it’s so magical and beautiful that there are sprawling interconnected cave systems carved deep into the earth by various geological forces and you don’t have to go in them. there are miles and miles of stone passageways in total darkness that require you to exhale all the air out of your lungs to squeeze through parts of them and you don’t have to be there. some of these squeezes are underwater and require cave divers to take off their oxygen tanks and push them through ahead of them and me i am above ground looking at the sky as we speak. there are untold subterranean wonders no human has ever seen and i will not be the one to discover them #grateful #blessed
so true there could be any number of undiscovered species down there all of which are none of my business and never will be. peace and love on (the surface of) planet earth 💕
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“People should pass a test before being allowed to have kids.” “Isn’t it scary how white people have this inborn capacity for evil?” “I’ll never pass because males and females have different skull shapes.” “Autistic people have a stronger sense of justice than anyone else.” “I don’t want AMABs in my space because they’re dangerous.” “You shouldn’t have access to hormones if you dress like THAT.” “Anyone who does something that awful isn’t human.” “Some people really shouldn’t be allowed to vote.”
This is eugenics. This is phrenology. THIS IS NAZI SHIT, YOU ARE A LEFTIST BUYING INTO NAZI SHIT. YOU ARE NOT IMMUNE TO NAZI SHIT.
Promise not to get mad. What I crave now is your blood, Shunsuke. I don't have it to protect me. I wish I could drink a cup of your blood. Come on, you have a gift. You'll be fine.
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It's been a while since I last made a rec post, and it's been a slower year for hard-hitting Hong Kong cinema, but hello! I'm back and I have a film to talk about:
我們不是什麼 | We're Nothing At All (2026)
“當雪崩的時候，沒有一片雪花是無辜的。”
"In an avalanche, no snowflake is innocent."
We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.
We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.
Aside from the plot and pacing being mostly well done, the film's acting and production are commendable. All three leads do a fantastic job, and kudos to the two Ansons for taking on their characters with this much determination (this movie was an acting breakthrough for both of them, as most of their roles before this had been idol-drama type projects). Patrick Tam is semi-unrecognizable as Lung-sir, and I sincerely hope he and Anson Kong will receive some kind of recognition in the upcoming awards season. All the supporting cast members also fit into their roles well. Shoutout to Thor Lok as Andrew, a character who was without a doubt the scene-stealer of this film.
The cinematography looks great considering the extremely tight production schedule this film had— there's a rougher quality to it in some areas, but in a sort of charming, gritty way. The soundtrack is absolutely beautiful, and I still can't get it out of my head after seeing the movie twice in theatres. I think regardless of if this movie turns out to be for you or not, it is still worth watching, and worth discussing.
We're Nothing At All is currently winding down its theatrical release in Hong Kong, and has already gone through limited theatrical releases in the UK and Canada. However, it is making its way through film festivals around the world (its latest premiere was at Taipei Film Festival and it will be screening at the upcoming Fantasia Festival in Canada), and hopefully there will be future releases in other countries. If what I've said intrigues you, here are a couple trailers below, and as always, please let me know if I've ever convinced you to watch a film!
I reblogged this last month, tagged it, and said “might as well see if it works.” I used this video as a reference to find all the forms that i needed (which is A LOT, especially if you’re a dependent) and sent them through the mail, not really allowing myself to hope.
dude.
$2,714 of medical debt from my top surgery - gone. im shaking this was such a weight on me for 2 years and it fucking worked. what the fuck.
Hospitals like to hide these policies under a lot of successive links in obscure places, so if you don't see anything right away, keep looking! Get friends to help! Make it a scavenger hunt. A game where you're assassins sent to slit capitalism's throat
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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It's been a while since I last made a rec post, and it's been a slower year for hard-hitting Hong Kong cinema, but hello! I'm back and I have a film to talk about:
我們不是什麼 | We're Nothing At All (2026)
“當雪崩的時候，沒有一片雪花是無辜的。”
"In an avalanche, no snowflake is innocent."
We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.
We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.
Aside from the plot and pacing being mostly well done, the film's acting and production are commendable. All three leads do a fantastic job, and kudos to the two Ansons for taking on their characters with this much determination (this movie was an acting breakthrough for both of them, as most of their roles before this had been idol-drama type projects). Patrick Tam is semi-unrecognizable as Lung-sir, and I sincerely hope he and Anson Kong will receive some kind of recognition in the upcoming awards season. All the supporting cast members also fit into their roles well. Shoutout to Thor Lok as Andrew, a character who was without a doubt the scene-stealer of this film.
The cinematography looks great considering the extremely tight production schedule this film had— there's a rougher quality to it in some areas, but in a sort of charming, gritty way. The soundtrack is absolutely beautiful, and I still can't get it out of my head after seeing the movie twice in theatres. I think regardless of if this movie turns out to be for you or not, it is still worth watching, and worth discussing.
We're Nothing At All is currently winding down its theatrical release in Hong Kong, and has already gone through limited theatrical releases in the UK and Canada. However, it is making its way through film festivals around the world (its latest premiere was at Taipei Film Festival and it will be screening at the upcoming Fantasia Festival in Canada), and hopefully there will be future releases in other countries. If what I've said intrigues you, here are a couple trailers below, and as always, please let me know if I've ever convinced you to watch a film!
It's been a while since I last made a rec post, and it's been a slower year for hard-hitting Hong Kong cinema, but hello! I'm back and I have a film to talk about:
我們不是什麼 | We're Nothing At All (2026)
“當雪崩的時候，沒有一片雪花是無辜的。”
"In an avalanche, no snowflake is innocent."
We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.
We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.
Aside from the plot and pacing being mostly well done, the film's acting and production are commendable. All three leads do a fantastic job, and kudos to the two Ansons for taking on their characters with this much determination (this movie was an acting breakthrough for both of them, as most of their roles before this had been idol-drama type projects). Patrick Tam is semi-unrecognizable as Lung-sir, and I sincerely hope he and Anson Kong will receive some kind of recognition in the upcoming awards season. All the supporting cast members also fit into their roles well. Shoutout to Thor Lok as Andrew, a character who was without a doubt the scene-stealer of this film.
The cinematography looks great considering the extremely tight production schedule this film had— there's a rougher quality to it in some areas, but in a sort of charming, gritty way. The soundtrack is absolutely beautiful, and I still can't get it out of my head after seeing the movie twice in theatres. I think regardless of if this movie turns out to be for you or not, it is still worth watching, and worth discussing.
We're Nothing At All is currently winding down its theatrical release in Hong Kong, and has already gone through limited theatrical releases in the UK and Canada. However, it is making its way through film festivals around the world (its latest premiere was at Taipei Film Festival and it will be screening at the upcoming Fantasia Festival in Canada), and hopefully there will be future releases in other countries. If what I've said intrigues you, here are a couple trailers below, and as always, please let me know if I've ever convinced you to watch a film!
Sometimes a fanon interpretation shared by so many people will gaslight you into thinking YOU're not smart enough to understand it when, in reality, no, the collective of a fandom can indeed just be misinterpreting a character beyond parody. It's not you, it's them
btw, if nothing else about my rec post convinces you to watch We're Nothing At All, then consider at least giving it a chance for this fucker who ruined my life for a few weeks after watching:
It's been a while since I last made a rec post, and it's been a slower year for hard-hitting Hong Kong cinema, but hello! I'm back and I have a film to talk about:
我們不是什麼 | We're Nothing At All (2026)
“當雪崩的時候，沒有一片雪花是無辜的。”
"In an avalanche, no snowflake is innocent."
We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.
We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.
Aside from the plot and pacing being mostly well done, the film's acting and production are commendable. All three leads do a fantastic job, and kudos to the two Ansons for taking on their characters with this much determination (this movie was an acting breakthrough for both of them, as most of their roles before this had been idol-drama type projects). Patrick Tam is semi-unrecognizable as Lung-sir, and I sincerely hope he and Anson Kong will receive some kind of recognition in the upcoming awards season. All the supporting cast members also fit into their roles well. Shoutout to Thor Lok as Andrew, a character who was without a doubt the scene-stealer of this film.
The cinematography looks great considering the extremely tight production schedule this film had— there's a rougher quality to it in some areas, but in a sort of charming, gritty way. The soundtrack is absolutely beautiful, and I still can't get it out of my head after seeing the movie twice in theatres. I think regardless of if this movie turns out to be for you or not, it is still worth watching, and worth discussing.
We're Nothing At All is currently winding down its theatrical release in Hong Kong, and has already gone through limited theatrical releases in the UK and Canada. However, it is making its way through film festivals around the world (its latest premiere was at Taipei Film Festival and it will be screening at the upcoming Fantasia Festival in Canada), and hopefully there will be future releases in other countries. If what I've said intrigues you, here are a couple trailers below, and as always, please let me know if I've ever convinced you to watch a film!
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
In conversation with multiple posts going around discussing technical literacy and typing skills…
I HAD typing classes: my typing speed is less than 35 Words Per Minute
I did NOT have typing classes: my typing speed is less than 35 WPM
I HAD typing classes: my typing speed is 36-45 WPM
I did NOT have typing classes: my typing speed is 36-45 WPM
I HAD typing classes: my typing speed is 46-55 WPM
I did NOT have typing classes: my typing speed is 46-55 WPM
I HAD typing classes: my typing speed is 56-69 WPM
I did NOT have typing classes: my typing speed is 56-69 WPM
I HAD typing classes: my typing speed is faster than 70 WPM
I did NOT have typing classes: my typing speed is faster than 70 WPM
I'm on mobile/ vanilla extract option
Remaining time: 1 day 3 hours
➡️ Take a typing test here (and you need an actual, physical keyboard for this):
The industry-standard benchmark used by employers and typing certifications worldwide.
➡️ 'Typing classes' refers to computer skills classes you might have had in school; you can also count games or other related typing training your parents might have had you do.
➡️ Across 3 different typing test websites*, the (english language) world average typing speed is 40 WPM.
