#this is also on YouTube but it's not available in some countries due to the song so have it here as well

[technically-human]

Charles realizing he's in love with Edwin after all, my beloved

[kutyozh]

not only langblr music resources

people irl often ask me where the heck i find the music i listen to, so i figured i might as well make a handy resource masterpost!

Radio Garden: Listen to radio stations all over the world. You can save your favourite stations, explore radio playlists, and search for stations in specific countries or cities. Love this one. You can download the app (android and apple) or listen via your preferred browser.

Radiooooo: Lets you choose a country, a decade, and a 'genre' (slow, fast, or weird) to listen to. You can download the app (android and apple) or listen via your preferred browser.

Charts: Charts can be tricky if you're looking for music in a specific language since there are multiple languages present in most country specific charts. It is nevertheless worth checking them out. Spotify charts or Top 40 Charts are your places to go.

Tunefind: Heard a song in a film or tv show that you enjoy but can't find it in the credits? This is the website for you! I use it when shazam fails me or when I'm at the cinema and can't use it or w/e. The songs sometimes come with a description of the corresponding scene for easy checking. Just very handy to have on hand.

Local events: Check for concerts etc. in your area. I know this is not an option for everyone for a bunch of reasons, but if it is for you, visiting local concerts can be a gold mine. I got like ten whole new songs in spanish and one in rapanui from one event I went to (it was like a culture fest with singing, dancing, and poetry). Also listening to live music just connects you differently to the art imo.

Friends & Acquaintances: Last but not least; sometimes my nosiness beats my social anxiety and I simply ask people what they like to listen to. If I'm being extra confident, I ask if they listen to music in languages other than english. Go forth and ask people about their music, go go go!!

Spotify specific recs:

Every Noise At Once: Sounds overwhelming - and tbh it can be. For this reason I personally prefer to look at 'Genres by Country', although there are many other interesting playlists to look at, such as 'We Built This City On' or 'The Sounds of Places'. You can find more if you scroll all the way to the bottom. Unfortunately, due to the layoff of the creator of this site, some features are not available anymore. This website is entirely based on Spotify.

LindsayDoesLanguages. Individual language playlists + more

Shameless self promo - my own account with individual language playlists. Also on YouTube !

700+ Languages. A playlist by Matthew Bofenkamp that contains one (1) song per language, and as it says on the tin, Matthew has so far collected songs in over 700 languages. Might be a good starting point for more music in your language of interest! Accompanying g0ogle spreadsheet with youtube links here.

One Song in Every Language. A community playlist by looky_dooky that aims to collect one song in every language. Everyone with a spotify account can contribute.

Another research tip: If you're on desktop, a good way to find language specific playlists is to go to any artist's profile and scroll down to the "Discovered on" section, then click "show all". Voilà!

(These showed up when I visited Haleluya Tekletsadik's page)

[yandereworlds]

「 INDEX + INTRODUCTION 」

˚₊‧🔪WELCOME TO MY YANDERE BLOG! I mainly make content for my own original characters and occasionally, fandom related stuff. This blog is strictly 16+ and run by two people.

My name is Kiki (She/Her) and I am 18+. I’m the one that mainly provides the art and bots that you’ll find throughout this blog and sometimes, I write headcanons/imagines as well. My writer is Rose (She/Her, 18+) and she’s responsible for writing the fanfictions and some of the drabbles. To make it easy for you to know who's behind each post, you'll see either 'Mun Kiki', 'Mun Rose', or both credited in the tags.

We started this blog because we had numerous ideas for yandere characters. Given my background as an artist and Rose's talent as a writer, it seemed like a natural fit. I'm primarily creating this post to serve as a guide for navigating the blog. I've received numerous asks about accessing the characters' backgrounds, information, as well as questions regarding my bots, projects, commissions, socials, and other related topics. You can use this post as a reference FAQ or as a comprehensive guide to streamline your experience on the blog. 

Find that you enjoy our work? Consider leaving a tip, it’s greatly appreciated and helps the blog. Also, if you’d like to be able to be more involved with our creative process and engage with the community, you can join our Discord server here. 

╰┈➤ ASK RULES - OPEN!

✦ Absolutely no NSFW asks. This blog is 16+ for a reason, so obviously, we will be trashing asks related to sexual topics. 

✦ We’re allowed not to answer certain asks. If you’ve been spamming the same ask and we haven’t responded to it for months, it’s most likely because we aren't comfortable doing so OR we’ve already answered an ask similar to yours.

✦ We will not be answering any asks regarding self-harm, eating disorders, extreme gore, noncon or any topics that could be associated with them. 

✦ Finally, we kindly request your patience. We understand that it may take some time to address each individual ask, as we both have busy lives and there may be periods when we don't post asks for weeks. Please refrain from rushing us, and rest assured, we will eventually get to your ask. 

╰┈➤ YANDERE MASTERLISTS 

Original Yandere Masterlist

Fandom Yandere Masterlist

╰┈➤ CHARACTER AI + JANITOR AI

If you've been following this account for some time, you're likely aware that I frequently share my character bots here. I've received numerous asks about which bots are available and where to find them online. While I plan to compile a list of my bots soon, for now, I'll provide links to both of my accounts for future reference.

It's worth noting that I'm currently on a temporary hiatus from Character AI due to site complications. Consequently, most of my recent bots can be found on Janitor AI, where I'm more active. Before visiting either site, please be aware that Janitor AI is intended for users aged 18 and above, whereas Character AI caters to a younger audience. In other words, minors stay off JanitorAI!

My Character AI profile - 1, 2, 3, 4

My Janitor AI profile (18+) - 1, 2, 3, 4, 5

Wish to request a bot from me? You can find the information here.

╰┈➤ ART COMMISSION INFO - OPEN

Pretty self explanatory. If you're interested in commissioning artwork from me, simply click the link to access my commission page. Currently, I'm accepting payments through both PayPal and Cashapp. Below is a brief FAQ regarding my commissions. Should you have any further questions, don't hesitate to contact me!

Can you draw my OC with your characters?

✦ Yes, absolutely! Just provide me a reference and what you'd like specifically. We can discuss all the details in DM's.

Can you draw a character from 'this fandom' for me?

✦ I'm completely fine with drawing fandom related content. The only fandoms I will not draw under any circumstance is youtubers, Your Boyfriend, Country Humans, BTD and Killing Stalking. Otherwise, I'm open to whatever.

Can you draw a comic for me?

✦ Yes, but only short comics. You can let me know what you'd like the short comic to be about and all that fun stuff. Just know comics from me will likely be around $20-$40+ dollars depending how detailed and complex you'd like it to be.

[chimaeraonwards]

Pendatang and why I think it's important for the fight against censorship

Malaysia's first fully crowd funded film is finally out and its free on YouTube!!!

(btw its fully subtitled in English, Malay, Chinese (Simplified), and Tamil for those who want it)

Pendatang by Kuman Pictures is set in a dystopian future where, due to racial extremism, Malaysia is fully segregated. Citizens live in their own areas based on their race and mixing between the races is punishable by 25 years in prison.

The story centers around a Malaysian Chinese family who is forced to relocate to a designated house by the authorities but they find a Malay girl hiding in their attic.

Anyone who is familiar with the Malaysian film scene would be wondering, "A Malaysian movie about race and inequality? How the fuck did this movie get through the censorship board?". Well, easy. They didn't even try.

In the name of keeping peace in the country, The Malaysian Film Censorship Board (Lembaga Penapis Filem - LPF) is notorious for censoring local movies to the point it loses its impact or keeping movies in a limbo for years. But films need LPF's approval to be able to release theatrically local cinemas.

The makers of Pendatang knew that this film wouldn't have made it past the censorship board or any other kinds of local governmental/commercial release or funding channel. So from the start, they set out to crowd fund this movie to release it for free online - where the LPF has no jurisdiction.

They managed to raise past their goal of RM300k (which is about slightly less than 100k USD). And one year later, they've kept their word - the movie is available on YouTube for free with no ads (making it a non-profit movie).

This is what the makers have to say about this move and what they hope it achieves:

So not only is it a badass move to bypass censorship and non-profit, its also a ground breaker and this opens up a whole new avenue for Malaysian filmmakers.

But it can't be that bad, can it? Well here are some films that weren't so lucky with the LPF.

Mentaga Terbang a story about a young girl's religious journey after her mother's passing to find out what happens after death. It was banned in Malaysia.

Tiger Stripes, the Cannes award winning teenage body horror film detailing a girl's journey with womanhood. It was so heavily cut by LPF that the filmmaker has disowned the censored version and has come out to say that essence was removed from the movie.

Spilt Gravy on Rice is a dark comedy based on a play of the same name. It is a story about a journalist who is close to death and decides to fix his family issues with his 5 kids who all have different mothers. The film was submitted for approval in 2012 and was forced to make changes (including an alternate ending) and was finally approved in 2020. Due to covid, the premiere was delayed till 2022. The original playwright, Jit Murad, passed earlier that year and never got to see his story in the big screen. You can find the film with its original ending on Netflix now.

This is why a movie like Pendatang is so important. Some suspect that Pendatang will be taken down or blocked by the government. I hope it won't.

Malaysian filmmakers want to share good stories that shouldn't be watered down. Malaysian voices want to be heard and shouldn't be unnecessarily filtered and censored.

[magentagalaxies]

"tour of duty" (the filmed version of their 2002 tour) in general is just kind of a bizarre point for kids in the hall that i haven't really talked to any of them about but is hard not to notice when you look at their entire canon. like it's certainly good - there are some tour-original sketches that i highly enjoy and some live versions of filmed sketches that take a fun creative spin on it, but in general things just feel noticeably strange.

buddy cole specifically tells the fur trappers to "fuck off" (buddy very rarely swears and across all the buddy material i've watched for the documentary he's only said "fuck" 3 times across forty years). danny husk wins an award for being a high school vice principal and at&love isn't acknowledged in the bit. the "is he?" sketch has been revised to pack in as many euphemisms for gay as possible, putting the bit on top of another bit. and of course i have my chicken lady thoughts but i don't want to bias anyone else bc i genuinely want to know what your takes are before i share mine.

and again these aren't all bad choices - i think the danny husk vice principal monologue works really well and may not work as well as a different character despite contradicting the Husk Lore™️. but they're all very distinctive choices

idk there's two reasons i personally give for why tour of duty is so strange (to me at least, maybe other people don't notice). the first is that it comes less than 3 years after their other tour-film, the 1999/2000 tour "same guys new dresses" (also available on youtube!) i fucking love SGND and i'll be up front that it's my preferred kith tour video. but part of what makes SGND so special is that it's not just a recording of the live show, it's a full tour documentary following the guys traveling across the country performing together, occasionally showing full sketches but also delving into the stories behind why the sketches played out the way they did. and, sure, sometimes that means cutting out a sketch that i wish i could've seen in full (rip power of the suburbs) but my life is so much better for having seen the "laser eye surgery gossip" or knowing how much drama that goddamn robot-dog-prop caused.

so to then see tour of duty as a straight-up recording of the live show leaves that element of mystery, that we don't get to know why choices were made because we only see the end result. there was a conscious decision not to shoot tour of duty like SGND - the tour doc didn't do well financially, and they also had more of a reason to document that tour since it was their first time working together since the disastrous fallout of "brain candy," and first big national tour since the show ended. the circumstances were just very different

and that's true both personally and politically bc the second suspected reason for tour of duty's weird tone is you can obviously tell 9/11 just happened. two sketches directly reference it - bruce and mark's businessman characters sell scam patriotic products that are all just a rubber band, and buddy cole visits the middle east and ends up having sex with saddam hussein (tho fun fact this concept was written BEFORE 9/11). but the event casts an obvious shadow, especially since both the buddy cole bit and the danny husk monologue were recycled pieces from scott's cancelled one-man-show which was set to debut in new york city on september 19th 2001.

it's also interesting comparing this to SGND. the late 90s are often remembered through rose-tinted glasses due to a generally good economy in the united states and a lot of the social tensions with disenfranchised groups still bubbling under the surface rather than being talked about openly. SGND doesn't reference contemporary events much, but the closure of AT&Love from the KITH finale is undone since the economy has re-entered "rock-on fashion," and buddy cole comments on the Y2K computer bug being underwhelming. (i also went on a super long tangent on how the original show reflected the socioeconomic climate of the 90s but that's a whole other topic i need to go to bed)

i don't know how the KITH feel about "tour of duty." i can't know how much this strangeness was felt for them backstage, and i think in some regards it can only be picked up on as an outsider, albeit an outsider who has watched so much KITH content to know how their work evolved even when not on television. all in all, i'm glad "tour of duty" exists and even the swings that didn't really land for me are still admirable as creative choices.

it's also cool to analyze as someone who has now been to a KITH live show over 2 decades later and got to see those behind-the-scenes conversations play out. the bellini benefit also featured a lot of strangeness, caused by a limited rehearsal schedule and one of the cast members being unable to attend due to illness, but they absolutely exceeded these limitations to put on a very fun show. we did film the performance and rehearsals and that show is going to be released eventually (i'm not in charge of it but the person who is also works on the buddy cole doc so i'm involved). i don't know if it's going to be presented more like SGND or tour of duty or something completely different, but it'll be cool to be part of KITH live show canon

[wonderlandleighleigh]

As someone who has professionally watched people make dumb business decisions for the last 20 years, the Watcher subscription service raises a few red flags.

-They don't have a smart TV app available.

-They don't really have enough content to justify the price.

-Apparently some countries cannot subscribe due to credit card restrictions.

-They also didn't market this properly. I assume this has been in the works for a while. Charging money for your content when cost of living prices are skyrocketing and wages are stagnant isn't the happy surprise they think it is for their fans.

This should have been announced months ago, with a marketing plan to pitch this to existing fans as a good thing and to ease people into it. A couple months of "a reminder that we'll be subscription based only starting on this date and we can't wait to see you there. Here's what's going to make the jump worth it (pun intended) for you!" On new vids and social media. Instead, it's "surprise! We're taking down everything on YouTube in a little over a month and the site is already active byeeeee!"

Marketing wise, this feels intensely tone deaf and poorly planned.

Good luck ghoul boys. I'm interested to see if this sinks or swims.

[muninnhuginn]

How Dare You!?

(a donghua rec post)

(aka 'cheng he ti tong' aka 'this is ridiculous')

Summary: Our main character (Yu Wanyin) is transported into a novel she skimmed on the way to work as one of the villain roles. Pretty basic transmigration story, right? But it makes some interesting choices early on, as it turns out the emperor (a villain in the original story) is also a transmigrator. And not just that, but as the story Yu Wanyin was reading was itself a transmigration story, the original protagonist is also there.

Yu Wanyin, of course, wants to just gather together all the transmigrators and bypass the whole bad ending deal, but it's not so simple. After all, multiple transmigrators create a ripple effect, and sometimes it's not possible to tell who's a character and who's a transmigrator.

Anyway, the show starts off down the comedic end, for sure. The whole "if you're transmigrated and I'm transmigrated then who's leading the country" kinda deal. But there's a lot of plotting between *our* protagonists and the original protagonists of the story. And a lot of foreshadowing you don't even realise until the plot twist has already been revealed, at which point earlier events are cast in an entirely different light.

More thoughts below readmore

You'll probably like this show if you also like: You Yao/Are You Okay? (another transmigration donghua adapted from a story by the same author - I haven't watched past ep 1 yet, but even that has pretty heavy similarities); Liang Bu Yi/No Doubt In Us (bodyswap donghua between the emperor and empress ft political scheming); Your Throne/I Want to be You, Just For a Day (bodyswap manhwa between two seeming rivals for the role of crown princess - Psyche and Medea have a very similar dynamic to Yu Wanyin and Xiahou Dan in some ways)

My personal favourite aspects: The characters and the foreshadowing game. I know the bar is low at times, but it's especially nice to have a transmigration story which bothers to give the female characters depth. But yeah, the foreshadowing is just... if you know me you know I love recontextualisation and this is chock full of it.

Where to watch: iQiyi or YouTube (though iQiyi locks some of the middle episodes away behind VIP).

Misc extra info: If like me you watch the donghua and end up needing more, there's an unofficial English translation available of the novel online. At the time of writing, only season 1 of the donghua is out with season 2 due soon, so reading the novel will let you conclude the story. But tbh, it adds a lot of extra perspective to characters regardless. And if you read the novel, please make sure check out the extras! Special shout out to the Bei Zhou short story, which will probably never be adapted for... reasons.

[eemamminy-art]

So, idk if this is a thing you'd be interested in. But my brain just clicked on a Possible reason that resource prices are higher in year two than in year one. As a bit of world building.

Basically, we know the country is at war with another, and we get more information about this via Sam and Kent. Sam says the war doesn't seem to be going well at one point.

War typically drives up the rarity and value of resources as the government has the bulk of the supply and the most demand for it. So that which would be available to the civilian consumer is reduced in amount and rather more expensive than it would be outside wartime.

Idk just think it'd be interesting to acknowledge that there being a war going on does have an effect on the economy and available resources.

As an aside did you know bread slicing machines were illegal in the US for a bit cause the government needed those materials/resources more due to the ongoing war at the time? Be funny if there was stuff like that happening as well.

You know I haven't thought too much about it, mostly because I stubbornly try to gather all my own materials and then I'm like. Damn why don't I have any stone or coal 😩 I was aware of the prices going up in year two though and I do like this logic behind it!!! 👀

My friend pointed out how the traveling cart merchant occasionally has lines like "I smuggled this out of the Gotoro Empire" which made us wonder what the global situation was like.

I can't remember if I saw it on tumblr or if it was in like a youtube video or something but I saw something recently about like, theorizing that Pelican Town is so rundown because of the war and the boon that comes with the farmer is because their efforts are one of the only things bringing money into the town.

One little thing I did headcanon sorta related to this was that Kent had been in the reserves and so him getting called to war was kind of unexpected? Sam has some dialog where he mentions his dad used to be a garbage man, so I was thinking maybe he did that while also being in the reserves on the side (for the healthcare or something maybe. Is the country that Stardew Valley is set in as hellish as America in that way? Who Knows) which would kinda explain why Jodi seems so overwhelmed by it all. Like she wasn't anticipating him to go to war, or for so long. Her constant mention of the cheap prices at JojaMart kind of implies to me that their family is struggling-- for that matter, the characters that mention how much cheaper Joja is might also be kind of hinting at some economic crisis, since Pierre can't match those prices and maintain his business.

I'm kinda rambling but yeah I do really like this idea! 👀 In general I like thinking about more grounded reasons for things being the way they are in this setting! I know the game has some fantastical elements or some things that don't quite add up, but I really like to think about things in a more grounded sort of way.

Also, I didn't know about the bread slicing machine thing but I totally believe it. I think there's a similar story behind bras becoming mainstream for women's fashion too? Something like, the steel boning for corsets needed to go toward the war effort instead in world war i? I swear I'm not making that up

Thanks for the ask!!! 😊 I feel really honored that you came to me with it ahaha certainly gives me much to think about :3

[technicolorfamiliar]

The Wandering Jew Dir. Maurice Elvey 1933

[Note: This film along with 1934's Jew Süss set Conrad Veidt apart from many of his German film actor peers. While he was not Jewish, many of his close friends and colleagues -- not to mention his wife Lily -- were, and he was committed to portraying these deeply complicated and sympathetic characters with as much care and empathy as humanly possible. You can see it in his performance. These films are what got his work banned in Germany in the '30s and painted a huge target on his back. Later he would double down and donate most of his acting paychecks to the British war effort, and arrange to help friends and family who were in danger of violence in Germany safely get out of the country. Maybe it's not necessary to mention all this, but just in case I want to make it abundantly clear where he stood.]

When I first saw this movie about a year ago, I couldn't get into it. It didn't help that I only watched the shorter version on Youtube. The poor quality of the picture and audio, plus a mostly terrible cast, made it a tough watch. But I wanted to give The Wandering Jew a second chance, if only for the Conrad Veidt of it all, and I'm glad I did. So over the course of the first weekend in November, I watched both versions: the shorter, much-censored version and the digitally restored version with over 20 minutes of additional material.

---

After watching the two existing/available copies of the film, I definitely think both are necessary if you want to get the whole picture.

Unfortunately, the shorter version is in semi-rough shape and the audio is pretty garbled, but the edits are smoother which helps individual scenes and lines make more sense. There's more air in this version; the director clearly wanted to give the actors, especially Connie, room to breathe, and it not only helps the pacing but the atmosphere of the film as well. However, the shorter version is missing several important and interesting moments due to some heavy-handed censorship.

The longer version has a cleaner picture and slightly clearer audio, but some of the dialogue gets randomly chopped up and there are abrupt cuts that make the film jumpy and take away from the languid atmospheric feeling that in retrospect I think actually makes the film work. Or at least tries to make it work. And, being the longer version, there are key scenes that made it past the censors: all the scenes related to leprosy; the aggressive anti-semitic stuff at the Renaissance Faire crusaders camp; and a great line Matathias delivers in an added scene in Act IV, "All men are Christians. All men are Jews. The faith is only a mask, it does not make a man what he is." MIC DROP, AIR HORNS. There's also a wild scene where Renaissance Faire crusade era Matathias cackles at Anne Grey's crucifix for well over a minute. But for whatever reason, the longer version is missing random things too, like the forward, which isn't entirely necessary but if you're presenting your film in a kind of storybook style, a written forward makes sense.

And there is an illustrative, storybook quality to the film. The costumes and sets feel like something out of a N.C. Wyeth painting or even vaguely Pre-Raphaelite at times. It's heavily romanticized and I think this threw me the first time I saw the movie. But it makes sense, the story is a parable after all. And yet, while you're going in that direction, why not go bigger, why not compose each shot with even more care? I know they shot this movie in 1933, but all I want is some vision and intentionality in the cinematography and staging, dang it! I do like the two moments when Jesus is speaking and his dialogue is only shown as text. We don't see or hear him, but everyone else in the shot is frozen and the sound drops out. Time seems to stop for a few seconds. But nothing else in the film really manages to match those moments stylistically.

I feel like a broken record saying this, but Connie's performance once again carries the entire film. Pretty much everyone else is just so bad, the women in particular. Seriously, sound was being used in films at this point for over 5 years -- so why is everyone in this movie doing this style of acting that is maybe only acceptable for huge stage productions? Three of the four lead actresses are legitimately the worst. The only exception is Peggy Ashcroft in Act IV who isn't great, but at least she's a better scene partner. That could also have something to do with the first three women being annoyingly pious, and Act IV's Olalla is just a more interesting and better-written character. In Act I, the woman playing Judith barely engages with Connie. Sure, she's dying, but she's dying like she's on stage in some 2000+ seat West End theater. And the wife in Act III is literally giving Connie nothing to work with, nothing! There's so little believable intimacy in these women's performances that it really makes the movie suffer as a whole. Maybe that's harsh, maybe that's what the director wanted, but I think about Connie's other British films from this time and their lead actresses -- Madeleine Carroll, Jill Esmond, etc -- weren't nearly as painfully awful.

Though this is Connie's fifth English language film, it almost seems like he's still getting his sea legs as an actor in the British studio system. Maybe with the exception of I Was A Spy, his previous English films were all roles for a character actor, and so Matathias was the first opportunity he had to really show off his range. I have no idea if they shot in sequence -- unlikely -- but from Act I to Act IV he seems like he's progressively carving out a foundation for his future work in British films. After The Wandering Jew, he was off and running with a great series of meaty and fascinating roles. Josef Süss, The Stranger, even Convict 83 have some roots in the performance he gives in this movie.

Matathias is a role an actor would consider one of their crowning achievements but would probably never want to play again. He's incredibly demanding and challenging, very likely made even more so by Connie's uniquely holistic and intense method of preparing for a role. Even though there are moments when his performance comes across as a little stilted, that could be more due to him trying to match the tone of the film itself, especially early in the narrative when he's a little flat -- he has to start like that so he has somewhere to go with the character. There's zero humor or levity in the script so Connie had to humanize Matathias through his journey across time by incorporating moments of deep compassion and the pain of loss, shame and regret, and ultimately complete surrender.

No other actor would believe the story and its message enough to pull off the heart-wrenching performance Connie gives in this film.

Act I Matathias is a difficult guy in a fabulous robe (the sleeves!). He's clearly selfish, but not really cruel. After all, he and everyone else know that the woman he loves does not belong to him and were she to go home to her husband, she would most definitely not survive whatever violence awaited her there. And Matathias does not allow harm to come to her, at least not in that way. His selfishness means he'll keep her at any cost, meaning he refuses to see how ill she really is. But he's not a bad guy, he's just a regular person in a very difficult situation which makes his impulse to bitterly lash out at Christ understandable. But there is some part of him that does believe because it doesn’t take much for him to get on board with the whole curse thing. With very little convincing, he appears to be resigned to his fate. But that's fine, we have to move the story along, after all.

The cruelty comes out more in Act II. The Unknown Knight just wants to fight, feast, and get his freak on. Connie gets to be pretty aggressively sexual (good god, the way he grabs that woman) and blasphemous in this section ("Blasphamy, blaspha-you, blaspha-everybody in the room!"), especially for the early 1930s, so no wonder it's one of the shorter acts. His haircut might be hideous, but his veiny forearms are, uh, real nice (as are all the long shots of his exposed throat and sternum throughout the film). Confession time: it took me three viewings to get the whole leprosy thing. Judith has it in Act I, so does the guy who wanders into the camp in Act II, and the sick boy in Act IV as well. The son in Act III is bit by a snake, but it could be something to do with snakes = the devil or something, idk. The appearance of sickness/leprosy always signals a lesson Matathias has to learn, or signals the ending or beginning of something important. So his reaction to Renaissance Faire Babe's rejection isn't really about her at all, which is revealed in the longer edit of the film. He hears the leper's bell and mutters, "Unclean…," before letting Ren Faire Babe discover her murdered husband. Matathias may not have killed the man, but he continues to leave behind a trail of death and destruction as some kind of act of defiance against the curse of wandering the earth until such undetermined time as Jesus will appear to him again. By making his life dangerous, he flaunts how he is able to cheat death, but when he hears the leper's bell and is reminded of the events that set him on this path, he realizes he can't go on like this, that there has to be something else, something more. I like how the shot of Connie at the end of this section echoes the end of Act I, suggesting he still has a long journey ahead before he can hope to reach own end.

So when we next see him, he's a merchant and family man living in Palermo named Matteo. Instead of causing mayhem everywhere he goes, he's trying to build something, maybe even a legacy. This is my least favorite part of the movie, but the way Connie shows Matteo's heartbreak, first at the death of his son and later at losing his wife to the Church, is something else. When Gianella tells him she's leaving, he goes through each of the stages of grief in like two minutes and we can see it happen in his face and in his body language. The way his knees buckle and he slowly crumples to the floor, ugh. Also, shout out to the attention to detail in this film. If you look closely at the beginning of Act III, Connie's fingernails look ink-stained like he's been writing and handling documents all day. Not to mention the fact that he wears the same onyx ring throughout, and the same necklace in Acts I and IV. I also thought it was interesting how the music cut out when Mateo is handed his dying child, it immediately reinforces the gravity of the scene. This movie did not come to play.

Act IV, set in Seville, is by far the best part of the whole film. And I'm not just saying that because Care-giver!Connie is doing things to my brain. How sweet and gentle he is with his patients, the way he keeps looking up to check in with Olalla when he's treating her broken ankle, the way he murmurs and coos little things under his breath like "Come on, let's try a little walk…" and "Ohh, what's the matter, my boy" that sound totally improvised. That's the good stuff, right there. And when Olalla says, "There's magic in your hands." I BET. This whole fourth act is just Connie kicking in the door of 1930s British cinema. The scene in front of the Inquisition alone is the most powerful and important part of the movie. Connie manages to fill Matteo with such humanity and empathy by the end of the film that it's practically radiating out of him. In an otherwise one-dimensional film he brings real, complicated, fascinating, tragic and beautiful life to this legendary figure. It's astonishing.

Is it a good movie? Not really. Is it an important movie made at a critical time in history, as a statement against anti-semitism on behalf of the filmmakers and cast? Of course it is. Despite the mild annoyance of needing to watch two different versions of the same film, and needing some patience with the tone and supporting cast's performances -- it definitely helps to be in the right mood going in -- it really is essential viewing in the Conrad Veidt canon, especially if you're interested in his work as an actor. I mean, just watch this movie and bask in the glow of his radiant, spiritual performance. Bask in it!

In the end, I'm glad I gave 1933's The Wandering Jew a second chance.

P.S. Connie looks unbelievably stunning in this movie. His costumes, wigs and facial hair are all basically perfect. The silhouettes and lines of his robes, the details in his jewelry and accessories. He really knew how to wear the clothes so they wouldn't wear him. He must have been a costume designer's dream. Or nightmare (he can be your angle;;… or yuor devil).

[oreca-iroha]

★ Introduction ★

Welcome to my blog! I post Oreca Battle and ORE'N related content within the Overseas community.

My job is to revive the community and share information of both Oreca Battle & ORE'N with the help of existing information in the Japanese community/wiki (All Except for Solomon Program)

※ The purpose of this blog is to compile various resources, ranging from YouTube channels to wikis. This will allow readers to easily navigate informations ※

If you have anything you want to ask, feel free to go into my inbox and I will try my best to answer you questions! → Here are the rules ←

♡ About Me ♡

Salutation! My name is Rachelle, I've been a fan of Oreca Battle since 2018, and I also have played the English version of the arcade game for 1 year and half, but due to the pandemic, some of the machine has been moved away... (More about me in my main blog @pirate-fan-rachelle)

For now I am only be able to play ORE'N, the sequel to Oreca Battle 1 & 2.

➪ Fan Page Owner's Index

What is Oreca Battle?

Released in March 2012 [JAPAN] Oreca Battle is an arcade game where you fight monsters, collect them, evolve, and combine them into new monsters! This game has amazing monsters and character designs, as well as stories and music! English version of this game is available for certain asia countries (mostly southeast)

Unfortunately it's translation is most likely has been discontinued at the end of New Chapter 3 Phase 3, there wasn't any news for the next translation.

This game has a Manga title illustrated by “Posuka Demizu” (Who's also in charge of character designs) and an anime adaptation in 2014

—(Please keep in mind that some of the Oreca mangas are spin off/not canon to the actual in-game lores!)—

It has 2 counterparts, Dragon Collection (Which came first) and then Otocadoll (The sister game of Oreca Battle)

Unfortunately the game's server shut down in 2022 after it's 10th anniversary (due to running out of card materials) but some of the machine are still active in certain location thanks to JP fans

This series has:

An anime adaptation in 2014 (available via Crunchyroll or any Anime streaming site)(-Optional but not recommended way to get into Oreca Battle-)

Japanese series via KONAMI's YT channel

Pandora Coin arcade Game

CoroCoro Manga & Physical Manga

Portable device, Toys & Merchandise

iOS App (but it's way different than the arcade game)

Official Youtube Channel (2024)

Music Playlist

Two sequels (ORE'N & Oreca Battle 2)

Unofficial Japanese Wiki

➭ Oreca Battle index

What is Oreca Battle 2?

Oreca Battle 2 is the sequel of the original series, it has been beta test in 2024 after ORE'N's release.

On May 10th 2024 Oreca Battle Twitter announced Oreca Battle 2's first beta test held at Sapura Yokohama Asobi Town (Northport Mall 6F) for location test until May 12th.

Official Release Date: December 17th 2024

This series has:

Official Youtube Channel (2024)

Upcoming CoroCoro Manga

Japanese series via Oreca TV

Unofficial Japanese Wiki

➭ Oreca Battle 2 index

What is ORE'N?

Released in April 2024 (beta test in late 2023).

ORE'N is a digital trading card game and the spiritual successor to Oreca Battle for browser (which mean you can play it on mobile & PC), with new characters, new settings, new mechanic and new stories to tell.

Just like it's first game...you fight monsters, collect them, evolve, and combine them into new monsters!

This new story take place in NEO Tokyo (and sequel to Oreca Battle 1 & 2).

This series has:

A fully voiced Interactive Manga via Shounen Jump+ (illustrated by Posuka Demizu)

Sound Room Youtube Channel (Music Playlist)

Two Prequels (Oreca Battle 1 & 2)

Unofficial Japanese Wiki

➭ ORE'N index

➩ Solomon Program index

✩ Official Links ✩

Oreca battle 1 & 2: Youtube series, Youtube/OrecaTV, Playlist, Twitter/X, OB1Website, OB2Website, Encyclopedia, Oreca Battle CoroCoro Manga, Oreca Battle 2 CoroCoro Manga(No link yet)

ORE'N: YT Sound room, Twitter/X, Twitter/X JP News, Website, Game Link, Manga, Notion site

※ This blog is non-profit and not affiliated with Oreca Battle nor KONAMI whatsoever ※

All reposted official media and assets are rightly owned by KONAMI, and were reposted from official sites and fanwikis.

If I made some mistakes, please DM me immediately!

Blog created: April 23rd 2024

Revamped: November 16th 2024

---★♥︎ Thank You so much for reading ♥︎★---

[phoenixyfriend]

Ko-Fi prompt from @dirigibird:

I've been looking at investment options but I don't want to be messing around too much with the stock market, and a co-worker suggested exchange traded funds. Would love to know your opinions!

LEGALLY NECESSARY DISCLAIMER: I am not a licensed financial advisor, and it is illegal for me to advise anyone on investment in securities like stocks. My commentary here is merely opinion, not financial advice, and I urge you to not make any decisions with regards to securities investments based on my opinions, or without consulting a licensed advisor. I am also going to be talking this all over from an American POV, which means some of these things may not apply elsewhere.

So instead of letting you know what to pick or how to organize your securities, I'm going to go through the definitions of what various investment funds are, how they compare functionally, and maybe rant about how I disagree with the stock market on a fundamental ethical level if I have word count left over.

If you want more information, and are okay with jargon, I'd suggest hitting up investopedia. That is where I will be double-checking most of my information for this one.

I also encourage folks who know more about the stock market specifically to jump in! I like to think I'm good at research and explaining things, but I'm still liable to make mistakes.

Mutual Funds: A mutual fund is a pool of money and resources from multiple individuals (often vast numbers of people, actually) being put together and managed as a group by investment specialists. The primary appeal of these is that the money is professionally managed, but not personally so; it gives smaller investors access to professional money managers that they would not have access to on their own, at cheaper rates than if they tried to hire one for just their own assets. The secondary appeal is that, due to the sheer number of people, and thus capital, that is being invested at once, the money can be invested in a wide variety of industries, and is generally more stable than investing in just one company or industry. Low risk, low reward, but overall at least mostly reliable. Retirement plans are often invested in mutual funds by employer choice, through companies like Fidelity or John Hancock.

Hedge Funds: A hedge fund is a high risk, high reward mutual fund. Investors are generally wealthy, and have the room and safety to lose large amounts of money on an investment that has no promise of success, especially since money cannot be withdrawn at will, but must remain in the fund for a period of time following investment. It gets its name from "hedging your bets," as part of the strategy is to invest in the opposition of the fund's focus in order to ensure that there is a backup plan to salvage at least some money if the main plan backfires. Other strategies are also on the riskier side, often planning to take advantage of ongoing events like buyouts, mergers, incumbent bankruptcy, and shorting stocks (that's the one that caused the gamestop incident).

Private Equity: Private equity is... a nightmare that got its own incredibly good Hasan Minhaj episode of Patriot Act, so if you've got 20 minutes, an interest in comedically-delivered, easily-digestible, Real Information, and an internet connection, take a watch of that one. (If it's not available on YouTube in your country, it's originally from Netflix, or you can probably access it by VPN.) Private equity companies are effectively hedge funds that purchase entire companies, rebuild them in one way or another, and then sell them at (hopefully) a profit. Very often, the companies purchased by private equity are very negatively impacted, especially if the private equity group is a Vulture Fund. Sometimes, it's by taking it apart to sell off; sometimes it's by just bleeding it for cash until there's nothing left. Sometimes, it's taking over a hospital and overcharging the patients while also abusing the staff! (Glaucomflecken has a lot of videos on the topic of private equity in the medical industry, check him out.)

Venture Capital: In contrast to private equity, which purchases more mature companies, venture capital is focused on startups, or small businesses that have growth potential. These are the kinds of hedge funds that are like a whole group that you'd see some random tv character calling an Angel Investor (they're not actually the same thing, but they overlap by a lot). I'd hesitantly call these less ethically dubious than private equity, but I'm still suspicious.

And finally, to answer your question on what ETFs are and how they fit into the above.

Exchange Traded Funds: ETFs are... sort of like a mutual fund. Sort of. You are, to some extent, pooling your money... ish.

An ETF is like a stock that is made out of partial stocks. So instead of paying $100 for stock A, and not getting stocks B/C/D that all cost the same, you buy $100 of the ETF, which is $25 each of stocks A/B/C/D. You are getting a quarter of a unit of stock, which isn't normally an option, but because you are purchasing through an ETF that officially already bought those Whole stocks, you can now purchase the partial stocks through them.

They buy the whole stocks, then they resell you mixes of those stocks. They still officially own the whole stocks themselves, but you now own parts of the stocks. Basically, you own "stock" in a company that owns stock in other companies, and in that process you own partial stocks in those other companies.

I'm going to re-explain this using fruit.

Imagine you can buy apples, oranges, melons, grapes, etc. You can also buy fruit cups. You can only buy the individual fruits in big batches or you can pool your money with a few other people, hand it to a chef. The chef will decide which fruits look like they'll taste the best by lunch time, buy a bunch of those fruit pallets with your combined money, and plan out the best possible fruit salad for you to share with a bunch of people once lunch rolls around.

You could also buy a fruit cup. You don't have a lot of control over what's already in the fruit cup, but there are a few different mixes available--that one has strawberries, but that one over there uses kiwi, and the other one that way has pineapple--and you can pick which mix you want. It's a pretty small fruit cup, and it's predesigned, but you can choose the one you want without having to pool money with everyone else. You just first have to let someone else design the fruit cups you choose from, and you don't know which ones are probably going to survive the best to lunch time unless you ask a chef (which defeats the purpose of buying a fruit cup instead of pooling your money, and asking the chef costs money).

That's the ETF. The ETF is the fruit cup.

The upside is that you can now just track the prices of your fruit cup, instead of tracking the prices of four different fruits, and so if the price of one fruit drops, you can just... let the other three buoy it.

Of course, in the real world, there are more than just four stocks involved in an ETF. This part of the Investopedia article lists a few examples, and they're usually themed and involve anywhere from 30 (DOW Jones) to thousands (Russell) of shares by stock type, or by commodity/industry. So with the ETF, you can invest in an entire industry, like technology, and just keep track of that single "stock" in the industry game.

They do cost less in brokerage/management fees than regular mutual funds, and they have a slightly lower liquidity (slower to cash out). There also exist actively managed ETFs, which are basically mutual funds for ETFs. You are paying the chef to buy you premade fruit cups.

(Prompt me on ko-fi!)

[weirdthoughtsandideas]

If I wanna start watching moomin which adaptation is the best

Honestly, any is good! But due to a lot of them being only available in one country/language, I recommend those who got an international release.

The polish stop motion animated series from the 70s is fine. It's the most faithful adaptation to the books, although I mostly appreciate it for the unique animation. I remember being more frightened by it than any other adaptation as a kid, though.

The 90s anime is considered the most popular, and for a good reason. It's very cozy, funny and really well animated. And this is the one easiest to find, pretty much every episode uploaded on YOUTUBE in countless languages.

The 2019 computer animated series is also very good - the interesting about this one is that they decided to continue the story after the books end. Cause, the book ends with the moomins out at sea and their friends being behind, wondering when they'll come back. But the show decides to let them COME BACK, and then continue some new adventures. It's a very fun choice.

[fipindustries]

got obsessed last night thinking about that "would you go back to being 5 if you had the chance"

the more i thought of it the more issues started piling up.

first of all i wouldnt be able to keep it a secret for long. the sheer shock of meeting my family young again, including dead relatives, would be too strong. also i dont think i could convincingly pretend to act as a five year old. so i would have to tell the truth to my parents.

would they believe me? well i would be able to prove that i have completly unreasonable knowledge for a 5 year old, advanced math, literature, computation, physics, plus knowing english fluently. worst case scenario i can predict 9/11 and eventually they would just kind of have no option but to believe me.

would i be able to get them to buy early stock on shit like google, amazon, youtube, facebook, etc? i dunno, we were a struggling family in argentina back then, i dont think they would have the channels available to do that. also our country was about to be hit by one of its worst economic crises ever so that would also suck a whole lot.

the problem that comes with this is if they tell other people, if the secret comes out id be genuenly terrified id be kidnapped by some agency of some sort and they would try to squeeze me for all my knowledge of the future. same reason i dont think i could contact anyone online about this, there are many people online i would like to have their feed back on my situation but i would worry that a mail or a call or a private message would get intercepted by some NSA like agency (did they even exist in the 90's??? who knows) and is back to the kidnapping. im not internet savvy enough to know of any way to securely send messages online, less of all how to do that in 98.

the other problem is that i would be aware of so many tragedies in my family that i would feel the need to do something about. like how do i break it to my parents that they will get divorced eventually? i know of a distant aunt that will die eventually but i dont remember the exact year so how can i prevent that? do i tell those other relatives that their first attempt at having a child is going to end on a spontanous abortion??? i know of a relative who ended up molesting another relative but it would feel weird to accuse them when they havent done anything yet and it would be a terrible blow to the family and there is a chance they wouldnt believe me. but also i wouldnt be able to hang out with that relative knowing what they will do and it would be massively awkward. and also, how can i look at the relative that got molested on the face if im not going to stop what theyre going to go through? i would be forced to interact with some many people in my family i dont talk to anymore.

do i tell my dad that he will get fired from his job? do i tell my mom what career she is eventually going to pursue? how would she feel about that? would she even go to that career? would i be controlling her life telling her what she is supposed to do?

if i try to re establish friendships with my friends early on the power imbalance would be ridiculous. i already know everything about them. it would be a different friendship if i am the one who pursues it deliberatly and tries to cultivate it on purpose rather than letting it bloom organically. also if i meet them too early on they might be entirely different people, and maybe due to my interference they never grow up to be the people i am familiar with. do i tell that evangelical christian friend that they will eventually become an atheist? do i tell that other "boy" that they will eventually become a girl? do i let that guy know they are gay? holy shit i know of so many of my relatives and friends of my mom that were still on the closet back then.

and on that topic. fuck me, would i have to essentially boy mode for huge portions of my life until i finally start to get some independence. this is the late 90's early 2000's in argentina we are speaking about. i dont think i would get my parents to respect the gender of their 5 year old kid. that would fucking suck balls. shit i probably wouldnt be able to watch porn any more! or masturbate! or be in a serious relationship for at least ten years and even then, again power differentials, i would be so much more mature and adult than any prospective partner with my body's age.

also going to school would be hell, i could probably know how to avoid being bullied this second time around but still i dont think i could avoid being ostracized because i am not going to change who i am just so a bunch of snot nosed little kids dont make fun of me. so that would also suck.

i wouldnt be able to see nothing new on tv, jesus christ. it would all just be shows and episodes i saw before. same in movies. i could probably catch up on some movies from the past i didnt get around to seeing yet. and would probably get to see a bunch of my favourite movies on theatres that i hadnt had the chance to see. but over all it would mean no new media for 25 years. no new games, movies, books, comics, tv shows etc.

also, of course there would be divergences, massive divergences. in fact the more time passes the more things will inevitable change due to my interference and at some point i would be living an entirely new life with no memories to be guided by and that would be terrifying on a whole new level because there would be a chance i end up in a worse place i was at the first time around. i was thinking that i could at least live happy and secure knowing that i was not going to die because i know nothing killed me the first time around but what if actually the first time around i had a bunch of brushes with death i wasnt aware of like a potential car crash or whatever that this time around i do end up in?

there are just far too many downsides honestly to be worth it

[jackredfieldwasmyjacob]

hello people of tumblr, it would mean the world to me if you helped me out in voting my favourite bisexual nerd into winning this one singing competition that might have taken over my life. it is a very simple process, it is free of charge and you can vote once a day tho it's fine if you only vote once, it will make me immensely happy nevertheless <3

so, the steps are as follows:

download the 'ot 2023' app from the app store

2. if you are from a hispanic country you shouldn't have any problem with this. if you are from any other part of the world, you need a vpn to access the app.

3. register with your email or whatever means is easier for you. don't worry, it's free of charge and they don't send you spam emails or anything; i've had it since the beginning of the contest and i haven't received any. it is simply a way to track how many users are in the app i guess.

4. go to the heart in the bottom left (circled below)

5. click on paul thin and confirm your decision of voting him as a winner by clicking on the tick. his heart should be purple then. this is free of charge, you don't have to worry about the money.

6. repeat if you want it next day until next monday :)

also, just to see who you are voting for, here are some of his best performances from the first half of the contest (due to how the program is structured, the second half performances are not available in youtube yet)

[kogurazu]

I'm just gonna rant my chest out regarding the recent Watcher's announcement because I'm still trying to process wtf has just happened & it's pretty late at night. (For the record, I'm one of their international viewers from a 3rd world country.)

It sucks that I cannot buy their official merch that is already expensive (due to conversion rates) + not being able to deliver in my country when I've some spare cash. That's fine by me.

It sucks that I cannot go & watch their live shows being available at certain countries that doesn't cost a damn fortune (plane tickets, hotel bookings, converting currency, etc.) + not in a million years they'll stop by SEA to do tours/live shows. That's also fine by me.

However, the way how they hyped up the announcement mentioning big things are coming only to just drop a video saying "Hey, we're leaving Youtube as the money ain't flowing much to cover our 'extravagant' expenses & all future contents will be locked behind a paywall. So if you're unable to watch most of your beloved shows because you can't pay then toodles!" That's NOT fine by me, let alone anyone else in the matter.

Even if I've a fuck ton of money to spare, I'm still not buying their monthly/yearly WatcherTV subscription because it's JUST. NOT. WORTH. IT. Who wants to buy a monthly yet alone yearly subscription just to watch 1-2 episodes of a show I like being put out weekly per season & then waiting for some time before another new season of another show that has a 50-50 chance whether I enjoy it or not pops up to fill the void? Not me, that's for sure. Damn, I rather subscribe to Netflix or buy YouTube premium if I could because the money spent is worth the content I can get on a monthly/yearly basis.

I get putting exclusive contents such as BTS, special interviews/podcasts, early access to episodes, etc. behind a paywall since they're just nice bonuses for fans who're able to support them but locking REGULAR YOUTUBE content that's not being released consistently & have nothing much to offer behind a paywall? I think you're losing your crackers on this one chief.

After watching the announcement video, I feel plainly numb & disappointed that this is the route they're going for. I understand they need the funds to make videos, pay people & also wanting the freedom to make content that you want to make without adhering to the restrictions of advertisers. I get it.

But what I don't get is this mind numbing decision to spit at the faces of people who can't afford to fork out some cash to enjoy their once free favourite shows that helped cheer them up during the tough times. It's even more disgusting what I heard from Coffeezilla's recent video about Watcher mentioning that they don't even give out a free WatcherTV subscription to their Patreon members as a way to say thank you for your patronage is really saying something eh?

_____________________________

4 years ago, I found Shane & Ryan via Buzzfeed Unsolved just like everyone else randomly being recommended to me on Youtube. I binge watched all seasons of Buzzfeed Unsolved exactly at the same time they're announcing their departure from Buzzfeed to go do their own content at Watcher. What's this? A channel where I can watch the ghoul boys do their own thing? Hell yeah, sign me tf up.

It's really nice to see Watcher growing & trying out new different shows. I'm aware not all the shows they put out matches my taste & that's fine by me. Probably there's an audience out there who enjoy these shows that aren't for me.

I remember the time I was excited when they bring in Ghost Files & Mystery Files which can fill in the Buzzfeed Unsolved void. Are You Scared? & Too Many Spirits are the shows I enjoy listening to them as background noise so that I can focus on my work.

Puppet History & Top 5 Beatdown is where I enjoy the chemistry between the talents & guests. Weird, Wonderful, World & Tourist Trapped is where I enjoy seeing cool places run by passionate people & is like a nice, come hangout with me type of video blogs.

4 years later, this is where I'll be hopping off with the knowledge that I can't no longer be able to enjoy all these shows anymore like I used to just because I can't afford to whip out some measly cash to pay for regular content that I can easily find on Youtube for free.

Even if you leave up the old videos on Youtube (after you've backpedalled your decision to remove all the videos entirely in the first place due to the backlash & gaslighting us into thinking we misunderstood but your Variety article says otherwise), the whole ordeal just makes the experience to re-watch all the content that I used to love & enjoy feels awkward & left a sour, bitter taste in my mouth.

With a very heavy heart, I say thank you for the fun shows you have been putting out these past 4 years & farewell to Team Watcher. I don't know how're you going to recover from this but I wish you a best of luck moving forward.

[mariacallous]

Palestinian graphic designer Bilal Tamimi’s YouTube videos from the village of Nabi Saleh in the West Bank have received 6 million views during the past 13 years. His uploads document joyous festivals and peaceful protests—but also violent skirmishes between Nabi Saleh’s 600 residents and occupying Israeli soldiers. “I need to show to the world what’s happening in my village and the suffering of my people from occupation,” he says.

The platform has helped Tamimi broadcast to his more than 20,000 subscribers, but he’s locked out of YouTube’s revenue sharing program that pays a share of ad sales to more than 2 million video creators in 137 countries or territories. When Tamimi tries to sign up, YouTube’s app says, “The YouTube Partner Program is not available in your current location Palestine.”

The internet has given some Palestinians a global audience, but many benefits of online life that billions around the world can take for granted simply don’t work for people in Gaza and the West Bank. In addition to YouTube’s partner program, money transfer services such as PayPal and ecommerce marketplaces, including Amazon, largely bar Palestinian merchants from entry. Google tools for generating revenue from web ads or in-app purchases are technically open to Palestinians but can, in practice, be inaccessible due to challenges verifying their identity or collecting payment.

As Israeli forces have bombarded Gaza in pursuit of Hamas, tech workers’ and rights activists’ frustrations with the region’s digital inequality has grown. Palestinians are barred from YouTube’s Partner Program and struggle with intermittent connectivity. Israeli YouTube channels in the program could be bringing in some revenue from conflict-related content. Popular Israeli singers have drawn views with songs honoring victims of Hamas’ October 7 attack on Israel, while travel advice channel Traveling Israel has received millions of views on historical explainers.

Human rights organizations say the disparity in access to online sources of income weakens the Palestinian economy. "Many Palestinians who work online struggle to be paid," says Marwa Fatafta, a policy and advocacy manager at the rights organization Access Now. YouTube’s policy “fits a larger pattern of tech companies’ discriminatory approach to Palestinians.”

Google spokespeople, who asked not to be named for safety concerns, say in a statement that the company is committed to creating economic opportunities for Palestinians through services and training. The YouTube Partner Program won’t be available in the Palestinian territories until Google launches a local version of YouTube, which involves customizing features and options to the language and culture. "We continue to invest in the infrastructure that's needed to offer more tools to monetize with Google to ensure it’s a seamless process and follows local legal requirements,” one of the spokespeople says.

To get a sense of how Palestinians are excluded from or face barriers to tapping the world’s largest ecosystem for making money online—Google’s—WIRED reviewed popular Palestinian YouTube channels, news websites, and apps associated with the region. Interviews with content creators, activists, and current and former Google staff familiar with the region and company policies helped fill out the picture. The investigation revealed how a series of Palestinian projects and companies hit financial dead ends when attempting to monetize online in ways easy for people in countries such as the US and Israel. Others resorted to complicated geographic workarounds that siphon off revenue.

The Google sources not authorized to speak to media allege those challenges reflect years of internal politics and neglect of Palestinian users at the company. The sources say a localized version of the company’s search engine, Google.ps, launched in 2009 only after a desire to provide more relevant results narrowly beat out concerns about public backlash for an action some people could view as endorsing disputed territories. But there hasn’t been management resolve in recent years to risk changing the status quo to introduce a Palestinian YouTube that would give local creators access to monetization.

US congressman Mark Pocan of Wisconsin says Israel’s current attack on Gaza underscores how wrong that pattern of online exclusion is. “When massive companies make money hand over fist from creators but deny them their fair share just because of where they live, that is just plain wrong,” he says. It is crucial, he argues, that “Palestinians in Gaza and the West Bank have equal opportunities for economic participation.” In May, Pocan led several Democratic US lawmakers in urging PayPal to allow Palestinian accounts. PayPal, which declined to comment, hasn’t changed its policies.

Duty First

Tamimi, 57, started posting on YouTube in 2010 and views it as a duty in service of his villagers, not a way to get rich. He first tried to join the service’s revenue sharing program a few years ago as a way to defray his costs. “I would for sure try to improve my work, to have a good camera,” he says. “And maybe I can help other people who are doing what I am doing through workshops and cameras.”

Today Tamimi uses an iPhone 12 Pro Max he bought himself and camcorders and equipment donated by B'Tselem, a Jerusalem-based nonprofit organization that aims to document human rights issues in Palestinian territories.

Tamimi’s focus on winning attention over profit is no different than other YouTube creators, says Bing Chen, who once led global creator initiatives at YouTube. “Revenue is of course an incentive, but fame is more so,” says Chen, who now develops and invests in creators through his company AU Holdings.

You don’t need a fancy camera or editing to draw an audience. When Israeli professors analyzed about 340 TikTok videos from 2021 related to the Israeli-Palestinian conflict they found pro-Israeli videos had higher production values but received lower engagement. They argued that viewers preferred Palestinian content because public sentiment tends to favor those seen as victims.

At a time of widespread suffering now on both sides of the border and an intense period of global attention on the region, Palestinian channels like Tamimi’s could be drawing record engagement and revenue—money that could, one day, make rebuilding easier.

Instead, Tamimi has withdrawn from YouTube. He started posting only infrequently after his village stopped organizing weekly protests around 2018 and with no income available feels no loyalty to the Google service. When an incident flares up, he is now more likely to livestream on Meta’s Facebook, where he draws thousands of viewers. “YouTube is like an archive,” he says, not a place to share new content.

Geographic Gaps

YouTube’s revenue program for creators, known as YPP, launched in 2007 and pioneered the concept of a major social media platform turning amateur stardom into a well-paying job. It now has competition from Meta, X, and TikTok—which also don’t offer their programs to people in Palestinian territories—but remains the leader in influence and geographic reach.

Despite YouTube’s dominant position, WIRED’s review found that YPP doesn’t let in creators from over a quarter of the world's 100 most populous countries, most of them in Africa. It welcomes people from many countries with smaller populations than the Palestinian territories, where, combined, an estimated 5 million people reside. Creators from Iraq and Yemen, also Arabic-speaking places troubled by conflict, are listed as supported.

Chen, who helped develop YPP while working at YouTube, believes that the platform’s leaders may want to avoid funding creators whose content puts them at risk from local authorities, and also worry that language barriers or limited staffing could make it difficult to provide suitable customer service.

But it’s not impossible for platforms to work with creators in Palestine. California-based fundraising service Patreon gets money to Palestinian users through the payments provider Payoneer, and smaller money-moving tools such as Saudi Arabia’s PayTabs say they support transactions with Palestinian accounts.

Other parts of Google’s vast empire claim to serve Palestinians businesses, but people reached by WIRED say the reality is very different.

Google documentation says the Google Play app store allows developers from 163 markets, including one listed as “Palestine,” to sell apps and in-app purchases and that Google’s AdSense advertising system supports 232 countries or territories, including “Palestinian Territory.”

Odeh Quraan, who runs a Ramallah-based software development agency called iPhase with overseas customers, says the sign-up process for AdSense requires entering a PIN mailed by Google. But Israel controls the flow of mail to the West Bank, and many items never arrive, he says. He circumvented that by using Stripe’s Atlas service to establish a company in the US state of Delaware without ever setting foot there. But it comes with downsides. “Taxes are a headache, and transferring money from the US bank account to the local banks has turned out costly,” Quraan says.

Three out of 12 popular Palestinian news websites display ads using Google technology, compared with 11 out of 12 well-known Israeli news sources, WIRED found. One of the Google spokespeople says the company in late October began notifying websites in the region about a virtual alternative to the mailed PINs, though the option is not stated in public support documentation.

Elsewhere in Ramallah, software development company Mongid stopped offering in-app purchases from an ecommerce app on Google Play and abandoned a YouTube channel with tutorials on using online learning tools because it was too difficult to receive revenue via Google, says CEO Mongid Abu-Baker.

This month, he and two other app developers interviewed by WIRED have been stymied by a new Google Play requirement that all developers get verified by global professional services firm Dun & Bradstreet. Neither the Palestinian territories nor their country code for phone numbers are listed as options on sign-up webpages, and Palestinian developers must seek customer service from Dun & Bradstreet through offices in Israel rather than an Arab country.

Abu-Baker calls the lack of recognition an affront on his identity. “Palestinian companies hold an importance no less significant than any other worldwide,” he says. He downgraded his account to avoid verification and now worries about losing access to some Google Play features.

Efrat Segev, chief of data and product for Dun & Bradstreet in Israel, says hundreds of Palestinian businesses have finished verification over the past two years and that complaints are few but that it is trying to remedy the concerns. Google declined to comment.

The difficulties faced by Abu-Baker and others in Palestine clash with messaging from Google’s leaders in California about its work in the Middle East. Last year, Google chief financial officer Ruth Porat announced that the company would spend $10 million over three years to help Palestinian graduates, developers, and entrepreneurs “advance their digital skills and find employment.” Just weeks before the recent war broke out, Google said it aims to serve 3,500 Palestinians from the West Bank, Gaza, and East Jerusalem through the investment.

Asked on stage at a conference this month about Google’s role in contested areas like Gaza, Google CEO Sundar Pichai said his company can be a critical technology partner. “We don't see it in the geopolitical context,” he said. “We see it in an enabling context.”

Some Israeli creators, like those in Palestine, feel Google isn’t living up to that. Oren Cahanovitc, owner of the Traveling Israel channel, says videos discussing politics are being flagged by YouTube as not suitable for ads. Corey Gil-Shuster, the Tel Aviv-based creator behind the Ask Project, which interviews Israelis and Palestinians about their views on the conflict, says he’s seen the same pattern.

YouTube’s screening tools can deem videos showing violence or capitalizing on war as inappropriate for advertisers, although partner program participants also get some revenue from paid subscribers to YouTube who don’t see ads. That business, and revenue stream for creators, is growing.

Palestinians lack the opportunity to receive checks from YouTube at all. The Israeli creator Gil-Shuster says the disparity was news to him and that the fix seems clear. “Palestinians living in the West Bank and Gaza, obviously,” he says, “should have equal right to benefit from monetization as anyone else.”