#i'm doing most of the work tbh

[just-jammin]

coding is somehow my passion

huzzah

[khaopybara]

september 3rd, 1998, everyone's favorite boba eyed blorbo was born.

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[tcustodisart]

You're always drawing and I was wondering what you do for a living to have so much free time? I'm sorry if my question is too personal.

I'm a medical assistant at 2 places (so technically I have 1,5 jobs) I do go to work physically, but especially with the second place I do a lot of stuff remotely. Both places are pretty close to where I live (the farthest one is 30 mins away by bike).

The reason why I'm drawing all the time is simple - more sane people are reading books, playing games etc. etc. in their free time, I draw. I treat it as a hobby, it brings me lots of joy, I relax while doing it (when I don't put some ridiculous pressure on myself ofc). Plus I don't have any social life so :D more time to put my blorbos on a canvas.

And honestly, the stuff I've been posting here in the past 2-3 months are mostly just ask doodles, which most of the time take me under 1 hour to make. Some of them aren't even my proudest work, they're mostly messy. Plus I kinda found the most efficient way to do stuff, a brush I really feel and like that allows me to color very fast, swatches so I don't have to mess around with color wheel etc. etc.

Like here, this one took me 40 minutes. It's messy, there aren't any details really. (It's Connie pre-trap exploding incident that humbled his ass down btw.)

[thatgoddamngingerundercut]

and I begin to bloom like a lotus flower once again the Agust D trilogy

[rolandkaros]

DAPHNE VAN DOMSELAAR [NED] encouraging ROSA KAFAJI [SWE] to celebrate her first Arsenal goal with fans post-match || WEST HAM UNITED 0 - 2 ARSENAL || 10 20 2024

[journeyman-tier-fibercraft]

Blanket 11 (Yarn 1 | Yarn 2 | Pattern)

The last time I had posted about his blanket I had just started the second pattern repeat and I'm about finished said second pattern repeat. Which puts me half way through my planned rows.

I had bought 4 balls of the multicoloured yarn to be safe for my planned 4 repeats and. I'm mayyybeee half way done with my second ball of yarn. I might go to 5 repeats just to use a bit more of this yarn but not any more than that. This pattern looks so good and my mom is incredibly happy with how it looks but holy shit is single crochet colourwork boring and takes forever.

[tradingjack]

having fun with colors for once :P

thanks @creepycoffins for the awesome dtiys :D

[aeb-art]

most normal interaction on a subway (another earth bot has invaded my sketchbook)

cat belongs to @8um8le

[sillyfudgemonkeys]

I just think, the idea that Disha is lying about Kyoshi's honor and stuff to put some kind of wedge between Roku and Kyoshi would be really cool and spy-y and would fit really well with the weird Cold War-eque/espionage that Roku's era seems to want to emulate. It'd be a cool way of making him doubt himself without realizing he's doubting himself.

And it'd also force a parallel between Roku/Kyoshi and Kyoshi/Kuruk. How, while Kuruk appeared in RoK and Kyoshi didn't have the best opinion of him, really ramped up in her sequel novel to the point she wanted to fucking brawl him. The way it's set up now, Roku's timidness and confusion with Kyoshi could easily fester into the same hatred and want to confront her in Roku's sequel novel too.

And I'm also just grasping at straws but I just really fucking hate how RR is trying to drag Kyoshi through the gd mud. And like it just doesn't work with the knowledge we already know about her and he could've done something (anything really, he didn't utilize her at all) else with her character in Rokus era that would've better explored... and I'm also a bit of a bitter bitch about it. tbh

[vpofcookies]

Blood oranges

[eri-pl]

Important observation from my reread of Silm: when Feanor doesn't answer you, shut up. Do not talk to him more. Just shut up and wait it you will make it worse.

[catocappuccino]

It's been a year since I redrew that one Snorkmimi render...

So yeah I did it again ofc I would, why oh why wouldn't I? Tee hee silly meee

Attaching the 2023 redraw and og cause- uh- I donno, because yes, why not!!!

[r3dblccd]

I can't wait to use my new bullet journal 🥰

Bonus: My first bullet journal that I've been using for this a d last year. I named it CHONKY (ignore the bottom left sticker, a friend gave it to me. Probably for a reason but ain't gonna talk about that fjgfjffif)

[gingermintpepper]

hey I hope you’re doing ok!! For the ask game, 🌈? Also perhaps ☔️?💧, even?

Hello hello, thank you for participating ☆ Once again, I can't comment on whether or not this extract is particularly fluffy but I do think it's rather sweet and it's definitely romantic so I think it's good for filling out both 🌈 and 💧!! It's an extract from what I've tentatively dubbed my 'Women and Apollo' doc which is essentially just a big running document I have dedicated to exploring themes and dynamics between Apollo and the women he's been entangled with! This extract in particular is from my Melia section 🥰

The night is a cold sheet spread across her shoulders. She wakes in pieces; first, her flesh, bracketed between the raw heat of Phoebus' bare chest and the sharp sting of the night air's fangs, then her mind, pleasure's fleeting haze quickly swept aside by panic then worry then guilt. What would Kaanthos say if he could see her now, bare breasted and stained in a male-god's desire? What would Father? No doubt she would have to cede the seat of the temple to Kaanthos. How could a carnal woman serve the people after all? And her river - oh, her sweet river! Would his waters even deign to soothe her scales when she was so completely drenched in the scent of a sky-god?

How foolish she's been, throwing everything away just because of some sweet words and a pretty face. Maybe Kaanthos truly did deserve the temple after all. Maybe Melia didn't deserve such a treasure if she was so easily seduced.

She sniffles softly, slipping gently from Phoebus' loose grip. His heat wafts off his skin like the warmth of a well-tended hearth, it lingers in her bones as she kneels in the grass of this unfamiliar field. It makes the sear of shame dig that much deeper into her heart. Phoebus had listened well to her warnings. He'd carried her someplace far away from flowing water, somewhere distant where her brother's scrying eyes could not reach. The tears welling in her eyes finally fall as she turns this way and that, utterly and completely lost without a source of water to follow. How could she return now? Even she was not bold enough to have the man she planned to reject take her back to her father's house.

Stupid girl. Foolish. How could she have been so short sighted?

"Melia?"

His voice is laden with sleep's husk, his arm makes little grabs at the grass searching for her shape. She swallows her tears and bids her voice to not betray her, "Here I am, my lord. You may go back to sleep."

The mildest furrow of his brow. When he turns his head, his hair flows like rich golden oil over the dark grass, "Come here," his hand keeps searching for hers, patting the ground, dragging long fingers over the dirt and frowning when he does not find her. "It is not yet morning, why have you fled so far from my side?"

Melia cannot help but laugh at his visage, clumsy and squinty-eyed, less the graceful gentleman who promised her a taste of change and more a bumbling kitten desperate for its mother's teat. She wipes her tears as quickly as she can muster, "If you but open your eyes, I'm certain you would find me."

He makes a grumbling noise, some cross between a boar's grunt and the crow's deep bellow, "Is this another of your games? I'm much too tired for games Melia." Finally, his finger grazes the edge of her ankle and like a child, he lights up, eyes still stubbornly closed but smile positively radiant, "Ah, there you are!" Diligently, he traces the shape of her leg with his open palm, measuring the smoothness of her calf, the swell of her knee, the broadness of her thigh, then he lays his head upon her, cheek pressed close to her stomach, heated back like warm coals against her skin. "So cool," he murmurs and kisses her stomach, throws his arm around her waist and nuzzles further into her skin, "Tell me when you've need of the water -" a dreadfully wide yawn interrupts him. "- I'll fetch it for you."

Melia finds herself laughing again, just a tiny thing as she runs her fingers through the thick waves of his hair. What is she to do now?

As for a fic idea I'd like to talk about since I don't know if I'll ever write it: Among the many, many, many things I'd like to write but probably never will, I really wish I could just sit down and write a story about Tenes and Hemithea. There's a lot of reasons why I have no plans to ever properly tackle anything regarding the Iliad - chief of which being that there's just too much information and the amount of research would be insane - but a lot of what I would potentially focus on have to deal with people and places Apollo loves and his inability to protect those things throughout the conflict starting with Tenes. I absolutely adore exploring Apollo's paternity in my writing and considering how fiersome Tenes was and how both he and Troilus would die protecting their sisters, I've just always wanted to dig into an exploration of their lives and connection with their father and how Tenes' death specifically would've affected Apollo. Like yeah, I know Troilus is usually the point of focus for such works especially because of the manner in which he was killed, but Tenes was also beloved! Also considering he was originally punished for being falsely accused of sexually assaulting his stepmother, I can't help but want to write his wrath when he realises what it is Achilles intends to do to Hemithea. Alas though, I don't think I'l ever get to do more than think longingly about it, at least right now lmao.

[cranesofibycus]

some c3e89 reflections

Fully losing my mind over all the cast's theories they talk about in the ep89 cooldown. The city being a massive funnel for Ludinus to suck up Predathos? Liliana thinking she can prevent The Worst Outcome, while insisting that Ludinus has some undisclosed redeeming qualities? Ashley continuously questioning the existence of Predathos? I love it. And I particularly love all the conversations about the gods, their importance for the world, questioning Liliana's assessment of them as tyrants, and that you can live your whole life on Exandria without knowing more than the gods' names. I also found their discussion of who deserves to come to Exandria interesting. They didn't really get too far into it, but the idea of a stolen homeland and the need for some sort of "restoration" is definitely something I've been thinking about since they've met some of the Ruidus peoples - there are some colonial/native parallels shining through. And just in general, it's wholly fascinating that even now - on the moon - it seems like, other than Orym and FCG, none of the Hells are actually particularly convinced that saving the Gods is necessary and worthwhile. They know that Ludinus is bad news, but they aren't in it to save the divine. I like that this leads to great in- and out-of-character discussions, but it must be difficult for each of them to find their motivation to put it all on a line for a cause that they only circumstantially stumbled into.