#i think i was most active between 2018 and 2019

[rizardofether]

I finally made it through this damn stealth mission. I suck at stealth. It's been literal years that I've been stuck on this..

And oh! It saves up all mastery points you get even once you've hit cap for your current mastery, that's nice....

...1 million mastery points...

[rainbowsky]

In all my years of being a GGDD fan, I don't think any year has ever been better than this last one.

In the past I have watched them struggle and face incredibly difficult situations, be forced to spend almost all of their time apart, and deal with scandals and setbacks.

2024 was a year I could never have dreamed of for both of them. Watching them both thrive so well, take charge of their careers and their lives to a degree never before seen, and to have so much time for their personal lives - it's all I've ever wanted for them.

And you can see how well they are thriving, how much happier they are, how much healthier they are, and how much of themselves is stamped on every single thing they do.

I frequently see fans spinning negative fantasies about them, and it makes me sad. As if there isn't enough pain in the world, why generate more in your own mind?

A lot of turtles tend to overly romanticize 2018 and 2019 because they were the years that The Untamed was filmed, promoted and aired, and that's where a lot of our favorite GGDD content was born. I think that's rather self-centered and shortsighted. If we take five seconds to remove our rose-colored glasses, surely we can see how difficult those years were for them.

Yes, they got to work together for a few months, they got to spend some fun time together promoting The Untamed and even got to be somewhat open about their affection for each other in front of a crowd, but outside of that summer dream, they were both in pretty precarious positions in their careers, and both of them faced a lot of really gruesome anti attacks. Neither of them had very much control over their careers or their choices, and their management situations were atrocious.

We don't even have to talk about 2020. That was an incredibly difficult year. GG was the focus of one of the worst cyberbullying and nearly career-ending scandals that's been seen in that industry. He was being threatened, the people connected to him and the brands that he dealt with were being threatened.

Any time he tried to do anything in his career, whether it was an appearance or an endorsement, antis would come out in droves and protest until it was shut down. There were active organized hate campaigns whose entire purpose was to destroy his life and his career. People were trying to infect him with COVID, and there were other threats upon his life. Multiple times online hate campaigns tried to spread the rumor that he had died.

He couldn't go anywhere without people following him and chanting hateful slogans at him and trying to infiltrate the hotels he was staying at. It was terrifying.

DD was constantly overworked, exhausted, always on the move with barely any time to come up for air.

They had to spend most of their time apart, including some of the quarantine time, when DD was isolated so that he could begin filming LOF, right when the worst of the scandal broke. GG's grandfather died, and he faced so many personal burdens.

They did get some fun times together of course, and there were some huge successes for both of them, including GG's spectacular comeback at the end of the year with his sea of red for Tencent All Star Night. Even turtles worked to help ensure he had his red sea.

And GG and DD got to clown around and be silly as well, and they made a real effort to show us that they were getting through fine, they would be okay and that they were still the same people, still able to be happy. We got so much candy that year, and so many great LRLG messages as well.

But that was just a sign of their character and strength. Make no mistake about it, that was a difficult year.

The intervening years between then and now have been a bit of a mixed bag. There were a lot of COVID frustrations (scheduling issues, Kafkaesque hoops to jump through, inability to travel outside the country, risk of ending up in a prolonged lockdown, inevitable health stress), they had to spend a lot of time apart and there were more and more crackdowns on the entertainment industry, on the queer community and on fandom culture, which made things feel positively dismal and oppressive - at times even scary.

However, it's undeniable that things have been gradually improving for them. They've both been building more and more autonomy and control in their careers, and building more respect from audiences and within the industry. They've both been prioritizing their personal lives more and more. And yes - they've BOTH been looking happier, more relaxed, more balanced.

I've talked about that a fair bit over the past couple of years. Most recently in this post.

Looking at 2024, they have had so much more free time in their lives, have been able to spend so much more time together in the same city, have spent time with each other wherever they were filming, and even got to travel and spend some fun downtime outside of China.

They are in such powerful positions compared to even a couple years ago. They have made great connections and worked on some amazing projects.

GG has been working with some of the top directors on some of the most anticipated projects in C-ent. He recorded an entire solo album and several music videos, and did all of that on his own time and on his own dime, and released it to critical acclaim and massive success with audiences.

He has been the talk of the globe in fashion circles and entertainment circles, and has been the global face behind some of the most successful and exciting campaigns for some of the most prestigious brands in the world.

He got to travel a lot outside of China, and build on some of the great connections he's made over the years. He got to spend time with his parents traveling Europe!

He's given us so much incredible content with his vlogs and photo sets. It's just mind-boggling how much he's given us over the past couple of years.

DD took initiative to propose and participate in a documentary series where he got to explore interesting locations and engage in some of the most extreme outdoor activities. What could possibly be more exciting for someone like him?

He got to work with a team of conservationists who are fighting to save pangolins, and filmed a documentary there as well. Knowing him, that has to be one of the most rewarding things he's ever done in his life.

Both documentaries were highly acclaimed and award-winning.

Speaking of awards, he debuted as a film star and has been nominated for all of the top awards in China both for his film work and his drama work!

He has signed a new contract with his management company that will certainly have put him in a very powerful position in the company as their top breadwinner. He has been exceptionally successful with endorsements, holding more endorsements than anyone else in C-ent.

He got to play tennis on the top of The Great Wall with one of the top players in the world (regardless of how much I despise Djokovic).

He got to be an Olympic torch bearer! He is the ambassador for multiple high profile organizations and projects.

He earned his auto racing license, joined a racing team and finished in first place in his first ever auto race!

Make no mistake about it, they are both now solidly calling the shots in their own lives and careers, they are living their best lives, and they are both happier than I have ever seen them in all of these years.

And much more healthy! Just take one look at them and you can see how much healthier they both are. They've been playing a lot of sports and doing a lot of active outdoor activities together, and it shows in how much happier and healthier they are.

Frankly anyone who can't see that has their head stuffed firmly in a moist dark place.

I urge everyone to center GG and DD in all of our fandom explorations, theories and interpretations. The reality is that the more that they get to focus on their own lives and careers and personal freedoms, the less candy and CPN we're likely to see. We should be happy for them rather than try to spin sad tales about it.

[gabrielleragusi]

For Artists: My Experience with Commission Platforms and Illustration Agencies

Hi there! I’ve been wanting to compile a list of commission platforms that I’ve personally used for the longest time, and I finally did it! I’ve highlighted the still-active commission platforms in bold and struck those that don't exist anymore so you can jump to the sections that interest you without needing to read my entire story.

Let me start by briefly introducing myself.

I’m Gabrielle, a fantasy illustrator. Since 2014, I’ve been working on book covers and illustrations for publishers, authors, and book subscription boxes. Early on, work wasn’t as frequent as it is now. I had to search for opportunities myself, and even small private commissions were important for building my portfolio and earning some money, which I’d spend on materials, books, and online courses. Like many other artists, I started out by trying my luck with the biggest art community available at the time.

DeviantArt

2009-2018

Once upon a time, there was a virtual haven called DeviantArt. To my teenage self, it was a magical place. I signed up in 2009 and thought I’d never leave!

At first, I created an account just to share my work and learn. I didn’t even think about commissions for four or five years. But when that first inquiry finally landed in my inbox, things took off! My mum swears she remembers my excitement when I got my first commission, but for some reason, I’ve completely forgotten about it. I can't remember what it was or how much it paid. It might have been a portrait of a fantasy character.

Commissions on DeviantArt were fairly frequent, especially considering my cheap prices at the time. I used to offer discounts and post my rates in my DeviantArt journal, or in Commission groups that featured artists either monthly or weekly. After checking out my profile, a client could simply send me a private message and from there, we’d discuss payment, deadlines, and other details, and the platform didn’t take any fees, much like how ArtStation works today. Everything happened through private messages or email, with direct contact between artist and client.

The downside of this process was that there was no dispute resolution system on the platform. I had to handle all issues myself, and unfortunately, problems did arise sometimes: there were clients changing their minds about commissions, asking for refunds after work was delivered, refusing to pay, or just ghosting me. These issues didn’t happen because clients were evil, but rather because I was inexperienced and allowed some to take advantage of my naivety.

However, all that frustration helped me develop my commission process through trial and error (mostly error). And despite the challenges, I can say with satisfaction that most of the commissions I received through my DeviantArt profile were positive experiences.

DeviantArt eventually introduced a commission feature for Core (Premium) users, which came with a platform fee, but I didn’t use it much, and I’m not sure if it still exists.

The real beauty of dA, though, was the connections I made. I was able to meet people, both artists and clients, that I’m still in contact with today, and some of whom I still collaborate with.

I closed my account in 2018 or 2019, but by that time, I hadn’t really used it for a couple of years. The new user interface was a bit of a turn-off for me. I had always loved the geeky, and dare I say cozy, look of the old green and grey aesthetic, with its customisable panels that you could move around and personalise with HTML code... But I digress.

Artists and Clients

2013-2016

While taking small commissions on DeviantArt, I discovered Artists & Clients. It was a nice platform for clients to get things like their D&D characters or groups illustrated for relatively cheap. I think my highest price was $50 for a single character portrait, with the platform taking a 15% cut. I used it for about two or three years before the platform started to change.

As more artists with hentai art styles flooded in, the homepage shifted, and so did the clientele. There’s nothing wrong with drawing naked anime girls, of course, but you can understand that if a client is looking for a fantasy, semi-realistic painting of their female orc character, or a realistic portrait of their spouse, it's more than likely that they won't bother sifting through a sea of anime girls to find the style they want, imagining it isn't here. Let's just say that, at the time, the website took a definite direction that wasn't in line with my genre, but this direction didn't make the different, more realistic art styles stand out either.

Soon, commissions slowed down for me, so I closed my account, but by then I was already working elsewhere.

That said, this platform could still be a useful tool if you’re looking to take on smaller commissions.

DreamUp

2014-2015

DreamUp wasn’t an AI generator back then. It was actually a subsidiary of DeviantArt, where clients could post projects and artists could apply. It was a competitive platform that offered well-paid work–very well-paid. I remember seeing jobs posted that ranged from $300 to $1,200. DreamUp was a very professional platform for clients with a mid to high budget.

I believe I landed my very first book cover commission through this website when I was in my last year of high school. I remember getting the job and going to school the next morning, excited to share the news with my classmates. Everyone was super thrilled for me (we were a really close-knit class!), and I felt like I was walking on air.

Unfortunately, as far as I know, that book was never released, but it didn’t matter because I was moving forward, and fast.

I’m not sure when DreamUp was shut down, but I do know that DeviantArt held onto the copyrighted name, assigning it to something so anti-old DreamUp that it still boggles my mind.

ArtCorgi

Now Artistree

2014-2019

When I received an invitation to join ArtCorgi from its founder, I already had a somewhat consistent portfolio. I was painting portraits and fantasy illustrations, and the clients on this platform were looking for both–your typical wedding and pet portraits, as well as book covers, which were what really interested me. To get to the latter, I had to do the former. Over the years, I’ve painted so many realistic portraits that now I have a strict rule for my own sanity not to do them any more. I have great respect for portrait artists, but it’s just not me.

When I first submitted my prices to the person I was in contact with, she kindly suggested that I raise them... a lot. That was a major step forward in my professional career. I went from charging $50 to $100/$200 overnight. And to my surprise, people actually wanted to commission me at those prices!

From 2014 to 2019, I took nearly every commission that came my way. I never spoke directly with the clients; all instructions and feedback went through my point of contact, which helped maintain a level of professionalism, although now that I’m used to working directly with clients, I’m not sure I’d want to go back to having an intermediary.

Sadly, as with all good things, this chapter came to an end. My point of contact eventually left communication in the hands of someone else, and shortly after, the commission fee changed to, I believe, 30%.

Simply put, 30% is an unrealistic cut for a website like this. For an agent that gets you all kinds of big work in the publishing industry, sure, but since this was not the case I had to stop taking commissions. Despite that, my overall experience with ArtCorgi was very positive.

Today, ArtCorgi joined another platform, Artistree. As far as I can tell, Artistree doesn’t take any fees from artists, with clients covering a small cost instead.

Sketchmob (?)

2016-2020

This was probably the platform I used the most. I’ve lost count of how many commissions I received through Sketchmob. Many. Enough to generate a steady income at the time. With reasonable fees and a variety of art styles available, clients contacted me almost daily. Communication was direct between artists and clients, and payments could be split. The review system also worked very well… for a while.

Once I raised my prices, requests became fewer and farther apart. But by then, I was already working with my own clients.

Is this platform still active? Who knows. The website is still up and the chat feature works, but I’ve seen users complain that money available for withdrawal never arrived via PayPal (the only payment method the platform accepted, if I remember correctly). Personally, I wouldn’t risk completing a job through Sketchmob right now, at least not until they release an update.

If you’ve used the platform recently and successfully received payment within the last six months, please let me know, and I’d be happy to update this section!

Upwork

2017-2019

In 2017, I was determined to break into the book publishing industry. After trying out Fiverr and Freelancer.com with no success (the competition was too fierce for someone just starting out), I decided to give Upwork a shot. The platform looked very professional, and while the process sounded a bit complicated, I wanted to land the interesting projects I saw featured in my category. I really wanted to work with a big client… but big clients didn’t seem to want me, despite having the Rising Talent badge.

In two years of bidding for jobs and submitting proposals, I only landed two projects: a small commission from a private client who actually reached out to me, and another project that I bid on.

Don’t get me wrong, I was ecstatic at the time and truly appreciated every opportunity that came my way. But looking back, I can see why Upwork didn’t work out for me. The platform just wasn’t the right fit for my style and niche, which is fantasy illustration. Graphic design, however, was (and still is) in much higher demand.

The commission process on Upwork wasn’t as simple as on other platforms. For instance, at the time, costs were calculated hourly, which was a challenge for someone like me who prefers working with flat fees (having already calculated my average hours spent on an illustration). From what I’ve seen, this has since changed.

One positive aspect of Upwork is its current 10% cut on what artists earn. I don’t recall if this has changed over the years, but 10% is quite reasonable in my experience. Of course, 0% would be even better, but for a platform as large as Upwork, 10% is fair.

Illustration Agency

2019-2021

By 2019, I had built a solid, consistent portfolio thanks to my personal work and commissions. I had a simple website in place, my Instagram following was growing… I was steadily working toward my goal of illustrating covers for big publishers (which didn't happen until two years ago).

So, when an illustration agency reached out to me one day, I was over the moon. I had always heard that artists were the ones who had to approach agencies, not the other way around.

Well, that should have been my first red flag.

I won’t name this agency because, unfortunately, I have nothing positive to say about it. In fact, the word “nothing” perfectly describes my involvement with them. Nothing came of this barely there experience.

The agency invited me to sign up, not on an exclusive basis, but they assured me they’d get me work. That work never came. Once in a while, I’d receive messages saying they were trying to pitch my portfolio to a French publisher or another client, but... nothing.

Please understand that meanwhile I was already working directly with shops and authors, so I don’t believe my portfolio was the problem. The real issue was something I didn’t realise at the time: some agencies do this. They feature talented artists in their catalogue without having actual clients lined up, just to appear more professional and credible to potential clients. Did this strategy work for them? Maybe. I’ll never know.

In 2021, I politely asked them to remove my portfolio from their website, and that was the end of it.

After that, I never actively sought out an agent again. By the time my portfolio was strong enough to approach a serious agency, I just didn’t need representation anymore.

Hireillo

2019-2022

My experience with Hire an Illustrator, or Hireillo, is mixed. At the time, Hireillo was a platform that hosted artists' portfolios, featured artist-submitted news, provided useful articles, resources, and directories of artists and agents. I joined the site hoping to catch the eye of publishers, but I was mostly contacted by authors and one fellow artist for a graphic novel.

Unfortunately, most inquiries didn’t go beyond the first couple of messages due to budget constraints. I did, however, have fun sharing news about my painting process and projects I landed on my own, which were often featured by the website. Additionally, if I had questions about 'complicated' things like copyright, or just needed advice, I could ask the website’s owner and that was incredibly helpful.

Despite these benefits, I didn’t see any real results, which was a little disappointing. The subscription fee was also... odd, for lack of a better word. $5 per week. In the end I just couldn’t justify the cost, so I stopped using the website altogether.

Reedsy

2019-2022

Finally, we come to the turning point.

I remember stumbling upon Reedsy randomly. It wasn’t very well known at the time, and I think it still isn’t. I was nervous when I submitted my portfolio because their catalogue features the best of the best: designers who’ve created covers for bestsellers, THE bestsellers, people who’ve worked on Stephen King covers, or George R.R. Martin's. Designers, editors, and marketers who are veterans. I didn’t have high hopes for my application. So, I was in shock when it got accepted.

I had an introductory Skype call with a representative from Reedsy, who explained how everything worked. Before the call ended, I remember asking if there was a good chance I’d get work through the platform. The rep laughed and said, “Yes.”

A few weeks in, I understood that laugh.

Reedsy has an overwhelming demand for book covers and commercial projects. For every designer there are many more clients. In peak seasons, I was getting requests almost every day. I’m not exaggerating.

Reedsy transformed my portfolio and my pricing structure. Thanks to the income I earned through the platform, I was finally able not to take everything that came my way but be selective and choose only the projects that really interested me.

The commission process is simple: artists pretty much decide how to split payments, what to include in agreements, and the best part, the most beautiful and helpful feature of all, they can request and adjust deadlines. For someone like me who's terrible with deadlines, this feature was a lifesaver. The admins are also very kind and responsive, available via email or chat.

Unfortunately (this is my last 'unfortunately', I promise), my time on Reedsy came to an end for personal reasons. I’ll explain since it’s no secret.

All my images on Reedsy were watermarked with my signature (my full name), which apparently violated the platform’s rules. Why? Because if a client saw my last name, they could contact me directly and bypass Reedsy, which meant the platform lost potential fees. I’ll admit this did happen a few times, but I had the good sense to redirect the client back to Reedsy.

After three years, an admin finally noticed and asked me to remove my full name from the watermark and any text on my profile. It was a simple and reasonable request, but here’s where the problem started. Profiles on Reedsy are public, and images appear in search engines like Google Images, meaning anyone could download my work and use it without permission. Sure, watermarks can be removed, but uploading my work without one in the first place felt like a bad idea. Btw, not only do I use watermarks, but I also use Glaze to protect my illustrations before sharing them online.

Anyway, for this reason, and also because I couldn’t get over the fact that full names were public at the time, something I won’t get into because, believe me, I tried over email, and my reasons went into the void (now, last names are just initialised, like Gabrielle R. Okay. Sure.), I had to close my account–they would have done it anyway because it was already 'flagged'.

Overall, if you’re willing to overlook the last name conundrum, I can’t recommend Reedsy enough. If you have a killer, solid portfolio and a love for books and editorial projects, go for it!

--------------------------------------------

I hope you'll find this useful! If you have any questions, please don't hesitate to ask (: Oh, and here's an old article I wrote in 2020, titled:

Tips to freelance illustrators to avoid being screwed over

Who knows, maybe I'll write another 'article' post in four years!

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[fae-morrigan]

I Read Bendis So You Don't Have To: The Famed Jon Kent Age Up

Hi! I'm Milas. I've read more Bendis Superman than is probably healthy.

No matter if you liked the age up or not, most fans are in agreement: this run was bad. Pretty dang bad. And I agree- this run is often hard to parse through all the... er, bendisisms, and often mangles what little themes it has through poor storytelling and lackluster use of page real estate. However, I unfortunately have become an expert on this particular story due to how many times I reference it in analysis, and I do not wish my suffering upon anyone else. So, to spare us all from said suffering while writing meta, I encourage Jon fans, from whichever corner of his fandom you come from, to use and link to this series as shorthand if you so need to.

This installment will be going, objectively as possible, beat by beat through the actual events of the famed 2019 Jon Kent age up.

Issues covered are Superman (2018) issues 7-10, as well as briefly covering the events of Super-Sons of Tomorrow (all issues) and The Man of Steel (issue 6).

Before we can get to the actual mainline Superman run where this event occurred, we should real quick go through the events leading up to this.

In Super-Sons of Tomorrow, Jon is confronted by Savior, an evil version of Tim Drake from a future where Jon accidentally causes a massive loss of civilian life via an explosion of his powers. Savior is travelling from back in time to try and prevent this from occurring by killing Jon, therefore stopping the catastrophe. This causes infighting amongst the Teen Titans, even more fighting with people from this alternate future timeline, and concludes with a vote being held to decide if Jon is welcome amongst the Teen Titans. The vote decides no, Jon will not be admitted onto the team.

Though the Teen Titans tell Jon that this is because the events of the book gave them a lot to think about and work out, this is not what Jon takes away from it.

In Man of Steel, Jor-El shows up and invites Jon out to space with him. This is meant to be a journey where Jon will be able to learn things that Clark has "neglected" to teach him, as well as connecting with his Kryptonian heritage.

Clark and Lois are vehemently against this at first. Clark, especially, does not change his mind on this being a bad idea, even after Jon leaves.

However, the reason Jon goes is because, in his own words, he feels like there is something wrong with him.

This is a feeling, that, in text, Jon feels specifically sparked on by the events of Super Sons of Tomorrow. Feeling lost, and like he needs to explore himself, Jon (and Lois, who does not want to leave her son unattended, and intends to write a book about the experience) join Jor El in space.

(I highly do recommend you all read Man of Steel, because it's about as close as Bendis gets to writing genuinely well in this whole collection of books, and I can only screencap so much of the sheer amount of discussion that happens between the three Kents about Jon going on spacecation. Trust me, they didn't just shoo Jon off! They talked about it for what in comic time was AGES.)

This is where we get to issue 7 of Superman, where Jon returns from his vacation... as a seventeen year old.

As Jon himself says, he didn't get aged up magically- He lived those years. So, what actually did happen to him while he was out there? What happened during those six-to-seven years (depending on who you ask)?

First: What happens to make Lois leave?

The House of El suit Clark lends her to keep her safe makes her a target, a target that puts her in active danger (in exact opposition to what Clark intended), and so for her own safety she departs.

Leaving Jon alone with his grandfather. Who, as Jon says, has gone completely insane.

The nature of Jor El's insanity is revealed in the next issue, issue eight, as we reach what I and friends call the Jor El Nihilism Speech:

Jon follows Jor El's line of thinking for most of the conversation- He understands what it feels like to not belong in the story, because that fear of being somehow wrong was what brought him out here in the first place. Jor El, Jon Kent, both men outside of time, outside of belonging. Neither should exist. But Jor El takes it to a conclusion Jon doesn't accept: That it's a hopeless existence.

This makes Jon want to go home. Concluding Jor El has utterly lost it, he decides he needs to make a break for it somehow. Because of how far from Earth they are, he can't just fly off, so he attempts to get some help from some Green Lanterns:

It doesn't go well. At this point, Jor El stops speaking to Jon for awhile, and they spend... an indeterminate amount of time fighting through the galaxy, trying to solve people's problems. While not talking to each other. At all.

But when Jor El finally does try and talk to Jon....

Well. Here's the part you're probably reading this post for:

Yay! Its volcano time! An unexpected black hole throws Jon (and Jor, but we'll get to him later) through dimensions, landing him on Earth-3. At the feet of the Crime Syndicate.

If you're going to read ANY issue for yourself, I recommend it to be this one. The Ultraman stuff is not only perpetually relevant to Jon's story, its LIKELY going to be relevant again when Absolute Power: Super Son releases. Ultraman is the one member of the Syndicate who claims Jon as 'his':

And proceeds to imprison Jon in a volcano. As I am sure all of you know by now. The Volcano.

Ultraman and Jon trade some conversation back and forth, establish who each of them are, before Ultraman tells Jon he is never going home, and that this is home now:

It becomes quickly apparent that due to the lack of sun, Jon has no protection, no way of escape. He tries to fly out, but no dice:

And so stuck he is. For multiple years. With nothing but pigs to feed on, stuck with a monster who intends to 'train' him to his full potential:

But eventually, Jon escapes. He takes a rock, bangs a hole in the side of the Volcano, and gets himself out, relying on what little he has left of his invulnerability.

Now is a good time to mention a small misconception I see peddled around a lot: There is actually significant evidence pointing to the idea that Jon did NOT spend all six years in the volcano. After wandering Earth 3 for an indeterminate awhile, going from city to city and stopping to help people along the way, there is a strong suggestion by the way Bendis frames it that this was also years. I'd personally estimate Jon's time on Earth 3 was about half and half- Three ish years of the volcano, three ish years of surviving out in the wild. Anyways, Jon finds his way to the Syndicate's headquarters, encountering an evil version of Lois who tries to attack him. But surprise! Onto issue 9, we finally get to Jon's rescue!

Jor El was also displaced in the multiverse, of course- But we have no idea for how long, where, and what he did during this time. All we know is this: Jon wasn't just thrown across space and time, he was thrown backwards.

I think this is where the source of the most misconceptions come from: Its complicated to grasp! But very simply, the reason why Jon was able to live six years while everyone else stayed the same age was because he wasn't just thrown TO Earth-3, he was thrown backwards as well. Here's a chart I made about a year ago to try and visualize it:

If you're wondering how Jor El found him... we actually don't know. All we know is Jor El apparently made some fucked up arrangements in order to accomplish it.

And that kind of brings us back to the beginning, where Clark and Jon reunite. There are still a lot of unanswered questions, namely how Jor El managed to get Jon back in the first place, but this is essentially the rundown of the age up. So to recap very quickly: 1. No, Jon was not magically aged up. He lived those years. Its spacetime travel, not just space travel. He is mentally 17-18. 2. No, Clois didn't just 'let him go' with no conflict. It was actually a huge argument that ended up also really mentally fucking with Clark in later arcs. He goes to therapy with Khalid Nassour about it! 3. Jor El has a lot more to do with all this than he reasonably should. I could explain why he's alive but it would give us both an aneurysm- Just know in this story, he kind of serves as a foil to Jon.

Now, why did Bendis write the age up? Here's a post by a friend that gets into the metatextual reasons why this was a thing.

[milfygerard]

hello bestie you are my resident taylor swift moot so i thought you’d be a good person to answer: i’m like 40% a swiftie and i know Some of the lore around the gaylor theories but not all. is there some kind of masterpost or blog you can link me to where i can like Gain Knowledge abt it i just really feel like wasting my time on that today

hi ok. God.

Most of the comprehensive ones are either lost to the annals of tumblr or fucking historical documents at this point

the two biggest non-tumblr starting points (though a few of them are still built on a few tumblr links) are the iconic reputation is about karlie kloss powerpoint and the abandoned-in-2019 blog kaylorevidence which are great looks at of-its-time gaylor culture opinions and in jokes as well as having a pretty comprehensive swiftgron timeline, though lots of things have changed w context and time. A big problem w post-2019 kaylor is that widely agreed upon timelines split massively between LSKs and more general gaylor fandom who just like think shes gay/bi or like her music in a lesbian fashion which makes it way harder to keep track of (though i did find this extremely long post-folkmore kaylor update from before midnights was announced) and makes it harder to divide like actual interesting or relevant stuff from babygating or person-who-knows-a-person-who-knows-taylor-wears-someting-with-flowers-on-it type of stuff. @/throwbackgaylor is a good example of having a very uneven mix of both of these things that can be hard to sort through but is probably a good resource for backsearching. If anyone knows how to find the old 2018 kaylor masterlists (of which there were a TON

I know @that-curly-haired-lesbian used to do queer readings and reinterpretations of her songs that I used to scroll thru and ashley norton did a pretty comprehensive breakdown of the taytaysbeard clusterfuck from a non gaylor perspective which as someone who was in the thick of that in high school I thought was pretty respectful and well done even if its kind of unbearable to watch and remember. If you want to see the state of LSK now ttb is still active at @/spade-riddles I believe but that person is a genuine certified weirdo and i dont really recommend it. penelope and priscilla are gay twins also is a good source of at its time gaylor culture and in-jokes (warning for being probably dated I havent watched any of these in a Long time)

if anyone else has masterposts or resources of Gaylors Past pls add on! I feel like so much is lost in social media based communities like this one and it can be hard to illustrate a time in online fandom without a broad spread of examples and stories and pre 2020 gaylor was such a specific moment in time!

[myjunkisyuzuruhanyu]

ISU released an article about Shoma

Two-time ISU World Champion and three-time Olympic medalist Shoma Uno of Japan has announced his retirement from competitive skating after a long and distinguished career and is ready to open a new chapter in his life.

“I have decided to retire from active competition,” Uno wrote on Instagram. “I am very grateful to have been able to continue skating for 21 years since I was 5 years old, and to have had a wonderful athletic life.”

The Japanese star will talk in more detail about his retirement and future plans in a press conference scheduled for May 14.

The 26-year-old looks back at a career with many highlights and also difficult times, but he always came back, proving his talent and showing resilience. When five-year-old Shoma went to the ice rink in his hometown of Nagoya with his father to have fun, he had no idea that he would become a World Champion, Olympic medalist and super star of the sport. He only knew that the enjoyed skating and kept coming back to the rink, taking lessons. He trained with Machiko Yamada, the coach of Japanese skating icon Midori Ito and also with Mihoko Higuchi for many years and worked his way up in the skating world.

Uno debuted in the ISU Junior Grand Prix in 2011 and was so tiny that he was unable to look over the boards. He won a few medals on the Junior circuit but his breakthrough came in what was his last Junior season in 2014/15 when he qualified for the first time for the ISU Junior Grand Prix Final where he claimed gold. Shoma went on to take the ISU World Junior title in 2015, in what was his fourth and final appearance at the event (climbing from 10th in 2012, 7th in 2013 and 5th in 2014).

Once at the senior level, Uno quickly became one of the top Skaters in the World. In his World debut in 2016 he placed 7th but then the next year won silver, his first of a total of four World medals. In his first Olympic Winter Games in 2018, Shoma skated off with the silver medal and returned on to the Olympic podium four years later, earning the bronze. In 2022 and 2023 Uno crowned himself ISU World Champion.

However, in between there was a time of struggle. In the 2019/20 season, for the first (and only) time in his career, Uno finished off the podium in the ISU Grand Prix Series. He had left his coaches since childhood and struggled with confidence.

“At first, to be honest, I was thinking about finishing my career,“ he said in an interview at Skate America 2021 about this time.

“I did not know how much longer I would keep going. But imaging the end (I thought) maybe I'll enjoy the rest of this career as an athlete.“

Uno started to work with two-time World Champion Stéphane Lambiel as his coach and choreographer in fall 2019 and soon came back strong. He grew as an athlete and a performer with beautiful programs that highlighted his versatility: “Turandot” (Free Skating 2017/18), “Great Spirit” (Short Program 2020/21), “Bolero” (Free Skating 2021/22) and “Spiegel im Spiegel” (Free Skating 2023/24) to name a few.

At the same time, the Japanese star always pushed the limits technically and made history by becoming the first Skater to perform a quadruple flip in competition in 2016.

“When I train and want to become better, it's not good for me to work on what I can already do. If I'm satisfied with just giving 80 per cent, I'm not good. The right training for me is to push my limits,” Uno said in an interview.

The Japanese Skater has an independent mind and a fun personality. He has a Youtube Channel where you can meet his three toy poodles Emma, Baron and Toro.

“When I am on the ice, I am totally focused on my sport, but when I'm off the ice, I am sure most people know I am just a lazy slacker, but I thought that would be a good way to show to the people how I am off the ice, but still this is Shoma Uno,” he explained.

When asked who inspires him the most, Shoma’s surprising answer was:

"Myself. Of course, I think I am inspired by many people and heard some good words from everyone, too, but in the end when you break it down, I do feel that it is myself that inspires me and sadly, I don't listen to anyone. Sometimes I listen, but mostly I go with my own mind,” he added.

For sure Uno will follow his own ideas in the years to come but you can certainly expect to see him gracing the ice in shows for a while.

[batmanisagatewaydrug]

hey weird question but, with the context that while conspiracy thought in and of itself is just a sort of dangerous logical fallacy, most conspiracy theories have some kind of tie to antisemetism, are there any antisemetic aspects to gaylor theory? i can't think of how but somehow it almost always weasels in there, no matter how innocently silly something seems on the surface.

DEEP SIGH okay it's time to talk about Scooter Braun and his place in the Gaylor conspiracy

I'm not going to recap everything but will instead link you to this US Weekly article (I know, sorry) which is basically a fine summation of events despite being a bit sensationalist in calling a business disagreement between two adults a "feud"

tl;dr for anyone who doesn't want to read all of that (it's not actually that long, I prommy): in 2019 talent manager Scooter Braun acquired Taylor Swift's former record label Big Machine, giving ownership of the masters of her first six albums. Swift objected to this very publicly on the grounds that she wanted ownership over her own work and had repeatedly been denied the opportunity to buy it outright, while also alleging that Braun has been harassing and bullying her for years. ultimately, Swift has remained unable to buy back her work, leading to her steadily re-releasing expanded versions of her first six albums under the "Taylor's Version" headline.

obviously, given my stance against speculating on the personal lives of famous rich people, I'm not particularly interested in debating whether or not there's merit to Swift's accusations against Braun, although given the exploitative nature of the music industry I hardly think her claims are implausible.

regardless of whether or not Braun sucks as a person, it's important to note that he was only very briefly in ownership of Swift's discography: as the linked article above notes, he only owned them for about a year and a half before selling them off in 2020.

despite this, Braun holds what I would consider a rather outsize role in a lot of Gaylor conspiracy theorizing, with many apparently believing that Swift fully intended to come out in 2019 with the release of her seventh album, Lover, but was prevented from coming out by Braun purchasing her discography. I've seen some claim that he actively subjected her to homophobic bullying and others saying that she didn't him to financially benefit from any career boon she might have after coming out (although no one ever seems to have an answer for why she still hasn't come out three years after he sold her discography).

I can't say whether or not the majority of Gaylors, like, know or care that Braun is Jewish, but it feels tragically predictable and yucky that a Jewish man is given such a disproportional share of blame for why Taylor "can't" come out and is made a scapegoat in the ongoing effort to evade reality with "arguments" like this

(source)

... hang on, what's that?

oh man I love when a Jewish family gets put n SCARY ALL CAPS

okay so let's talk about Karlie Kloss and Josh Kushner!

as many of you probably know by this point, Karlie Kloss is the pinnacle of Taylor Swift's platonic gal pals that she gets relentlessly shipped with; I think it's fair to say that "proving" a romantic relationship existed between the two of them is the primary focus of a lot of Gaylorism.

since 2018 Kloss has been married to Josh Kushner, heir of THAT Kushner family. his infamous brother Jared is in fact Donald Trump's son-in-law and probably guilty of, like, a lot of federal crimes. that doesn't inherently make Josh a shithead or anything and he and Kloss both claim more liberal politics, although it should be noted that like a lot of rich liberals Josh does also suck pretty hard. he and Jared own a real estate management company together and were suing their tenants and evicting them during the COVID-19 rent moratorium, so that's kind of everything you need to know about him and Karlie Kloss IMO!!!

having said that, Josh being a bastard landlord doesn't make it appropriate to frame a Jewish family as having some kind of sinister interest in suppressing a queer woman's sexuality or imply that Kloss and Josh Kushner are in some kind of sham marriage. for YEARS Kloss' marriage to Kushner, including her conversion to Judaism and their two living human children, have been dismissed as elaborate turbo-bearding, with some Gaylors going so far as to allege that Kloss and Swift have actually been married for years and Kloss is just having Kushner's children for... reasons unknown... which feels like, you know. a pretty gross dismissal of a Jewish family in favor of pretending two WASPiest WASPs to ever WASP are secretly scissoring.

anyway I certainly don't think it's the most egregious or deliberate anti-semitism that's out there in the conspiracy world but are there some Gaylors blaming The Jews(TM) for forcing poor innocent Taylor to stay in the closet? resounding yes.

[shopwitchvamp]

Ello!! Same person who was trying to emo-fiy his mom lmfao. (Just changed my username) but anyways, how exactly did this business start? It seems newer.

How new does it seem? I'm curious!

Witch Vamp has been solidly it's own thing since 2017, though it was originally "Witch Vampire" for a while and only on Etsy / at conventions. I think my first skirts hit the con scene in 2015, but at the time the vast majority of what I was doing was crocheted amigurumi plushies (which I'd been selling since 2008).

The most ancient of my skirts!

This is gonna be SO long sooo if you want a whole spiel, it's under the break-

How those first few skirts started was that a friend said, "Hey, I found this place called ArtsCow where you can get custom clothing printed! Wanna try making skirts?" And I was desperate for anything I could try selling that didn't involve me literally and actively breaking my body to produce it (I had multiple bouts of tendonitis in my wrist from crocheting a ridiculous amount to produce enough plushies for cons ✌️🥲), so I tried designing some patterns to put on skirts, zipper bags, lanyards, etc. After a time, skirts were doing really well in particular.

Between 2015-2018 there was a gradual shift from the focus of my time/work/con tables/etc going from plushies to clothing. By 2019 I gave up crocheting all together and had fully shifted my focus to Witch Vamp, and it's also when I set up my shopify so I could have a stand-alone site and start escaping Etsy.

Side note, 2018 and especially 2019 I was slowing down on cons a lot. I used to get sick all the time, be exhausted and miserable all the time, and generally had started feeling too old & weary to keep doing them at such a grueling pace. I also spent about 1/4 of each of those years having run off to Japan to do an English teaching/Japanese learning exchange program in a countryside town called Ojiya. Going into 2020 I thought I might be returning to Japan to teach full time and help the program director open an English school for adults in a nearby city.. But 2020 had a big surprise in store for us all, didn't it? As you can guess those plans got absolutely demolished. So 2020 hit and cons got cancelled, Japan plans got cancelled, thankfully I had already started up my shopify so I went fully online-only pretty quickly. Things started picking up quite a bit in 2021 & 2022, and in 2022 I left Fresh Hot Flavors (a group shop I was in with other artists, including the one that got a bunch of us ((as in me, FHF, Vetiverfox, and Maya Kern)) all started on this clothing journey) to only run Witch Vamp. Around the same time my partner quit his increasingly awful job and started helping me out with the shop instead. January 2023 is when we made the business part of our partnership official and Witch Vamp became Witch Vamp LLC. Up until then I'd been a sole proprietorship the whole time and doing all of everything myself. With my partner around to start taking on various tasks (like fulfilment and customer service emails) and with my clothing order schedule no longer being tied to FHF, things started to speed up a ton. This is when Witch Vamp fully coalesced into Witch Vamp as it is now, with the weekly restocks and more frequent new designs and preorders. If you consider the business as having started (in it's current state) as when the LLC was formed, then yeah it is pretty darn new! But depending on when you consider it starting it also goes wayyy back. It's been a long road, haha. PS: if you're interested in seeing old designs, plushies, and con tables from my past life, I made a big long post about it -here- :D

[lanternlit]

DASH GAME: BEHIND THE MUN

NAME: Havu.

PRONOUNS: They/them.

MOST ACTIVE MUSES: On this blog, Iris, Cas, Izzy, Will and Hannibal are being the loudest gremlins. Also the Doctor, mostly Thirteen, and Fifteen very much trying but I am sooo intimidated by the thought of starting to write him (me whenever I write a regeneration of the Doctor I haven't written previously).

EXPERIENCE: I started roleplaying privately with friends when MSN Messenger was a thing, in my teens, in the mid-late 2000s. We migrated to private phpbb forums with some friends for one-on-one platforms for more organisation than private messages. I transitioned to tumblr in 2013 when I found out the independent rpc here (I was on tumblr in a generic way since 2010). I pitched an idea for a Doctor Who OC to someone on anon to see if they would be interested in writing with her, I didn't know how the rpc functioned, etc. And then I made a blog for her. That was Iris, by the way, if you can believe that.

From 2013 to 2017 I wrote various OCs and Doctor Who canon muses, namely an AU version of Rose Tyler for a while, and then mainly the Eleventh Doctor for several years (my url was legsyes and later snogboxed but the latter was 2018). I was so unwell I was nearly psychotic around 2015-2017 and I was on the wrong meds etc. so I took a long hiatus of over a year from 2017 to 2018.

A huge part of my recovery process was coming back to the rpc with Cas in june 2018 (waywardfeathered). He was my primary muse for a long time, but I also came up with Jillian around that same time, and had some other muses in their own blogs, so in 2019 I consolidated everyone that wasn't Cas on a multimuse, on this blog (I think it was Jillian, Eleven, Charlie, River and the TARDIS, maybe Thirteen, and I've since retired Eleven). Now you know I recently moved Cas and Thirteen here from their respective blogs, and I still have Shepard on her own blog @dutyworn and I changed my url here from smokedanced to lanternlit.

FLUFF, ANGST, OR SMUT: Angst, smut, and fluff. I love multi-genre interactions, a little bit of all flavours in different threads between the same muses. Fluff is the only one of these I need to balance with something else to enjoy it a lot. I can write angst and smut without craving for something else for contrast.

LONG OR SHORT REPLIES: Both. I vastly dislike focusing on reply length as any sort of an indicator of how good someone is at roleplaying; it makes sense for length to vary. Are you setting a scene with lots of exposition? Are the characters having rapid fire dialogue? The former easily suits novella replies and the latter easily suits a single paragraph. I like dynamic threads where the response length feels natural considering the scene.

PET PEEVES: Relating to the previous one, my ultimate prose related pet peeve is when replies become like... two or even more threads in one thread? Consider:

Muse A asks Muse B, "How have you been?" Thread proceeds to have plot happening, and Muse A's internal thoughts regarding it.

Now Muse B's writer is stuck in a situation where, if they have their muse react to the dialogue before the following events, they are splitting the thread into two timelines, if Muse A's writer wants to be able to have their muse react in any way. This makes incredibly awkward writing flow where you are basically writing two interactions in one thread. I think people do this because they want to write longer replies but it becomes so unnatural and difficult to work with. I've been guilty of this as well. I always try very hard to consolidate a thread into a singular interaction, but sometimes that means I am forced to have my muse react to stuff only internally, or answer to questions delayed, etc. and it can be difficult to justify. And this is so difficult to explain it's hard to bring up with people if it happens because I don't even know what words to use to describe it - I drew a diagram to a friend once XD

Less of a pet peeve, more of a "I am going to block you", but any kind of rhetoric that even HINTS AT judging other people based on what kind of (no matter how problematic) content they enjoy in fiction.

ARE YOU LIKE YOUR MUSE: For the most part, I am very different from all of my muses. I think it's because I would make a very boring fictional character, so there simply aren't ones much like myself; I'm very passive, unadventurous, etc. and I have no issue with that, I would rather be safe and comfortable than "an interesting fictional character" LOL. There are some, mostly minor, things, that I can relate to with most if not all of my muses, but these are usually either small quirks or life circumstances, not values or personality defining traits. For example: I relate to Castiel and him having been heavily controlled by other people, in having been controlled/abused by people who had authority over me, myself. I relate to feeling like I am existing as an outsider looking, like Iris (being isolated from society, for her for totally different reasons, for me due to disability) and tbqh many of my other muses. I am aromantic and pansexual, so I relate to Dean being demiromantic and bisexual. I am easily startled, and so is Lucius, so I relate to him in that. And such.

TIME TO WRITE: I don't have a set time that's easier than others, but in general (i say as i type this at 3:39am) my ability to function decreases exponentially if I am not maintaining a sleep schedule. The biggest reason for me going radio silent for weeks is "I couldn't sleep for 1 night and now I'm sleeping during the day and this has made me like 9000 times more disabled than usual".

TAGGED BY: @naitfall, thank you! TAGGING: @qapsiel, @shepcdr, @hellweep, @henosiis, @uselessdevice & anyone who wants to do it tag me so i can see!

[alsenvs3000w25]

Blog 10: My Personal Ethic

Introduction

Throughout the Nature Interpretation course, I have learned valuable principles that help people connect with and appreciate nature. As I develop into a nature interpreter, my personal ethics consist of the passion for informing others, appreciation for nature, inclusivity, and curiosity.

In the first week of the course, I learned about the concept of a “sense of place”, which is the connection people feel to the surrounding environment (Beck, Cable, & Knudson, 2018, Chapter 1, p. 10). This allowed me to reflect on how I got my own sense of place, which came from my dad who would observe and ponder nature's beauty at our family's cottage with me. Thinking about these experiences helped me realize how my appreciation for nature has evolved over time. Nature’s amenities bring me comfort and peace of mind, making me even more passionate about helping others discover, experience, and appreciate nature and culture in their own unique ways (Beck, Cable, & Knudson, 2018, Chapter 1, p. 14). 

My family's cottage, where I developed a "sense of place".

My Beliefs

I firmly believe that everything in nature plays a role in maintaining its ecosystem. Regardless of size, each component is necessary for the environment to thrive. However, understanding nature’s significance can be challenging, which is why I strive to bridge the gap between science and the natural world. By combining the two, I hope to effectively address critical issues like climate change while simplifying complex ideas (Wals, Brody, Dillon, & Stevenson, 2014). Interpretation requires much more than scientific knowledge; it requires enthusiasm to make its beauty clear. To make a lasting impact, I believe I must share information in stimulating ways.

Another belief I have is that viewing nature from several perspectives is essential to enhance the way we perceive the environment. This can be completed through real-life experience, indigenous knowledge, art, museums, and narratives (Beck, Cable, & Knudson, 2018, Chapter 5, p. 100). Engaging the senses, including seeing, hearing, touching, smelling, and tasting further ensures that nature’s true effect is being felt (Beck, Cable, & Knudson, 2018, Chapter 5, p. 100).

Finally, arguably the most meaningful lesson I’ve learned is that people protect what they love. This idea greatly influenced me to create experiences that allow individuals to form genuine connections with the natural world. Fostering this connection will inspire a stronger interest in preservation, which is especially crucial today (Rodenburg, 2019). Recent reports mention that as of January 2025, global temperatures have reached record-breaking levels, posing a major threat to wildlife and weather patterns (Nature Geoscience, 2025).

My Responsibilities as a Nature Interpreter

My responsibilities as a nature interpreter are shaped by my beliefs. These duties enable me to succeed in my role by sharing information and forming deep relationships between humans and the natural world. I strive to educate others about sustainability and the glory of the environment while promoting inclusivity and evoking curiosity to ensure everyone is properly informed and included.

As mentioned, I accept that it is my purpose to educate others about the importance of sustaining the environment (Beck, Cable, & Knudson, 2018, Chapter 5, p. 96). I aim to inspire people to make minor yet meaningful changes to their everyday routines, such as conserving water and energy, recycling, using environmentally friendly transportation, planting trees and respecting wildlife (NDEP, 2024). Integrating these simple practices can slow down the rapidly changing climate while preserving clean spaces for the activities we cherish, like relaxing, gathering with loved ones, or engaging in physical activity (Beck, Cable, & Knudson, 2018, Chapter 3, p. 49).

Additionally, I aspire to promote inclusivity, as everyone should have the equal opportunity to enjoy nature, regardless of their background, skills, or experiences. By using simple language, treating all visitors equally, considering different learning styles, and acknowledging the cultural significance of various natural areas, I hope to create a welcoming environment where economic, cultural, and communication barriers, as well as, fear, are minimized for all (Beck, Cable, & Knudson, 2018, Chapter 7, p. 131-135).

Lastly, a nature interpreter is expected to evoke curiosity in their audience. Therefore, I encourage my visitors to explore nature themselves, to form personal experiences and to perceive nature in their own way. Discovering new things motivates individuals to continue learning about the mysteries and glory of the environment around us. Curiosity and self-discovery can spark a lifetime appreciation for the environment, as discovery leads to a closer bond with nature (Rodenburg, 2019).

Sustainable practices that can help protect the environment. (https://www.dreamstime.com/stock-illustration-environmental-protection-infographic-flat-concept-ways-to-protect-environment-ecology-infographic-vector-illustration-image66632133)

Most Suitable Approaches

Everyone has their own learning styles, emphasizing the importance of interpreting in a way that appeals to a broad audience. I believe the most suitable approaches include hands-on learning, storytelling, visuals, and asking questions.

Aldo Leopold stresses the importance of providing first-hand experience, which uses all five senses (Beck, Cable, & Knudson, 2018, Chapter 5, p. 100). People learn best when they experience something for themselves; therefore, designing activities that motivate visitors to physically engage with nature would allow them to develop meaningful connections (Beck, Cable, & Knudson, 2018, Chapter 5, p. 88). For example, organizing a scavenger hunt to find animal tracks or specific species, would not only evoke curiosity but also demonstrate nature’s interconnectedness and beauty.

Bluntly stating facts can fail to engage the public, highlighting the importance of effectively delivering information. Storytelling is a powerful method to bring nature to life, especially for those who do not have the assets to travel and experience diverse ecosystems. For instance, the story of the Boys & Girls Club illustrates how some people lack the privilege to view nature in the same way as others (Beck, Cable, & Knudson, 2018, Chapter 7, p. 127). Through narratives, interpreters can paint a realistic picture, helping audiences feel as if they are experiencing a scenario themselves. Furthermore, storytelling is effective for educating children (Rodenburg, 2019).

Many people, including myself, learn better through visuals due to a short attention span (Beck, Cable, & Knudson, 2018, Chapter 8, p. 166). Utilizing resources like photos, diagrams, and videos, can make people feel more invested in the material presented. Since nature interpretation serves a wide audience, including children, incorporating visuals makes the information accessible and engaging for most learners (Rodenburg, 2019).

Finally, asking questions is an effective way to encourage people to reflect on their experiences and think about nature from different perspectives. Additionally, it forces individuals to pay closer attention to details. For example, asking “Why do you think this flower is by itself in the field?” encourages visitors to consider how species interact with one another, demonstrating nature’s glory.

I've included a video on how to engage an audience when presenting, which is helpful in interpretation.

Conclusion

My personal ethic will continue to evolve as I gain more experience as a nature interpreter. However, I will always carry my values including, informing others, inspiring appreciation for nature, encouraging inclusiveness, and generating curiosity, as these principles are crucial. Furthermore, I want to foster a lifelong love for the environment through interactive exercises, storytelling, and asking questions. I aim to Increase the number of people who feel a deep sense of responsibility and connection to the natural world (Beck, Cable, & Knudson, 2018, p. 182).

References

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage for a better world. Sagamore Publishing.

Nature Geoscience. (2025). Temperature rising. Nature Geoscience, 18, 199. https://doi.org/10.1038/s41561-025-01663-x

NDEP. (2024, December 11). Protecting the environment: Key strategies and solutions. Retrieved from https://ndep.org/protecting-the-environment-key-strategies-and-solutions/

Rodenburg, J. (2019, June 17). Why environmental educators shouldn’t give up hope. Environmental Literacy. Retrieved from https://clearingmagazine.org/archives/15637

Wals, A. E. J., Brody, M., Dillon, J., & Stevenson, R. B. (2014). Convergence between science and environmental education. Science, 344(6184), 583-584. https://doi.org/10.1126/science.1250515

[thelionandthelark]

Some of the actors who participated in the Brazilian soap opera adaptation of Les Misérables in 1967

Sadi Cabral as The Bishop Myriel

Born Sadi Sousa Leite Cabral (September 10, 1906 – November 23, 1986) he was an actor who was active between the years of 1923 and 1986. In addition to being an actor, he was also a announcer, scriptwriter, screenwriter, director, dancer, lyricist and producer.

Leonardo Villar as Jean Valjean

Born Leonildo Motta (July 25, 1923 - July 3, 2020), he was an actor who was active between the 1950 and 2011. His career, like many actors of the time, began in the theater; and to this day he is considered one of the best Brazilian actors, and was acclaimed by many colleagues in the profession.

Both of his parents were Spanish immigrants from Andalusia, and he was the youngest of 7 siblings.

Otávio Augusto as Javert

Born Otávio Augusto de Azevedo Sousa (January 30, 1945), he is an actor, comedian and director who originally began his activities in 1965, and continues with them to this day. He has many credits involving films, plays and other soap operas.

Laura Cardoso as Fantine

Born Laurinda de Jesus Cardoso Balleroni (September 13, 1927), she began her career in 1950. However, her love for acting began many years before her adult life. As a child, she used to play theater with her friends in the neighborhood; and at the age of 15, she decided to finally pursue an artistic career, starting her work in radionovelas.

"She is one of the actresses who has acted the most in the country, with more than 100 works [...] including more than 60 soap operas. She has also made 30 feature films for the cinema."

Chico de Assis as Félix Tholomyès

Born Francisco de Assis Pereira (December 10, 1933 – January 3, 2015) he was a Brazilian playwright who began his activities in 1953. I believe that of those mentioned so far, he was the only one who was not actively in the acting field. Although he participated in some soap operas, the focus of his work was most directing and producing plays.

Maria Isabel de Lizandra as Cosette

Born Maria Isabel Reclusa Antunes Maciel (June 5, 1946 – March 14, 2019) she was an actress of soap operas, series and plays who was active between 1963 and 1998.

She starred in Les Misérables early in her career, making it the fifth soap opera in which she appeared.

Serafim Gonzalez as M. Thénardier

Born Seraphim Gonzalez (May 19, 1934 – April 29, 2007) he was an actor and sculptor who was active between 1946 and 2007. Like the actor who played Jean Valjean, his parents were also Spanish immigrants.

And here's a fun fact about him: Here in Brazil, there is another very famous soap opera called "Mulheres de Areia" (I think in English it would be something like "Sand Women") and there is the original version, and the remake made two decades later. He participated in both versions. He was the one who sculpted the sand statues that appeared throughout the story.

Cacilda Lanuza as Mme. Thénardier

Born Cacilda Lanuza de Godoy Silveira (September 1, 1930 – June 17, 2018) she was an actress of theater, cinema and television. In addition, she also worked as a television host, radio broadcaster, writer, reporter and announcer.

[miamigrandprix]

"I do find it interesting that ppl will ignore the many many times Taylor Swift has publicly supported democrats just because she was friendly to her boyfriend's coworker's wife"

the "many many times" in question being an entirely self-serving activism kick in 2019 and 2020... she hasn't even spoken up about this year's (arguably more consequential) election Imao if normal ass people can cut off their own relatives for being bigoted then white woman of the year can certainly avoid snuggling with a loud and proud racist. i'll also remind you that the "political arguments" in question that occur between trumpies and normal people directly affect the lives and safety of millions of people both in the States and abroad but okay! sure! not everyone has enough empathy to care about that! whatever!

if you want to believe taylor swift is a bad person, or not progressive enough, or a performative activist thats fine!! you don't have to like her and you also don't need to justify it with any "good enough" reason!!! you can just hate the bitch you're allowed!!!

the point i was trying to make is it is weird as hell to be making polls and speculating if she's a republican when she's endorsed joe biden in 2020 and many other democrats since 2018, it really seems like a bad faith fucking conversation to me 🤷 i think the people who are having these discussions have already decided that she's a bad person and are discounting very significant data points to present their opinions like they're reality. if you think it was self-serving activism, that is actually just your opinion :) that you are allowed to have but that does not change the objective truth that she has never been vocally anything other but liberal in her political views.

i also think its fucking weird that people who hate her so much won't shut the fuck up about her TBH!!!!!!!

also acting like i, a disabled nonbinary dyke don't know how politics affect real people?????? bitch i'm one of them. and you're right, not everyone has enough empathy to care about everything wrong with the world all the time. not everyone has the capacity to argue with every bigot they meet 100% of the time without getting burnt the fuck out. it is not sustainable and also not very effective to do! most of these crazy assholes are not gonna have their minds changed with an argument. caring for vulnerable members of our communities is a far more valuable way to spend your energy. getting young leftist people registered to vote is gonna be a much more viable strategy for change than arguing with trumpies.

i have also, for the record, been kind to bigots. so fucking cancel me too i guess. i've said hey i'm not gonna start an argument bc my siblings deserve a christmas without all that. i've heard coworkers say bigoted things and said hey i'm exhausted from the work day i dont have a capacity to deal with this right now. and if you think i'm a bad person for that? dont worry you can unfollow me i will still sleep easy at night :)

i also think it's worth mentioning that taylor swift recently had to cancel a show bc of a real terrorist threat. i personally think it's very likely she's being advised not to say anything in order to not increase risk of another tragedy like the manchester ariana grande attack. if this is true and you still think that taylor swift prioritizing the safety of herself and her fans dying over speaking up politically, thats your right to think so!! but i don't expect my faves to be activists 24/7 personally, for any reason. i dont think thats fair to expect of people who aren't politicians.

but that's just me!!!

[bunnytalksf1]

What is happening at Red Bull?

I've talked about this before, and recently, but new info has come to light so I think it's prediction time.

So, according to racingnews365 (not sure how reliable this is, but the info seems reasonable) the specifics of Perez's performance clauses are:

He cannot be more than 100 points behind Max in the championship (the gap is 119 now) by the Belgian GP.

He cannot be more than five places behind him in the standings.

I think most people expected performance clauses to be a pretty big thing in a contract that long, but these are clauses in the contract signed last year, allowing RBR to make a driver swap mid-season.

Based on performance, the driver that would be logical to promote would be Tsunoda. I don't think that will happen. They seem to be actively ignoring his performances. CH said that if Ricciardo continues his upward trend, he could replace Perez after summer break.

The truth is that RBR is wholly unprepared to make a driver swap, whether that driver is Ricciardo or Tsunoda. Ricciardo is not the driver he once was, and is being outperformed by Tsunoda, let alone Verstappen. He'd likely be an upgrade on Perez, but that's a low bar. Ricciardo and Verstappen have been teammates before, and it didn't end well, but it's a different story now.

And then there's Tsunoda. Because of their resolve to not promote him or even consider him as an option, continually renewing him on one-year contracts, they haven't tested him in a red bull. For context, Liam Lawson is getting that privelege soon, and he's driven a handful of races for alpha tauri. Yuki has been in the team since 2021. Throwing him into that redbull now, which is famously one of the most difficult cars on the grid to drive, would be setting him up for failure. Of course, I think he deserves the opportunity, but a mid-season swap with a ton of pressure with a driver with very little testing experience... hm. Where have we seen this happen before? Albon in 2019, which famously ended VERY well.

Regardless, it will probably be Ricciardo to replace Perez if they make a swap, and then they'll bring in Lawson alongside Tsunoda again.

Then there's Hadjar, who now leads the F2 championship. Will they ship him to super formula if he wins? Probably.

The whole thing is a mess. RBR has narrowed its options, and as a result they have the choice between a notorious underperformer, an ageing driver who may or may not be slightly better, and a young talent who is remarkably consistent but is woefully underprepared.

They can't rely on Max Verstappen and other teams being a joke for much longer, though. McLaren and Mercedes are fast. So, there will likely be a swap this season. I would tentatively predict Ricciardo, based on Horner's biases.

Funny that RBR still haven't truly replaced Ricciardo since 2018. Even funnier that he might end up replacing himself.

[formulatrash]

hello hazel! first time watching the indy 500 yesterday and i just found it so strange and uncomfortable how all of the commentators were speaking about santino ferrucci. i didn’t follow the junior series till recently and even i found out about how much of a bad person he is.

everyone was actively rooting for him to win and i think i just kept muttering to myself “he’s a raging racist” the whole time and every time i thought they would stop, they would just bring him up again.

honestly, if they don’t care about what he did then maybe don’t vocalize that you’re ok with it? and anyone that says well maybe he’s changed, this guy has openly said he doesn’t regret what he did.

i don’t know, i just found the whole thing so bizarre because i didn’t realize that he was actually well liked in indycar for some reason.

cn: racist bullying, generally being an arsehole

so for anyone who doesn't have the context for this: in 2018 Santino Ferrucci was America's hot new Formula 1 prospect, signed to Haas as a junior and competing in Formula 2 with ehhhh I guess. some results. he'd scored points for Trident, which isn't a frontrunning team but good drivers have taken the car to wins.

his teammate was Arjun Maini, who during the French round gave one of the most desperate-sounding, saddest radio messages you've ever heard, sounding close to tears and begging "I swear you guys don't support me at all" and saying no one believed him about his car's performance.

at the time it was extraordinary but maybe didn't ring the right alarm bells. the F2 car was very tricky for teams to manage and even Maini's explanation, that parts were failing and he was losing pace compared to his teammate, more accused the championship of having a shoddy car than anything else.

Ferrucci didn't exactly seem nice. but then there was a battle at the front of the 2018 field between Russell, Albon and Norris that was fairly distracting so someone picking up the odds point finish wasn't getting too much press scrutiny.

then it gets to Silverstone and things explode. Maini is clearly miserable and at the end of the sprint race (which then was after the feature race, so this is Sunday) Ferrucci comes out of fucking nowhere and crashes deliberately into Maini on the in-lap. he's banned for four races for being a weapon and then it all starts coming out.

Trident apologise to Maini, who it turns out was totally right that his car was essentially being sabotaged by Ferrucci and was also being subjected to racist bullying by Ferrucci and his father. Ferrucci's also dropped for non-payment, in a statement that basically says we couldn't wait to find a legal way to get away from this asshole.

Haas bin him at the same time and that looks like the end of this wanker who adds 'texting while driving a racecar' and 'trying to run a MAGA livery' to his list of misdemeanours all over the course of the same weekend.

he does a bit more postural nonsense including claiming he can't be racist because he's Italian and then seems to go away. until 2019 when he turns up in IndyCar as darling of the year. I don't watch a lot of IndyCar but it was to pretty much everyone's dismay to find this dude being gassed up from the start and given opportunities to put his "behavioural incidents" behind him without any regret.

idk how much he actually changed even on an operational level within teams cus he did get binned out of Indy for a bit to NASCAR, which actually has a pretty strong anti-racism and anti-asshole thing going on so unsurprisingly he didn't last there. now he's back in Indy being gassed up as the next great American dream by anyone with a microphone and I can't tell you what the Penske corporation sees in him but it's always been this way since he rocked up there.

some of it is a bit of 'well screw Europe and their whiny moralism we're backing our boy' kind of thing but like. this wasn't 'oh no you don't have the correct experience of our intricate continental racing' this was 'fuck off, you racist non-payer who held a team ransom while abusing your teammate, along with your garbage dad.' I guess someone always has to be the worst cousin at the barbecue and like so often, they're the one with the sports medals lately.

[littlemisssquiggles]

LittleMissSquiggles’ Summary of Art 2023

Honestly folks, I don't got much to say about this year. This might just be my shortest art summary to date since I don't have much to comment on this year's events.

2023 was a general mix of highs and lows but overall, not a bad year. You could say that this was the year I was more work-oriented.

I focused more on work especially during the early half of this year, between January and July and therefore didn't spend much time on personal projects; specifically 3D. That being said, I did end up getting back up to my art. Since I've been more focused on 3D for the past two years, I chose this year to get back into my 2D art doing illustrative work since I missed it.

More than that, I took this year to spend some well needed time improving my drawing skills, using tools and techniques from my 3D workflow in an attempt to improve my illustrative work and needless to say, I think it worked out great, even if the end results wasn't much.

---

Some squiggly good accomplishments I achieved in 2023:

Started the year employed and while I had to juggle two job opportunities which had its fair share of ups and downs in more ways than one, at least it allowed me the chance to earn the funds I needed to obtain my new workstation: a Lenovo Ideacentre 5 Gaming PC.

Learned about the almighty power of networking and remote desktops thanks to my contract job which allowed to me to transform my current setup into one that fully connects and maximizes the full use of all the devises in my arsenal. Basically I figured out how to connect my previous laptop to my new PC so now I work with a setup where my laptop acts as a third monitor for my PC while I'm able to access all my files from my laptop from my PC. Ontop of that, I also learnt how to connect my PC to my Ipad Mini, not just for transferring files for art but for also using it as a proxy computer device to remote into my main PC workstation. This may not seem like a big deal to most but for someone who didn't know a thing about most of this stuff up until this year, it makes a huge difference to this squiggle meister.

Gained a new four-legged member to the squiggle meister family household. A playfully mischievous yet adorable Husky-mix pup fittingly named Alaska or the "Wee Las" as I like to call her.

Experimented a lot with my art this year and while I may not have shared all of the fruits of my labour to social media, I have been making quite a few strides. ---- I spent the last couple of years pushing my social media presence and while I have benefitted from it from time to time, I missed out on just taking some time to myself; getting back to indulging in other activities that brought me joy; particularly the ones that involve truly honing my craft.

I hope to maintain this type of vibe moving forward towards the new year.

Even if my social media activity won't be as frequent as previous years, I do hope that those who have been following and supporting me and my work over years still continue to do so, even if it's to simply just check in from time to time.

To conclude my post, as always, I'm wishing everyone all the very, very best in their respective lives and daily endevours for the upcoming new year.

Let see what we got in store for 2024! Happy New Year folks!

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♦  PREVIOUS ART SUMMARIES  ♦

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LittleMissSquiggles (2023)

[placegrenette]

Who are wives of ZaQ and Alem? Like do you know anything about them more than their name? Thank you :)!

Why yes, anon! Admittedly some of this stuff I'm not very well informed on, and I will kick you over to the lovely Sara (@bbcblackjack) for more detailed explanations. But I will also thank you, for giving me the the opportunity to say nice things about Veronika and Zhadra!

So, first up: Veronika Zhangalova and Alem started dating in... I want to say, 2019? I'm not sure. And then very quietly got married in 2021. I don't know her birthday or hometown but I'm pretty certain she, like a lot of Kazakhstanis, is ethnically Russian, and she may only speak Russian and not Kazakh but don't quote me on that. Anyway. She was, and is, a working model (here she is modeling some of Bibotta's clothes, for example) and was working in some kind of management capacity for Juz when she and Alem started dating. I don't know if she has an official position at Ninety One's company, but given how active she is on IG / TikTok, it wouldn't surprise me if she did some kind of social-media content management for them. (It would also not surprise me if she were the one to suggest that the absolutely epic face she pulls at about 3:50 of last year's Aqtobe tour stop video be kept in final edits, and thus preserved for Eaglez' enjoyment forever.)

Also, by the way, the story I have heard is that Veronika is singlehandedly responsible for the Irina Kairatovna / Ninety One bromance, as she was in an IK video and then introduced the two groups to each other. So if you liked "Taboo," you now know who to thank.

If you go through the Veronika tag on @ninetyonekz you'll figure out pretty quickly that she's an unabashed Ninety One fangirl and also very dedicated to promoting herself and Alem as True Love. I do think there's a bit of calculation in this: promoting the two of them as True Love enhances their individual respective brands, to give it the most crudely materialistic spin. But I also think that the calculation is in the social-media posting and not the love itself: that she's genuinely crazy about him and he about her, and they like to hang out together and have shared hobbies. Q-Eaglez apparently gave her some grief when it was first revealed that they were dating (which was, IIRC, an Eaglez asking at a fanmeeting, "There's something going on between you and Veronika, right?" and Alem bashfully replying, "Uh, yeah"), because a lot of Q-Eaglez are immature teenagers, but hopefully that's died down by now and everyone can just enjoy good-hearted people being publicly happy with each other.

Speaking of which:

ZaQ's wife's name is Zhadra Abdulzhapparova, and I honestly know even less about her background than I do Veronika's, although given her name I strongly suspect she's ethnically Kazakh. She may also speak Russian only? I'm not sure. Anyway, she has been Ninety One's primary hair and makeup artist since at least 2017, as she has sole MUA credit for "Su Asty," but she and ZaQ didn't get together right away, I think they didn't become a couple until 2018 or 2019.

(Yeah, Ninety One are apparently kings of office romance, which has worked out beautifully in two cases and still leaves me a little nervous. You can start to understand why Bibotta at one point had to devote a whole series of Instagram Stories to shooting down rumors that she and Ace were an item. Like brother and sister, she said. I'm pretty much hoping that's the case for all the other women working for Ninety One at this point, with regards to Ace and Bala.)

I don't follow Zhadra on IG, so I've missed a lot, but my impression from following the guys is that ZaQ kept things pretty quiet until the split from Juz and then posted this pic with the caption "Wife," in April of last year. Which of course set off some speculation, which turned out to be unnecessary, because in July THEY GOT MARRIED and it was WONDERFUL, Boss Yerbolat gave a toast and sweet Nurs Bazarbay danced all night and Bala did the Macarena and everybody Instastoried the heck out of the event and I just had a big smile on my face all morning watching the live updates roll in. And now that they're married, ZaQ makes no secret of finding his wife super cute. I think Zhadra's less outgoing on social media than Veronika (and generally less interested in being a celebrity in her own right), but they did do one professional photoshoot together, from which the above photo was taken.

(Also see here for a ramble on my part on why it's particularly adorable that ZaQ, of all the members, married the group's makeup artist.)

Also the cats are originally Zhadra's, which is why you may now refer to ZaQ as Cute Cat Stepdaddy. Their names are Flerken and Vivian and I don't know which is which.

One thing I've noticed (and I've referred to this before) is that ZaQ & Zhadra + Alem & Veronika seem to work well together; last year they traveled as a foursome to the UAE to see 50 Cent perform, for example. Which is a good thing, if I'm right. I also think that the natural outgrowth of ZaQ and Alem spending more time with their wives is that Ace and Bala have been bro-ing around with each other more than either of them have with the other two (hence Space Season 4 Episode 4, 75% of the footage of which is Bala beating up his hyungs and Ace videotaping it). I mention this to shoot down the hasty conclusion that Zhadra and Veronika, separately or together, might be sowing dissension within the group; I think the individual friendships between the members can (and should) change over time, as they age and grow and confront new challenges, but "change" doesn't equal "become worse." I prefer to hope that everyone gets along with everyone else and Zhadra and Veronika are universally valued parts of the whole Ninety One enterprise.

Finally, anon, I have not the slightest wisp of a clue who Ace or Bala (or AZ) might be dating. If you hear anything credible, feel free to report back!