I don’t think it’s a descent into madness I think it’s an ascend
the audacity of a blog with 10 followers thinking they can kung pow penis
the-one-and-only-aroace asked:
I’m proud to say that Im confident I get all but 4 of the things in your desc (two of which I’m iffy about) and have influenced a couple of them.
you-have-been-frizzled answered:
which ones now i’m curious, a couple are jokes people have made about my rock obsession
I’m clueless about the arsonist in another timeline and camp counselor one (which I think maybe are discord references? But I don’t really have a way to know because I’ve pretty much abandoned it) but I guessed the rock predator and stone insurer had to to do with your rock obsession
i have an obsession with fire, i just have hyper empathy and enough impulses control/self preservation to not set things on fire randomly, but in another timeline i would be without a doubt a surreal arsonist
and the second one is a discord reference
the *star* Kotlc *star* server is literally the craziest server i’ve been in, sometimes i literally feel like a tired camp counselor just watching them run feral because i have given up on taming them.
also River literally said you are insured in stones this afternoon, the rock predator was Nyx in the tags of one of my posts about getting rocks from the rock dude at the farmers market
Arson does sound like a very cleansing activity
I’ve considered joining the server, but the last server I joined I just gradually muted every channel until I decided it would be easier to leave
well, there’s a LOT more servers than the last kotlc server, and Kay and Riri are in there (not that active but still)
Hmm, I could Join, but also joining a sever through the app is almost impossible
i can just send you an invite over discord, those work a LOT better
"The studios thought they could handle a strike. They might end up sparking a revolution"
by Mary McNamara
"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.
Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.
This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.
More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.
But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.
Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.
Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”
“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”
If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.
“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”
Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.
A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”
When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.
Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)
Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.
Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.
Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.
The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”
Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.
Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.
At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.
It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."
Get to know your fic writer!
- Do you prefer writing one-shots or multi-chaptered fics?
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- Where do you find inspiration for new ideas?
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- How do you choose which POV to write from?
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- Cltr+f "blinks" on your WIP & copy paste the first sentence/paragraph that comes up
- Link your three favorite fics right now
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- what’s a common writing tip that you almost always follow?
- how do you write emotional scenes? Do you ever feel what the characters feel? Do you draw from personal experiences?
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- Name three of your favorite fanfic writers.
- Do you want to be published some day?
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- How do you write kissing scenes?
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- Share a snippet from a WIP
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- Do you tend to reread fics or are you a one-and-done kind of person?
- What’s the last fic you read? Do you recommend it?
- Do you take a sadistic joy in whumping your characters, or are you more the "If you hurt them I would kill everyone and then myself" kind of person?
- What mistakes do you keep making no matter how many times your beta corrects you?
- Do you want to break your readers‘ heart or make them laugh?
- How would you describe your style? (Character/emotion/action-driven, etc)
- How many times do you usually revise your fic/chapter before posting?
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- How do you spend your time when it comes to fanfiction? Are you primarily a fic reader, writer, or a perfect 50/50 split of both?
- What’s your favorite part about the fanfiction writing process?
- Of the characters you write for, which is your favorite? Has that choice been swayed at all by your followers/readers’ reactions to certain ones?
- What’s something about your writing that you pride yourself on?
- Do you prefer editing as you write, or waiting until it’s finished?
- What part of the writing process do you enjoy the most? (Brainstorming, outlining, writing, editing, etc)
- Does anyone in your personal life know you write fic? if not, would you tell anyone?
- Have you had a writer you admire comment on your fic? What was that like?
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- Thoughts on cliffhangers?
- Something you hate to see in smut.
- Something you love to see in smut.
- Tell us about what you’re most looking forward to writing – in your current project, or a future project
- How do you deal with writing pressure (ie. pressure to update, negative comments, deadlines, etc.)?
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- What, if anything, do you do for inspiration?
- What work of yours, if any, are you the most embarrassed about existing?
- When asked, are you embarrassed or enthusiastic to tell people that you write?
- When it comes to more complicated narratives, how do you keep track of outlines, characters, development, timeline, ect.?
- What order do you write in? front of book to back? chronological? favorite scenes first? something else?
- What do you think makes your writing stand out from other works?
- You’ve posted a fic anonymously. How would someone be able to guess that you’d written it?
- What scene in [Fanfic Name] took the longest to write? What was difficult about it?
- Did you have any ideas that didn’t make the final cut of [Fanfic Name]?
- Do you have a favorite scene you’ve written from [Fanfic Name] story/chapter?
I feel bad for people who’ve never experienced a corn maze bc it’s not even fun but you just have to do it
I'd like to reblog this with some tags and comments bc I've really appreciated reading them
people who get what I mean:
people who have found a way to have fun in the corn maze but who I'm a little worried about:
person who we are going to put in the corn:
