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What fumbling does to a bitch
(Somehow vague but huge spoilers for just about 95% of Roathe's KIM chats)
hello just wondering what’s the ETA on the 1x6 fic? no rush at all and i hope i don’t sound demanding I am just very curious 🫣
Hello! You don't sound demanding at all, anon, don't worry, haha, I know I've been really (really) slow with it. I don't want to make any promises, but tentatively it could be today / tonight aus time? I'm in the doc now and hoping to finish it off, but I do have a bit of work to do on one section, so we'll see how I go. Wish me luck!
I love how many spelling errors Lestat makes THATS MY BABY WHO IS TAKING ADULT LITERACY CLASSES AND LOUIS IS VERY PROUD OF HIM WHEN HE ISNT BEING A LITTLE BIT MEAN SO MOST OF THE TIME HE IS VERY PROUD OF HIM
Lestat's canonical spelling errors in the show are genuinely very important to me, and it's lowkey one of my biggest hopes for the show in the next season that literacy isn't something Lestat drinks his way to, but something he does, in fact, have to learn! I think it feeds into those broader themes of education as an act of love, and I just genuinely find it really compelling and meaty as a point in his relationships with both Louis and Nicki.
I've pinged ponged about it but I do think ultimatly, saving both Isolde and Connor is more in character for Anneliese then letting Connor die.
The two things for that reason is that one, she just recently lose her nephew and the thought of another dead child, this one brought down by her own hands, is horrific.
The second is that she really does not want to do the whole blood magic thing. Like, she knows its the most practical option but its too messy and they're already in a bad situation and also jowan was the one who began this mess and she does not want to rely on him.
And like if Teagan says she has enough time to go to lake calenhad and back, fuck it, she'll do it.
I need to write Johanna doing horribly stupid stuff whenever she is drunk
I just wanna say that ur growing pains fic is one of my favs…ily you’re amazing ❤️
U sweet angel among humans thank u!!!! this makes me so happy i swear to God
It's why that admission to Lestat in their reunion - that he was cruel to Lestat because he was miserable and wanted Lestat to be miserable too - feels like both such a gut punch and a moment of just profound self-actualisation.
YES, I thought that was a such a striking line/idea too. That it wasn't just that Louis was miserable so he lashed out, or something, it was that he actively tried to make Lestat suffer (something about the phrase "tried to make nights awful for you" is so striking). That's a pretty intense thing to admit to, that you actively tried to make your significant other's life unhappy. For him to take responsibility for such an active role like that (which feels totally separate from Lestat's abusive behavior and however the two of them will have to deal with that before they can ultimately be together) really did feel like a massive step forward for him.
(x)
Agreed on all counts, anon!
Hi! Random question lol but I would love to know your thought on this. the ceo of you tube recently put out a article basically saying that he believes YouTube creators should be recognized for their work in the same awards shows that traditional tv creators/actors are acknowledged . Do you agree ?
Hey! Mm, it's kind of a funny one, because I'd argue that some YouTube works already are eligible for award shows and do get nominations. The most obvious one is, of course, documentaries being eligible in the Documentary Short category at the Oscars, and here in Australia, Online / Webseries is a category at our AFI/AACTA Awards, which is our most major awarding body for Film and TV.
The thing about awards eligibility for most of these things is that you either a) have to have screened at a festival (particularly for the Oscar shorts categories, there are festivals all over the world that basically put you into the pool for nomination. Here in Australia, most of our major film festivals such as Melbourne International Film Festival are Oscar qualifiers, but even some of our smaller ones such as St Kilda Short Film Festival are too) or b) have to have screened in a certain way within a certain period of time. Again, for the Oscars, feature films have to have had a theatrical release, which is why you see Netflix doing those short windows for movies they want to put into the running, or for things like the Emmys, shows have to have aired a percentage of episodes via cable or 'invitation-only websites' (aka your major streamers) within a certain window.
Most of the documentary shorts will end up primarily for YouTube, but they're usually a production of a legitimate news outlet which is held to legitimate industry standards i.e. last year, two of the nominees were Island in Between which had been made by The New York Times, and Barber of Little Rock which had been produced by The New Yorker, both for their YouTube channels (and both are worth the watch!).
But yes, the nature of them being legitimate news outlets with real, and guild/union-supported productions, is that there's professional oversight that meets an industry standard that has been agreed upon.
The problem with a blanket statement like that one from the YouTube CEO is that it sounds a lot simpler than it is. YouTube is not a traditional network or even a streamer in the way something like Netflix or Disney+ is. Hell, I wouldn't even actually say it's a streamer at all - it's a social media platform built on the back of user-generated content. The nature of that is that yeah, you'll get some great, professional stuff on there, and that stuff can be recognised in myriad ways, but YouTube as a platform also exists almost entirely outside of a heavily unionised industry (as we were reminded last year with the strikes) that relies on professional agreements to ensure the survival of the industry and the safety of its workers.
YouTube is not itself bound to any of that, which leaves room for exploitation, a dilution of professional standards if not a complete rejection of them, no award rates or minimum wage, and no safety oversight. It doesn't democratise the industry, or who gets to tell stories, it demolishes job security and worker safety.
Again - YouTube is a social media platform where people can upload stuff, it's not a professional industry in and of itself in the same way that film and TV are. As a result, the conduct and standards of a production relies on individual creators, and there's no uniform agreement in the same way that there is in guild-backed productions like there is in film and TV. That's not to say film and TV are perfect industries - they're obviously not - but the nature of award shows like the Emmys and the Oscars and all the guild awards is that its celebrating professional productions that meet certain standards that have all been agreed upon by the unions.
If YouTube wants blanket eligibility for these sorts of things (and again, I'd argue that some of the shows on their platform are already eligible) they'd have to completely rethink their model and start treating their users as workers, which would include actually paying them and having like, an ounce of accountability for the on-set standards of what's uploaded, which I highly doubt will ever happen.
