#she's the only one in this edit lol

[picspammer]

The Beef is closed. Thank you for your patronage.

[baxtervalentine]

I think the part where lisa is like "you probably didn't even drive back when you were alive. you probably rode on one of those bicycles with the big stupid wheel in the front" and the creature looks at her and she's like "you did" is really funny

[cashweasel]

I’ve not seen anyone talk about Julia Belmont yet which is crazy because,, she looks like this?! My honest reaction seeing her on screen was “damn boy that’s your mommy??” Can she be my mommy too? She’s stunning. I want her so bad rip tho queen

[tricoufamily]

i didn't even play the pack i got distracted by the apply to all button

[coquelicoq]

justice of toren collecting songs and one esk/breq constantly humming/singing them is such a good detail and ann leckie does so much with it. an incomplete list:

justice of toren's eager collection of songs is part and parcel of its violent destruction of cultures: these songs are cultural artifacts that it only learns because of its presence on those worlds during their conquest, and in many cases breq is the only one to remember them because their people have died out due to that violence. JoT preserves cultural artifacts for its own use at the same time it directly contributes to the need for that preservation in the first place.

the matter-of-fact way in which this is narrated to us gives us information about JoT's stance on respect and imperialism - that is, contrasted with other characters who look down on the conquered cultures, JoT does actually seem to appreciate their value. and yet it communicates to us no sense of remorse over its role in their genocide.

singing can be a communal activity. this allows us to feel the difference between one esk's multiple bodies singing together in harmony/in a round vs. breq singing alone. this has emotional weight, is an evocative image, and illustrates quite nicely some of the logistic considerations of having one vs. multiple bodies.

the constant humming/singing is extremely notable and idiosyncratic according to other characters, which is a dangerous combination for someone who's supposed to be undercover, so it adds a lil bit of fun suspense for us.

the fact that no one ever figures out breq's identity despite this giveaway tells us something about the other characters' attitudes towards artificial intelligences (though see below about seivarden).

the fact that it's so idiosyncratic also tells us something about the ability of individual AIs to have personalities that distinguish them from other AIs, and the fact that one esk sings constantly but two esk doesn't tells us something about the ability of different ancillary decades that are all part of the same AI to have distinguishing characteristics. this is very relevant to, and illustrative of, the series' thematic throughlines around identity, personality, continuity, etc.

the fact that breq personally has a bad voice also serves multiple purposes. because breq and seivarden both believe that the medic could have chosen a body with a good voice if she had wanted to, we can infer something about how ancillary bodies work, how much the AI (and, by extension, its medics) knows about the individual capabilities of those bodies while they're in suspension, and what kinds of things the AI can and can't control once it has unfrozen and taken over a body.

we can also draw conclusions about the medic that chose that body and about intracrew relations on that ship.

breq's bad voice creates moments of humor and irony in the narrative, such as when breq's constant singing - aka the most obvious clue that she is one esk - is precisely what makes seivarden so sure that breq can't be one esk, because no esk medic would use a body with a bad voice for an ancillary.

constant singing/humming imposes itself on the shared soundscape, meaning other people can't easily avoid it and it has the potential to annoy them, especially if the voice itself has annoying qualities. the reactions of other characters to the frequency and/or quality of this verbal tic tells us something about the level of affection those characters have for one esk or breq.

because singing involves words, the meaning of the lyrics being sung can be used to advance the plot, communicate things about specific characters, create irony in juxtaposition with what's happening on the page, etc.

i especially like what's done with the lyric "it all goes around". it's woven throughout the story in such a way as to manifest its own meaning (the repetition of "it all goes around" is, itself, an example of something going around). by repeating the lyric, breq is the one making it true, and i would argue that her repetition of this particular lyric about things orbiting other things contributes to, and/or is a sign of, her growing understanding of the necessity/reality of interdependence and her place in that framework/her role in constructing it, or in other words, the extent of her own agency and the rights and obligations it confers upon her.

because the singing/humming is a constant, background, automatic action, it only ceases when breq is experiencing a strong emotion. from this we are able to infer things about the emotional state of our famously-omits-details-about-her-emotional-state narrator based on other characters' comments about whether or not she is currently doing this thing.

we also aren't even aware that breq is doing it constantly until another character says so. on a narrative level, this serves the dual purpose of making sure we know about how much she hums AND of reminding us that she's not telling us everything.

the humming is not mentioned constantly even though it is happening constantly - this helps us forget in between mentions that it's going on while also simultaneously reinforcing just how constant it must be, so constant that to mention it every time it happens would be like narrating every time she breathes in or out. whenever someone brings it up, we are reminded anew that something has been happening all along that we forgot about. this means that ann leckie is able, by leaving information out, to hammer home to us how much we are not being told.

through this one character trait, ann leckie efficiently and elegantly communicates not just aspects of character but also of setting, plot, tone, theme, and narrative. there's no extraneous exposition just to tell us about the song collection or singing; everything that tells us about it is serving other functions in the narrative as well. the ways in which she manifests this one character trait in the universe and in the narrative contribute to and exemplify both the story itself and the method of its telling.

[motherforthefamicom]

witty caption

[peppermint-moss]

ok dumb question but. i loooove ur thrushpelt amv ive watched it so many times and i want to get into doing similar videos maybe?? im really new to sophisticated editing software so... how do you do that like, sun line spinning effect in the background at 1:42 and also later in the video thank u soo much 👉👈

heres how i did it for that video:

draw your sun and export it as png file

put it into your editing program (I'm using da vinci resolve)

move the anchor point into the centre of your sun

4. place a keyframe for "rotation angle" at the start of the png (or whenever you want your sun to start spinning). Wherever (or rather whenever) your playerhead is = is where the keyframe will be placed. Keyframes are how the editing program moves things around. Placing this first one at the beginning of your timeline basically = "I want this to be the start position of this png".

5. Go to the end of whenever you want your sun to stop spinning. Place another keyframe there. This basically = "I want this to be the end position of this png"

6. Keeping your playerhead on that keyframe you just put, rotate the sun png to change its position. (in adobe premiere which is the program I used to edit the thrushpelt video, I could just use the transform controls to spin it around n around and it would just keep counting how many rotations I made yaay simple. In da vinci resolve it looks like that just makes it reset back to 0 degrees when you rotate back around to the start lol So that means I had to manually type in "600" degrees to get it to rotate multiple times; like how 365 degrees would be 1 full rotation, so 600 would be around 2 full rotations.)

Here I'm showing you method 1: rotating it with the transform controls

And here I'm showing method 2: manually typing in "600" degrees in the "rotation angle" setting, and then I'm playing the video to see it spin

7. Play the video and see if you like how it looks, and adjust to your liking (to edit a keyframe, just make sure your playerhead is at whenever you placed the keyframe).

More rotations = it'll spin faster. Why? Imagine if someone told you to spin around only 1 time within 10 seconds. You might have to even deliberately slow down to spin only once within that time. BUT if they told you to spin around 50 times within 10 seconds? You'd have to spin real fast to make sure you spun around enough within that same time frame.

8. Also: To make it rotate clockwise/counter-clockwise (whatever the other direction is), just put a "-" next to the number to make it negative 600.

In that video above you can also see how because my playerhead wasn't on the exact spot of one of the previous keyframes I made, it automatically made a new third keyframe when I changed the rotation setting to "-600". Then when I play the video, we can see it first spins the same like in step #6 (because those first 2 keyframes are still the same), and then start spinning the opposite direction ("-600"). It also spins a lot faster mainly because while those first 2 keyframes are about 3 seconds apart, key frame #2 and the new keyframe #3 are like 1 second apart

(again imagine spinning around 5 times within 10 seconds vs trying to spin around 5 times within 1 second; for the latter you'd have to spin a lot faster)

(*it technically is Also spinning faster because instead of going from 0 degrees (keyframe #1) to 600 degrees (keyframe #2) which is a difference of 600 (0 minus Positive 600 yay math), it's going from 600 degrees (keyframe #2) to -600 degrees (keyframe #3) aka a difference of 1200, a much larger distance (600 minus Negative 600 yay math))

In conclusion: Keyframes are the key! lol. They are what makes everything move/change over time so they'll be your bread and butter in video editing, so try to learn more about how they work! I hope that all makes sense ;O;

[ansburg]

yall ever read da meta and know that op thought they were cooking. but the post is like this

[marciliedonato]

diversity win! the new student who's blackmailing you is a non binary deer !!!! 🙌🙌🥳🤩💕💯

[hecatesbroom]

did I finally manage to write a brand new fic? I sure did!! with many, many thanks to the lovely @eeblouissant for inspiring me with these beautiful drawings of Blanche dipping Dorothy (and the incredibly sweet follow-up with Rose playing the piano, after our chat about this scene!!) I hope I managed to do it justice ;)

Summary

When Dorothy mentions she’s never been dipped before, Blanche and Rose decide to take matters in their own hands.

[fideidefenswhore]

the downfall and execution of a tudor queen (2023) / the boleyns: a scandalous family (2021) / the king's pearl: henry viii and his daughter mary (2017), melita thomas / anne boleyn (tv miniseries 2021) / the mirror and the light (2024) / elizabeth (1998)

[swallowedabug]

MAYKO NGUYEN Hudson & Rex 6.07 (2024)

[iristial]

reiwa fancam mode melo (geats) | 4 aces & the black fox

[ivalice-tifalucis]

With the release of From The Rehearsal Room - Tokyo to Ramin's youtube I finally, finally, continue and finish this side project I'm doing.

Initially, I used AI to mastered it because the first version I got from bilibili were not in good quality but I wasn't satisfied and I found the much better quality. But with Ramin uploaded it to youtube, I re did all the mastering just with audacity for both Part 1 and Part 2. The Part 2 is still from the better version I found from bilibili, by the way.

What you need to do is just download the file and put it on your music player. The metadata is all completed as if it's whole legit album. Enjoy, guys!!

And I'm being weird so all the lyrics that are put there are from my listening although I still use what I found online but I still listened and compared. They made few ad-libs and changes and I notice because for the songs that I wasn't familiar, the lyric that I found online and what they sang was slightly different. Perhaps they sing the newer version of the lyrics or mistakes? Even each Sheytoons songs they sing one in both parts differ from the ones I found online.

Another sample from my favorite:

Source and Credits Part 1 | Part 2 (Ramin's upload) Album cover Photos

Vocal & Guitar: Ramin Karimloo, Hadley Fraser Piano: Ryohei Mori

[flags-planes-and-fire]

(Video Credit Here)

Dr. Roberto Canessa talking to Tom Holland regarding the new Netflix film - Society of the Snow.

[beevean]

🌻 (maybe something you haven't really had a chance to bring up here, but want to talk about regardless?)

nah, sometimes I feel like a NPC who has exhausted the whole conversation tree lol. I don't know what to say anymore unless prompted.

I guess I've been thinking about how much you can glimpse about someone from their art, especially writing

I know it's not a 1:1 thing, it's not a "if you like writing whump you're a violent person IRL" situation lmao. But I've been thinking about how I'm afraid my writing is growing stale - maybe not in style, at least I hope not, but how I get obsessed over a few concepts and I keep recyclying them because I love thinking about them and elaborating them, even though that makes my writing even more niche

so it's like. why do i like it? does it say anything about me? or it's just not that deep and has the same value as liking chocolate ice cream?

Maybe it's just discourse that makes me a bit nervous about being judged. And I never even went full unhinged on main :^)