#just a normal thing that happens in this industry

[suzukiblu]

Day eleven of “obligatory sugar baby Kon” behind the cut. tw: implications of past grooming/abuse and the inherent problems that causes for someone who was in that situation and hasn’t processed it trying to have a relationship with someone actually age-appropriate. prev: (( chrono || non-chrono ))

“Uh–is it?” he asks, not really sure what else to say. Or more like, not really sure what else to say that would not sound both desperately, desperately horny and desperately, desperately weird. 

“I dunno,” Kon replies, giving him a quick, sheepish little smile. “Just makes me feel good, that you think I’m worth, like–taking out and showing off, or whatever. Like–without the S-shield on, even.” 

“The S-shield would definitely make date night a lot harder to enjoy, yeah,” Tim says, torn between wanting to kiss him and wanting to dissolve the entire entertainment industry and all of Kon’s previous romantic interests in acid from the ground up. Slowly. Kon blushes again, his smile widening. 

“And, uh–and that,” he says, glancing sidelong. “And that you wanna hang out with me without anybody interruptin’.” 

I want to hang out with you until I overthrow Gotham AND Metropolis and then I want to install a zeta between them and the biggest beachfront property you’ll let me buy for you and any little Kon 2.0’s you let me make you, Tim’s most insane self thinks and his slightly more rational current self does not say, because he has at least some small and tiny and miniscule scraps of self-control. 

Like, barely, and only lasting until the fifteen-year sidekick-to-supervillain plan goes off, but still. 

“I definitely don’t want anyone interrupting, no,” he agrees instead, and Kon beams at him again and then ducks in and kisses him again–just a quick little peck, but definitely still a kiss. Tim, belatedly, realizes that Kon might actually be getting more up in his space than he was before the whole . . . script issue happened. Just–standing closer, and leaning in a little more often, and things like that. Not in a demanding way or anything; just like he wants to be there a little more often. 

Like maybe he’s a little more comfortable being there, now. Or like maybe he thinks he can do it without anything being–expected from it, maybe. 

Tim doesn’t even know if Kon’s doing it on purpose or not, but he’s definitely noticing a difference either way. Just–there is very much a difference there to be noticed. 

He is definitely, definitely not going to be able to find out who any of Kon’s exes are before he goes supervillain. That’s just not going to work out for his timeline at all. 

Also Bruce would absolutely get upset if he found out about whatever he ended up doing about it, and he’s an emotional support sidekick, not, like, an intern or whatever. He is not here to cause problems, he is here to facilitate Bruce’s mental health, help him manage his paranoia, and minimize the amount of overkill beatings of petty thugs and small-time criminals. 

Admittedly Bruce managing his paranoia is not going great, but it’s a process, alright? He’s doing his best here. 

“So like, if we do go shopping again, wanna pick something out for me to wear for you next time?” Kon asks, still beaming at him. Tim’s brain attempts to reboot a couple dozen times before he manages to remember how to string a coherent sentence together. 

“Yes,” he says in an almost normal-person voice. Maybe. Theoretically. He . . . hopes, anyway. “Uh–yeah. That sounds, uh–like something I would like to do.” 

It’s a little harder to focus on the supervillain thoughts with Kon both wearing that expression and actually asking him to buy him something–especially specifically something he wants to wear for him–so that’s helpful for keeping to his timeline. But also, uh–embarrassing, kind of, because usually Tim is better at thinking than he currently is being. Like, his normal thought processes are a lot more involved than Kon’s so hot and Kon’s so CUTE and hurr durr pretty boy. 

He definitely still wants to ruin some people’s lives, but first he wants to get Kon dinner and dessert and buy out a boutique or four for him, and just like, a small suburb. Or town. City. Tri-state area. 

And also to pick out something for him to wear “next time”, since apparently Kon still wants there to be a next time that he sees Tim Drake and also just like . . . just the whole thing with the picking out something for him to wear thing, because Tim only has so much self-control, alright? He is doing his best here, but he’s only an emotional support sidekick, alright, he’s not made of stone. 

Seriously, Kon asked him to dress him and asked him to buy him something. Tim is not actually sure if he’s more thrilled about actually getting Kon to specifically ask him to buy something for him or frazzled over Kon offering to let him pick out something for him to wear. Just–god. Tim is just not even–Tim does not know what he’s feeling right now. Just–whatever it is, he is feeling it. 

He wonders if it would be, like, a little too pathetic of him to maybe get Kon another crop top. Or, uh, a little too thirsty of him. 

. . . probably, yeah. Probably definitely, in fact. 

. . . . . . but like, if Kon sees one he likes, it's not like Tim's gonna say no or–

Anyway. 

[moominvalleysunset]

Jack & Joker episode 10 thoughts on P'Oh's death

I saw a poster who said they were abandoning the show because of their treatment of Trans characters (Their examples: making P'Saran's character Nulek the butt of a joke and killing off P'Jennies character P'Oh quite gruesomely.) And while I completely understand that this is a sensitive topic, especially right now, where Trans rights are being attacked in many if not almost all parts of the world and the result of the US-election does not bode well for a fair and inclusive future (and as you don't know me, let me emphasize: Trans rights are human rights, end of story!), I cannot agree in this instance. Loooong-ass Essay under the cut, be warned!

First of all, Thai culture is a special case as far as gender, gender identity and gender expression goes, both historically and in the progressive movements that are happening both in Thai society and in the entertainment (specifically the BL) industry. You simply cannot judge it solely by Western (or even other Asian) cultural conventions and standards, and by viewing it even more exclusively through an USA-centric perspective you are not doing anyone any favors.

I think that everyone watching Thai BLs regularily at least knows a little about the underlying cultural issues and practices, but for those who would like to learn more, I would recommend reading Dr. Thomas Baudinette's extremely fascinating and well-researched book Boys Love Media in Thailand (https://thomasbaudinette.com/boys-love-media-in-thailand-2022-3/) , where he also touches on the development of presenting trans and genderqueer characters in Thai TV and film (though only up until 2021/22, and the last two years have seen significantly more progress, diversity and inclusivity in Thai media both in front of and just as if not more importantly, behind the camera.) It's a great read, and I'm looking forward to the updated edition coming out next year. Or at least read a Wikipedia article or two about the subject if you haven't already, it's extremely interesting!

Now secondly, I want to take a look at the narrative. First of all, the two trans/genderqueer characters mentioned above are not the only ones in the show. We have Nulek's friend Pharao, Joke's disguise as Jessie (not a girl but a genderqueer person in drag, and emphatically NOT a caricature), Arun as a femme character and not to forget P'Oh's business – and maybe life – partner, a Trans man. Neither of them has been singled out, ridiculed or punished for their not conforming to any hetero- or cisnormative standards in the story (except for Arun by his dad, and nowhere is this presented as anything but reprehensible behaviour by a father). They are normal people struggling with social injustice and mundane problems, like anyone else. Which brings me to the first of the two instances mentioned, Nulek. While I understand that leaving them at a trash heap (I think we all can agree that getting them out of the way was just a plot thing that needed to happen) might raise some hackles, they are not the only one left there. The – very cismale – driver that Joke impersonated was also left at the landfill, so it is maybe not all that symbolic? Especially because Nulek and Arun's other subordinate Pharao get their comeuppance later on when they get their wonderfully petty revenge on their fallen boss. They have gained agency, rightfully enjoy their upper hand and are again not being ridiculed by the narrative.

And now P' Oh, played by the wonderful P'Jennie. I am horribly saddened by her senseless death, angry and frustrated, because it was so preventable and unfair, but her being Trans is not the most important part here IMO. She was trying, she was struggling, she was failing, she was succeeding, she was funny and sassy and beautiful and a smart businesswoman, and she was the only character apart from the mains, Toi Ting and Ama (who were not spared, either), whose death would send a big enough shockwave through the community to finally rattle them into fighting back  (but also leave the mains able to function and not utterly paralyse them in grief). That's why neither Toi Ting's dad nor Tattoo's mom were viable options. P'Oh was respected and liked in her community. Having her die was dark as fuck, but narratively speaking IMO necessary, and she didn't die because she was Trans. She died because she was the only character whose death would have the right amount of repercussions. So I cannot agree with the other poster that killing her was "shitting on Trans women". Really not.

Thirdly, we have to leave the show and look beyond, behind the camera. These people are longtime collaborators and by all accounts great friends and business partners. P'Jennie is a star who has written lakorn and BL history with her roles. There is nothing but love and respect for her from the makers of the show, you can be sure of that. And I would really like to hear her speak about her character and her role here. And Nuleks actor P'Saran and their friend Pharao have been collaborating with War, Yin and their managers since the first En of Love Anthology in 2019/20. YWPBs managers P'Go and P'Aun themselves can be read as femme. YWPBs work environment and the people they choose to collaborate with seem to be progressive, inclusive, diverse and definititely neither cisheteronormative nor tone-deaf to social issues, as we can see in all their works and public presence. Even more so in War and Yin themselves and in what they choose to say, do and stand for publicly. Are they all perfect? No (who is?), but it seems to me that they are trying really hard to do what's right.

So while I of course understand why someone could be triggered, angry and disappointed at what they see as yet another instance of a Trans character being treated unfairly, I would argue that here this anger might be misdirected and this reading neither does justice to the characters, the narrative, the actors and makers of this show nor to the very real issues Trans and genderqueer people still face in Thailand and around the world.

If you made it this far, thank you for reading my essay/rant and I would be extremely interested in what you have to say in return!

[singto-prachaya]

Barcode made a twitter post addressing heavy issues and what's wrong in the industry

Google trans translation under the cut

This is not a small matter that should be overlooked… Since I was first portrayed in the industry as a weak, fragile child who had to be bright and innocent all the time… Changing myself according to what others expected was not easy.

Many people may not know that this affects both our mental health and our growth. Many artists and actors face too much pressure, not only to maintain a familiar image, but also to affect our mental health in a way that many do not see and do not understand. Stress, loneliness, it is not just about the outside, but we have to experience changes within ourselves that everyone may not see.

What I want to say is that I am not just a character in the image that people expect me to be. I am a normal person who needs growth and recognition from everyone for being who they really are.

And it's not just me, it's a problem that happens to many people who have the same problem in the entertainment industry that expects too much from us.

This is something that I have been sharing and observing for quite some time now, and I think I need to communicate these things to myself and many others who are facing this problem.

2 things that I and many of my colleagues in the industry have to face, whether intentional or unintentional.

Many people who enter the industry at a young age are constantly portrayed as “children”, as if they are imprisoned in an image of innocence and weakness, which causes both mental and professional problems. People develop their thoughts and grow, but some groups stick to the image they used to have when they first started. As a result, my thoughts and decisions, and many others, are always questioned, told that I am “not mature enough” or “need to rely on others”, as if no matter how much time passes, I am still the same child who will never grow up.

In psychology, this is called “gaslighting,” which is when a person is made to feel self-doubt or manipulated in a way that undermines their self-worth, making them feel incompetent and inadequate in making decisions. No matter what they choose, they are constantly criticized as “not thinking things through” or “not good enough.” This practice not only causes short-term pain, but also instills insecurity about their identity and abilities in the long run, causing them to rely more on the opinions of others than their own, which can gradually erode their self-confidence.

Furthermore, when we look at the dimension of Benevolent Sexism, especially in the BL industry, some male stars who are portrayed as weaker or more innocent are expected to play such roles and behave like that all the time. This pressure prevents them from expressing themselves or growing up freely. They are pushed to believe that weakness and dependence on others are necessary and “appropriate.” Some may see this as protection or support, but in reality, it is silently diminishing their abilities.

Everyone should understand that this is a serious matter. If we continue to set expectations for others without caring about what they are going through, it will eventually have a negative impact on them. There is nothing wrong with growth and change. I urge everyone to support themselves in whatever path they choose. I also support everyone, whether in or out of the industry, to express themselves and be their true selves.

Thank you for all your support. 🙏

Original full tweet

[banqanas]

@lemonsoursalt replied to your post:

I’m a very casual generations fan so I don’t have any strong feelings about Mandy’s graduation but the fact that nothing is happening today is weird. I don’t know how LDH manages graduations but if someone decides to graduate from FANTASTICS (whom I love more than any other artist) and we don’t even get a one last live of all members together to say goodbye, that would be heartbreaking. I feel for generations fans. At this point, it seems like the goodbye is a bitter one for many members.

I think the last graduation of EXILE member was Kuroki Keiji's on 2022. EXILE was currently on tour so that was his last performance and they streamed the last concert where fans everywhere were able to see Keiji perform and hear his graduation speech.

Just like everything regarding Mandy's graduation, everything seemed pretty rushed and unexpected.

During the press conference, the members have mentioned that they were going to be working individually until June, so I guess it was impossible for them to cancel whatever work they had lined up and organise something on the scale Keiji's graduation was.

Personally, I too was hoping for a livestream at least

But i think this is something both gene and the fans have understood. I didn't see any Dreamers making hashtags or posts wishing for Mandy. None of gene's official SNS accounts made any sappy graduation posts to say goodbye or to make fans reminisce their memories with Mandy. and i think thats what they wanted. for Mandy's graduation to just be a quiet affair and not a spectacle

[aroaessidhe]

2024 reads / storygraph

Outdrawn

f/f contemporary romance

two cartoonist who’ve been rivals since uni, and now have competing webcomics online, have to work together on the relaunch of a cult classic at the comic press they both work at

they both struggle with art-related physical and mental health issues, and complicated families

[bandzboy]

the whole idea of their being an organization that the sole existence is promoting that going to perform in an apartheid state is the best opportunity of the artist's life is absolutely bonkers in so many ways because this wouldn't have to exist if you didn't know the "country" you are defending is doing bad shit like 😭

[mantisgodsdomain]

Okay we're done getting really mad about bug game worldbuilding. If you are interested in seeing us get extremely mad about Bug Fables' consistently shoddy worldbuilding, then it is below the cut. We'll tag this properly in like a week so it doesn't haunt the main tag for everyone who might not want to read 1.8k words of a random author getting really fucking mad about shoddy worldbuilding.

We've done a lot of stuff with worldbuilding for Bug Fables. Our handling of Bugaria itself is, we will admit, not quite canon-typical. There's a lot going on, and not all is easy to work with. We know from the game itself that Bugaria is surrounded by hostile deadlands, making outside trade difficult and often-lethal - we also know, from being able to observe the in-game map as a human with outside perspective, that Bugaria is contained within a single backyard.

For the game proper, this is fine. It lends itself well to the "borrower" type aesthetic that the devs appear to prefer, limits the scope of the in-game map, and allows for them to do significantly less legwork trying to figure out how to design things. We, however, are a man obsessed with semantics, and we know too much about the amount of food and territory generally required for one hive of wasps or bees to buy into one suburban backyard that's... what, 60 square meters of backyard?

IRL honeybees alone will forage up to, on average, 1-6 km away from their hives, potentially going up to 13 km, and though there's been less research done into the habits of other colony bugs, it's fairly safe to assume they'd need similar range - more likely greater range, actually, as any form of what we humans call "higher intelligence" is incredibly demanding, resource-wise. Bugaria has four different kingdoms of social bugs, many of which would have overlapping needs for resources, combined with a whole load of other miscellanous solitary bugs. loaded into the space of a single backyard that likely wouldn't account for the range of a single hive of honeybees, let alone four hives of miscellaneous bugs and venus-knows-how-many solitaries.

In order to survive in any place, you need to fulfil the requirements of life. Food, water, and shelter are basic needs for a reason, and without access to all three, settlements are likely to quickly peter out. In order for The Hive to process nectar into honey, they first need nectar, which would have to come from flowers, which would be the exact same food source that wasps, butterflies, and moths would need, which clearly aren't growing in the needed

Put quite simply, it would be really fucking difficult for a space of this size to support the presented numbers of bugs. Plants are not an infinite resource, and even assuming that there's a density of flowers far beyond what's shown in-game, there's still predatory bugs to consider. Wasps and ants need protein to feed their grubs, dragonflies and damselflies need protein to feed themselves, mantises and mantidflies are obligate carnivores that cannot survive without a steady supply of prey- you can't survive if you never eat, and Bug Fables is incredibly low on lesser bugs that could potentially serve as food for the more predatory bugs.

Canon offers only aphids and cochineals as cattle, and those still wouldn't really serve to feed larger predatory bugs - and that's even without noting the ecological desert that results from only ever having a handful of enemies. We know that there are limits to what you can do in a game, but the second you want to expand on life beyond what's shown, you run straight into the lack of known prey and wildlife like smacking right into a brick wall. Roaches raise scorpions in a wasteland that seems to have only Mystery Berries for food unless they're trying to hunt Deadlanders, which we doubt are particularly edible. The Royal Blade of the Ant kingdom is an obligate carnivore, and there's nowhere he can go if he wants to buy lunch.

Realistically, we know that the answer is "the devs didn't really think about it". This game is built on the work of devs who persistently place "because it looks cool" over doing any of the worldbuilding work to integrate their existing story elements into the world. You only have to look to Yin to see just how many parts of the game are riddled with things added purely because Someone Thought It Might Be Cool, and no one did any further legwork to make it WORK. The Termacade is a living monument to the philosophy, being added A WEEK before release without anyone so much as communicating it was going to happen before it was in active development. 

Unfortunately, we are permanently obsessed with semantics, we can't stand "because magic" as an answer to important worldbuilding questions, and every time we have to do all the legwork to fill massive holes in the setting where no one ever thought that the answers to questions like "how the fuck do these people feed themselves" is relevant, we will be sadly prone to falling into madness.

There is no canon answer to how these bugs feed themselves. There is no indication as to how things that should be basic parts of the setting WORK. The bugs, in the first place, are written persistently as more People With Hats than actual BUGS - there are nods made to biology, sure, but the difference between a wasp and a bee is little more than a set of aesthetics and a silly hat. There are enough elements in the game that are simply thrown in without care of how they interlock that it sometimes becomes genuinely maddening.

Some people, sure, are satisfied with this - there is a madness that we have that we lack, a need for SUBSTANCE that is prone to driving us to inadvisable lengths hunting for a hint - any hint - that there was care put into this detail, rather than a single flippant comment. We have no complaint with things left vague, but we VERY MUCH have a problem when the setting is consigned to being little more than a backdrop decorated with random glittery ideas to act out anime tropes on, rather than something that should be paid attention to all its own.

We've said this before, and we'll say it many times again, but worldbuilding is important for a REASON. Your setting will affect your characters just as strongly as it will affect your story - your plot, your setting, and your characters are fundamentally inertwined, and to affect ANY part of the story will have rippling impacts on the rest of it. Your characters are not created in a void! Whatever structures created one person MUST still be present to shape others! You cannot throw shiny ideas on a canvas slapdash and expect it to turn out well! It's a miracle that the character writing in this game turned out as well as it did, considering that massive swathes of the setting are loosely assembled from anime without even taking the time to learn how certain aspects WORK in their home media!

We enjoy writing. We enjoy crafting plots, doing worldbuilding, tinkering with the little pieces of setting that we feel might create something interesting. We wouldn't be writing at all if we didn't enjoy it on some level, though we sometimes wonder if it's more masochism than care for some aspects. This is the trade that we have chosen to work towards working. Perhaps it is this that makes it so violently infuriating when we run into people who don't seem to care for that which we pay attention to.

There are a handful of aspects in this game that are well done. There are far more aspects in this game that are half-baked at best and actively difficult to work into the rest of the world at worst. There is a particular handful of aspects that are so poorly done that they could pass as active malice, towards one group or another. Unfortunately, as with many things, to assume ill will often overlooks the far more pervasive, far more common culprit of simple negligence.

Bug Fables, at its core, is a game made by devs with chronic shiny-object syndrome. There is little care spared to its worldbuilding, to the implications of its setting, to the implications of character actions, because the devs have never cared to think on it. It takes tropes from a hundred and one different animes without caring to learn what makes them work in their home context - just that they're cool, and that the authors want them in their own work.

It's something that we've been guilty of ourself, in previous works, but that only makes it easier for us to spot it here. There is an mirror of mistakes we have made ourself written on the walls, and it echoes with every step. We are the sort of author who learned to build worlds by stealing shards from different worlds and patching them into a new quilt. This is a work that takes does much the same, taking pieces from other works to make a new whole, but it makes the mistake of not spending the time to make sure those pieces FIT.

The mosaic on the floor is made of broken, disparate parts that are only partially fit together. The world falls apart more and more the closer you look at its shards. There are pieces of harm in this painting, pictures of pain, things put together and only barely examined. There is prejudice that could pass for malice woven into the threads of even the more comedic writing, an undercurrent commonly present in society and rarely examined. They've made an entire species of bugs into an incomprehensibly racist trope. Perhaps it's foolish of us to spend so much time and energy on a world that does not love us back, but we care for this setting, and we care for the potential of what it could have been.

The prejudice and shoddiness and pieces of poorly-thought-out and tropey writing in this work are not an act of malice. They are an act of ignorance, left over from a development team that wanted to add the latest shiny thing without stopping to think that their favorite anime tropes might have roots in something rotten.

Anyways, the reason that we wind up putting so many fucking footnotes on our fics is that every time we have to answer basic questions like "how does the wasp kingdom fucking feed itself" we have to rewrite, like, half a dozen tropes ripped off from shitty isekai anime, come up with an entire power structure and system of government that could potentially exist in this universe, write 2000 words of geopolitical bullshit minimum, reinvent animal agriculture, create at least one brand new species of bug, and then battle our conviction to avoid cushioning or avoiding the implied Fucked Up Elements that are Very Much Present In The Base Work if chronically ill-addressed vs the question of if we Want to include this particular brand of Fucked Up Bullshit or if we'd actually rather avoid having to reckon with the aftermath of yet another poorly-thought-out trope ripped from Trapped In Another World With My Smartphone.

[phoenixcatch7]

Having been on several fanfic sites for several years, I can hands down GUARANTEE you that anything 'classic media' has done, fanfic has done better.

[xcziel]

.

[rotating-hyperfixations]

One of the comments that I’ve started to see pop up on Twitter and TikTok lately was that it’s wildly that Millie Bobby Brown is married and about to play a teenage girl that defeats monsters through the power of friendship; as a dig as to how long it’s taken Netflix to release a five season show. And like, they’re not wrong the show debuted when I was 17 turning 18 and now I have a bachelors degree, masters degree and a full time job. But, for the most part their production delays haven’t been their fault?

Like seasons 1-3 I think had about a year and half between each season, give or take. Then season 4 was set to follow that schedule and COVID hit and shut down film production for over a year, and then when season 5 was set to begin the writers and actors strikes happened which delayed filming again. It’s definitely a problem, how long it takes for studios/streamers to release shows now a days; especially ones that are not heavy VFX or effects shows. But I don’t feel like Stranger Things falls into this category, sure they’ve taken a while to release five seasons worth of content, but for the most part they have tried to have a reasonable turn around time between seasons; they just had bad luck with outside events interfering with production.

TLDR: There is absolutely a problem with the time in between releases of shows now a days, however Stranger Things by all accounts has tried to keep that window short and has just had unfortunate luck and not a good example of it being an egregious amount of time between release dates. Especially given the effects heaviness of the show.

[cookinguptales]

So I’ve been enjoying the Disney vs. DeSantis memes as much as anyone, but like. I do feel like a lot of people who had normal childhoods are missing some context to all this.

I was raised in the Bible Belt in a fairly fundie environment. My parents were reasonably cool about some things, compared to the rest of my family, but they certainly had their issues. But they did let me watch Disney movies, which turned out to be a point of major contention between them and my other relatives.

See, I think some people think this weird fight between Disney and fundies is new. It is very not new. I know that Disney’s attempts at inclusion in their media have been the source of a lot of mockery, but what a lot of people don’t understand is that as far as actual company policy goes, Disney has actually been an industry leader for queer rights. They’ve had policies assuring equal healthcare and partner benefits for queer employees since the early 90s.

I’m not sure how many people reading this right now remember the early 90s, but that was very much not industry standard. It was a big deal when Disney announced that non-married queer partners would be getting the same benefits as the married heterosexual ones.

Like — it went further than just saying that any unmarried partners would be eligible for spousal benefits. It straight-up said that non-same-sex partners would still need to be married to receive spousal benefits, but because same-sex partners couldn’t do that, proof that they lived together as an established couple would be enough.

In other words, it put long-term same-sex partners on a higher level than opposite-sex partners who just weren’t married yet. It put them on the exact same level as heterosexual married partners.

They weren’t the first company ever to do this, but they were super early. And they were certainly the first mainstream “family-friendly” company to do it.

Conservatives lost their damn minds.

Protests, boycotts, sermons, the whole nine yards. I can’t tell you how many books about the evils of Disney my grandmother tried to get my parents to read when I was a kid.

When we later moved to Florida, I realized just how many queer people work at Disney — because historically speaking, it’s been a company that has guaranteed them safety, non-discrimination, and equal rights. That’s when I became aware of their unofficial “Gay Days” and how Christians would show up from all over the country to protest them every year. Apparently my grandmother had been upset about these days for years, but my parents had just kind of ignored her.

Out of curiosity, I ended up reading one of the books my grandmother kept leaving at our house. And friends — it’s amazing how similar that (terrible, poorly written) rhetoric was to what people are saying these days. Disney hires gay pedophiles who want to abuse your children. Disney is trying to normalize Satanism in our beautiful, Christian America. 

Just tons of conspiracy theories in there that ranged from “a few bad things happened that weren’t actually Disney’s fault, but they did happen” to “Pocahontas is an evil movie, not because it distorts history and misrepresents indigenous life, but because it might teach children respect for nature. Which, as we all know, would cause them all to become Wiccans who believe in climate change.”

Like — please, take it from someone who knows. This weird fight between fundies and Disney is not new. This is not Disney’s first (gay) rodeo. These people have always believed that Disney is full of evil gays who are trying to groom and sexually abuse children.

The main difference now is that these beliefs are becoming mainstream. It’s not just conservative pastors who are talking about this. It’s not just church groups showing up to boycott Gay Day. Disney is starting to (reluctantly) say the quiet part out loud, and so are the Republicans. Disney is publicly supporting queer rights and announcing company-supported queer events and the Republican Party is publicly calling them pedophiles and enacting politically driven revenge.

This is important, because while this fight has always been important in the history of queer rights, it is now being magnified. The precedent that a fight like this could set is staggering. For better or for worse, we live in a corporation-driven country. I don’t like it any more than you do, and I’m not about to defend most of Disney’s business practices. But we do live in a nation where rights are largely tied to corporate approval, and the fact that we might be entering an age where even the most powerful corporations in the country are being banned from speaking out in favor of rights for marginalized people… that’s genuinely scary.

Like… I’ll just ask you this. Where do you think we’d be now, in 2023, if Disney had been prevented from promising its employees equal benefits in 1994? That was almost thirty years ago, and look how far things have come. When I looked up news articles for this post from that era, even then journalists, activists, and fundie church leaders were all talking about how a company of Disney’s prominence throwing their weight behind this movement could lead to the normalization of equal protections in this country.

The idea of it scared and thrilled people in equal parts even then. It still scares and thrills them now.

I keep seeing people say “I need them both to lose!” and I get it, I do. Disney has for sure done a lot of shit over the years. But I am begging you as a queer exvangelical to understand that no. You need Disney to win. You need Disney to wipe the fucking floor with these people.

Right now, this isn’t just a fight between a giant corporation and Ron DeSantis. This is a fight about the right of corporations to support marginalized groups. It’s a fight that ensures that companies like Disney still can offer benefits that a discriminatory government does not provide. It ensures that businesses much smaller than Disney can support activism.

Hell, it ensures that you can support activism.

The fight between weird Christian conspiracy theorists and Disney is not new, because the fight to prevent any tiny victory for marginalized groups is not new. The fight against the normalization of othered groups is not new.

That’s what they’re most afraid of. That each incremental victory will start to make marginalized groups feel safer, that each incremental victory will start to turn the tide of public opinion, that each incremental victory will eventually lead to sweeping law reform.

They’re afraid that they won’t be able to legally discriminate against us anymore.

So guys! Please. This fight, while hilarious, is also so fucking important. I am begging you to understand how old this fight is. These people always play the long game. They did it with Roe and they’re doing it with Disney.

We have! To keep! Pushing back!

[abonnymouse]

It is essential that I simply take liberties with historical fashion and dressing for Horology, or else I will spend the next twenty thousand years combing through every beautiful detail of 1880's fashion in France, but I'm also having such a lovely time looking at the beautiful clothes??

[35gofbeansprouts]

💭.

[river-taxbird]

AI hasn't improved in 18 months. It's likely that this is it. There is currently no evidence the capabilities of ChatGPT will ever improve. It's time for AI companies to put up or shut up.

I'm just re-iterating this excellent post from Ed Zitron, but it's not left my head since I read it and I want to share it. I'm also taking some talking points from Ed's other posts. So basically:

We keep hearing AI is going to get better and better, but these promises seem to be coming from a mix of companies engaging in wild speculation and lying.

Chatgpt, the industry leading large language model, has not materially improved in 18 months. For something that claims to be getting exponentially better, it sure is the same shit.

Hallucinations appear to be an inherent aspect of the technology. Since it's based on statistics and ai doesn't know anything, it can never know what is true. How could I possibly trust it to get any real work done if I can't rely on it's output? If I have to fact check everything it says I might as well do the work myself.

For "real" ai that does know what is true to exist, it would require us to discover new concepts in psychology, math, and computing, which open ai is not working on, and seemingly no other ai companies are either.

Open ai has already seemingly slurped up all the data from the open web already. Chatgpt 5 would take 5x more training data than chatgpt 4 to train. Where is this data coming from, exactly?

Since improvement appears to have ground to a halt, what if this is it? What if Chatgpt 4 is as good as LLMs can ever be? What use is it?

As Jim Covello, a leading semiconductor analyst at Goldman Sachs said (on page 10, and that's big finance so you know they only care about money): if tech companies are spending a trillion dollars to build up the infrastructure to support ai, what trillion dollar problem is it meant to solve? AI companies have a unique talent for burning venture capital and it's unclear if Open AI will be able to survive more than a few years unless everyone suddenly adopts it all at once. (Hey, didn't crypto and the metaverse also require spontaneous mass adoption to make sense?)

There is no problem that current ai is a solution to. Consumer tech is basically solved, normal people don't need more tech than a laptop and a smartphone. Big tech have run out of innovations, and they are desperately looking for the next thing to sell. It happened with the metaverse and it's happening again.

In summary:

Ai hasn't materially improved since the launch of Chatgpt4, which wasn't that big of an upgrade to 3.

There is currently no technological roadmap for ai to become better than it is. (As Jim Covello said on the Goldman Sachs report, the evolution of smartphones was openly planned years ahead of time.) The current problems are inherent to the current technology and nobody has indicated there is any way to solve them in the pipeline. We have likely reached the limits of what LLMs can do, and they still can't do much.

Don't believe AI companies when they say things are going to improve from where they are now before they provide evidence. It's time for the AI shills to put up, or shut up.

[hhoonii]

⋅˚₊‧ ଳ WHEN + WHY ENHYPEN STARTED LIKING THEIR IDOL! S/O

pairing: idol!enhypen x fem idol!reader, genre: fluff, requested!! enha realizing they're down bad

— heeseung

when he saw you perform

he was absolutely stunned by your stage presence. you carried yourself with so much confidence that it was hard to not notice you. the way your hair swayed in the air whenever you moved and the way your lips curved into a smile did things to him more than he liked to admit. after finding out your name, he was guilty of looking you up on google and stalking your instagram. the members would hear him giggling, and they would instantly know it was because he was watching videos of you.

— jay

when both of you appeared on a variety show together

it just so happened that you two had to be paired up for the whole episode. literally. connected by a bracelet, you had to walk, eat, do missions— everything together. he didn’t think much about it at first, but he found himself smiling when he saw you skip so excitedly, dragging him with you. and when you wiped the bit of pasta sauce off his lips, his heart started beating a little faster. your chemistry with him was off the charts, and all he wished was for your on-screen romance to become a reality.

— jake

when you filmed a tiktok together

he thought you were cute trying to learn the choreo for “XO”. you couldn’t quite get the hand movements right, prompting him to gently touch and guide your hands. maybe it was the close proximity, the warmth of your hands, or the way your eyes met, but there was this unexplainable tension that filled the room. he quickly looked away, hoping you didn’t see the creeping blush on his face. although the filming went smoothly, he kept replaying those moments with you in his head.

— sunghoon

when both of you were special mcs

seeing how pretty you are up close made something spark in his heart. he kept stealing glances at you while you were practicing your lines. he chuckled at the slight pout you would make when you made a mistake, which you playfully glared at him for. the first thing he did after the show was look on social media to see if fans captured any cute moments between you two. normally idols want to avoid being shipped with other idols, but the idea didn't sound too bad to him if it was with you.

— sunoo

when he saw you with another male idol

you two have been close friends since childhood. your friendship was well known in the industry, and strictly platonic. it wasn’t until he saw you talking and laughing with another male idol that he started to feel a little jealous. that guy didn’t know what makes you laugh most, nor your deepest secrets like he did. and why was he leaning so close to you? he wanted to brush his feelings aside, but imagining you with someone else didn’t sit right with him...

— jungwon

when he saw you practicing

back in his pre-debut days, you were his sworn enemy. you two competed for the top trainee spot, always trying to one up each other. after both of you debuted, one day he peered into your practice room window, but something felt wrong. watching you as an idol made him suddenly see you in a different light. your messy hair no longer looked stupid, but rather hot. your annoying voice was now something that made him feel giddy just hearing it. he could deny it as much as he wanted to, but the heart never lies.

— ni-ki

when you did a collab stage together

he was already aware you were one of the best dancers in the idol industry, so he looked forward to working with you. but what impressed him was how you were so kind to him, always looking after him and complimenting him. he remained calm up until the choreography that required your faces to be mere centimeters apart. you had to be in his arms, maintaining eye contact, but he couldn’t look at you without internally panicking. you were attractive, and he wondered how one could be so perfect inside and out.

[gallifreyanhotfive]

What Would Have Happened If The Other Doctors Stepped on the "Boom" Land Mine

One: The land mine is diffused by the power of parental love much sooner. Splice and Mundy join the TARDIS team after he decides that Splice will be his next fill-in granddaughter.

Two: Plays the recorder instead of singing. Jamie attacks the ambulance with his knife as soon as it attaches the lines to the Doctor, and it's only Zoe that stops him from getting killed. The detonation happens much sooner because the Doctor gets antsy and plays with the fiddly bits.

Three: Expertly controls his blood pressure to stop a premature detonation. Tries to keep his companion far away, but they discover the land mine anyway. Takes the land mine with him after it is diffused to use for spare parts in the UNIT lab.

Four: "Harry, I'm standing on a land mine." Doesn't bother with a counterbalance and just stands on one foot for the whole episode. Snacks on some jelly babies while waiting for the right moment.

Five: Has an in depth conversation with Nyssa about how he is regulating his biology on a molecular level. They use a cricket ball from the TARDIS as a counterbalance, meaning that he never gets shot or targeted by the ambulance. One of his companions still ends up getting shot, at which point he falls over, immediately self destructs, and blows a giant hole in the planet.

Six: Gets far too irritated for his blood pressure to stay low. Could really do with some of Evelyn's cocoa right about now. The land mine blows up because he cannot calm down enough to disguise his presence.

Seven: A much longer conversation on how the Doctor is a complex space-time event. The countdown finishes, but the land mine doesn't blow because he had disarmed it at the beginning of the episode. The entire time, he was just pretending the land mine was live in order to teach his teenage companion a life lesson.

Eight: Forgets he's standing on a land mine and blows up. Gets into a passionate conversation with his companion about the war industry complex. Soliloquizes about life and death. Almost sacrifices himself in an inferno of self-loathing, but his companion saves the day.

War: His associates go back in time and extract him before he steps on the land mine. This new version of him continues fighting the Daleks while the time echo standing on the land mine is used to blow a hole in the nearby Dalek command ship.

Nine: Has flashbacks to the War while standing on the land mine but somehow manages to stabilize his blood pressure thanks to the presence of Rose and Jack. Jack manages to diffuse the bomb while he is on it thanks to his experience with Villengard tech.

Ten: "I'm sorry. I'm so, so sorry." Tries to convince his companion to evacuate as much of the population into the TARDIS as possible because they would be safe there. Almost lets himself blow up, but his companion forces him to find a way to survive.

Eleven: The mine blows up in about ten seconds because he can't stand still. The entire planet is blown to smithereens, but his friends are okay because he locked them in the TARDIS.

Twelve: Gets into mind games with Clara while she is trying to figure out what he is standing on. Clara tries to take his place, but he doesn't let her. Missy eventually shows up and disarms the land mine because she wants to be the one to kill him.

Thirteen: Only manages to stay still because the Fam calms her down. Is oddly stoic about the entire thing and disappears into the depths of the TARDIS for several days after it happens. She never brings it up again even though Yaz tries to get her to talk about it.

Fourteen: God damn it this guy is supposed to be retired. He's supposed to be having a break. He talks about how much he loves his companion and how so, so sorry he is that he can't fix this.

Fugitive: This is a normal Tuesday for her. Probably has some sort of anti-land mine device in one of her coat pockets.