>á´<
Oh this one too
Cosmic Funnies
styofa doing anything

TVSTRANGERTHINGS

@theartofmadeline
One Nice Bug Per Day
đŞź
AnasAbdin
todays bird

Kiana Khansmith

if i look back, i am lost

çĽćĽ / Permanent Vacation

tannertan36
occasionally subtle
Peter Solarz

Love Begins
Misplaced Lens Cap
tumblr dot com
he wasn't even looking at me and he found me
seen from Indonesia

seen from TĂźrkiye

seen from Spain

seen from Canada

seen from Germany

seen from TĂźrkiye

seen from United States

seen from United Kingdom
seen from United States
seen from United States

seen from Canada
seen from Greece

seen from Norway
seen from Australia
seen from TĂźrkiye
seen from Israel
seen from Germany

seen from Malaysia

seen from United Kingdom

seen from United States
@bootlegreversal
>á´<
Oh this one too

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(ËśËáËËľ)
asdfghjkl
Ci Sha is a CDrama actor who looks nothing like most CDrama actors I've seen. Despite his young age, he has the mien of a mature and sensible man. There's no iota of flower boy about him and I mean this in a good way. To add to that, he has topnotch acting and physical skills (he really knows horseback riding and martial arts). He can act with only his eyes or a slight movement of his face. Very nuanced yet very effective.
I doubt if he's a "traffic actor" in the sense that he was only given the lead role because of his fanbase. Judging from his portfolio of work, most of them aren't even dramas but film projects. He played mainly supporting or character roles in the dramas that he did. In fact, in his two previous projects with actress Ren Min, he did a supporting role in the first (her fiance, I think, whom she rejected) and a villain in the second (Lu Jiaxue, the Marquis of Ningyuan). In "The Rise of Ning", viewers found him so compelling, his portrayal so sensitive and layered, and his chemistry with Ren Min so intense. That probably prompted producers to reunite them in "A Splendid Match".
I checked out his profile and it turns out he's of Yi or Nousu ethnicity. I think they look like a cross between East Asian and European features.
Anyway, I hope the drama "A Splendid Match" opens up a lot of doors for him and catapult him to the A-list group of actors. But I hope he doesn't get cast in idol dramas with lightweight plots. Ci Sha's acting skills are for heavy drama or dramas that require subtlety.
New CDrama bias unlocked. đ
Thank you for the excellent shoutout for Ci Shaâbias firmly in place over here. I do appreciate a good flower boy, but he is not that.
My fella the photographer and I are lowkey obsessed with this guy. The Marquis in Rise of Ning is what started it, but his Guo Jing (from the Jin Yong Condor Heroes adaptation) is what cemented it. What range!
I do feel his skill and subtlety are almost criminally underutilized in A Splendid Match (as are a lot of things. It's a decent but unremarkable cdrama for me so far), but that's likely a director issue. He's still fun to watch, and the little microexpressions sneak in despite the editor's attempts to excise them.
That was NOT a problem in Rise of Ning, where the cinematographer/director were clearly infatuated with him. They openly allowed him to vamp and steal every scene he was in and even used different lenses and lighting to shoot him half the time. The close-ups, varied angles, coloration...everything just dripped worship. Avail yourselves of a hotel's finest accommodations, people.
And then send me an invite?
you can be a shapeshifter but once you change your shape you need to remain in it for at least one week taking the deal?
yes
no
results
*changes into a cat*
*changes into a cat*
*changes into a cat*
*changes into a cat*
*chan
*changes into a cat *
*realizes I have to clean my toes and butt with my own tongue several times a day *
*immediately decides to find a dog friend*
"English doesn't really have any equivalent whatsoever to Japanese honorifics, so we just completely leave them out of our subtitles because there's no way that our English-speaking audience could possibly grasp their significance in explaining these character's relationship with each other"
There is a character named Robert Thomson.
At work, he's known as Robert by his coworkers and Thomson by his boss. At home, the people in his neighborhood call him Rob. His parents, spouse, and closest friends call him Robbie. His best friend from childhood calls him Robbie and also sometimes calls him Roberto. The children in his neighborhood call him Mr. Rob but when he does volunteer work at the library the kids there call him Mr. Thomson. Children in the wild who don't know him personally call him sir. When he goes to anywhere with reception, he's typically addressed as Thomson.
So explain to me again why English speaking audiences can't grasp that those kids are calling that woman Oneechan because she's a young adult woman that they aren't personally acquainted with, and more importantly why you chose to localize that to her given name and not the equivalent of "Miss" or even "Miss Given Name"? Because if your goal is to replicate the experience that the original Japanese audience would have with those characters, you're failing spectacularly. Because now not only do you have a bunch of kids going around calling adults by their given names when in the original language they're calling them a cultural equivalent to Miss or Mister, but your insistence on removing all honorifics and just using names means that there's no absolutely zero difference in the way a person is addressed by the people closest to them and total strangers. Which is not only wildly inaccurate to how the Japanese audience would experience that, it's not even that accurate to English, either.
Oh my god you are a hero for pointing this out so eloquently.
The absolute MISERY that is modern translation localization is partly why I have been struggling through teaching myself enough Korean, Japanese, and Mandarin to understand various levels of formality of address in their respective cultures (Cantonese, while a simultaneously badass and poetic language, is utterly beyond my limited skills so far). It's gotten to the point where I can fume quietly and only occasionally pause a show or movie to rant to my very patient male domestic counterpart about how the subtitles are just murdering the nuance and subtext of the scene.
And of course, can't even mention AI auto-translations without losing my personal signal integrity asdfghjkl

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This young girl uses âlos,â âlasâ and the gender-neutral âlesâ â watch her explain why. âfrom REMEZCLA on twitter.
to all the cowards who whine âhow will i explain it to my kids??â i say: how about you shut up and let your kids explain it to you.
âMaâam, you donât have to be a lawyer to defend someone elseâ wow she snapped
dammnn she really popped off with that last line though
IN THIS HOUSE WE STAN THIS KID
as someone who studies linguistics, i will never not laugh when someone says âthat word doesnât existâ like, my good bitch. if a word is regularly used by a certain amount of people then it exists. if it has its own grammatical rules then its perfectly valid. itâs part of their lexicon now, sweetie. âItâs a made up wordâ honey, all words are made up. Linguists didnât just fucking excavate athens and were like BEHOLD!!! VOCABULARY!! âthat word isnât in the dictionaryâ dictionaries are not rule books, theyâre record books. âRefrigerateâ didnât exist 200 years ago and yet here we are. a language that doesnât adapt to an ever changing society is bound to be lost because, eventually, it wonât be able to keep up with social progress. you motherfuckers.
This is why I love editing fiction. In fiction, writers (usually) get to experiment with language more than in gen pop non-fiction, academic, etc. A linguistically playful writer can really brighten your day.
Which is also why this site is the only sm I don't have the urge to defenestrate when a notification interrupts me.
things I wonât let ai take away from human writers
em dash
ânot x, not y, but zâ
short sentence stacking as a stylistic choice
none of these belong to ai. these are all what human writers have been writing since day one, way before ai was invented. ai was trained to mimic how human writers write â so em dash, not x not y but z and short sentence stacking would never have been used by ai at all if ai hadnât learned and mimicked them from human writers.
no, you are not âfighting against aiâ by accusing every work that has em dash, not x not y but z or short sentence stacking in it as ai-generated, you are helping ai harm the writing community by engaging in witch hunt and scaring human writers away from creating/sharing their works for fear of being wrongly accused of using ai.
speculations, accusations and ai witch hunt harm the writing community as much as ai does, if not more.
Yes yes yes. A plea from an editor: writers, do not allow AI fear and aggression to inhibit your creative instincts and output. Go! Fly! Be free! Then send me your stuff because I need a good read.
I am not saying that PoJ had flawless writing, no it did not, but I see a lot of LinâAn slander in the criticism of the drama and how Changyu does not want to grow. And I do not exactly agree with the take?! She absolutely does grow up after the LinâAn massacre and wants to rebuild the place that has seen her childhood to adulthood. LinâAn is where she fell in love too. And they are not rich people cosplaying to be poor in LinâAn. From what I have gathered (and I could be wrong because I am not native Chinese) they visit LinâAn as escapade from their regal duties. When they are not defending the country or are not in Capital (because these are commitment-heavy roles and not just title) they visit LinâAn to unwind. To go back to their simpler days that they love and cherish so much. Especially because of their extremely demanding job they need a safe place and LinâAn is their safe place.
Also while we are at it, I really do not think that Changyu was wishy-washy about Xie Zheng. She loves that man, for who he is. It is not like she disrespects him as the Marquis of Wuâan or loves him any less?! Xie Zheng without those burdensome titles is Yan Zheng at his core (heck that's something he wants for himself too. He loves being her matrilocal husband â safe to say this man is secure in his masculinity). While he crafted that identity during his time of misfortune he bloomed into it. She was ready to marry Xie Zheng because she loves her man regardless of his identity or title. It just took her a while and in Episode 36 she accepted him entirely for himself (no turning back from that moment onward).
I also do not agree with doormat Xie Zheng allegations, the man is as ruthless as ever everywhere else minus when with Changyu (as it is repeatedly stated she is the sheath to his sword, where he relaxes and rejuvenates.) He still did cut off the Eunuchâs ear defying the royal decree to marry the Princess Royal Qi Shu, he still valiantly fought and escaped the trap despite being dr*gged and k!lling the Eunuch in one strike in the still inebriated state. The show did not have to explicitly show us him in war scenes to establish how skilled of an warrior he is. His precision, his skill spoke on his behalf. It is in the way he conducts himself, the way he walks, and talks that you know he is the Marquis of Wuâan. The only reason he tolerates Jin crossing line is because his wife is fond of her Squad, trust me he would not have tolerated it otherwise. The wine glass breaking scene was telling enough when he put Jin in his place without even touching his neck or killing him. By crushing the wine glass he let it be known that he is the Marquis of Wuâan and Fan Changyu is his wife and they should tread extremely carefully. He wielded his power and aura with subtlety in the show and that was killer in its effectiveness.
The drama also chose to focus on the emotional aspect of Xie Zheng and his love for Fan Changyu, who is his sun, warmth, home, hope and joy and I think it is beautiful how he never played when it came to his wife since day 1 until the very end.
Again all of this is entirely my perspective and my takeaway from the drama.
Yep yep. Agree with most of this. As an editor (of books and screenplays) I must insist on some not-sexy moderate flogging and threats of restraint for the writers/editor/director over the plot and logic gaps that snowball over the last ten eps or so, but the storytelling around the characters and their relationships is really lovely.
Do not read this to your family while you are all driving somewhere. This is how I found out my male domestic counterpart 1. Doesn't have a box of tissues in his car, and 2. Has (thankfully) better reflexes than I thought or I'd be writing this from a hospital bed
Those astronauts are really living in the Now
(Image by my friend yAak)

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it's been said but i'll say it again: top tier bit of this show is whenever changyu is being given the slightest offense and it pans to yan zheng VERY LOUDLY lefty-looseying the screws on his hinges in the background
Lefty-looseying unapologetically lifted and loaded into lexicon
There is an op who talked yesterday about how that screen separator was important because it was the separation between the private sphere and the public one.
In yesterday's episode we saw that he was with her. Comforting her in her bed. She was allowing him in a private sphere, as you know they are married.
But now she is keeping him away.
As op said, that screen protector is both a pratical separation for day to day life but it is also a symbol of Changyu's distance and how she is implementing it.
The fact she is calling him Your Lordship for the first time is a great way of showing the distance between them. She is completely stepping back from their relationship, once again to protect herself.
She does not want him to know about her father because she is ashamed of it. Even if there is a part of her that knows her father is innocent. She does not to make Xie Zheng suffer. And possibly make him choose between appeasing his father spirit and not associating with her anymore or lliving with a burden on his shoulders.
The way of doing it is clumsy but she is behaving that way to protect him.
Nice insights into character motivation. I'd like to add one more potential aspect of Changyu's distancing herself from Yan/Xie Zheng (the situation is different in the novel, but that's fine. Changes are made when adapting original IP to the screen).
Changyu saw how the Xie generals were ready to violently turn on her just for stopping them from burning an effigy of her father in the family ancestral hall during the annual memorial rites. If they found out she was Wei Qilin's daughter, they would, at best, ban her upon pain of death from ever entering the family compound again. At worst, well...
But even more critically, if they ever found out the heir and head of the family had MARRIED her, even if neither Zheng nor Changyu knew the truth at the time, who knows what might happen. Changyu might be imagining that Xie Zheng would lose all of his authority in the family and over the armies, all of whom would be filled with rage at Zheng's "betrayal" by marrying his own father's murderer's daughter. (We know that's probably not the case at this point, but no-one else does.) That would be terrible for the country, and she doesn't want to risk it.
So she distances herself, both to protect herself but even more to protect Xie Zheng. At least that's how I read it. It's emotionally complex, but these are complex characters â which is I think one of the best aspects of this series. Just look at the complicated mess of the Sui brothers/not brothers. My god are they conflicted. That death scene is wrenching, even if you think they're terrible people. Which, for me, is what makes them feel like real humans, not just characters moving through plot points.
For me, the storytelling in this show, while a bit patchy in the last few episodes (some pacing and logic issues, a couple of deus ex machina moments), is spot on when it comes to the relationships among the characters. Messy, emotionally complex, and ultimately, very human.
Writing Advice that Will Save You from Crying over Chapter 3 Again
â˝ Sometimes âwriterâs blockâ is actually just your story being broken and your brain knowing before you do. Respect the vibes, go back. Something stinks.
â˝ If youâre stuck in the middle, skip to the part youâre excited to write. Chronological writing is a suggestion, not a law.
â˝ âKill your darlingsâ is not about deleting every cool thing you love. Itâs about not hoarding scenes like a dragon with dialogue you wrote in 2017 that doesnât even make sense anymore.
⽠You do not need to write like your favorite author. You need to write like you, caffeinated and slightly unstable.
â˝ Talking to yourself in the mirror as your character is not weird. Itâs called method writing. Youâre not unhinged, youâre dedicated.
⽠Aesthetic Pinterest boards and playlists are writing progress if they make you feel like a god again.
â˝ You can write the climax before you finish Act 1. You can rewrite Chapter 1 thirty times and then delete it anyway. Youâre not behind, youâre in hell with the rest of us.
Youâre allowed to write stuff thatâs not âmarketable.â Youâre allowed to be weird. Write the story that would make you feel seen. The niche finds its freaks.
â˝ Beta readers are not gods. Take what resonates, ignore what doesnât. If five people say your story drags at Chapter 8? Maybe listen. If one person says âmake it all about the dog,â maybe donât.
As a professional author, cosigning all of this 1000000%, especially that first point that "writer's block" is sometimes your brain knowing something is broken.
It took me SO FUCKING LONG to learn what that reaction looks/feels like in my mind and body (for example: exasperated boredom of the story, generalized feeling of resentment and peevishness at myself, existential despair every time i look at the document, physical exhaustion or a vague weighty feeling like I'm carrying something heavy, or even just a vibe of "mehhhh don't really feel like it" that goes on longer than a couple days). Once I learned to recognize those signs and translate them to "Oh, did I fuck up four paragraphs ago? Whoops, I sure did!!!", my quality-of-life and my writing output (and my joy in the work) improved DRAMATICALLY.
Almost everything above is right on.
Also: in my experience, anyway, âwriterâs blockâ isnât really the writerâs: itâs a characterâs. Somewhere thereâs usually a conversationâwith another character, with you, with the plotâthat a significant character is trying to avoid having. (Or that you havenât worked out that they need to have before the writing can continue.) Go find out what that conversation is, and have it, and the âblockâ will evaporate.
As an editor and screenwriter of a few decades, I can say there's some fantastic insight here. It took me years to be able to clearly understand and articulate most of it. Thank you! I hope you all get good sleep and stay hydrated!
just look at these fluffy motherfuckers. i want ten of them
Here, have six youngsters. The other four are trying out their wings and will be back soon.
(from girlschannel.net)
âThe old magic persists thanks to itâs unfathomable power.â
No, the old magic persists because the new magic canât run the legacy spells I need to do my job, and keeps trying to install spirits I donât want or need onto my orb.
Look, if the new magic didn't have a personality construct that kept trying to tell me which spells to use, maybe I wouldn't still be using the old magic.
Yes it had a deep blood cost, but at least it was a one time sacrifice and not this monthly bloodletting nonsense new age magic has
The old magic is robust enough to survive a decade of use and it's compatible with every wand, staff, scroll, and charm in our collection.
The new magic stops working after three days and every spell uses proprietary runes.
Our preferences, as an archiving institution, should be pretty clear.
You try to get guidance for the new magic and the king's sorcerers maybe will answer you in a few days with an unhelpful suggestion to buy the newest orb.
You need guidance for the old magic and a dozen retired middle-aged wizards will pop up to explain it to you rune by rune if necessary.
The old magic persists thanks to its unfathomable power to not piss me off.

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Wake up. A good list to get started.
TwitWipe is a tool to wipe or delete all your tweets and clean your Twitter account in one go! Erase all your multiple tweets automatically,
Just a thought in passing: Hereâs a utility that some of you may want to avail yourselves of in the days to come.