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[astrae4]

MELTING POINT MASTERLIST

IN WHICH Emperor Zhanghao uses the imperial command to wed both you and Prince Shen. Normally, one would be happy to be wedded to a prince and become one of the most powerful ladies in the Empire. However, the young master of the Ducal house of Shen is said to be a cold and indifferent man. Oh! And did I mention that your duchy and his are enemies? Right! The cherry on top—I almost forgot that you have a weak body too haha… How will you survive the harsh Northern lands? Will you get along well with your husband? Will you be treated alright in an unfamiliar environment? Shall you just return back to the comfort of your home?

FEATURING Zerobaseone’s Ricky as the son of Duke Shen, Prince Shen Quanrui and you as the daughter of Duke Han, Princess Han Y/N.

GENRE romance, angst, fluff | historical fantasy, supposed enemies to lovers, forced marriage, northern duke au

WARNINGS non-gender neutral reader (reader will be using female pronouns/titles), forced marriage, infidelity, mild swearing, and miscommunication.

NOTE hi everyone! i’m so sorry for such a long wait, but thank you so much for you guys who did so regardless! this took so long to come out (initially it was supposed to go out during March) due to my health problems…but i’m happy to say that i’m fully recovered and finally going back on track with my writing plans! Thank you so much for your support, I hope you enjoy this series 💗

MORE WORKS — navigation | zb1!masterlist

IMPORTANT NOTE TO READ

CHAPTERS.

1 — the hunter and the prey.

It doesn’t really hit you that you’re getting married until your father comes in. The moment you see the tears in his eyes, you also feel your eyes water. You remember being young and dreaming of how you’d marry someone you love. You remember planning your dream wedding. This was it. This was what you had always imagined. Yet, all at the same time, it seemed so different.

2 — an unwelcome bride.

He says nothing to that. Instead, he crosses the room and begins unstrapping the belt at his waist—calm, impersonal. As if you’re a servant, or worse, a stranger.

3 — the past chases.

You could feel the tension slicing through the air like sharpened glass. The nobles in the ballroom hadn’t noticed yet — but if this continued, they would. The Duke of the North and the Count of the South publicly trading barbed words over you was not exactly the kind of court entertainment you wanted to provide.

4 — a sweet renewal

You weren’t sure what unsettled you more—the gentleness of it, or the terrifying fact that you wanted to believe him.

5 — the confession that progresses it all

But your eyes drifted across the garden—toward the doors that led back inside. Toward the room where Ricky might still be.

ONESHOT VER.

TAGLIST. @ja4hyvn @flwoie @sulkygyu @xiaoderrrr @ineedaherosavemeenow @lonewolfjinji @teddywonss @khaelscafe @autumn583 @lvieee @cyberstephzz @cara-rey @cuntserver8000 @yujinified @lowcalmarlboro @moncheriesu @carat-rose @fairyytyunn @taerae-verse @peachyy-moon @kaywhyessssss @cheederzchez @hueningcry @renjuneoo @totalnieparksunghoon @kuromixheartzzz @nerezza1234567891-blog @dilucpegg3r @ohsunnyboy @iraa567 @k-p0p-4ever @slimeclimbtime @paradise-world @sparkcling @fremineth @chickenscoups @kpopandbookschild @soobmeongie @acaciacore @uncasings (ask or comment to be added!)

NETWORKS. @k-labels @zumblrnet @k-films

© astrae4 2023 | please don’t copy, translate, or plagiarize my works on all platforms!

[sapphicscholar]

Something I landed on today while I was talking to a friend ( @trying-to-get-somewhere-real ) about a post that frustrated me was that part of what I feel is changing fandom so drastically is that it’s mimicking influencer culture. And here’s the thing: most of these annoying things are nothing new when taken in isolation, but what is new is the way these old patterns are 1) becoming ingrained and therefore acceptable (if only begrudgingly so); 2) threading themselves together to constitute a new norm for what fandom participation entails; and 3) becoming so visible that it makes other ways of doing and feeling fandom harder to access to newcomers in a given fandom or to fandom writ large.

For me, these amplified strands of behavior that turn fans into influencers include (a non-exhaustive list below the cut)

1) Consumption over Community: I’ve talked about this issue ad nauseum, but it’s genuinely the thing I believe will doom creative sides of fandom if we can’t find ways to correct at a large scale. As fandom has spread to new platforms with different norms around engagement (e.g. consumption, scrolling for entertainment, creator vs viewer dichotomy compared to a more community-oriented ethos of reblogging, commenting, mutuality of creation, etc.), there’s been a shift toward thinking about things like fic esp, but also art, vids, and more as content where engagement is limited to consumption and maybe talking about it elsewhere or tossing the original work a like. There’s also been a backlash against those pointing out the problem of this shift, saying that those of us who are annoyed with being treated as content farms are greedy, that you can’t demand feedback, even going so far as to say that it’s the writers and artists who are the ones ruining fandom vibes by making it stressful. And what this does is drive the artists who showed up for fandom-as-community out because the community aspect has gone missing somewhere along the way, and there are far more lucrative ways to create if you’re already gonna be working in isolation

2) Monetization of Fandom: now I know that artists have done commissions or collected tips while live streaming for ages, that authors often have Ko-Fi accounts buried somewhere on their tumblrs (which ppl have long been v weird about compared to the art economy which…anyway, a hot take for a different post!), but the mainstreaming of filing off the serial numbers and the shift to using things like patreons and Ko-Fi accounts as bartering chips or gate-keeping mechanisms has done a number on the fandom ethos. I have no issue with people making a couple bucks doing fannish things they love, but when it becomes so established that there’s an expectation that if you’re good enough or productive enough or make your creations match what the fandom wants enough that you’ll be able to turn fandom into a lucrative side hustle or even career is…not the same. At all. And the infusion of capital into fandom creates a vicious cycle with the shift from community to consumption! They’re mutually reinforcing!

3) Entanglement of Fandom and the PTB: the increasing accessibility of showrunners, writers, producers, cast, and crew (the powers that be in old school parlance) to fans on social media has allowed for some cool interactions, but it’s also led to a greater investment in canon at the expense of fan creativity, as well as the exploitation of fan labor as free promotional labor. It’s hard, right, esp for small queer shows (or even big ones that, esp when they’re focused on queer women or queer poc, seem to get hit with cancellation threats almost instantly) because we want to support in all the ways we can! But then this ethos infuses the viewing practices elsewhere, pushing fans into doing work that studios and networks used to pay people to do while reifying the final say-so of the PRB. And suddenly fans are being chastised if their vision contradicts statements made outside of the show but by someone involved in creating it. And studios are cherry-picking fans who have the most followers or who tweet at them the most to send gift bags or special vip access to, and suddenly we’re creating a whole new category of fan-influencer.

4) Drama-mongering as Influence: not unrelated to the PTB-ordained fan-influencers—sometimes it’s the same people, but not always—but I’m talking about fans who ride what used to be called “fan wank” all the way into a place of influence in what goes and what’s “allowed,” esp in bigger fandoms. There have long been BNFs (big name fans), but as fandom spreads across platforms at the same time as fan community is collapsing, there’s been a real calcification of “acceptable” headcanons to the point that they solidify into the fanon one must follow if you want readers or viewers. (In smaller fandoms, this often doesn’t weigh as heavily, though I’ve seen it take its toll even there!) A controversial take, perhaps, but imo, NGL is one of the worst things to happen to fandom. At its best, it acts like a tumblr ask box in a fandom with ultra shy fans, but most of the time it’s used to stir up shit, pitch fans against each other, shore up the idea that there are right and wrong headcanons, and make demands on authors and artists in lieu of building relationships via comments, community, and engagement that could lead to these conversations happening organically. Those who willingly have open NGLs often end up as the arbiters of these conversations, which necessarily skews patterns of influence, providing them with outsized power to shape whose fics, for instance, get recced, or how one can or can’t write or envision a particular character. It all just serves to curtail the once incredibly capacious field of fan creativity, and that’s a bummer.

~~~

Anyway, I’m not here to reify some utopian vision of the way fandom once was. There are things that have changed for the better, much like there are things that have been a problem for ages and remain a problem. I don’t like the “fandom was once a creative paradise” narrative because it elides the vital question of for whom, and there are real conversations to be had about the deep entrenchment of racism not just in fan spaces and fan creative works, but even in the way we narrate our own history (think about the prominent place afforded to Strikethough as a point of crisis that forced a change, but the way Race Fail almost never features in these stories—perhaps because so much never fucking changed!). But I do think recent years have witnessed the exacerbation or introduction of new issues, and so this post is less about an “unprecedented crisis moment!” and more about “new moment of reckoning” to add to the pile.

[wip]

just how many official tumblr blogs are there? i just recently found out that this one and changes exists which seems less than ideal

Hey, @limelocked!

Great question! We have, we hope, a great answer for you. First up is a comprehensive list of all of current active staff blogs.

You can find ’em by simply searching each name, + @, in the search bar. (i.e., @action)

@action: Highlighting Tumblr’s long-standing social justice priorities of racial justice, mental health, equality, and beyond.

@art Exploring and featuring original artists on Tumblr.

@artistalley: Supporting local artists on Tumblr by buying directly from their storefronts.

@artistpicks: Monthly curated experience by artists and creators on Tumblr.

@best-of-reblogs: A curated collection of some of the best reblog threads on Tumblr.

@bigweekon: Tumblr’s beloved podcast highlighting recent trends, memes, and more.

@blackexcellence: A showcase of things all Black, all excellent, past and present—literature, fashion, music, historical spotlights, and beyond.

@books: Exclusive interviews and curated content from authors, publishers, and book fans.

@changes: Your go-to for new Tumblr launches, bug fixes, and updates on platform.

@creatrs: A network that connects artists, makers, and builders with brands.

@emporium: The Official Blog of the Tumblr Shop™, run by Brick Whartley back from the Island.

@entertainment: Exclusive content and features from across TV, film, and streaming.

@engineering: Behind-the-scenes work on how Tumblr engineers build Tumblr.

@fandom: Home of Fandometrics, Tumblr’s weekly ranking of entertainment properties.

@fashion: Runways to streetwear and every style in between.

@featured: Featuring exclusive content from Tumblr’s many good, good blogs.

@gaming: Exclusive and curated content across mainstream and indie games.

@getloudr An in-kind ad donation program dedicated to amplifying marginalized voices.

@happytuesday: A blog dedicated to all our Tumblr Tuesdays, posts featuring users based on a weekly theme.

@humans: A blog we use so we can reply in the notes of various posts.

@kpop: Exclusive content and a curated experience of K-Pop on Tumblr.

@labs: A way for engineers at Tumblr to experiment in public.

@music: Exclusive content and features on all your favorite musical artists.

@postitforward: Supporting the community with resources for mental health, self-care, and wellness.

@prideplus: Your home for all things LGBTQIA+ on Tumblr.

@radar: Sharing four pieces of original posts from Tumblr artists per day, hand-curated by our team from across the globe.

@staff: The ultimate source for big news, platform updates, and everything that makes Tumblr, Tumblr.

@support: News, tips, and nerdy details from Tumblr Support.

@tee: A blog from your friendly neighborhood Tumblr user, Tee.

@todayontumblr: Daily curated content around trending topics on Tumblr.

@wip: Dedicated to feedback and questions from Tumblr users to Tumblr staff.

There’s more. For our global audiences, you can find all the localized Staff blogs. They’re linked here!

We also have a carousel in the feed somewhere called “Official Blogs,” but it might be that we need to make that more obvious or provide a dedicated feed or page somewhere.

Leave that last point with us, but we hope that helps! Thanks for your question, and have a good day.

(And a tip of the hat to you, @lizzieonka! Consider them tagged)

Best,

—Caragh, Cates, and Cyle

[academicfever]

🌿 30-Day Digital Declutter Challenge 🌿

Welcome to the 30-Day Digital Declutter Challenge! Ready to take back your time and make space for the things that really matter?

For the next 30 days, we’re going on a digital detox! 🌱 It’s all about cutting down on distractions and adding more meaningful activities into your day. You in?

Key Steps of the 30-Day Digital Declutter

1. Take a Break from Optional Technologies (30 Days)

Identify optional technologies: Newport encourages participants to determine which technologies are "optional." These include apps, websites, or digital services that are not critical to your personal or professional life (e.g., social media, entertainment apps, non-essential email checking).

Completely eliminate or drastically reduce usage: For 30 days, stop using these optional technologies. The goal is to break the habit of mindless use and to see how life functions without them.

2. Explore Meaningful Alternatives

During the 30-day break, reintroduce meaningful activities that you might have neglected because of digital distractions. These could be hobbies, creative projects, physical activity, time spent with friends and family, or self-reflection.

Newport suggests focusing on activities that bring fulfillment: spending time outdoors, reading, creating, exercising, or pursuing personal interests that align with your values.

3. Reintroduce Technology Thoughtfully (After 30 Days)

At the end of the 30 days, evaluate which digital tools and platforms are necessary and beneficial.

Reintroduce only those technologies that have a clear, positive impact on your life and set rules or boundaries for their usage. For example:

Set specific times for checking social media or emails.

Limit the number of apps installed on your phone.

Use tools only for clearly defined purposes (e.g., professional networking on LinkedIn).

Questions to Ask When Reintroducing Technology

Newport suggests using three questions to decide which digital tools to reintroduce and how:

Does this technology directly support something I deeply value?

Is this the best way to use this technology for its purpose?

How can I set boundaries on this technology to maximize its value while minimizing its downsides?

30-Day Digital Declutter in Practice:

Prepare:

List all the optional technologies in your life (social media, games, video streaming, news apps).

Decide on the rules for your 30-day break (complete elimination or drastically reducing usage).

Identify meaningful activities you will focus on during the declutter.

Implement the Declutter:

Begin your 30-day digital break, sticking to the rules you set for yourself.

Replace mindless tech use with fulfilling, offline activities.

Reintroduce Thoughtfully:

After 30 days, evaluate which technologies to bring back into your life.

Establish rules to prevent falling back into unproductive or mindless usage.

Examples of Rules You Could Set:

Social Media: Only use it for professional reasons or set a time limit (e.g., 30 minutes per day).

Emails: Check only twice a day—once in the morning and once before the end of the workday.

Smartphone: Turn off notifications for all non-essential apps.

So recently I read this book and wated to try this method to clear my head... I am starting this challenge from 19th October_feel free to join me... You make the rules and alternatives for urslef... u can take a look at mine as an example...

[genericpuff]

The LO TV show isn't happening, and here's why.

Now, before I begin, courtesy to /u/Princess_Space_Goose because they're one of the driving forces behind these observations concerning stuff in the entertainment sector and they were the first ones to make a comprehensive post about it over on reddit shortly after we got into it in the Discord and compiled everything we knew. But I also REALLY wanna talk about this and I'm surprised to see I haven't yet. They've covered reddit, so I'm covering Tumblr LMAO

Disclaimer: Long post ahead. Much of what I say below is speculation but there's a lot of damning evidence to support it. Take it with grains of salt.

Rachel has vague-posted about the show a couple times over the past few years, but very sparingly so, always stating that it's "in the works" without anything to actually show for it. This would have been fine back in 2020 or even 2021 (the pandemic did bring a lot of television/movie development to a crawl) but we're over halfway through 2023 now.

So where's the show? Who's running it? What is it gonna look like? Which streaming service is it going to be hosted on?

We literally do not know any definitive answers to these questions because nothing has been revealed and at this point in the game, that's basically a death sentence. LO has been on a noticeable decline in stats over the past year, while we obviously can't access the backend numbers (and neither can Rachel as far as I know because WT guards them with an iron fist which is a whole other topic for discussion) it's still very clear by the comic's rating slowly but surely dropping and the like count average lowering (obv the like count isn't indicative of view count but if the ratio has remained the same, that means if the like count lowers, the viewership is likely lowering too). There's also been certain behavior from WT over the past year that hints at the comic not doing well, such as its VERY aggressive ad campaigning which often undercuts other series on the platform that are far better than LO and deserve the spotlight, but lose it anyways because WT just wants to keep its golden goose on life support even after its heart has stopped beating.

So the fact that we don't know the answers to these questions still after 4 years is NOT good. We don't know anything and while that was excusable 3 years ago, at this point, it's more indicative of the project being at a standstill or dropped completely, and what we dug up and discussed in the ULO Discord (and what was later posted to reddit) proves it with some very telling information dissected from LinkedIn and other sources.

So far, the only people we know connected to this project are Rachel Smythe (the creator of LO) and Stephanie K Smith (the appointed showrunner). Showrunners are the lifeblood of television series, remember this. Here's a little bit about her:

Lore Olympus still doesn't have a network, this means it has no definitive spot to air, which is not good at this point, because the network is what primarily funds these projects. Think of "Netflix shows" - they're not necessarily made by Netflix, they're made by studios that Netflix funds and as such they're given the Netflix branding because Netflix is their proprietary distribution network and benefactor. So LO has no network or streaming service funding its production. All of her other credited works have affiliated networks/distributors, but LO doesn't.

"But what about Jim Henson Company?" Jim Henson Company bought the rights to LO in 2019 to produce it, that doesn't necessarily mean they were onboard to fund the entire project. Again, these studios need networks to back them, not just for monetary purposes, but with the promise that their project will have a place to go when it's finished, whether it's Netflix, HBO, etc. Think of it like a movie theater - the movie theaters aren't the ones making the movies, but they have deals with the studios to air those movies with the agreement that both sides will be making money.

Jim Henson Company is a production studio, not a network. Not only that, but they're primarily for-hire for puppetry/animatronic projects, they're not the same kind of studio as, say, Laika, or Disney, or Warner Bros. Much of their work is done on the backend, creating animatronics and puppets for kids' productions, monster movies, etc. Currently they're working as the animatronic designers for Five Nights at Freddy's, but that movie isn't a JHC movie, it's a Blumhouse production, which has hired JHC to create animatronics for them.

So, the fact that they were the ones to buy out LO for production rights is... very odd. Because for starters, they don't tend to buy out production rights like major studios, they're typically for hire, but they're also not an animation studio. Any animation projects they've worked on were for concept art and design, such as Word Party, but the folks at JHC primarily specialize in conceptualization and practical effects. That's their whole shtick, it's what they're selling, it's what they get hired for.

That's all early stuff though, stuff we've been speculating on for ages. What came to light recently that spurred on this whole essay was discovering this one section on Stephanie K's LinkedIn:

There are a couple things we can glean from this. First, we know this has to be LO even if it isn't being named, because LO is the only one that was bought by JHC.

This also confirms that LO did end up with a distribution network, specifically HBO Max.

But it also confirms that Stephanie K Smith, the showrunner, is no longer on the project, either due to willingly quitting or being removed. According to the time stamps, she left in April of this year.

This is especially not good because without a showrunner, there's no leader. Showrunners are essential to these projects. So without a showrunner, and without any sort of announcement of a replacement, LO's television show is a ship without a captain, a car without a driver, a Hell's Kitchen without a Gordon Ramsay.

There's mention of an "animated presentation" but as mentioned in that reddit post above, that's not necessarily a pilot, it's more likely it was this. Which can't even really be called "animation", it's just video editing, rigging and tweening, but I digress.

There's a lot more in that reddit thread that dives into some of the details of Stephanie K's stuff, including the HBO Max affiliation and how that potentially connects to the Sydney Sweeney trailer, but ultimately, all of these breadcrumbs add up to one of two things:

LO's television show is in severe development hell which it likely will not come out of for quite some time, especially right now with both the writer's strike and streaming services gutting their animation connections.

LO's show isn't happening at all but with LO's numbers declining and its audience growing more fed up with the series (look no further than the comments on Instagram about LO's recent Eisner win, people are PISSED) Rachel and WT are trying to do as much damage control as possible by dangling a carrot in front of the audience they have left in the hopes that they'll stick around long enough on the promise of a TV show happening to keep siphoning cash and views. After all, there are two things many readers are still sticking around for - the SA plotline, and the TV show, and both of those things are being unnecessarily dragged out in the vaguest way possible with no real resolution in sight.

Neither of these are good, but I think what's even more telling is that, since that post was made on reddit, Rachel has attended SDCC and taken part in a new interview from Girl Wonder Podcast, and when asked about the show, all she had to say was this:

"Um, it’s been really interesting. It’s been educational for me. So, what I—what has been done so far is beautiful. Like, if I could share it, I would. But I can’t. Because it’s very naughty."

IDK if the "naughty" bit is referring to the show or just her revealing info about it, but the fact that NOTHING was shown at SDCC is just. Y'all, I'm sorry, but the show is not happening. If you're gonna show off previews for television ANYWHERE, it's SDCC. It's like the E3 of comics and entertainment media. So the fact that she's STILL VAGUE-POSTING ABOUT IT EVEN AT A MAJOR EVENT WHERE IT'S COMMONPLACE TO REVEAL TRAILERS AND PREVIEWS OF NEW PROJECTS, like... it's just not happening. Jim Henson Company bought the rights to produce LO as a TV show in the summer of 2019. Since then, we haven't seen a SHRED of news, if you google "Lore Olympus TV show" it'll still be the same 2-3 articles from 2019 talking about JHC buying the rights and that's it. If you do further sleuthing, all you'll find is Rachel saying "yeah it's still happening but I can't say anything!" which means fucking nothing at this point. The only 'hope' I have left is that they'll announce it at NYCC which has Rachel in a top billing spot in its advertising, but I'm really not holding my breath at this point.

Animated productions take a while, sure, but LO wasn't the only comic bought for TV production in that late 2010's/early 2020's era. Heartstopper was bought in 2019, and it made it to Netflix by April 2022. And it was live action, a medium SEVERELY affected by the pandemic, unlike animation, which wasn't affected as much because a lot of animation development can be done from home. What did affect the animation sector was streaming services like Netflix gutting their connections to animation studios and putting animated projects on the chopping block... which also doesn't bode well for LO.

It's 2023 now and we still don't even have anything beyond those initial announcement articles and Rachel making empty promises. It's not happening. Don't fall for the "it's coming soon but I can't say anything" nonsense. It's far less genuine now than it was 3 years ago and it has nothing to support those claims that it's actually in development, and ironically far more to support mere speculation that she's lying or doing damage control.

And, if it actually is happening, on a shred of belief in that being a possibility, then it sure as shit isn't being marketed well. Knowing how to build hype in a product is an entire course of knowledge. Marvel is practically the king of building hype, they're why people sit until the very end of the credits now in the hopes of seeing an after-credit scene, even in movies that aren't made by them. LO's numbers are bleeding right now, so to not show anything at even the major events like SDCC is a blatant misfire. Almost like there isn't anything to show in the first place.

You can take all of this evidence as you will. Some of it you may dismiss as "overthinking" or whatever have you. And a lot of it is speculation based on the crumbs we've picked up along the way.

But let me pose you this as a final thought: how can it be a good sign when everything being asked about the show, by fans and critics alike, comes down to "Is the show still happening?"

The best time to reveal proof of the LO television show was 3 years ago. The second best time is now.

[high-potential]

ABC ANNOUNCES FALL 2025 PRIMETIME SCHEDULE

TUESDAY’S STAR POWER RETURNS WITH ‘DANCING WITH THE STARS’ AND ‘HIGH POTENTIAL’ 

ABC announced its fall 2025 primetime schedule today following a highly successful season as the No. 1 multiplatform network. In the first full broadcast season where Nielsen reported on competitive multiplatform ratings, the network outperformed its competition dominating cross-platform rankings and earning all top 5 programs in the 2024/2025 broadcast season across Adults 18-49: “High Potential” (No. 1), “Abbott Elementary” (No. 2), “The Rookie” (No. 3), “9-1-1” (No. 4) and “Shifting Gears” (No. 5). The network also boasts nine of the top 20 programs in the demo across platforms adding “Will Trent” (No. 10), “Grey’s Anatomy” (No. 11), “Dancing with the Stars” (No. 14) and “The Bachelor” (No. 17).*

“ABC dominated this season in multiplatform ratings, which are the most relevant metrics that reflect how audiences are consuming television today,” said Craig Erwich, president, Disney Television Group. “We are meeting viewers where they are, and this achievement really highlights our strategic approach and commitment to creative excellence. Looking ahead, we’re all about maintaining stability, delivering quality, and driving innovation, with new shows and returning favorites from some of the industry’s top creators and biggest stars.”

After a record-breaking season where it ranked as the No. 1 entertainment series in Adults 18-49 in Live+Same Day ratings for the first time in its history, “Dancing with the Stars” returns to the ballroom on Tuesdays followed by the sophomore season of the No. 1 broadcast series of 2025, “High Potential.” The drama was ABC’s most-watched new series in seven years and was the most-streamed broadcast series of the season, more than doubling its nearest competition in both the key 18-49 demo and Total Viewers.

Source: ABC

[aroceu]

some thoughts on leaving a social media website...again

as of 10/16/2024, twitter has announced its intention to implement a new feature into the platform: instead of blocking allowing you to block certain accounts from viewing your profile if it's public, it now just... doesn't do that anymore. it only limits interaction. though this certainly isn't a surprise with musk's twitter rollouts since 2021—when i first saw people start to trickle out—this, in particular, breaks a lot of users boundaries and has prompted many to private their accounts and move to bluesky.

i'm in support of this, btw—the ceo of bsky is strongly opposed to ever running any sort of ads on the site ("won't enshittify the network with ads"), doesn't use any blockchain technology, and has a culture where supplying alt text on images is the norm. your main timeline is in reverse-chronological order (like intended), but there are other separate options to create a custom algorithmic feed for certain types of content, only if you wish to. though bsky is a work in progress, i have high hopes for what it can be in the future: that is, usable, practical, and more reminiscent of what it was like when twitter first started, than how twitter currently is.

but despite my love for bluesky, i won't spend too much time glazing yet another microblogging platform. instead, i'm here to ponder the concept of social media: why we have it, why we use it, and why these moves happen in the first place. people have been trickling in and out of twitter ever since the richest and evilest man in the world took possession of it; especially in a fandom sense, there's been a back and forth between twitter and tumblr due to tumblr's former porn ban, as well. we all have principles and morals that guide the decisions we make, including what websites we decide to use. they speak to a pattern of not only our culture as people at any given time—but how these platforms have the power to implement these changes whenever they want. and we, as individuals, must make decisions both based on those principles, but also our desires to fit in.

i'll start off by saying this—eventually i'm going to start talking about what social media means for creatives. but there is in fact an extremely well-written article about this already that goes into more detail. if you're more interested in that, let me direct you there first: R U AN ARTIST ON SOCIAL MEDIA??? by omoulo

with that out of the way, let's talk about me, shall we?

i got onto the internet through geocities—crazy sentence to say now after all these years. of course, i played neopets and flash games like many other kids, but that was mostly through knowing those websites and urls existed, and preserving them in my mind so i could return to them for some mindless minutes of entertainment later. geocities was my first introduction to the creative, user-designed web, so to speak. instead of being a number to interact with a thing that someone else has made—a flash game, a youtube video, a website where you can collect fictional pets—the idea of geocities to me at the time was this idea of participating on the internet. being a part of it. writing whatever i wanted and posting it. sharing the link with others. having others find it and read it too—a part of me, my method of creative self-expression, whatever i desired to write and post on the less than permanent internet.

my best friend at the time was the one who needled me into creating accounts—first an email address, then an AIM, then a myspace, then an IMVU, so on and so forth. i wasn't going out looking for these, and though i'd heard of them before or seen ads of some of these sites, i wasn't interested in actually being on these platforms and making these accounts until my friend told me that i should. call me a people pleaser or easily influenced or whatever; i was 12. but it was through this link sharing, this naivety and ignorance of the vastness of the internet, that allowed me to be fascinated with the world wide web in the first place.

i usually cite quizilla as my first "fandom" website, because it was—but it wasn't because i found it by accident. it wasn't that i googled it or looked for a personality test and stumbled upon it. no, it's because i was chatting with a friend on AIM, and she had found some crazy chain letter story and shared it to me for how absurd it was, and sent me the link. it was on quizilla.

literally the moment i clicked that link changed my life forever. even though i read the crazy story, i also clicked on the username of the person who posted it, out of curiosity. that person had jonas brothers fanfics on their quizilla profile, of all things, which led me into an obsession with the jonas brothers in the 2 years that followed. through that link—that account—that platform—i got a lot more interested in writing, webdesign, and what it meant to be on the internet, not just as a numbered participant, but also as someone with an imagination, who finds fulfillment in creative expression. i wrote the longest thing i'd ever written in that time (30k of a self-insert, but we won't go into that), began to experiment with css and website design, and participated, sharing stuff that i thought was interesting or fun, worth 5 minutes of anyone's time.

the internet wasn't just about being a place where my presence didn't matter anymore—it became a medium of self-expression. more than that, it became a place where i could meet and socialize with people, especially as i developed avpd in my high school years.

the internet wasn't always like this. right now, when we talk about the internet, we don't talk about the random websites we find, the links we stumble upon. (i have an entire website dedicated to those for me, though.) the games we spend hours playing, by ourselves, without interacting with others. random personality tests, or just simply the news. we talk about google, but in the same way we talk about facebook, or even twitter. it's a verb; it's omnipresent; it exists within the context of our internet culture, but becomes meaningless outside of it. it's not to say it doesn't have meaning—but that the language we use represents our relationship with it, this assumed normalcy. this assumed dependence.

i bring up my own history because as young as i feel compared to many of my older internet friends, and how late to the game i always felt—i was there. i was there on the internet before twitter (since 2009), tumblr (since 2010), facebook (i lied about my age), bluesky now, and whatever will come in the future. i was there when people were saying that the internet was still being written; when websites were made with tables (eugh); when email was the primary way to connect with others, because irc was for nerds and nothing else had been invented yet.

i'm a big advocate for not looking at the past with rose colored glasses and getting caught up in nostalgia and greener grass. i believe that technology is not inherently harmful or bad—it creates more options for accessibility, especially for those who are disabled. and even outside of that, it allows us to learn about more people, communicate with others with a few keystrokes, and form relationships that we otherwise would never get to have. i don't want this to seem like i'm saying "man remember how good the internet used to be?" because i'm not—i believe that as things change, there are benefits as much as there are hindrances.

of course, it bears saying that the primary hindrance—of current twitter, of many platforms over the years, and the internet with increasing recency—is corporations. big money interests. capitalism.

it's why we get so tired of ads—it's why ads exist in the first place. it's why these social media platforms that used to feel like they were made by the same people who would use them (livejournal, youtube, twitter) have suddenly become these soulless impersonal websites. it becomes more obvious that they want you to use them more because they sell you on exclusivity and visual minimalism, rather than because that's where your friends are, and you have this unique way to express yourself.

in fact, i'll say this: the first time i learned about facebook when i was too young to use it, i was not impressed. i had a myspace at the time that i had dolled up to make pretty with sparkly gifs and obnoxious colors and weird fonts. when i saw how boring and samey everyone's facebook profile page was, i was like, what's the point? sure i could talk to my classmates and random other people in my life that i didn't really care about, but what about making myself different from others? what about my creative expression? what about having an account that makes me look unique, instead of blending in with everyone else?

and so here i am nearly two decades later pondering about the use of social media, our individuality as well as our collective interests, and how the internet has changed so much, both in itself and how it affects us, in that time.

i'm here because i want to talk to my friends and meet new people with common interests and get excited about them. i don't want to feel left out, but that's a normal experience—outside of fomo, it is in our core to connect with others. it's the whole meaning of everything. it's why i even made an email in the first place, in my basement with my best friend, secretly setting up a yahoo account because she wanted another way to talk to me, and i wanted another way to talk to her. it's why people have been leaving twitter little by little for another site—the same site as many others, because that's where all their friends are. whether it's bsky or mastodon or misskey or just back here on tumblr, we're here not just because of our desire for community, but even as simple as our desire for a bond, a relationship with another human being. to me, that is how "social media" is defined—a medium through which we socialize because of this innate desire.

and yet, of course the enshittification and corporatification makes this more difficult for us, in ways more than one. because the fact is that as we (as people) became better at using the internet, finished writing it, and understood it—psychologically and sociologically—so did the corporations. or advertisers, you take your pick. we, the everypeople who use the internet as means to fulfill our social and other self-indulgent desires, are not the only people here. as with many things else in the world, the internet turned from an unpredictable but fun mess of us figuring shit out as we went along, into a product designed to keep us using it and engaging with it more, so some rich people can put even more money into their pockets. it's why twitter is the way it is now; even why tumblr is the way it is. why social media has become about "content creation" and "small businesses." why it feels like, every day, we see more ads and AI generated bullshit, as a little bit of the original soul of the internet gets sucked away day by day.

but even there, i don't want to come across as cynical or world-weary. though i believe this to be true, i don't think it says anything about our lack of agency, or our lack of innate humanity. instead, i believe that this means, at least on the individual level, that we should think more about not only what we're doing on the internet, but why we're doing it. how we're doing it. are we here because we're addicted? or is there something we're getting out of it? sure, many websites now have more addictive UI and algorithms that tell the receptors of our brain to return to them because we were getting so much dopamine from them earlier. but i also wouldn't necessarily argue that the only solution to this is to, then, go offline.

i have many friends who've elected to depart social media but stay online—friends who i met through website building, to be fair, but that's one of my main points. i already wrote a manifesto on my love letter to the personal website; but the tl;dr is this:

the internet is not evil, it is not good, it is just a form. if we desire to express ourselves and socialize with others in this space, it does not have to be just about social media, and creating a new account on a new website every time people move. instead, we have personhood—we have individuality, we have agency. we have the ability to build our own websites, no matter how shitty or times new roman comic sansy or color clashy or sometimes inaccessible they can be. regardless of all these seeming impractical setbacks though, it does not absolve us of that ability to do whatever we want on the internet. and it also bears saying that websites, both the personal and impersonal, can change over time, for better or worse.

i am a huge proponent for people making their own personal websites. it makes me so so happy that neocities is gaining popularity, mostly because i love seeing people try their own hand at making a website for themselves, a new form of self-expression. i won't go into too much detail on this because i've already said everything i want to say about it (see above), but if you take away anything from this post, let it be this: consider making a personal website, a corner of the internet, for yourself, by yourself. not just because you want people to engage with it, or because you want to curate to an algorithm or an artistic/fannish trend. not because you want the things you make to gain traction, to get bigger numbers without considering the people behind those numbers, as soon as possible.

do it because you want to. because you have to. because you think it's cool, and because it's you. people may find it and judge it; but they may like it as well. the more unique and authentic and weird we are with each other, the more we are able to appreciate each other for who we really are. the internet is one of many places we can do this.

i don't really see these forms of self-expression separate from social media, but i do see social media separate from it. to me, social media is a vehicle to strengthen those connections, those relationships, much like DMs and IRCs; but it is not the be-all, end all of the internet. it's only a small part of it. not everything is permanent on the internet; but everything that ever has been online is a microcosm of the human experience, whether it's an old cloudflare site or twitter dot com in 2010.

our experiences on the internet are not about corporate interests. it's about using limewire to download pirate music, sharing random links we find, building a design that may not be practical or universally appealing but still represents a form of individuality. when i think of how the internet has grown, i don't think about what it means for companies or advertisers or what meetings must go on to get people like me to keep using it—i think about remembering the difference between addicting games dot com and addicted games dot com, clicking links on websites to find even more websites, sitting at the family computer and deciding if i wanted to spend hours on neopets or that one willy wonka flash game i grinded like several hours on one night when i was 7. i think about what it's always meant to me, because the internet was not always a centralized place where i was going on the same website every day. the rise of internet centralization to the point that it's become expected, the norm, the primary way any of us to be online, is not inherently a bad thing—but i wouldn't say it's a universal good, either, when the internet is a wide and vast space, and can be so much more than that.

because the one thing that remains throughout the years is our agency and choice. we still have the ability to make the internet what we want it to be, or at least a corner of it, something separate from the corporations, the enshittification, economically researched user interfaces and experiences, the advertisements, the "like and share so the algorithm boosts me more." there's still a point to it all without the money, and without twitter. and it's both our desire for creativity and self-expression, as well as our intrinsic bonds with each other. despite it all, it's about our humanity.

as the internet continues to grow, so do we. nevertheless, the importance of our humanity, and retaining it, will remain. oftentimes it is up to us to remind ourselves of that.

-

links here, for access:

Bluesky CEO Jay Graber Says She Won’t ‘Enshittify the Network With Ads���

R U AN ARTIST ON SOCIAL MEDIA??? by omoulo

links @ kingdra.net (my links, like bookmarks)

A manifesto of sorts; or, my love letter to the personal website by me

[videoeditingcourseinchd]

Video Editing Course in Chandigarh: A Complete Guide for Aspiring Creators

In today’s digital era, where content is king and visuals dominate every platform, video editing has emerged as one of the most sought-after skills. From YouTube vlogs and Instagram reels to documentaries and feature films, editing plays a pivotal role in crafting a compelling visual story. Chandigarh, being a hub of education and innovation in North India, offers numerous opportunities for individuals aspiring to learn video editing. This article explores everything you need to know about enrolling in a video editing course in Chandigarh—including course content, career scope, top institutes, eligibility, and more.

Why Choose Video Editing as a Career?

Video editing is no longer confined to film studios. With the explosive growth of digital content on social media, OTT platforms, and e-learning, skilled video editors are in high demand across industries. Here are some reasons why a career in video editing is both exciting and rewarding:

Creative Expression: Editing is an art that lets you shape stories, evoke emotions, and deliver impactful messages.

High Demand: From marketing agencies to content creators, every industry needs talented editors.

Freelancing Opportunities: With the right skills, you can work as a freelancer for global clients.

Attractive Salaries: Experienced editors often earn competitive salaries and perks.

Work Flexibility: Many editors work remotely, giving you the freedom to work from anywhere.

Scope of Video Editing in Chandigarh

Chandigarh, with its emerging media landscape, offers numerous job opportunities in video production, advertising, media houses, and digital marketing firms. The city is also home to various regional entertainment channels and film production units, increasing the need for skilled editors.

Moreover, the growing trend of content creation among YouTubers, influencers, and startups in the Tricity (Chandigarh, Mohali, Panchkula) region has further boosted the demand for professional video editors.

What Does a Video Editing Course Include?

A comprehensive video editing course in Chandigarh typically covers both the technical and artistic aspects of editing. While the curriculum may vary between institutes, the following modules are commonly included:

1. Introduction to Video Editing

Basics of video production

Role of a video editor

Overview of the editing process

2. Editing Software Training

Adobe Premiere Pro

Final Cut Pro (Mac)

DaVinci Resolve

Adobe After Effects (for motion graphics)

3. Technical Skills

Importing and organizing footage

Timeline editing

Trimming, cutting, and splicing clips

Adding transitions and effects

Audio editing and sound design

4. Color Grading & Correction

Adjusting exposure, contrast, and saturation

Using LUTs and color wheels

Matching color tones across shots

5. Motion Graphics & Visual Effects

Intro to keyframing and animation

Creating titles, lower thirds, and credits

Visual effects and green screen editing

6. Exporting & Project Delivery

Understanding codecs and file formats

Rendering for different platforms (YouTube, Instagram, etc.)

Backup and archiving best practices

7. Live Projects & Portfolio Development

Working on short films, music videos, or commercials

Creating a showreel for job or freelance applications

Top Video Editing Institutes in Chandigarh

Several institutes in Chandigarh offer professional training in video editing. Here are some of the best:

1. Morph Academy

Courses: Video Editing, Film Editing, VFX, Multimedia

Software: Adobe Premiere Pro, After Effects, Final Cut Pro

Duration: 3 to 6 months

Certification: Yes

Placement Assistance: Yes

2. BigBoxx Academy

Offers short-term and diploma-level courses

Hands-on training with real projects

Strong industry network for internships and placements

3. Chandigarh Institute of Film and Television (CIFT)

Focuses on film editing and post-production techniques

Experienced faculty from the film industry

4. MAAC Chandigarh

Known for animation and multimedia courses

Includes VFX and advanced motion graphics training

5. ThinkNEXT Technologies

Offers certified training in Adobe software

Affordable courses with practical lab sessions

Eligibility Criteria

Most video editing courses in Chandigarh have minimal eligibility requirements:

Minimum Qualification: 10+2 (any stream). Graduates are also eligible.

Technical Skills: Basic computer knowledge is recommended.

Creative Interest: A passion for films, storytelling, or visual media is a plus.

No prior editing experience is necessary, as most institutes start from the basics.

Duration and Fees

Duration:

Short-term Courses: 1 to 3 months (basic to intermediate level)

Advanced/Diploma Courses: 6 to 12 months (includes motion graphics and VFX)

Fee Structure:

Basic Courses: ₹15,000 to ₹25,000

Diploma Courses: ₹30,000 to ₹80,000

Fees vary depending on the course duration, software taught, and institute reputation.

Career Opportunities After Course Completion

After completing a video editing course, students can explore various career paths, such as:

Video Editor

Motion Graphics Artist

YouTube Content Editor

Post-Production Assistant

Film/TV Editor

Freelance Video Editor

Social Media Content Creator

With experience, editors can also move into roles like Creative Director, Colorist, or Visual Effects Supervisor.

Freelancing vs. Job – Which is Better?

Both options have their merits, depending on your goals and lifestyle.

Freelancing:

Flexible hours and location

Ability to work with international clients

Higher earning potential (once established)

Full-Time Job:

Stable income and benefits

Learning from seniors and working in teams

Opportunities for career growth and promotions

Many students start with a job to gain experience and then transition into freelancing.

Tips to Excel as a Video Editor

Practice Regularly: Edit different types of videos to build versatility.

Watch Tutorials: Platforms like YouTube, Skillshare, and Udemy offer advanced tips.

Stay Updated: Editing trends and software features change frequently.

Build a Portfolio: A strong showreel is essential to attract clients or employers.

Network: Attend workshops, film festivals, or online forums to connect with other creators.

Final Thoughts

A video editing course in Chandigarh can be a stepping stone to a dynamic and fulfilling career in the creative industry. Whether you’re a student, professional, or aspiring content creator, learning how to edit videos professionally opens up countless opportunities in today’s visual-centric world. With the right training, dedication, and creativity, you can build a successful career and bring powerful stories to life through the art of editing.

If you're based in Chandigarh or the surrounding areas, now is the perfect time to sharpen your editing skills and make your mark in the digital content revolution.

[justinspoliticalcorner]

Taylor Lorenz at Substack:

We need to know who is funding the creator economy

Yesterday, a federal indictment revealed that a Tennessee media company working with right-wing influencers including Benny Johnson, Tim Pool, Dave Rubin, and Lauren Southern, was receiving significant funding from the Russian state-sponsored network RT to push Russian disinformation. The indictment is absolutely wild and WIRED has a great rundown on the details, including how the propaganda efforts worked. The case serves as the latest high profile example of how “independent media” on the right is anything but independent, and underscores the need for more transparency around funding models in the creator economy. It also shows how disinformation efforts have increasingly focused on penetrating U.S. media through content creators, and how lucrative being a pawn in these schemes can be. While right wing content creators position themselves as scrappy upstarts, leaning into anti-establishment and populist brand positioning, they frequently accept money from far right interest groups, extremist billionaires, and even foreign actors.  Tenet Media received nearly $10 million, distributed out across a network of YouTubers and podcasters. As part of the disinformation campaign, Tenet Media influencers published hundreds of videos on social media that promoted Kremlin talking points. The videos were shared across platforms including YouTube, Facebook, Instagram, X, and TikTok, reaching tens of millions of viewers.

[...] The far right recognized the opportunities in personality-driven media decades ago. After boosting talk radio stars in the 80s and 90s, when social media proliferated, they began to invest heavily in news influencers who seamlessly blend entertainment, news commentary, and far right political messaging into YouTube videos, Instagram memes, podcasts and more. 

[...]

Ben Shapiro's Daily Wire has been heavily funded by wealthy Republican donors, including the Wilks brothers, Texas-based billionaires known for their oil and fracking fortune. Charlie Kirk, founder of Turning Point USA, has benefited from significant funding from conservative mega donors including the Koch network.  When right wing creators began getting deplatformed more frequently on mainstream social media apps in the second half of the 2010s, an entire ecosystem of alternative platforms aimed at helping extremist influencers monetize and amass audiences, cropped up. Rumble, a video sharing platform similar to YouTube backed by billionaire Peter Thiel, began paying far right influencers and anti vaxx content creators hundreds of thousands of dollars to create content on its platform in 2021. Locals, a newsletter platform owned by Rumble, allows influencers to monetize through newsletters in a similar way to Substack. DLive, a right wing Twitch competitor, allowed influencers storming the Capitol building on January 6th, to make thousands of dollars off their live streams. Kick and Cozy.tv, two other right wing live streaming platforms, permit nearly any far right extremist the ability to create content and start earning money. And X, under Musk, has paid out hundreds of thousands of dollars to right wing influencer accounts.

The robust financial backing the right wing content creator ecosystem enjoys, allows extremists the ability to fund professional production teams, social media ad buys, and marketing initiatives that give them a competitive advantage online. In contrast, progressive creators are left to rely on meager donations and crowdfunding efforts to sustain their work. This financial imbalance has made it nearly impossible for left-wing content creators to match the reach or production quality of their right-wing counterparts. Already, several Russia-backed Tenet Media influencers, including Benny Johnson and Tim Pool, have been doing damage control. They've publicly stated that they had no idea about the origins of the money and claimed that they were merely unwitting victims who were misled by the company. 

Right-wing media influencers like Nick Sortor (even though he wasn’t named in the indictment), Benny Johnson, and Tim Pool aren’t “independent media” in any way.

[saintmeghanmarkle]

The Parent Trap by u/Mickleborough

The Parent Trap Being curious as to exactly what was Meghan and Harry’s anti-cyber bullying initiative, I went to where angels fear to tread: the Archewell Foundation website.I won’t contaminate this post with screen shots - you’ll have to take my word. What does the Parents’ Network do?What’s the target group? The name and text refers to parents (although a couple of paragraphs inconsistently - and belatedly - mention caregivers as well). The overall impression is that this overlooks other child-adult relationships, namely children looked after by relatives or guardians.Briefly the aim seems to be this:’We [the Parents’ Network] act as a support network for other parents and caregivers whose children and families have been gravely impacted by social media harms.’In case this isn’t clear:’The Archewell Foundation and the network will work to unite and uplift parents and caregivers and systematically change the social media platforms that create a harmful and dangerous environment for young people around the world.’No, really, what does the Parents’ Network do?It appears to want to be an influence or pressure group. To what end? My guess is: censoring social media.Governments have implemented, or are the process of implementing, legislation dealing with online safety. So there’s no point campaigning for that.The website states: ‘It is time that social media companies improve their safety measures and that people in power hold them to account. Join us in adding your voice so we can no longer be ignored.’Some observations on content* The text is inconsistent: see example above. It also contains these statements which don’t make sense: ‘…these platforms should be a destination where young people can communicate, thrive and learn. Instead online spaces are designed to keep our children scrolling and waiting for the next notification, like or comment.’That’s comparing apples and oranges. Learning and socialising online are different things. And it promotes communication, but condemns forms of communication, viz ‘scrolling and waiting for the next notification, like or comment.’* In my opinion, the writing isn’t great. It’s not impactful; it reads like something written by a moderately talented high school student in the late 1980s. Using short sentences, complete with repeated words for emphasis, for impact and drama (’We share our stories. We share our resources. We take action. Together’) is dated. The practice now is to get the message across with succinct sentences, because people aren’t stupid.* Confusingly there’s a sentence that states: ‘In 2023 we were brought together by The Archewell Foundation.’Firstly - Who’s ‘we’? The landing page has the logos of The Archewell Foundation and of Parents’ Network - but didn’t the former begat the latter?Secondly - Sycophantic write-ups elsewhere mention that the Parents’ Network had a 2-year pilot / testing gestation. If so, what’s with 2023? Can someone not count? Or did the Parents’ Network start off like the birth of an illegitimate child in 2021, before being acknowledged by its parent in 2023?Fun ‘fact’: ‘Since inception, The Foundation has been working to find solutions to the rapidly escalating crisis in youth mental health.’ They’ve certainly kept this work quiet.On an irrelevant note - there are loads of Parents’ Networks: the [British] Army Parents’ Network, the Solihull Parents’ Network, [the Council of Europe] Parents’ Network - that must be why Meghan hasn’t trademarked the name.Link to a website of a proper foundation: The Royal Foundation for Early Childhood post link: https://ift.tt/J3fxSH4 author: Mickleborough submitted: August 05, 2024 at 10:13PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

[ncisfranchise-source]

Wilmer Valderrama (NCIS, That ‘70s Show) and Freddy Rodriguez (Six Feet Under, Ugly Betty) are teaming up on the new weekly podcast series Dos Amigos (Two Friends), premiering on January 30.

The project will join other popular podcasts from Valderrama’s exclusive slate with iHeartMedia’s My Cultura Podcast Network, of which he is a shareholder, including More Better with Stephanie Beatriz and Melissa Fumero, Essential Voices with Wilmer Valderrama, Date My Abuelita, First!, and Forgive Me For I Have Followed. Dos Amigos is co-produced by Valderrama’s production company WV Sound.

Each episode will feature the longtime friends as they candidly reflect on their careers and lives, and share everything about everything. The podcast will be recorded from Wilmer’s speakeasy and feature special guest appearances. Their goal each week is to bring friends together to spark honest reflection while toasting the good times.

“Freddy is one of my best friends so having an excuse to get together every week to meet new friends, joke, laugh, celebrate and share meaningful conversations couldn’t feel less like work,” Valderrama shared in a statement. “I am beyond grateful for the partnership WV Sound has built with iHeartMedia’s My Cultura Network and cannot wait to continue uplifting our community’s vibrant voices.”

Rodriguez added, “Wilmer and I have known each other for years, and every time we’ve crossed paths during our long journey in the entertainment industry, our conversations have always been filled with laughter, interesting stories and an overall good time. I’m thrilled to invite the audience to join us on Dos Amigos, and I’m honored to work with my long-time friend, iHeartMedia and the My Cultura Podcast Network.”

Valderrama can currently be seen in the CBS hit series NCIS as Nicholas “Nick” Torres which airs Monday nights at 9 p.m. He is perhaps best known for his portrayal of ‘Fez’ in the comedy series, That 70s Show. Through his WV Sound banner, Valderrama helps bring underrepresented stories to life across traditional broadcast and streaming platforms. The team has produced Yo Mama, Handy Manny, Charming, and the recent Netflix docuseries Dancing for the Devil: The 7M TikTok Cult. In their partnership with CBS Studios, WV Sound also has a robust slate in development. The multihyphenate is also an activist and philanthropist who recently added the title of published author to his list of achievements.

Rodriguez is best known for playing the ambitious mortician ‘Federico Diaz’ in the hit HBO series Six Feet Under, a role for which he received his first Emmy Award nomination for Outstanding Supporting Actor in a Drama Series in 2002. His additional TV credits include Bull for CBS, Ugly Betty for ABC, HBO’s Scavengers Reign and Hulu’s Wu-Tang: An American Saga. On the big screen, Rodriguez’s credits include Scott Derrickson’s VHS 85; Nothing Like the Holidays (star and executive producer), Grindhouse: Planet Terror from Robert Rodriguez, David Ayers’ Harsh Times, M. Night Shyamalan’s Lady in the Water and A Walk in the Clouds alongside Keanu Reeves, to name a few.

[chametagency]

Building a Network Marketing Empire with Streaming Apps

The world of streaming apps has opened up unprecedented opportunities for earning and entrepreneurship. When combined with network marketing, these platforms become powerful tools for building scalable businesses. 

Chamet, a leading streaming app with more than 50M downloads, exemplifies this by allowing agents to grow networks of hostesses and subagents while leveraging the platform’s booming popularity. 

Here’s how you can build a network marketing empire with streaming apps like Chamet.

Why Streaming Apps Are Perfect for Network Marketing

Streaming apps connect millions of users worldwide, offering a blend of entertainment and income potential. Their unique appeal lies in:

High Engagement: Live streaming encourages real-time interactions, fostering deeper connections between viewers and hosts.

Scalability: The global reach of streaming platforms means agents can recruit hostesses and subagents from virtually anywhere.

Continuous Demand: The growing popularity of live-streaming entertainment ensures consistent opportunities for income generation.

How Chamet Combines Streaming and Network Marketing

Chamet blends the live-streaming industry with network marketing principles, enabling agents to earn through two primary channels:

Hostess Revenue: Hostesses earn money by engaging viewers through private calls, live streams, and virtual gifts. Agents receive a commission from the total revenue generated by their hostesses.

Subagent Earnings: Agents can recruit subagents who operate their own networks of hostesses, creating a layered income structure.

This dual-income model allows agents to scale their businesses while benefiting from the efforts of their teams.

Steps to Build Your Network Marketing Empire

1. Start as an Agent

To begin your journey, register as a Chamet agent. This grants you access to the agent dashboard, where you can recruit hostesses and subagents, track earnings, and manage your team.

2. Recruit and Empower Hostesses

Hostesses are the foundation of your network marketing empire. Focus on recruiting individuals who are:

Charismatic and confident on camera.

Consistent in their live-streaming efforts.

Motivated to maximize their earnings.

Offer training and support to help your hostesses succeed. Provide tips on audience engagement, optimizing their streaming setup, and participating in Chamet’s events to boost visibility and income.

3. Expand with Subagents

Subagents amplify your reach and revenue by building their own networks. Recruit subagents who have:

Experience in sales, marketing, or leadership roles.

An understanding of network marketing principles.

The drive to grow their businesses independently.

Mentor your subagents by sharing best practices, offering guidance, and celebrating their milestones.

4. Leverage Technology

Streaming apps like Chamet provide tools to streamline your operations:

Agent Dashboard: Track earnings, monitor performance, and manage your team.

Invitation Links: Recruit hostesses and subagents easily by sharing personalized registration links.

Real-Time Translation: Expand your global reach with seamless communication.

5. Use Affiliate Marketing Strategies

Promote your Chamet agency through affiliate marketing techniques:

Share your invitation links on social media, blogs, and videos.

Highlight success stories and testimonials to inspire potential recruits.

Run targeted ads to attract hostesses and subagents.

6. Foster Team Collaboration

A collaborative and motivated team is key to long-term success. Encourage:

Open Communication: Regularly check in with your hostesses and subagents to address challenges and provide feedback.

Participation in Events: Promote Chamet’s daily and weekly competitions to boost earnings and engagement.

Recognition and Rewards: Celebrate achievements through shoutouts, bonuses, or incentives.

Why Chamet Is Ideal for Building Your Empire

1. Scalable Income

With no caps on earnings, your income grows as your network expands. Both direct and indirect revenues contribute to your overall success.

2. Global Reach

Chamet’s international audience allows you to recruit hostesses and subagents from different countries, broadening your network and revenue potential.

3. Flexible Work Model

Chamet’s flexibility lets agents and their teams work on their own schedules, making it ideal for students, parents, or professionals seeking additional income.

4. Daily Payouts

Chamet ensures quick and reliable payouts, motivating your team to stay active and engaged.

Challenges and How to Overcome Them

1. Finding the Right Recruits Solution: Target individuals with strong interpersonal skills and a passion for growth. Tailor your recruitment pitch to highlight how Chamet aligns with their goals.

2. Maintaining Team Motivation Solution: Offer regular mentorship, celebrate successes, and provide tips for improvement to keep your team engaged and driven.

3. Scaling Operations Solution: Use Chamet’s tools and automation features to streamline management as your network grows.

The Future of Network Marketing in Streaming

Ready to start building your network marketing empire? Visit the Chamet Agency Registration Page and take the first step toward success.

[the-monkey-ruler]

Marvel vs. Capcom 2: New Age of Heroes

Date: February 24, 2000 Platform: PlayStation 2 / Xbox / Dreamcast / Arcade / Xbox 360 Games Store / PlayStation Network (PS3) / iPhone / iPad Developer: Capcom / Capcom Production Studio 1 / Backbone Entertainment Publisher: Capcom Genre: Fighting Theme: Fantasy / Martial Arts / Superhero / Comic Book Franchises: Marvel vs. Capcom / Capcom Versus / Marvel / Street Fighter X All Capcom / SNK vs. Capcom: Card Fighters DS / SNK vs. Capcom: Card Fighter's Clash 2 Expand Edition Also known as: MVC2 Type: Reimanging

Summary:

Marvel vs. Capcom 2: New Age of Heroes is a 2D tag-team fighting game developed and released by Capcom for the arcades (running the Dreamcast-based Sega NAOMI hardware) on February 24, 2000.

The fourth installment of the Marvel vs. Capcom crossover series, the game doubles the roster of its predecessor (including new additions and returning fighters) while adding new 3-on-3 gameplay and simplified controls (two punch buttons, two kick buttons, and two assist buttons). It also brings back the classic "assist attack" system (sans "partners") while adding a new "snapback" attack (a close-ranged attack that, if hit successfully, swaps the opponent's character with another). A unique aspect of the game is its use of experience points for each arcade machine that increments by playtime, determining how many characters and alternate costumes are unlocked.

One of Capcom's earliest fighting games developed outside of their arcade hardware, Marvel vs. Capcom 2 combines 2D hand-drawn sprites with 3D backgrounds (a style later used for Capcom vs. SNK 2: Mark of the Millennium). It is the last game in the series to use hand-drawn sprites for its characters.

The game was later released for the Dreamcast throughout 2000 (March in Japan, June in North America, and July in Europe), adding a new system of "purchasing" the locked characters/costumes with accumulated playtime (and trading them using the VMU). The Japanese version of the game also includes online multiplayer and the ability to use VMUs with the arcade version (where players can use their unlocked characters and earn experience points). It was later ported to the PlayStation 2 (in September 2002, with the Japanese version including online multiplayer) and Xbox (in September 2002 for Japan and March 2003 for North America).

It was later ported (by Backbone) as a digital release for the Xbox 360 (via Xbox Live Arcade on July 29, 2009) and the PlayStation 3 (via PlayStation Network on August 13, 2009). This version includes online multiplayer (including a six-player lobby system), various graphical options (including widescreen support), support for custom soundtracks, and all content unlocked from the start. The original console version was ported to iOS devices on April 25, 2012 (adding touch controls). These ports were removed from their respective storefronts on December 2013.

Source: https://www.giantbomb.com/marvel-vs-capcom-2-new-age-of-heroes/3030-2612/

Link: https://www.youtube.com/watch?v=tW1FA2AFAzI

[nainad123]

Polymer Clay Market  Size, Scope, Insight, Research, Technology, Diagnosis ,Demand, & Analysis 2034

The global polymer clay market is expected to reach approximately US$ 33.9 million in 2024 and is projected to grow to US$ 44.3 million by 2034, registering a CAGR of 2.7% during the forecast period from 2024 to 2034.

Polymer clay is a synthetic modeling material primarily composed of polyvinyl chloride (PVC). Unlike natural clay, it doesn't contain traditional clay minerals. Instead, a plasticizer or liquid component is added to the dry PVC particles to give it a malleable consistency similar to mineral clay. When heated, polymer clay hardens and retains its shape, making it ideal for a wide range of applications including arts, crafts, jewelry, and decorative items. The term “clay” is used informally to describe its workability and texture, although it differs chemically and structurally from natural clays.

For More Insights into the Market, Request a Sample of this Report: https://www.factmr.com/connectus/sample?flag=S&rep_id=10058

What are the Challenges Faced by Manufacturers of Polymer Clay?

“Rising Smartphone Usage Among Children Reduces Engagement in Craft-Based Activities”

The widespread use of smartphones, tablets, and digital devices has grown rapidly in recent years.

Children now rely on mobile phones not just for communication but also for entertainment, especially gaming and online video streaming. This shift is particularly noticeable among preschool and primary-age children who prefer digital interaction over physical play.

As a result, the growing dependence on technology is limiting children’s physical activity and reducing their interest in hands-on creative activities such as crafting. This trend poses a challenge for polymer clay manufacturers, as declining engagement in craft projects among younger users affects market demand.

Country-wise Insights

The polymer clay market is regionally segmented into North America, Europe, South Asia and Oceania, Latin America, the Middle East and Africa, and East Asia. In 2024, East Asia holds the largest share, accounting for 36% of the global polymer clay market.

Within North America, the United States dominates with a 75% market share in 2024. This growth is driven by a vibrant community of crafters, a strong DIY culture, and high demand for handcrafted products. Additionally, well-established retail networks in the U.S. further support market expansion.

In East Asia, China is projected to hold 50% of the market share in 2024. The country’s increasing interest in crafts is a key driver fueling the polymer clay market growth.

Category-wise Insights

The polymer clay market is divided into two main types: liquid and solid. By application, it covers jewelry making, toys and novelty items, arts and sculpture, and crockery and ceramic products. Polymer clay finds use across residential, commercial, and industrial sectors, accounting for 37%, 32%, and 31% market shares, respectively.

The residential segment leads with a 37.3% share in 2024, largely due to the rising popularity of DIY projects and socially productive activities. The growth of e-commerce platforms also significantly boosts polymer clay adoption in residential settings.

Competitive Landscape

Key players in the polymer clay market include Clay & Paint Factory, Van Aken International, Staedtler Mars, Polyform Products, American Art Clay, Viva Décor, Makin’s, and Staedtler Mars GmbH & Co. KG.

In May 2019, Levine Leichtman launched new polymer clay products such as Sculpey III, Premo, and solid clay conditioner, each offered in a distinctive color range.

To meet growing customer demand, German manufacturer Staedtler Mars GmbH & Co. KG expanded its FIMO product line in September 2019 by introducing three new liquid colors: black, silver, and gold.

Browse Full Report: https://www.factmr.com/report/polymer-clay-market

Segmentation of Polymer Clay Market Research

By Product Form :

Solid

Liquid

By Application :

Jewelry

Toys & Novelty Items

Arts & Sculpture

Crockery & Ceramic Products

By End Use :

Residential

Commercial

Industrial

By Region :

North America

Western Europe

Eastern Europe

Latin America

East Asia

South Asia & Pacific

Middle East & Africa

𝐂𝐨𝐧𝐭𝐚𝐜𝐭:

US Sales Office 11140 Rockville Pike Suite 400 Rockville, MD 20852 United States Tel: +1 (628) 251-1583, +353-1-4434-232 Email: sales@factmr.com

[streamqashagencies]

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[reesisserrano]

 “How ICT helped you at home, in school and in communicating with people”

In numerous aspects of daily life, including communication with others and at home and school, ICT (information and communication technology) is essential. ICT can be useful in the following ways in each of these areas:

1. At home Information Access: Information about interesting subjects is easier to obtain thanks to ICT. People may study items, read news, find recipes, and pick up new skills online. Entertainment: A variety of entertainment alternatives, such as streaming music and movies and playing online games, are made possible by ICT. Organization: ICT technologies that aid in time management and task, bill, and reminder organization include calendars, to-do list applications, and virtual assistants. Online Shopping: Time is saved and convenience is added when shopping and using services like groceries thanks to ICT.

ICT (Information and Communication Technology) plays a vital role in various aspects of daily life, from home and school to communication with others. Here’s how ICT can help in each of these areas: 2. In School Enhanced Learning: ICT tools like educational websites, digital textbooks, and interactive software enhance understanding. Platforms like Google Classroom, Zoom, and other learning management systems make it easy for teachers to share resources and engage students in virtual settings. Research: ICT provides access to a vast amount of online academic materials and resources, making it easier for students to complete assignments and projects. Collaboration: ICT fosters collaboration among students, enabling them to work together on projects using shared documents and online tools. Skill Development: Familiarity with ICT tools prepares students for technology-driven workplaces, giving them a competitive edge in their future careers.

3. In Communication Instant Connectivity: ICT tools like email, messaging apps, and video calls help people stay connected with family and friends, regardless of distance. Social Networking: Social media platforms allow people to build networks, share life events, and maintain connections with friends, family, and professional contacts. Work Communication: ICT enables remote working and collaboration through tools like Slack, Microsoft Teams, and Zoom, which is especially valuable for productivity and efficiency. Language Translation: ICT tools like Google Translate help people communicate across language barriers, making global communication more accessible.