It’s christmas and i needed to get something out
So here’s the forger family, in all their slightly disastrous holiday spirit.

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It’s christmas and i needed to get something out
So here’s the forger family, in all their slightly disastrous holiday spirit.
We definitely have to see Loid's reaction in chapter 76 because Anya getting a Stella and her officially being friends with Damian deserves all the rewards and awards!
In short, Anya is once again proven to be the most important part of Operation Strix.
Realizing that Spy X Family really is The Anya Show to me, and not just because "oh look, cute baby child" but because Anya is the center of the story. She has so many secrets resting on those tiny shoulders. She is juggling so many agendas. She's the one who knows everything and her choices drive the plot—she chose Twilight, she chose Yor, she chose Bond—and even when you look at the other characters and their relationships she IS the star they orbit around! Twilight and Yor's relationship is built on their shared care for Anya! And more than that, at the core of it all, Anya's goals are the ones we're invested in.
The center of this story isn't the superspy trying to do his job, or the assassin trying to do hers. It's the little girl who said "FAMILY" and pulled the building-blocks of one close around her with all her tiny strength, and everyone else in this story keeps being moved and changed and redirected by the force of Anya's attachments to her family.
And at the same time she is SO SMALL.
As a dog mom, I was sad when Anya didn’t mention bond as something she loves. ☹️
Loid’s love for Anya is still conditional because he is still very concerned about the mission.
But Yor ? She quickly became Anya’s mother, she loves Anya unconditionally and only mentions her “mission” when it comes to Loid. She does genuine things for Anya without thinking of being a suspect, she mostly insecure about being a bad mother. She is so focused on Anya’s wellbeing, she wants the kid to enjoy her childhood so much. She’s maybe a fake wife but she’s a real mom for sure.
Severance is about rebellion, about people who were literally created to obey finally questioning and breaking through that conditioning. There’s a storyline about someone doing a complete 180 and choosing to rebel when they realise they have a child that they’re not allowed to see, and I love that the storyline wasn’t given to the female lead, but to a previously comic male character. There’s a storyline about breaking protocol because for the first time ever you have fallen in love, in intense, overwhelming, impossible love, and I love that the storyline wasn’t given to the female lead, but to a pair of awkward old guys. The storyline about grief and guilt also goes to a guy, to the male lead.
I love that the female lead is the only one whose radicalisation comes entirely from within, the person motivating her is her, she’s not doing it for anyone else, she wants her freedom, and failing that, she wants bloody revenge even at the cost of utter self-destruction.
Congratulations to Michaela Coel on winning Outstanding Writing for a Limited or Anthology Series or Movie for I May Destroy You at the 2021 Primetime Emmy Awards
If you feel regret, shame or guilt when looking back, that means you've grown since then and that's a good thing. Your negative feelings about your past are a sign that you're constantly improving, not a sign that you're a bad person.
Path
This poem,“Path,” is by Jack Hirschman, former poet laureate of San Francisco, and a fierce advocate for the working class. He passed away August 22 at the age of 87. Go to your broken heart. If you think you don’t have one, get one. To get one, be sincere. Learn sincerity of intent by letting life enter because you’re helpless, really, to do otherwise. Even as you try escaping, let it take you and tear you open like a letter sent like a sentence inside you’ve waited for all your life though you’ve committed nothing. Let it send you up. Let it break you, heart. Broken-heartedness is the beginning of all real reception. The ear of humility hears beyond the gates. See the gates opening. Feel your hands going akimbo on your hips, your mouth opening like a womb giving birth to your voice for the first time. Go singing whirling into the glory of being ecstatically simple. Write the poem.
E V E R
Life gets so much better when you realize you can stop reading a book or a fic as soon as you stop liking it. You can stop watching a movie or a TV show as soon as it loses your interest. You can stop following someone at any point when you don't like what they're posting or your interests don't align anymore.
You literally do not have to continue spending your free time doing things you don't want to do. Set yourself free. Life is too short to spend it chained to things you hate because you think you have to be there.
I miss myself.
I hope she’s still out there somewhere.
I feel trapped in a body that I hate and that hates me right back.
A part of being an adult is living with regret and not allowing it to consume you. The older you get, the more mistakes you’ve made, opportunities you’ve missed, people you’ve disappointed. And every day you have to remind yourself to be kind and forgiving of yourself. You accept and love the you from the past and understand that it’s all a part of the process. Then you move on and live your best life, knowing now as old as you feel today, you’ll never be this young again.
So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.
I'm going to try it.
I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how? How does he know it?” Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.
All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.
ok so it took me a good chunk of an hour, but i transcribed it: Image ID: screenshot of text written by Chuck Palahniuk. Text is as follows:
Writing Advice: By Chuck Palahniuk
In Six seconds, you’ll hate me. But in six months, you’ll be a better writer.
From this point forward – at least for the next half year – you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
This list should also include: Loves and Hates
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “the mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quite, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’d roll her eyes and shove off with one foot, leaving a black heel-mark on the painted metal, but she also left the smell of her perfume. The combination lock would be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use “thought” verbs at the beginning of the paragraph (in this form, you can call them “thesis statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
For Example: “Brenda knew she’d never make the deadline, was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, r there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow the reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break down might be: “The schedule said the buss would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use thought verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You – stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about sing the bland verbs “is” and “have”.
For example:
“Ann’s eyes are blue.”
“Ann has blue eyes.”
Versus:
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of the bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
(…)
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.
Thank you for your transcription service, @mydetheturk!
People have written a lot of touchy-feely pieces on this subject but I thought I’d get right to the heart of the matter
[The artist, putting a simple cake next to a much fancier one: “Aw man, that guy’s cake is way better than mine.” The Audience, gleefully holding up a knife and fork “HOLY SHIT! TWO CAKES!”]
additions from the og artist (credit)
remember: your feelings of inadequacy are often projection and not reality
THROUGH A RAPIST’S EYES” (PLS TAKE TIME TO READ THIS. It may save a life, It may save your life.)
An Article from Neena Susan Thomas
“Through a rapist’s eyes. A group of rapists and date rapists in prison were interview…ed on what they look for in a potential victim and here are some interesting facts:
1] The first thing men look for in a potential victim is hairstyle. They are most likely to go after a woman with a ponytail, bun! , braid, or other hairstyle that can easily be grabbed. They are also likely to go after a woman with long hair. Women with short hair are not common targets.
2] The second thing men look for is clothing. They will look for women who’s clothing is easy to remove quickly. Many of them carry scissors around to cut clothing.
3] They also look for women using their cell phone, searching through their purse or doing other activities while walking because they are off guard and can be easily overpowered.
4] The number one place women are abducted from / attacked at is grocery store parking lots.
5] Number two is office parking lots/garages.
6] Number three is public restrooms.
7] The thing about these men is that they are looking to grab a woman and quickly move her to a second location where they don’t have to worry about getting caught.
8] If you put up any kind of a fight at all, they get discouraged because it only takes a minute or two for them to realize that going after you isn’t worth it because it will be time-consuming.
9] These men said they would not pick on women who have umbrellas,or other similar objects that can be used from a distance, in their hands.
10] Keys are not a deterrent because you have to get really close to the attacker to use them as a weapon. So, the idea is to convince these guys you’re not worth it.
POINTS THAT WE SHOULD REMEMBER:
1] If someone is following behind you on a street or in a garage or with you in an elevator or stairwell, look them in the face and ask them a question, like what time is it, or make general small talk: can’t believe it is so cold out here, we’re in for a bad winter. Now that you’ve seen their faces and could identify them in a line- up, you lose appeal as a target.
2] If someone is coming toward you, hold out your hands in front of you and yell Stop or Stay back! Most of the rapists this man talked to said they’d leave a woman alone if she yelled or showed that she would not be afraid to fight back. Again, they are looking for an EASY target.
3] If you carry pepper spray (this instructor was a huge advocate of it and carries it with him wherever he goes,) yelling I HAVE PEPPER SPRAY and holding it out will be a deterrent.
4] If someone grabs you, you can’t beat them with strength but you can do it by outsmarting them. If you are grabbed around the waist from behind, pinch the attacker either under the arm between the elbow and armpit or in the upper inner thigh – HARD. One woman in a class this guy taught told him she used the underarm pinch on a guy who was trying to date rape her and was so upset she broke through the skin and tore out muscle strands the guy needed stitches. Try pinching yourself in those places as hard as you can stand it; it really hurts.
5] After the initial hit, always go for the groin. I know from a particularly unfortunate experience that if you slap a guy’s parts it is extremely painful. You might think that you’ll anger the guy and make him want to hurt you more, but the thing these rapists told our instructor is that they want a woman who will not cause him a lot of trouble. Start causing trouble, and he’s out of there.
6] When the guy puts his hands up to you, grab his first two fingers and bend them back as far as possible with as much pressure pushing down on them as possible. The instructor did it to me without using much pressure, and I ended up on my knees and both knuckles cracked audibly.
7] Of course the things we always hear still apply. Always be aware of your surroundings, take someone with you if you can and if you see any odd behavior, don’t dismiss it, go with your instincts. You may feel little silly at the time, but you’d feel much worse if the guy really was trouble.
FINALLY, PLEASE REMEMBER THESE AS WELL ….
1. Tip from Tae Kwon Do: The elbow is the strongest point on your body. If you are close enough to use it, do it.
2. Learned this from a tourist guide to New Orleans : if a robber asks for your wallet and/or purse, DO NOT HAND IT TO HIM. Toss it away from you…. chances are that he is more interested in your wallet and/or purse than you and he will go for the wallet/purse. RUN LIKE MAD IN THE OTHER DIRECTION!
3. If you are ever thrown into the trunk of a car: Kick out the back tail lights and stick your arm out the hole and start waving like crazy. The driver won’t see you but everybody else will. This has saved lives.
4. Women have a tendency to get into their cars after shopping,eating, working, etc., and just sit (doing their checkbook, or making a list, etc. DON’T DO THIS! The predator will be watching you, and this is the perfect opportunity for him to get in on the passenger side,put a gun to your head, and tell you where to go. AS SOON AS YOU CLOSE the DOORS , LEAVE.
5. A few notes about getting into your car in a parking lot, or parking garage:
a. Be aware: look around your car as someone may be hiding at the passenger side , peek into your car, inside the passenger side floor, and in the back seat. ( DO THIS TOO BEFORE RIDING A TAXI CAB) .
b. If you are parked next to a big van, enter your car from the passenger door. Most serial killers attack their victims by pulling them into their vans while the women are attempting to get into their cars.
c. Look at the car parked on the driver’s side of your vehicle, and the passenger side. If a male is sitting alone in the seat nearest your car, you may want to walk back into the mall, or work, and get a guard/policeman to walk you back out. IT IS ALWAYS BETTER TO BE SAFE THAN SORRY. (And better paranoid than dead.)
6. ALWAYS take the elevator instead of the stairs. (Stairwells are horrible places to be alone and the perfect crime spot).
7. If the predator has a gun and you are not under his control, ALWAYS RUN! The predator will only hit you (a running target) 4 in 100 times; And even then, it most likely WILL NOT be a vital organ. RUN!
8. As women, we are always trying to be sympathetic: STOP IT! It may get you raped, or killed. Ted Bundy, the serial killer, was a good-looking, well educated man, who ALWAYS played on the sympathies of unsuspecting women. He walked with a cane, or a limp, and often asked “for help” into his vehicle or with his vehicle, which is when he abducted his next victim.
Send this to any woman you know that may need to be reminded that the world we live in has a lot of crazies in it and it’s better safe than sorry.
If u have compassion reblog this post. ‘Helping hands are better than Praying Lips’ – give us your helping hand.
REBLOG THIS AND LET EVERY GIRL KNOW AT LEAST PEOPLE WILL KNOW WHATS GOING ON IN THIS WORLD. So please reblog this….Your one reblog can Help to spread this information.
THIS COULD ACTUALLY SAVE A LIFE.”
EVERYONE BOOT THE FUCK OUT OF THIS
This is so fucking unfortunate that we need this
it just makes me angry that women need this.. but we do and if you see this, PLEASE REBLOG. it doesn’t matter if you are a male or a female. by reblogging this, you might save someone’s life.
Don’t scroll past this, it’s so important
nothing to do with what my posts are normally about but this is SO damn important!! don’t scroll past without reading and / or reblogging!
this is fucking important. Idc if your blog is perfect, fucking reblog this. It may save someone.
The thing that disturb ls me the most about this guide about being safe from rapists is that more half that things women are advised as to not do are the most normal stuff. Like we dress up for ourselves, we wear our hair how we want according to our comfort and checking lists in the car OMG .
“I could not stop wasting time. It was crazy. I wanted to do something with my life, but instead I went to sleep, or sung in the shower, or sat and stared at the wall. I couldn’t even tell you about anything that I saw. I didn’t talk to anybody. The cicadas kept dying outside, and as I dreamed, my mouth grew thick and venomous with silence.”
— Yiwei Chai, The Jacaranda Years (via crowsummer)