#Diego Daniels
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anthonysperkins · 4 days ago
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Manny and Randy (2016) Sean Cody
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vietsoul · 3 months ago
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Jax Hayes & Diego Daniels Jax & Manny, 2019 - S**n Cody
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moonxnite · 6 months ago
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I smile like an idiot when I see my man, who’s not my man, on my television screen.
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wannaeatramyeon · 2 months ago
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DG x Reader: Hair
Spoiler! G/N. Soft. Masterlists
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DG bites his tongue and refrains from asking.
It's a stupid question anyway. Racked full of insecurity and especially surprising coming from someone from him.
Yet as your eyes rove over his new style, lingering a moment too long on his dark locks, the question spills forth-
"Don't you like it?"
Delivered on autopilot with a smirk, and his tone implies that of course you do. An age old mask of attitude and arrogance that transcends identities, enough to hide what truly lurks below. The inner workings of James Lee.
You reach up and ruffle his hair, swallowing down the thought that it might take you a while to get used to this, ignore that you're going to miss the shock of baby pink.
It's different, that's all.
Instead you respond by telling him to shut up.
All fondness and zero bite even as you roll your eyes. Your gaze no longer lingers on his hair though your touch does, letting the strands curl around your fingers.
And when his eyes meet yours again, you never bothered to answer his question but nevertheless-
DG feels a weight lifted from his shoulders.
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outofcontextdanandphil · 26 days ago
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Worm controversy
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rebelatheartblog · 3 months ago
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Eric Bogosian wants to know EVERYTHING!😏
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person25 · 10 months ago
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So…does DG act like a regular kpop idol? Like, does he make those tiktok videos dancing to his song with other kpop idols to promote?
Imagine seeing the guy who beat the shit out of you doing aeygo. My pride would be in hell, never to be seen again.
imagine being his s/o and watching act all sweet on tv and he comes home with his real personality💀
ALSO i need to know what kind of music he makes bc i NEED to see him singing and dancing Rover (by KAI)
I need an in depth abt his idol life right now.
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haveyouseenthismovie-poll · 6 months ago
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sscarletvenus · 7 months ago
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when the brainrot actually is rotting your brain...
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mostlysignssomeportents · 1 year ago
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The art of Daniel Danger
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[Image ID: Daniel Danger's art print, 'To all who home to this happy place,' depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]
There’s this behavioral economics study that completely changed the way i thought about art, teaching, and critique: it’s a 1993 study called “Introspecting about Reasons can Reduce Post-Choice Satisfaction” by Timothy D Wilson, Douglas J Lisle, Jonathan Schooler, Sara Hodges, Kristen Klaaren and Suzanne LaFleur:
https://www.researchgate.net/publication/240281868_Introspecting_about_Reasons_can_Reduce_Post-Choice_Satisfaction
The experimenters asked subjects to preference-rank some art posters; half the posters were cute cartoony posters, and the other half were fine art posters. One group of subjects assigned a simple numeric rank to the posters, and the other had to rank them and explain their ranking. Once they were done, they got to keep their posters.
There was a stark difference in the two groups’ preferences: the group that had to explain their choices picked the cartoony images, while the group that basically got to point at their favorite and say, “Ooh, I like that!” chose the fine art posters.
Then, months later, the experimenters followed up and asked the subjects what they’d done with the poster they got to take home. The ones who’d had to explain their choices and had brought home cartoony images had thrown those posters away. The ones who didn’t have to explain what they liked about their choice, who’d chosen fine art, had hung them up at home and kept them there.
The implication is that it’s hard to explain what makes art good, and the better art is, the harder it is to put your finger on what makes it so good. More: the obvious, easy-to-articulate virtues of art are the less important virtues. Art’s virtues are easy to spot and hard to explain.
The reason this stuck with me is that I learned to be a writer through writing workshops where we would go around in a circle and explain what we liked and didn’t like about someone’s story, and suggest ways to make it better. I started as a teenager in workshops organized by Judith Merril in Toronto, then through my high-school workshop (which Judy had actually founded a decade-plus earlier through a writer in the schools grant), and then at the Clarion workshop in 1992. I went on to teach many of these workshops: Clarion, Clarion West and Viable Paradise.
So I’ve spent a lot of time trying to explain what was and wasn’t good about other peoples’ art (and my own!), and how to make it better. There’s a kind of checklist to help with this: when a story is falling short in some way, writers roll out these “rules” for what makes for good and bad prose. There are a bunch of these rulesets (think of Strunk & White’s Elements of Style), including some genre-specific ones like the Turkey City Lexicon:
https://www.sfwa.org/2009/06/18/turkey-city-lexicon-a-primer-for-sf-workshops/
A few years ago, I was teaching on the Writing Excuses cruise and a student said something like, “Hey, I know all these rules for writing good stories, but I keep reading these stories I really like and they break the rules. When can I break the rules?”
There’s a stock answer a writing teacher is supposed to give here: “Well, first you have to master the rules, then you can break them. You can’t improvise a jazz solo without first learning your scales.”
But in that moment, I thought back to the study with the posters and I had a revelation. These weren’t “rules” at all — they were just things that are hard and therefore easy to screw up. No one really knows why a story isn’t working, but they absolutely know when it doesn’t, and so, like the experimental subject called upon to explain their preferences, they reach for simple answers: “there’s too much exposition,” or “you don’t foreshadow the ending enough.”
There are lots of amazing stories that are full of exposition (readers of mine will not be shocked to learn I hold this view). There are lots of twist endings that are incredible — and not despite coming out of left field, but because of it.
The thing is, if you can’t say what’s wrong, but you know something is wrong, it’s perfectly reasonable to say, “Well, why don’t you try to replace or polish the things that are hardest to do right. Whatever it is that isn’t working here, chances are it’s the thing that’s hardest to make work”:
https://locusmag.com/2020/05/cory-doctorow-rules-for-writers/
But if I could change one thing about how we talk about writing and its “rules,” it would be to draw this distinction, characterizing certain literary feats as easier to screw up than others, having the humility to admit that we just don’t know what’s wrong with a story, and then helping the writer create probabilistically ranked lists of the things they could tinker with to try and improve their execution.
Which is all a very, very long-winded way to explain why I bought a giant, gorgeous art-print at Comic-Con this weekend, even though I have nowhere to hang it and had sworn I would absolutely not buy any art at the con.
I was walking the floor, peeking into booths, when I happened on Daniel Danger’s booth (#5034, if you’re at the con today), and I was just fuckin’ poleaxed by his work.
http://www.tinymediaempire.com/
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[Image ID: Daniel Danger’s ‘It stopped being about the panic,’ depicting a ruined mansion interwoven with the skeletal branches of a tree, with a weeping statue and two human figures]
Now, see above. I can’t tell you why I loved this work so much (and that’s OK!), but boy oh boy did it speak to me. I just kind of stood there with my mouth open, slowly moving from print to print, admiring works like “It stopped being about the panic.”
https://tinymediaempire.myshopify.com/products/2022-sdcc-it-stopped-being-about-the-panic-v4
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[Image ID: Daniel Danger’s ‘headlight in the path of,’ depicting a ruined mall with a pair of stags standing at the top of the escalator.]
On the surface, this is moody, post-apocalyptic stuff, heavily influenced by classic monster/haunter tropes, but it’s shot through with hope and renewal and the sense of something beautiful growing out of the ashes of something that has toppled. There’s real “(Nothing But) Flowers” energy in “Headlight in the path of”:
https://tinymediaempire.myshopify.com/products/sdcc2023-headlight-in-the-path-of-v2
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[Image ID: Daniel Danger’s ‘We are no longer able to protect you,’ depicting a ruined factory with a coming-apart sign reading ‘We can no longer protect you forever,’ and a statue of a sword-bearing angel.]
Danger isn’t just a
very
talented artist, he’s also an
extremely
talented craftsman. As a recovering pre-press geek, I was (nearly) as impressed by the wild use of spot color and foils as I was by the art, like in “We are no longer able to protect you”:
https://tinymediaempire.myshopify.com/products/sdcc-2022-we-can-no-longer-protect-you-forever-v3
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[Image  ID: Daniel Danger’s ‘made of smoke and chains,’ depicting a ruined landscape with a pair of derelict subway trains at the foot of a hill on whose peak is a rotting mansion. A pair of human figures, holding hands, are approaching the mansion.]
Danger himself calls this work “weird sad hyper-detailed artwork of dreamy buildings of ghosts and trees,” which is a very apt description of this work, as you can see in “Made of smoke and chains”:
https://tinymediaempire.myshopify.com/products/made-of-smoke-and-chains-mist-preorder
So I looked at this stuff and sternly reminded myself that there was no way I was going to buy any art at the con. Then I walked away. I got about two aisles over when I realized I had to go back and ask permission to take some pictures so I could put a little link to Danger in my blog’s linkdump, which he graciously permitted:
https://www.flickr.com/search/?sort=interestingness-desc&safe_search=1&tags=danieldanger&min_taken_date=1687478400&max_taken_date=1690156799&view_all=1
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[Image ID: Daniel Danger’s art print, ‘To all who home to this happy place,’ depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]
But then I got all the way ass over to the other ass end of the convention center and I realized I had to go back and buy one of these prints. Which I did, “To all who come to this happy place,” because fuckin’ wow:
https://tinymediaempire.myshopify.com/products/sdcc2023-this-happy-place-v6-foil
This was unequivocally the best thing I saw at this year’s SDCC, but I also got some very good news while there, namely, that Emil Ferris’s long, long-awaited My Favorite Thing Is Monsters Vol 2 is finally on the schedule from Fantagraphics:
https://www.fantagraphics.com/collections/emil-ferris/products/my-favorite-thing-is-monsters-book-two
It’s coming out in April, which gives you plenty of time to read volume one, which I called, “a haunting diary of a young girl as a dazzling graphic novel”:
https://memex.craphound.com/2017/06/20/my-favorite-thing-is-monsters-a-haunting-diary-of-a-young-girl-as-a-dazzling-graphic-novel/
If you are or were a monster kid or a haunter, this is your goddamned must-read of the summer. It’s a fully queered, stunning memoir for anyone whose erotic imagination intersected with Famous Monsters of Filmland.
(Also, if you’re that kind of person and you’re in the region, you should know about Midsummer Scream, a giant haunter show in Long Beach; I’ll be there on Sunday, July 30, for a panel about the Ghost Post, the legendary Haunted Mansion puzzle-boxes I helped make:
https://midsummerscream.org/
Now Favorite Thing book two was the best news, but the best experience was watching Felicia Day get her Inkpot Award and give a moving speech:
https://en.wikipedia.org/wiki/Inkpot_Award
And then learning that Raina Telgemeier also got an Inkpot; I love Raina’s work so much:
https://memex.craphound.com/2016/10/04/ghosts-raina-telgemeiers-upbeat-tale-of-death-assimilation-and-cystic-fibrosis/
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[Image ID: A photo of me with Chuck Tingle, who wears a pink bag over his head on which he has written ‘Love is Real.’]
To cap yesterday off, I also ran into @ChuckTingle, which is as fine a capstone to a successful con as anyone could ask for:
https://www.flickr.com/photos/doctorow/53065500076/in/dateposted/
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If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
https://pluralistic.net/2023/07/23/but-i-know-what-i-like/#daniel-danger
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verified-villain-fxcker · 4 months ago
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So do we think Lestat was force choking Daniel so he wouldn’t talk about Louis and the book or 👀
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k-wame · 3 months ago
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lolz
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nothingbutpoison · 25 days ago
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its-a-show-stoppin-number · 2 years ago
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broke: calling women “babygirl”
woke: calling 40-50 year old men “babygirl”
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copperbadge · 7 months ago
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I'm not entirely sure what's going on here with Llorente and de Rossi -- I believe the conflict is about Llorente asking a question de Rossi thinks he should be answering, not asking, but the subtleties are lost on me. Italians (in particular Romans) who can lipread what he's saying are VERY amused by the reaction, so I wanted to find out what had happened; when I was trying to get more of a comprehensive scoop I encountered the best response ever to Italian football on the whole:
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[ID: Top, two images of Roma head coach Daniele de Rossi having a passionate conversation with Roma player Diego Llorente; Llorente taps his wrist queryingly and de Rossi responds with violent hand gestures, first at the field, then himself, then Llorente, then back at the field. Below, a response to the images from slickwilly49 on reddit, who says "I speak hand-talian, he said" followed by a number of gestural hand emojis.]
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outofcontextdanandphil · 25 days ago
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He kinda regressed to dani snot for a second
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