments take that easy on them otherwise, there wouldn’t be so many sham marriages around the world just to get citizenship. So, the idea of a couple getting separated by law is not common, and that’s why many people called this movie implausible. But, a queer person can familiarly receive this implausibility, like when they want to be with someone forever, but the laws don’t let them.

Could it be this feeling that made “Like Crazy” special and a source of inspiration for Jimin? Or was it something smaller like the Santa Monica beach scene? I have no answer, I only make theories, and I think it’s better to leave the movie here and start the lyrical interpretation to see how these words and feelings can get connected.

The Lyrics

[Intro]

(I think we could last forever (I'm afraid that everything will disappear Just trust me)

As I said earlier, this intro is not a dialogue from the movie, but the narrators were told to do it based on the audio from the movie that was sent to them. So, hypothetically, it’s Anna and Jacob having this conversation. He is afraid of losing everything, but Anna assures him that if he trusts her, they can last forever. In the MV, we see Jimin standing in the crowd, but the time goes in reverse, and through a transition into his eyes, we see him sitting alone. Weirdly, the outro of the song is playing in the background here, but we will figure out the reason later.

[Verse 1]

Korean Version, Translated

She's saying Baby, don't think about it There's not a bad thing here tonight Baby, it's fine if you leave Stay with me, just for today

English Version

She's saying, Baby, come and follow me There's not a bad thing here tonight Save your reasons all for later Stay with me a little while

Anna asks him to follow her and assures him that everything is fine, it’s fine if this is not going to last long. It’s not the time for reason and overthinking. The gendered pronoun here refers to Anna, but we will know more about her in the next verses. It is worth mentioning that in the primary handwritten lyrics by Jimin, there was no “She” and it was modified later considering the dialogues added to the intro. Anyway, we know Jimin didn’t release these drafts in his album for no reason.

In this part of the MV, we see Jimin sitting alone in a room, and with a flicker of lights, the room is filled with mud. Suddenly, a muddy hand of a girl grabs Jimin’s hand and leads him to a party. There are several symbols in this part, the lonely room is Jimin’s reality, and the party is his dream. The mud symbolizes dreams and desires that leave their trace on your life and soul.

[Verse 2]

Korean Version, Translated

Watch me go Drenching myself all night (Away) So that even the morning Gets drunk and doesn't arrive

English Version

Watch me go Now, I sink down, all alone away Where am I? A dark haze clouding up my eyes

From here, we don’t see the girl because Jimin and the girl became one. She was her reflection from the beginning, the side that leads him out of his loneliness, and allures him to his dreams and desires, tempts him to be careless and stop thinking too much. Some say she is Jimin’s Anima, but these lyrics never go to the deep levels of the subconscious to reach the Anima. She is his feminine side that is a tangible side of him, and Jimin’s asymmetric makeup gives it away. Also, the mirrored moves between Jimin and the female dancer in “Like Crazy’s” choreography made it clear that the feminine presence in this song is Jimin’s reflection.

[Pre-Chorus]

Korean Version, Translated

As the loud music I get faded out A cliché story like a drama I get used to it Have I come too far to find the me that you used to know Yeah, I know You know I know (Ooh)

English Version

I can hear the voices listening Don't know who they are Trying to take the pressure off Been reaching for the stars Tell me, will I find myself again? When I go too far? Yeah, I know You know, I know (Ooh)

Jimin enters the party and starts drinking, dancing, and having fun with the others. He laughs and enjoys himself in the crowd and trusts the supposed strangers, but the confusion doesn’t leave him alone. He feels lost, and as the lyrics say, he is worried about going too far and not finding himself again. The two opposite sides of him are conflicting. It’s the contradiction between "fear and desire", between "pain and numbness", between "loneliness and losing yourself", and between "reason and dream" that leaves him confused.

[Chorus and Post Chorus]

Korean Version, Translated

I'd rather be Lost in the lights, Lost in the lights I'm outta my mind Hold onto the end of the night Every night You spin me up high The moon with you in its arms Let me have a taste Give me a good ride (Oh, I'm fallin', I'm fallin', I'm fallin') Oh, it's gon' be a good night (Oh, I'm fallin') Forever, you and I

English Version

I'd rather be Lost in the lights, lost in the lights I'm outta my mind Can you help me numb the pain? Each night, you spin me up high Emotions on ice Let me have a taste Give me a good ride (Oh, I'm fallin', I'm fallin', I'm fallin') Oh, it's gon' be a good night (Oh, I'm fallin') Forever, you and I

In this part, he confesses which side he really wants to follow. He wants to go out of his mind, lose himself to the desire, and leave the reason behind. It’s the escapism that saves him from loneliness and the pain of real life. The chorus is the sexy and at the same time, the most poetic part of this song, especially where he is spinning up high in the arms of the moon.

The last line of the post-chorus, “Forever you and I” which also repeats in the last part of the interlude, is crucial because it declares that Jimin is not talking about vagrancy or promiscuity. He wants it all with his significant other, the only one who can help him numb the pain of real life and escape it. But this escapism has its consequences, and we see all that mud flush out of every corner symbolizing it. This scene artistically ends with Jimin facing his reflection in the crowd. The question is, is this reflection the same significant other, or is it Jimin himself? We will get the answer in the next part.

[Verse 3]

Korean Version, Translated

The me, reflected in the mirror Is going crazy endlessly I'm feelin' so alive, wasting time

English Version

All my reflections, I Can't even recognize I'm feelin' so alive, wasting time

His fear of losing himself was true, and it's happening now. This duality confuses him and makes him question his reality. Which side is the true Jimin? He doesn't care anymore because this escapism makes him feel alive.

Here in the MV, we see Jimin facing the reflection, and it immediately cuts to the restroom scene where he faces his literal reflection in the mirror and talks to him about not recognizing him anymore. Then, the restroom being dismantled symbolizes his state of mind. "The reflection of myself in an unfamiliar appearance" was the concept of "his "FACE" which was a whole album about Jimin himself.

[Outro]

This will break me This is gonna break me (Break me) No, don't you wake me (Wake me) I wanna stay in this dream, don't save me Don't you try to save me (Save me) I need a way we (Way we) I need a way we can dream on (On, on, on) (Alone again What's the point?)

Jimin knows the consequences of losing himself but embraces it. He knows it's gonna break him but doesn't want to wake up from his dream. He knows everything will collapse but doesn't need a savior. He wants to stay in that dream, but he knows it's impossible, and sooner or later, he will be dragged out of it.

Is there a way to cut all the connections to the real world of loneliness and stay in this dream forever? We get the answer in the MV, and it's not positive because suddenly, everything goes backward in speed, to where we started (remember the outro being played in the beginning? That was the clue).

He goes back to his lonely room with a muddy hand. Did his hand get dirty from a touch of his reflection, or was the muddy hand in the beginning his own hand? Is he trapped in a loop? Maybe. Maybe this wasn't his first or the last time coming back from that dreamland, and it was the reason for so much mud accumulated in his room. He is a regular in that dreamland and he can't quit.

Conclusion

It's understandable if this analysis of the movie, lyrics, and the MV didn't guide you in any direction, and maybe you are even more confused after reading it all. But don't blame yourself because Jimin already told us that, his emotions for this movie are complex. So, don't look for just one answer, maybe we are not supposed to end up with one conclusion, and this song also can have multiple interpretations and meanings. But what are these meanings?

If you pay attention to the lyrics and the MV you will realize that despite them being aligned and in sync, the lyrics have more connection to the movie. While filming the MV, Jimin mentioned that things (scenes of the MV) didn't happen like this in real life, which was an obvious fact, because this song is clearly not about being the life of the party and stuff like that, and has more internal meanings.

In "Like Crazy", Jimin talks about the loneliness of his real life, the isolation and limitations he experienced during the pandemic, and maybe other times. But Jimin finds an alternate reality, where he can be himself, be free and careless, and forget about the future. This alternate reality is rooted in two possibilities: The feminine side, and the significant other. The feminine side is what we face in the MV, and there are not many signs of it in the lyrics.

The feminine side appears as a muddy hand and a presence at the part that faces Jimin and becomes one with him as his reflection. The idea of "bigender" is nothing new in the concepts that Jimin has offered on different occasions, from his fake tattoos in ARMY-Zip 2019 to the performance of "Filter" in 2020 and his photopholio in 2022, he has expressed this fluidity in his work, and I think the visual concept of "Like Crazy" with his different makeup in the MV and the choreography was the epitome of it.

What about the significant other? As I mentioned in the analysis of chorus parts, "Forever You and I" Can only be interpreted as his exclusiveness to someone who is his significant other. This person is the one who saves Jimin from his loneliness and assures him about their happy ending. This person has no doubt in them lasting forever and only wants Jimin to trust him to take the lead and let that happen.

He keeps saying to his significant other that there is no future. They can't be together forever, this is just a temporary situation, and despite finding comfort in each other, they should not get attached because they will forced to be separated. It's not like Jimin doesn't believe in this love, he does and has the same wishes and dreams, but he keeps getting dragged to the real world where the rules govern.

This part is just a personal opinion as a Jikooker, but I did this analysis in my head last year when "Like Crazy" was newly released and had no intention of making a connection between this and Jikook, until "Seven" came out. We all know JK had no hand in making the sexy lyrics of "Seven", but after watching the MV (which had nothing to do with the lyrics), I couldn't unsee the fact that the concept of Seven's MV looked so much like a response to "Like Crazy's" lyrics. Still, we don't know if JK gave any ideas for the concept of the MV, but considering his record of working as an MV director, it's not impossible.

The End.

This is all I could say about "Like Crazy", a masterpiece that is still thriving in the charts and still touches people's hearts because it comes from real and deep emotions that Jimin had in his heart. That emotion got us the moment we listened to it for the first time, even though verbalizing it, is never easy, no matter how many analyses and reviews we write.

[bookshelfdreams]

ofmd wasn't "profitable" enough but I didn't even get the feeling hbo wanted to make money off of it. They didn't promote it when s1 dropped, and the promo for s2 was erratic at best. They don't sell merch. Or physical copies. There's no bts documentaries other than what actors (shoutout to Samba ilu) make themselves in their spare time.

It took more than a full year for me to be able to watch s1 legally! I still can't access s2 legally anywhere! It's not that ofmd is unprofitable, it's that hbo refuses to profit off of it, because - well, because profiting off of it would mean investing work and money into it.

And like. Of course, when you compare it to the juggernauts hbo holds rights to, like GoT, ofmd is small fishes. But.

How on earth do these clowns think cult classics happen?

A Game of Thrones was first published in 1996 and didn't make it on the NYT beststeller list until 2011. The first edition of the first Harry Potter book was 500 pieces. And yeah, TV shows are different, but if you look at today's media landscape, would things like Star Trek, or Buffy, or Doctor Who stand the slightest chance? These things take time, is my point. A piece of media doesn't become a massively profitable, beloved classic over night. It takes time and effort to build that kind of franchise.

And the thing is! Nobody who makes these decisions even likes stories. I'm convinced that whoever is in charge at hbo, at amazon prime, even at disney, thinks storytelling is dumb and for idiots. They think it's enough to just slap the name of something people love on whatever garbage they spit out, for it to be profitable. They think it's the brand that sells: Look this has "Lord of the Rings" on it! Look, this one has "Game of Thrones", you like Game of Thrones don't you? Watch my show, boy.

But this isn't how this works. It's not the name that sells (unless, I suppose, you're the MCU, and even there one gets the impression the trick is finally stopping to work), especially not when the product is bad. People aren't idiots.

But it's not about making something good. It's not about making a meaningful piece of art, or telling an engaging story. ofmd served its purpose; it drew in all the subscribers it ever would, so there's no point in letting it go on. Even in the s2 that we did get, this is evident: the penny pinching is palpable, it's clear that the studio didn't want to spend any more money than absolutely necessary on it, and then cut the budget by 40%.

It's not about art. It never has been.

And it's not even about profit, because to be profitable eventually, stories have to be allowed to thrive first. You tell a good story first, and success happens later, often much, much later.

And ofmd was incredibly, astonishingly successful. It was the most in-demand series for weeks after the s1 finale. But even that wasn't enough, it's never enough, ofmd could have made record-setting profits and it still would have been cancelled, because -

Well, I don't know. Because we live in a bad time for art. Because Orwell was right, and stories have become commodities, like shoelaces. Because. Well. It's not about telling a story, is it?

What's the point of a story? What's the point of making something for the joy of making it? What's the point of a piece of art, existing, if it cannot be transferred into numbers for the stockholders?

idk how to end this. I hope David Jenkins finishes the story he wanted to tell, even if just for himself. I hope, against all odds, that weird, fun, heartfelt, beautiful little stories like ofmd continue to happen.

But goddammit.

[adastra-sf]

Climate change-driven heatwaves threaten millions

Extreme record-breaking heat leads to severe crises across the world.

Already in 2024, from Israel, Palestine, Lebanon, and Syria in the West; to Myanmar, Thailand, Vietnam, China, and the Philippines in the East; large regions of Asia are experiencing temperatures well above 40°C (104°F) for days on end.

The heatwave has been particularly difficult for people living in refugee camps and informal housing, as well as for unhoused people and outdoor workers.

Using the Heat Index Calculator, at that temperature and a relative humidity of 50%, residents see a heat index of 55°C (131°F) - a temperature level humans cannot long survive:

In February, the southern coastal zone of West Africa also experienced abnormal early-season heat. A combination of high temperatures and humid air resulted in average heat index values of about 50°C (122°F) - the danger level, associated with a high risk of heat cramps and heat exhaustion.

Locally, temperatures entered the extreme danger level associated with high risk of heat stroke, with values up to 60°C (140°F):

Even here at Ad Astra's HQ in Kansas, last summer we saw several days with high temperatures of 102°F (39°C) at 57% humidity, resulting in a heat index of 133°F (56°C):

Of course, the major difference in survivability in Kansas versus some of the places suffering extreme heat right now is that air-conditioning abounds here. Those who live somewhere that faces extreme heat but can escape it indoors are a lot more likely to survive, but a person who lives somewhere without such life-saving gear faces not just discomfort, but heat stroke and even death.

This includes unhoused and poor people here in the wealthier parts of the world, who often do not have access to indoor refuge from the heat.

About 15% of US residents live below the poverty line. Many low-wage earners work outside in construction or landscaping, exposed to the ravages of heat. Many do not own an air conditioner, and those who do might need to budget their body's recovery from heat against cost to purchase and run cooling equipment. Because heat stress is cumulative, when they go to work the next day, they’re more likely to suffer from heat illness.

Bad as that is, for those living on the street, heatwaves are merciless killers. Around the country, heat contributes to some 1,500 deaths annually, and advocates estimate about half of those people are homeless. In general, unhoused people are 200 times more likely to die from heat-related causes than sheltered individuals.

For example, in 2022, a record 425 people died from heat in the greater Phoenix metro area. Of the 320 deaths for which the victim’s living situation is known, more than half (178) were homeless. In 2023, Texans experienced the hottest summer since 2011, with an average temperature of 85.3°F (30°C) degrees between June and the end of August. Some cities in Texas experienced more than 40 days of 100°F (38°C) or higher weather. This extreme heat led to 334 heat-related deaths, the highest number in Texas history and twice as many as in 2011.

The Pacific Northwest of Canada and the USA suffered an extreme heat event in June, 2021, during which 619 people died. Many locations broke all-time temperature records by more than 5°C, with a new record-high temperature of 49.6°C (121°F). This is a region ill-suited to such weather, and despite having relatively high wealth compared to much of the world, many homes and businesses there do not have air-conditioning due to a history of much lower temperatures.

Heatwaves are arguably the deadliest type of extreme weather event because of their wide impact. While heatwave death tolls are often underreported, hundreds of deaths from the February heatwave were reported in the affected countries, including Bangladesh, India, Thailand, Myanmar, Cambodia, and the Philippines.

Extreme heat also has a powerful impact on agriculture, causing crop damage and reduced yields. It also impacts education, with holidays having to be extended and schools closing, affecting millions of students - in Delhi, India, schools shut early this week for summer when temperatures soared to 47°C (117°F) at dangerous humidity levels:

At 70°C (157°F !), humans simply cannot function and face imminent death, especially when humidity is high. This is the notion of "heat index," a derivative of "wet-bulb temperature."

Though now mostly calculated using heat and humidity readings, wet-bulb temperature was originally measured by putting a wet cloth over a thermometer and exposing it to the air.

This allowed it to measure how quickly the water evaporated off the cloth, representing sweat evaporating off skin.

The theorized human survival limit has long been 35°C (95°F) wet-bulb temperature, based on 35°C dry heat at 100% humidity - or 46°C (115°F) at 50% humidity. To test this limit, researchers at Pennsylvania State University measured the core temperatures of young, healthy people inside a heat chamber.

They found that participants reached their "critical environmental limit" - when their body could not stop the core temperature from continuing to rise – at 30.6°C wet bulb temperature, well below what was previously theorized. That web-bulb temperature parallels a 47°C (117°F) heat index.

​The team estimates that it takes between 5-7 hours before such conditions reach "really, really dangerous core temperatures."

On March 5, 2024, Hong Kong saw temperatures of 27°C (80°F) with 100% humidity, which results in a heat index of 32.2°C (90°F) - seemingly not so bad until considering it's higher than the critical wet-bulb temperature. Also, if you watch the video, imagine the long-term effects of water accumulating in residences, such as dangerous mold.

We are witnessing the effects of climate change right now, all around the world, and rising temperatures are just the most-obvious (what we used to call "global warming"). Many, many other side-effects of climate change are beginning to plague us or headed our way soon, and will affect us all.

Unfortunately, those most affected - and those being hit the hardest right now - are people most vulnerable to heatwaves. With climate crises increasing in both intensity and frequency, and poverty at dangerous levels, we face a rapidly rising, worldwide crisis.

We must recognize the climate crisis as an international emergency and treat it as such. So much time, creative energy, resources, and life is wasted in war and the pursuit of profit or power - consider how much good could come from re-allocating those resources to ensuring a future for Earthlings, instead.

(Expect to see a "Science into Fiction" workshop on climate change coming soon - SF writers have a particular responsibility to address such important topics of change and global consequence.)

[courseyoulovemeyoudontknowme]

Miss Peregrine's Home for Peculiar Children (2016, Tim Burton)

20/07/2024

[icthyarch]

todays patches!! I hate patching over pockets!!

watched Sector 7 (2011) along with - extremely heavy flex on the CGI budget for this one!!

[taylorswiftstyle]

Taylor Swift's style is synonymous with her music – the debut country era saw a focus on cowboy boots and babydoll dresses, while Red had a focus on 1950s silhouettes and playful accessories, Reputation was black on black on black, and Lover was bold and bright pastel colors. Folklore and Evermore saw her take a turn towards cottagecore, with maxi dresses and cardigans, while the Midnights era did a 180 with an eye for fun glamor and sleek lines.

The superstar's willingness to tell stories not just in her lyrics but with her clothes ensures that there is a fashion era for any fan, and many of them turn to [... Taylor Swift Style], run by marketing executive Sarah Chapelle, to not only get the almost immediate details of Taylor's looks but also to find inspiration in mixing high and low fashion, and discovering the best budget dupes.

Sarah began documenting Taylor's fashion choices 12 years ago – on the very auspicious date of October 13, 2011; thirteen is Taylor's lucky number – but she says that although "it sounds very Swiftian," it was unintentional. 

Sarah was studying journalism at the time and says that her blog, which started on Tumblr, "represented a crossroad of many of my interests and a way to coalesce my passions for storytelling, style, and Taylor into one". 

"At the time, it felt like an opportunity to create content in a very niche subsection of my interests that was left open by social media being in its infancy and major fashion publications focusing primarily on red carpet or photoshoot fashion. But capturing all those in between moments that are far more relatable for the everyday fan was what interested me most."

[nobodysuspectsthebutterfly]

Is your chosen username anything to do with Ray Bradbury’s story by chance? If so, Mildly ironic given the current stete of fandom

It's not the primary reason for my URL (that would be the Simpsons), but yes, "A Sound of Thunder" and the butterfly effect are among the many reasons I love butterflies. I don't think it's ironic re the current state of fandom though, I've long noticed GRRM citing the butterfly effect to explain how a small adaptational difference can lead to great changes by the end, since 2011, and particularly since GOT S5 and S8. So it's not surprising GRRM cited it again re HOTD, it's one of his standards along with Scarlett O'Hara's kids. Heck, he cited both things in an interview (regarding the question of whether HOTD was "canon") only 2 years ago. By definition the butterfly effect is just a single wingbeat that eventually makes a hurricane, but for GRRM it's a drum he's never stopped beating.

So, regarding the butterfly effect in GOT... let's give some examples. One of the butterflies GRRM used to talk about was that in the show, Khal Drogo killed Mago (in the epsiode airing June 5, 2011) whereas in ADWD (released July 17, 2011), Dany is captured by the khalasar where Mago is a bloodrider, and GRRM has said he'll be a significant character in TWOW. How the show handled it... they basically replaced him with Khal Moro, and tbqh, due to GRRM's own flat characterization of the Dothraki, it's hard to tell if there will be any difference between one brutish thug threatening to rape Dany vs another brutish thug with a slightly different name. Maybe TWOW will surprise us there, but if so, I really will be surprised.

Another butterfly (mentioned in the Mago link above) was that in GOT, Marillion never went to the Eyrie, and instead went to KL and got detongued by Joffrey. Thus, Marillion never became Lysa's favorite, and his plot with Sansa in ASOS/AFFC never happened. So Petyr didn't have anyone to blame for Lysa's murder... and yet in the show, he really didn't need Marillion, he convinced the Lords of the Vale that Lysa committed suicide. However, this was done by Sansa revealing her true identity to them... which cut off the Alayne plotpoint altogether. And that leads to what GRRM might call the greater "toxic butterfly" of Jeyne Poole not being an actual character in the show (she appears for half a second at Winterfell and never again), and thus Sansa took her place in the Ramsay storyline. But to be frank, I don't believe Jeyne's absence had any real "butterfly effect" on the show... even if had she been an actual character and Sansa's companion that Littlefinger made into a prostitute at one of his brothels, D&D never would have brought her out again to play "Arya". David and Dan deleted the Alayne plotpoint and Sansa's AFFC/TWOW storyline, and instead sent Sansa north to be married and raped because that's what they wanted to do with her character, not because they "had to" because Jeyne wasn't there. (And if they ever told GRRM otherwise, they lied.)

And that's the truth about the "butterfly effect" straight up. GRRM seems to believe a story must flow logically to its conclusion and thus removing even a small element changes that conclusion. But the truth is that D&D could have done whatever they wanted, dead/nonexistent characters or otherwise. Aegon and JonCon not existing is not what made Dany a mad queen and burn KL, they chose to make her a mad queen because that's the story they wanted to write. The bizarre nonsense of the show Dorne storyline is not because they removed Arianne, but because they wanted to make Ellaria both vengeful and uncaring about her lover's family. Smalljon Umber surviving the Red Wedding is not why Osha and Rickon died, it's because they wanted to kill off Osha and Rickon and add another heartless Northern villain. Flow does not truly apply, this isn't an atmospheric system and it's not a real history. Nothing forced D&D into doing anything except budget/orders from above/other business issues. It's fiction, it's the story they constructed, they chose to construct it that way, because "Creatively it made sense to us, because we wanted it to happen."

Now, regarding HOTD -- let me first provide a quote from GRRM from the "canon" interview I linked above:

George: And the more you read about history, the more inconsistencies you had. So I thought it would be fun to do that in Fire and Blood. And so when I’m relating what happened here, and I’m thinking about what can happen. Yeah, I… oh, this would be great. This would be really outrageous, it would be… and then, eh, it’s probably too outrageous. Here’s probably what… the more realistic version of it. And wait a minute, this version makes Fred the villain and Bill the hero. And this version makes Bill a villain and Fred the hero. And then at some point it hit me. Why don’t I give all versions? Cause history is uncertain. I’ll give all versions and it’ll be fun for me. I can put in all the really outlandish scurrilous things, the way Mushroom sees it, but I can also put in the things that are probably more…  Aziz: They’re sources, yeah.  George: And that worked fine for those who liked that thing, although some don’t. But if I was writing it as a novel, if I’d been writing this in the form of the books in A Song of Ice and Fire, like Winds of Winter, which I’m writing now. When I get to a chapter in The Winds of Winter and I know something’s gonna happen. How does it happen? What are the things? I think I could do it this way. I could do it that way. I have to make up up my mind. In Fire and Blood, I didn’t have to have to make up my mind, but Ryan and Miguel, when they’re adapting it, they largely had to make up their mind. 

So. In his (deleted) blog post, GRRM talks about the absence of Maelor being a butterfly, so that the Blood & Cheese scene didn't have Helaena choosing between two sons (only between a son and a daughter), and he thinks it's unlikely they'll have the Bitterbridge scene with the Kingsguard Rickard Thorne heroically trying to protect Maelor (who is torn to pieces by the crowd). GRRM said that this will affect Helaena once again, because Maelor's death is why she commits suicide in F&B and he says in the S3 outline Helaena does it for "no reason". Welp. First of all, it's kind of hilarious that the wiki immediately cited GRRM's blog post, because IDK if GRRM recalls that in F&B he gave multiple reasons for Helaena's suicide (several weeks after Maelor's death!) through the book's conceit of multiple historians:

because she learned she was pregnant after being gangraped in a brothel along with her mother per Mushroom's wild story of the "Brothel Queens" (though Gyldayn reasserts no part of Mushroom's story is credible)

because she watched two knights who had tried to rescue Corlys be hanged and this upset her, per Munkun (though Gyldayn thinks it's unlikely because she didn't know them)

because Mysaria told her that night that Maelor had died and how he died, per Septon Eustace (though Gyldayn says it's hard to understand what motive Mysaria would have had for doing so)

because she didn't actually commit suicide, she was pushed, because Rhaenyra ordered her murder (what the smallfolk believed, which per Mushroom was a rumor spread by Larys Strong, and note Gyldayn does not discredit him here)

So whatever reason they're choosing for Helaena's suicide in HOTD (I doubt it will remain "for no reason" between outline and script and broadcast), it may be hard to argue it's not textually based given the multiple choice options in the text. Plus, there's a possible reason in the book that is unmentioned by Gyldayn -- that only a short time before, Daemon had his murder-suicide battle with Aemond above the Gods Eye. Though it seems that the news of that battle didn't reach KL until a day after Helaena's suicide, book!Helaena was not a dreamer the way show!Helaena is. And the show has already drawn a connection between Helaena, Daemon, Aemond, the battle above the Gods Eye, and prophecies. So again, I very much doubt she will kill herself "for no reason" in the show. It may not be the same reason as in F&B, but there should be some reason.

But the fact that GRRM stated outright that the Maelor reason is the real one and therefore he's an important character who should not be butterflied away -- well, that blog post did what his book deliberately failed to do. GRRM wrote a book with so many multiple choice conflicting narratives, deliberately, because he didn't want to make up his mind, so in its adaptation the HOTD writing team chose to write a narrative that picks and chooses among them (and sometimes, yes, makes up new shit), because they did have to make up their mind (and not do a Rashomon framing device). And only now he's like "no that's wrong, there is a real true history there and I'm mad they're not doing it"? I'm sure it's frustrating to GRRM, but if it's a problem, it's been a problem since the very start!

I mean, I am deeply sympathetic to him being disappointed by an adaptation once again, especially if he thought being an executive producer would give him more power than GOT's co-executive producer status but again that was just an empty title with no power at all. And especially if he has been telling the HOTD writers truths the book didn't, only to be dismissed with something like "well you didn't say that in the book so we're doing it differently". And especially if he thought a particular scene was very fine writing and characterization, and is disappointed that the show is unlikely to broadcast it to a greater audience. Y'klnow... damn the NDAs, but someone really ought to get GRRM's opinion regarding Septon Meribald's broken men speech, frequently considered one of his best, and how they did something rather different in GOT... and lbr, the Rickard Thorne Bitterbridge scene was a nice bit of a knight actually keeping his vows for once, but it doesn't compare.

(Seriously, let's be real. We all know GRRM's real issue is with what GOT did to his legacy. HOTD is just the one he thinks he might be able to nip in the bud before they make so many changes... and if he can't, that's just the wound of GOT all over again.)

And I do agree that Helaena's suicide is important, however it happens. The KL riots being sparked by her suicide are also important. (Though I very much doubt they won't exist at all in any form -- again see that vision from S2E8 and the fact that it included a scene evidently from the Storming of the Dragonpit.) And Maelor is important as well for something GRRM didn't mention (perhaps he thought he couldn't get away with it, though evidently he couldn't get away with saying anything) -- the fact that his death is what causes Daeron's heel turn from a sweet kid to a war criminal, and thus the Sack of Bitterbridge and Lady Caswell's own suicide (imo far more emotionally moving than Thorne's stand against the crowd). But... those butterflies don't necessarily have to be "killed", as GRRM fears. Daeron (who at least we know exists in the show) can have a heel turn for a different reason. Bitterbridge can be sacked for a different reason.

If that's what they choose to do, because yes, Daeron doesn't have to have a heel turn at all, Bitterbridge doesn't need to be sacked at all, the entire southern campaign can be a different story, they can write anything they want, as faithful to F&B as they want or otherwise. But GRRM's greatest worry seems to be that a less-than-faithful adaptation won't be a "logical and convincing" story where all the points lead to a conclusion, and... I'm truly sorry to say, that does not necessarily follow. Whatever conclusion HOTD reaches will be the sum of whatever came before. If some parts aren't built up as well as they should be, lbr F&B's Dance has had the same critiques for years. And again, the multiple-historian conceit, as well as it being a history and not a POV narrative, has never helped this issue, because it lead to one of F&B's greatest faults -- that it is not consistent with itself. (Unrelated to the Dance: see Alysanne's attitude towards Baelon inheriting at the end of the Long Reign chapter, vs pages later in the Heirs of the Dragon chapter. "You will be a great king" vs "a cock is not essential"... these chapters were written years apart, and not edited together nearly as well as they should have been.) If GRRM has a different story in his head that is more consistent than was put on the page, again this may be too little too late for all the work already put into the show.

However... I have a very strong feeling that it's not "Maelor the missing" or even whatever's happening with Helaena and the riot, or Daeron and Bitterbridge, that's GRRM's real worry about "toxic butterflies". I think the subject he really wanted to talk about, and knew he absolutely could not (and yet perhaps hoped that post could pressure HBO about), is the absence of Nettles. Her absence would greatly change the relationship of Daemon and Rhaenyra, who we've seen HOTD has chosen to portray as an OTP, a toxic one perhaps, "always meant to burn together". But it was already portrayed as odd in F&B for Daemon to lose his head chasing after a teen girl (if IMO entirely consistent with his personality), but with HOTD's apparent Daemon/Rhaenyra plot... Well, see S2's process starting with him leaving her in ep2, to their reunion in ep8 convinced she's the queen chosen by the gods... is Nettles going to come in and blow that up? Make Daemon abandon Rhaenyra again? It could be told in a "logical and convincing" way, I still think it should be, but at this point it's hard to see how it would be. (And looking at GOT in comparison, Nettles does not have either the textual value nor the fanbase that Brienne has, and just look how they ended their toxic OTP of Jaime/Cersei, despite the books.)

But plot and relationships aside, Nettles is a character whose meaning reaches well beyond F&B, to affect ASOIAF itself. Her legacy regarding Targaryen exceptionalism, to the subject of who can really ride a dragon, her legacy regarding the Vale's Burned Men... all these are elements that may be extremely important in TWOW and ADOS. So if GRRM has been trying to convince Ryan that Nettles is the most important character that should not be eliminated, and yet has been shut down... well, no wonder he's been depressed about his own legacy.

And again, I'm sure it's the deeper wound of GOT's ending that's been truly paining GRRM regarding his legacy, that their ending that may be the only thing anyone ever sees. Perhaps he was hoping that HOTD could help correct the issue. That its foreshadowing would help readers understand the truth, what happens in TWOW and ADOS, the real ending. But... again I'm deeply sympathetic, and I'm sorry HOTD couldn't be that for him, but the truth is no other television show can be GRRM's legacy in that way. The only thing that can correct GOT is his own words. The only thing that truly matters is him finishing TWOW and ADOS... and it's been 13 years since ADWD, 5 years since GOT S8. I want to tell him, so much, fuck the butterflies-- as you've said so many times yourself, the show is not the books. Leave them be in their other universe and focus on your own, please. Please.

Because, again, let's be real. If GRRM does finish his grand epic and completes his legacy, his last word on the subject... if this makes HBDiscFlix want to do a GOT remake once they have an actual story to adapt "correctly" (which they still won't)... you know that when the final season of Game of Thrones Brotherhood comes out in 2050 and Tyrion rides a dragon despite having no Targaryen ancestry... all the clickbait sites and YouTok will have vidposts like "The Missing Character from House of the Dragon - What You Don't Know About This GOTB Development!" It won't matter what HBO did or didn't do with HOTD. It's just GRRM's own words in the end... if he has them.

[cheriladycl01]

Well, that's just the way the Cookie Crumbles ... - Fernando Alonso x Younger Actress! Reader

Plot: You are an actress/ stunt actress and get invited onto TOP Gear with Fernando Alonso to see who has the quickest time driving around Silverstone in your choice of car.

"So Fernando, you've had some interesting dating scandals over the years. Taylor Swift being one of them, however due to your most recent appearance on Top Gear, and having seen her around the paddock a few times people are wondering about your closeness to a certain Actress" the interviewing around the paddock asks as he comes up to Alonso, seeing he is alone and free to talk about the upcoming race and anything else.

"Well..." he starts before thinking back to the first time he met you.

"So today here we have Professional Driver in Formula One for Aston Martin Cognizant Racing Fernando Alonso" Paddy introduces as Fernando comes up and onto the stage shaking everyone's hands before taking a seat on the sofa in the Top Gear studio.

"That's not all that we have though tonight is it!" Chris says making Fernando frown, he assumed he was the only celebrity on tonight.

"No we also have Oscar Award Winning Actress and Stunt Actress, Y/N Y/L/N" Freddie says as you walk out onto the stage your high heels clopping against the flooring. You go and shake all of their hands, kissing Chris on either side of his cheeks having met him before.

"Hello" you smile waving at the crowd, screams coming from everywhere. You take everything in before taking at seat next to Fernando.

"So, we had both of you compete at a track that one of you knows extremely well" Chris starts and looks over at Fernando who nods, remembering a week ago him driving round the Silverstone track.

"Yes, i have raced that track many a time!" he admits.

"You've even won two Grand Prix there in 2006 and 2011. Which means gosh how old would have you been Y/N?" Paddy asks looking over to the younger actress.

"Oh, mmmm 2006 i would have been 13 years old, and 2011 i would have been 18" you work out mentally in your head.

"And its funny because we actually have a picture of you and Fernando Alonso back in 2011. You were just starting up your acting career! Look folks here it is" Freddie smiles showing the picture of you as a young adult stood with 30 year old Alonso.

"Woah i don't even remember that being you. I didn't even know who you were back then" Fernando says squinting at the picture in shock, trying to see if it really was you.

"I was awe struck with everything that was going on honestly i probably just looked like a fan. I can understand the confusion" you laugh knowing now that Fernando was actually a bigger fan of yours.

"Well, lets explain what we actually had these two do at Silverstone" Paddy answers.

"Yes, its about time. Lets show the video!" Freddie exclaims.

"Hello Top Gear Fans, today we are here at Silverstone shooting over one weekend, two different celebrities up against a totally new challenge" Chris introduces.

"I'm very excited for this challenge are you?" Freddie asks.

"Yeah, it's like the challenges we are normally privy too just without the pain being on us" Chris frowns, crossing his arms grumpily.

"So, todays challenge we have, Fernando Alonso and Y/N Y/L/N. They were asked to each choose a sports car in their budget to drive around Silverstone" Paddy introduces the challenge.

"Fernando is on Friday. Y/n on Saturday and today in the studio on Sunday its like our very own Top Gear Grand Prix" he admits showing the awfully drawn out plans for shooting.

"So, Fernando's been sent here with Aston Martin so we automatically knew he'll be taking the Aston Martin Valkyrie" Freddie says looking down at the cards in his hands.

"Yes it would be a little awkward if he chose another brand!" Chris laughs.

"The most surprising thing is Y/N has chosen the McLaren Speedtail! Is there a partnership we don't know about brewing?" Paddy asks.

And the video went on, little breaks where they came back to the show seeing Y/N and Fernando laughing along with each other and the presenters.

Eventually it showed Fernando go round, in dry conditions and very quickly. He was a seasoned expert at the track and new the racing line. However driving in an actual car was very different than his open wheeler.

Then it came back, he was asked about his run and how he felt that it had gone before switching onto you and the Saturday when you drove.

You had your helmet on, and you drove quickly. As a stunt actress you'd done a lot of risky driving in your time where you were confident in your skills to go quick and be able to drift without loosing any time or over-skidding to make the car flip and crash.

"So, are you both ready to find out who won?"

"Yes" you both had said in unison.

"Well, Fernando lets starts with you, you timed in at 1.32.823" Paddy says slowly reading off the card.

"And Y/N you timed in at a staggering 1.30.923" Freddie announces calling out the numbers really slowly. You looked at Fernando in shock, he also looked particularly shocked but seeing the way you didn't hesitate at any of the corners and seeing your aggressive way of driving from the videos it wasn't that much of a shock when he thought about it.

"How?" he asked

"Thats just the way the cookie crumbles baby" you smile at him.

His mind came back to the interviewer a small smile gracing on his face.

"Ahahah is he talking about his cool new girlfriend!" Lando squeals running back the camera seeing the look on his competitions face.

"Look at him, he's a grumpy grandad!" Albon follows with a quiet laugh that has George and Charles joining in with the mayhem.

"Yes, Y/N is my new girlfriend. We bonded after the filming for Top Gear and she took me away by her driving skills if im being honest" he admits, knowing he was still a little salty at how you'd beaten him and how you kept on insisting it was an age thing, you were younger and more spritely so of course you won.

He did find it funny and rather endearing the way you'd lean into him as you joked about how old he actually was, he loved you despite the teasing.

"But she isn't in Aston Martin, she's always seen in McLaren!" the interviewer pushes.

"Ah, well that is for her to show, i am not aloud to say anything. However, she will sneak over to Aston Martin to come and see me. I guess that's as she would say, the er cookie crumbles?"

A/N: sorry guys just two smaller individual imagines today where I've been busy with lots of uni stuff.

However, theres so much in the up and coming i think you'll all enjoy! We have a small Lance Stroll imagine that should be out tonight as well! Then we have a cute Pierre Gasly and Reader!

And then of course the continuation of my series such as Charles, Carlos, George and Oscar with the edition of a new Lando Series coming soon!

Taglist:

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