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thelaurenshippen · 6 months

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finally taking the time to read through the SAG agreement summary and oof, I hope they have an AI town hall soon because...well, there are things to discuss!

so, in case folks are curious, here are my immediate takeaways from the deal as a SAG actor, a SAG producer, and person who is not any kind of expert but spends a lot of time being skeptical of contracts I sign. this is a summation/commentary, not a holistic breakdown of every point, nor even an in-depth discussion of the points I do talk about. and it is, of course, in no way legal advice or voting advice.

this post is already maybe the longest post I've ever written on tumblr (lol) and I feel like I've barely scratched the surface. to be clear, nothing I'm saying here represents how I'm going to vote, how I think other actors should vote, or my be-all-end-all stance on a particular issue. this is me reading through, flagging what concerns me, and asking myself questions. and I'm here to take your questions too! though of course my expertise is limited.

(what?? something I wrote got annoying long?? in my tumblr? it's more likely, etc. huge write-up after the cut)

the good

self-tape stuff: this is one of the more niche/the thing that the general public will find least interesting, but they've put in a lot of provisions to make sure self-tape auditions have limits (# of pages, no stunts, no nudity, doesn't have to be professionally shot, etc.) which is amazing because these types of auditions have gotten out of control since the pandemic. this feels like a great gain

data transparency: in no world did I think the streamers were ever going to agree to any data sharing with either the wga or sag so even though the data is limited, this still feels huge to me.

folks who sing and dance will be paid for both of those things now, which is great

they've added MLK day and Juneteenth as holidays (about time)

a performer cannot be required to translate their own lines

principal performers are required to be given hair and makeup consultation or reimbursed for obtaining their own services - this seems like a small thing, but it's being put in here pretty much entirely because HMU services have generally been appalling when it comes to textured hair/a variety of skin tones. there's also stuff in here about working to hire more diverse HMU artists

it looks like it's going to be easier/provide a path for folks getting IMDb credits even if they're not credited on screen

miscellany: there's a bunch of gains in wage increases, P&H increases, relocation fees, franchise language etc. that all seem good to me, though my limited knowledge on those subjects prevents me from going in depth on them.

this is not important, but it tickled me, there's a term to replace all instances of "telegraph" in the contract with "email & text" which like...why has it taken us thirty years to do that lol.

the "...hm..."

intimacy coordinators: oof. when I watched the press conference SAG gave, I was fucking thrilled when they said that the new agreement required folks to hire intimacy coordinators for nudity and simulated sex scenes. that was almost reason enough for me to vote for it tbh - not requiring it is the exact reason I voted no on our last contract. however, reading the contract summary now, the exact language is: "Producer must use best efforts to engage an Intimacy Coordinator for scenes involving nudity or simulated sex and will consider in good faith any request by a performer to engage an Intimacy Coordinator for other scenes. Producer shall not retaliate against a performer for requesting an Intimacy Coordinator." this....sucks. "best efforts" and "good faith" are not the same as "required". IMO, an intimacy coordinator is the same thing as having a stunt coordinator or, like, any number of health and safety requirements. OSHA doesn't say you must "in good faith" put your "best effort" to providing fire exits. it's great that performers can request coordinators for any kind of scene, and this is still the strongest language we've ever had in a contract but....c'mon guys.

residuals: look, I can't speak to these new terms in any concrete way. there are increases, there are bonuses for streaming success, there's a whole thing about a fund regarding those successes that I need explained to me more in depth, but overall, it looks like we made some in-roads here. as someone who employs actors under digital distribution contracts that has no residuals (podcasts), I know how genuinely cumbersome the unholy trifecta of "views-success-profit" can be (as in views do not equal success, success does not equal profit, etc.). I also have no sympathy when the majority of companies dealing with that cumbersome trifecta are massive media conglomerates. anyway, long story short, idk if this is good enough, I'm hoping to attend the next info meeting sag has.

the bad

the new hair/makeup provisions are explicitly for principal actors. while I hope it leads to better, more inclusive HMU services all around I haaaate that this implies supporting or background actors (who oftentimes also have to sit in HMU) don't deserve the consideration. (then again, background actors are usually required to do their own HMU/bring their own costumes, but for productions where that's not the case, the same HMU provisions should apply IMO)

as with every contract, there's language that could be stronger, clarity that needs to exist, and important things missing - but this isn't the final contract and I'm not a lawyer, so I'm gonna leave that stuff to the experts.

but, "lauren", you say, "what about all the AI stuff? where does that go?" well, reader, I was planning on including that in the above but it's the hot-button issue right now and I think it's wickedly complicated, so I wanted to break it down separately, after I had a chance to point out all the good-bad-in-between stuff that's not getting talked about.

a note: in my career, I've learned there's two big things to keep in mind when reading a contract you might sign:

what is the worst case interpretation of this language (thank you to my lawyer, prince among men, for teaching me how to do this in practice (that said, anything I say here is not legal advice, he'd also want me to say that lol))

what are you willing to lose/compromise on/what are the limits of your pragmatism? contracts are not about a company giving you everything you want out of the goodness of their heart - it is always a compromise. pragmatism has to be a part of the equation.

so, with that said, I'm going to play a little devil's advocate here, and a) try to find the good/the pragmatic and b) catastrophize the worst case scenario. but first, it might be handy to look at this SAG infographic for some basic definitions. let's go.

the AI good

a ton of stuff here requires consent. that is not a small thing, and the consent continues even after your death (whether it was a yes or no; though this can be complicated by your estate/your union)

the language does establish that the consent must be a separate signing from the employment contract, even if its in the contract, which is great (but more on that below - timing matters)

actors often do get paid for use of their digital replicas, though it's different based on the use/type of replica.

the actor must be provided with a "reasonably specific description of the intended use". this language is vaguer than I would like, because it allows producers to decide what "reasonably specific" and "intended" means - there's always going to be some vagueness when it comes to this specific thing, but a good start would be for producers to require not blanket consent, but conditional consent for each significant use of digital replicas.

if the replicas are being used in other mediums, that must also be consented to, thank god.

replicas cannot be used in place of background actor counts on a given day - if I'm understanding this correctly, this means a production can't just have a bunch of fake background actors by themselves, they have to engage real people up to a certain number first (which in this new contract is 25 for TV and 85 for movies). we're already filling in background with digital people or copy-pasting of the same crowd over and over and have been doing so since at least the late 90s, so it's good we're continuing to put up boundaries around that.

the AI "...hm..."

it's unclear (to me) when an actor can be asked to consent. IMO, everything is meaningless if the consent is happening as part of regular contract negotiations. these things have to happen when - and only when - the actor has already been engaged in a role and feels empowered to say no

the use of independently created replicas (replicas pulled from existing footage, not created by the actor) being allowed without consent under first amendment reasoning - this is obviously concerning a lot of people bc first amendment arguments are so broad. that said, there's a pragmatism part of me that understands this is already happening/has been happening for a while and used in ways I think are perfectly fine - I was just watching the new episode of For All Mankind (one of the best TV shows right now!) and it's an alternate history, which meant that in the opening scenes of this season they had some bonkers good deep fakes of Al Gore saying stuff he never said. I think that's okay to do in a fiction show that imagines a different US history! "but Lauren", you might be saying, "Al Gore isn't a member of SAG!" are you sure? are you positive? because I'm pretty certain he is - he was in several episodes of 30 Rock, way more people are in SAG than you think (every NPR reporter for instance), and the two worst presidents we've had in the last 50 years (yes, those ones), are both definitely members of SAG (even if one is dead). now, the other side of this is that public figures like politicians are under a different social contract than actors, and if they wanted to sue, they could, unlike the average SAG actor who might have their image abused. this is why this is in the "hm" column - deep fakes and parody/satire/commentary use of replicas is already here and there's always going to be a 1st amendment argument to make, so we need to figure out how best to limit those and protect the most vulnerable.

alteration: with this language, a project can digitally alter without consent if the script and performance stays "substantially" the same. again, this language is too mealy-mouthed. I don't know that I have a huge problem with a line of dialogue getting replaced with a digital version of that actors voice if, for instance, a word was mispronounced, or wind garbled the sound or whatever - yes, it would eliminate the need for ADR, but if we put some limit on it like..."if there are more than 5 lines in a given episode/movie that require digital alteration in the service of clarity, the actor must be engaged for an ADR session or paid for the digital replacement" then I could see this being workable. I'm also personally okay with things like costumes being digitally altered but, again, we need limitations on that. digital altering cannot replace the art of costuming but, for instance, if a costume needs to be altered to include a hate symbol or something, I think that's fine (example: I have friends who worked at the VFX house for an alternate history TV show that involved a lot of Nazi costuming and set design - a huge part of that VFX house's job was to put swastikas in places, rather than props making nazi flags. I'm okay with that!) but again, these fringe cases do not a compelling arugment make, and this contract language can be interpreted too broadly for my comfort! like everything else in this "hm" category, I need to see the final contract language to decide.

the AI bad

there's a bunch of circumstances in which actors don't get paid for creating their replica/use of it and those circumstances are too broad for my taste.

synthetic performers - this is just awful. no. no, we should not be allowing AI to generate entire actors. just............no. there's some language about the producers having to talk to the union if the synthetic performer is "used in place of a performer who would have been engaged under this Agreement in a human role" but this doesn't apply to non-human characters so....wouldn't that be all roles?? leaving the producers room to be like "this role has to be synthetic, we never would've cast a human!" is bullshit. also, even if we're having AI create a magical talking unicorn whole cloth (which, like, also no, we have artists for this), that unicorn still needs to be voiced by a human person. this whole section is a disaster.

the exceptions to consent for digital alteration are bad-bad. I talked about the potential ADR replacement above and that has a whole host of issues with it that I didn't even get into, but I can see the argument. the rest are very troubling:

there is an exception under "any circumstance when dubbing or use of a double is permitted under the Codified Basic Agreement or Television Agreement" - okay, so does this mean we can replace dubbing artists and stunt performers entirely? this section is about digital alteration, but who's to say alteration couldn't turn an actor broadly miming a fight into an entirely digital, expertly performed fight that usually a stunt double would have done? with AI translation technology, does this mean we're replacing VO artists for dubs entirely? bad!

similarly, "Adjusting lip and/or other facial or body movement and/or the voice of the performer to a foreign language, or for purposes of changes to dialogue or photography necessary for license or sale to a particular market" - Justine Bateman has a great twitter thread on the terrible puppetry potential of this but I want to draw attention to the particular market bit - we all know that selling to china is such a huge part of studios' strategies that they'll remove entire scenes or lines around queer stuff. to me, this clause makes all of that so much easier. I know the argument here is going to be "we can replace swear words and license it for kids!" which.......sure? fine? but, uh, we already have ways to deal with that? and the potential for abuse here is terrifying to me. with all the digital alteration stuff too, there's just so much icky implication for the beauty/body standard to get so much worse.

if a background actor’s digital replica is used in the role of a principal performer, they'll be paid as if they actually performed the days for that role, which, sure, but uhhhh why are we saying it's okay for a digital replica of a background actor to suddenly be a leading role!?!?! I can't think of anything more demoralizing than going to set to act in background (a job I've done! an important job! a fun job a lot of the time! but creatively limited) and then getting a much bigger role (the dream!) and.....not being able to, you know, act that role or be in scenes with other principal actors or do the thing that you've dedicated your life to doing. nightmare stuff.

woof. there's so much more to say but I'm going to leave it there. these are the concerns I'm going to go into SAG's meetings with, and the concerns I'll be considering as I decide how to vote. I know there are things I didn't address and very possibly things I misinterpreted or misrepresented - if you're an actor, I highly recommend a) reading that Justine Bateman thread and b) attending SAG's meetings to ask questions and express your concerns. and I'd love to hear what y'all think! my ask box is open.

#sag aftra #sag #sag strike #AI #me: I'm just gonna look through the terms #me: I'm just gonna do a quick write up before starting my day #clock: it's been almost two hours #not to keep hammering at the 'this is not me saying that I am correct or that I've made up my mind' bit #but this is the piss on the poor reading comprehension website so #I'M NOT SAYING I'M RIGHT #TAKE ALL THIS WITH A GRAIN OF SALT #i mostly have questions and concerns and am pleasantly surprised at some stuff #knowing that there *is* a degree to which we will have to compromise #and I'm WILDLY concerned about other stuff #would love to hear what other SAG members think #lauren takes too long to say things

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faislittlewhiteraven · 7 days

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Been having some ISaT tech level and timeline (as in 'when backstory things happened') thoughts and want to ramble a bit:

Tech

ISaT's setting is based on your classic sword and sorcery fantasy JRPG so its easy to assume that tech wise everything is 'fantasy medieval' and call it a day but consider:

Body Craft is at bare minimum is magic sex changing surgery (earliest known equivent in our world dating to 1930) that any old person can learn to do safely on themselves in only a few months, and more likely has many many broader applications like regular old surgery, the 'combat healing' Mira and Sif use, etc.

Cameras and photos are rare enough that Odile comments on it (namely she's happy the group get a photo in the House due to them being 'so rare') yet are also common enough that everyone in the party knows about them and doesn't question the existence of a camera beyond being surprised that the mirror was one. (In our world cameras date back to the 19th century, with the earliest manufacturing of them being in 1839).

Printing presses and ways to make plenty of paper to feed those presses given absolutely everyone in this game can read, expects everyone else to know how to, and both mass produced book series and newspapers are a thing. (Note: Printing presses have existed since waaaay back but it's the mass paper manufacturing that makes newspapers and The Cursing of Chateu Castle possible that really has my eyebrows raised here, especially since neither Siffrin or Odile find either odd in any way, indicating such things are common everywhere, and while newspapers have been around since 1604 in our world, mass produced fantasy books didn't really take off until the start of the 20th century).

Food production and storage: despite being in the middle of a national disaster that almost certainly cut off trade networks and access to most suppliers for literal months now, Bonnie, a small child, is able to easily get their hands on fresh Pineapple, curry ingredients (for samosa), potatoes, plantains etc with no issues or anyone commenting on this being unusual or lucky. Oh and the only character who even brings up the concept of potential starvation is the Fishing One, and only in a sort of 'we're not at risk now but sooner or later...' kinda way due to noticing that the fish they fish up for fun are disappearing and likely being frozen. So yeah, that heavily implies Vaugarde has very good food storage tech/Craft (possibly better than ours), and likely also good food production and harvesting tech/skills also.

The Island's incredible knowledge of the stars: while the oldest known orrery in our world is dated from around 205 to 87 BC (ancient Greek, earth centric model), the fact Sif -who would've learnt this as a child/teen- is so very certain that stars are big balls of fire made up of gas is interesting as that's something our world couldn't prove the theory of until around the 1900s (note: it'd been theorized a LONG time but Sif talks like its complete facts to them . Additionally the earliest existing record of a telescope in our world dates to a 1608 patent and we see one of those in game.

Post posting EDIT: A wonderful user qds-place pointed out that Mirabelle has anti-anxiety medication in her room. This is in both ISaT and SAaP and though we're not sure what form the medication takes (pills? Valium? Megitech esc Craft boosters???) the fact they specifically have 'anti anxiety' medication at all (as opposed to idk dragging Mira off and drugging her through the gills) is kind of impressive and if it IS modern anti anxiety pills those could be as recent in creation as the 1950s! So um. Some high levels of tech implied in chemistry there <3

So... yeah. All this, plus the fact that the highest tech implied area, The Island, literally specialised in the study/Craft of turning wishes into reality (for a long enough time period that Wish Craft is culturally so ingrained in the King and Sif that they do it without thinking and it seems intertwined with their nation's religion) has been completely erased from memory to the point anything heavily associated with them has been forgotten, and also we only ever see Dormont aka a little village well away from the cities, it's not hard to conclude that you can basically justify giving the ISaT world any level of tech you want, so long as you lock any of the truly 'setting breaking' stuff like planes and rockets behind The Island's forgetting curse (I would've said trains too but thinking about it trains were invented in 1802 so it's honestly easy to imagine that they totally exist in the ISaT setting/Vaugarde but aren't ever on screen because rail is way too dangerous to consider using while the Curse is active and potentially time freezing things on the tracks).

Side note: We know absolutely nothing about Vaugarde's transport system but as a fan of fantasy RPGs it is honestly a travesty I have yet to see a fic that has flying dragons/wyverns or other fantasy mounts in setting. Like, ok yes, the party would probably have wanted to use those but maybe they don't like the Curse and fled? Maybe the King's Curse targeted them first? Maybe all their handlers dropped the heroes off in Dormont and said 'Well Saviors it's been fun, but well me and Scales here are off to Poteria until things wrap up so best of luck to you' before buggering off?

This isn't really a serious complaint just. Me reminding myself/potentially other fanwork writers out there that there's a lot about the setting we just don't know about and limiting all travel to walking, horse drawn carriage and boat is not actually required. (Also please mix up travelling to the Island. Boats are a wonderful classic and have great thematic vibes for Sif's original leaving of the Island but like. Imagine the sheer in-universe wtf of the memories of The Island suddenly coming back and people on the north coast suddenly realising there's a massive bridge, subway or underwater tunnel leading there that everyone just forgot about - potentially filled with all kinds of Sadnesses that need taking down. Or Warp Panels in a House of Change, idk XD).

Timeline

Canon notes first:

Bonnie is a preteen (8 to 12), Mira and Isa are in their early to mid 20s (with Isa slightly older), Sif is late 20s to 30, and Odile is 40+ Nille is stated to be around 18 to 20.

Siffrin ran away from home when they were a teenager (13 to 17? 18?) and this is heavily implied to be when the Island was Forgotten.

Bonnie (in ISaT specifically*) says that Nille told them that when it happened all the adults were talking about it, hence why they think The Island is close to their village. *In Start Again a Prologue, Bonnie says that they themself remember the adults talking about the Island disappearing, which er. Is a bit impossible given they likely weren't even born yet when that happened but that can be explained away by AU differences, InsertDisc5 still finalising details between SAaP and ISaT, and/or OG Siffrin having been in the loops so long they weren't actually listening when Bonnie was talking and just 'scripted' in their head something 'close enough' to what Bonnie was saying to get the idea (note: mentioned that idea before in my post here on the differences between the House and King in Start Again vs In Stars and Time for anyone curious so er please feel free to give that a read if you haven't already).

Odile mentions remembering 'when it happened' as well and has been 'travelling for years'.

The King 'appeared out of nowhere' sometime in his adulthood, and lived in the city of Corbeaux for a few years before he became the King.

The King became the King as was freezing people in time long enough before his attack on the House of Dormont that everyone inside knew he was coming, there were a wall's worth of newspaper articles about him, and everyone was expecting Euphrasie to defeat him.

Mirabelle's quest began 'almost a year ago' and Sif lost their eye 'recently'.

Thoughts on the above:

Calculating when The Island was forgotten:

Sif being mid 20s to 30 and having run away from home as a teen means that The Island has to have been forgotten somewhere between 9 to 17 years ago with nine only possible if he ran away at age 17 and is only age 26 now, and seventeen being the far opposite if he ran at age 13 and is currently 30.

To narrow down the timeline: Given Sif ran away from home because he 'didn't want to eat his veggies' and 'just wanted to scare [his] parents a little bit' it's probably safe to assume Siffrin was likely on the younger end of the teen spectrum (teens run off all the time sure but with loving parents and over veggies? That screams 'kid who has not yet learned that freaking out the parents will get their ass grounded and/or yelled at a LOT and is therefore best saved for doing fun forbidden stuff that ideally the parents will never find out about' XD) Additionally given Siffrin can't remember his age/birthday etc but Isabeau outright says near the beginning of the game "But you're older than most of the people here?" meaning Sif must be visibly older than Isa or Mira, so he's probably closer to 30 than not.

Those alone would imply the Island likely disappeared closer to the '17 years ago' side of things BUT Nille (tops 20 years old) told Bonnie that "[the Island's disappearance] was all the adults would talk about for ages" and kids usually can't remember anything prior to 4 years of age so with that in mind...

I'd say The Island most likely disappeared between 13 to 16 years ago.

Nille stuff:

This is more a general mention but. Nille is tops 20 years old. Bonnie is between 8 and 12 and doesn't remember their parents at all.

This means Nille ran away with Bonnie and gained emancipation and custody of Bonnie (if Vaugarde has formalised that kind of legal stuff) while she was at most 12 years old herself and could have in theory been as young as 6..!

Regardless, it's very likely the original home situation was that bad, Nille deserves a ton of credit for raising Bonnie as well as she has and I'd say it's very VERY likely she had a lot of help from villagers in Bambosche and/or the local House of Change in doing so. ...But also Bonnie is very adamantly 'my sister and village' and not 'my sister and [specific names who live with us]' so there's clearly by the time Bonnie was 4 or so they were living in their own place so... Yeah. Lotta drive for independence there too it seems (so the party might have more trouble adopting Nille into their group post ISaT than Bonnie might expect).

King stuff:

Already an adult 13 to 16 years ago so at bare minimum 33. Given his vibe probably much older though.

Newspapers get printed pretty quick though for there to be so much speculation and research done into his background so quick, either Vaugarde has some form of fast messaging system (something like a Chappe telegraph on top of the Houses of Change? Odile I think does mention that they'll have a message sent to let Nille know they'll be returning Bonnie...) or the King was freezing stuff for IDK around a month or two before reaching Dormont? Alas can't find out how long it takes to walk across all of France out very easily (I'm sure the numbers are out there but my brain is pudding rn) but if we had those numbers we could probably make some guesstimates based off the rough sketched map of Vaugarde InsertDisk5 did... Which I would link but apparently the tumblr post I had it linked on has been deleted???? 'wails at this very unhappy development'

Mira's journey and Sif's eye:

We really don't know a lot but almost a year ago gives us somewhere around 9 to 11 months to spread the journey out along and after eye removal surgery the patient can out and about as soon as 2 to 6 weeks after, maybe sooner with magic healing (though full recovery/growing used to the changed spacial awareness -which Sif clearly does not have- probably can't be sped up and takes around 3 to 6 months) so um. I'd guestimate Sif's eye injury is really recent; like two months ago tops recent. ...Which sorta explains a lot of why Bonnie is not dealing with it right now and also why the others might be trying to avoid bringing it up (since Sif clearly loves avoiding the issue but they haven't yet realised that maybe they really should bring it up even if it annoys them anyway?)

Odile with some Ka Bue speculation:

When it comes to The Island, how did Odile, presumably living in Ka Bue at the time, remember 'when it happened'? Was the Island well known enough even on the other side of the world that it's disappearance made waves? Or was Odile herself or someone she's close to paying attention to the region? (Like maybe her dad or a friend is/was into politics or trade, keeping up with overseas news and got concerned it could happen to Ka Bue? I'd say 'I remember when it happened' line implies it was more immediate knowledge than being informed by a messenger much later though...)

As for Odile's 'years of travel' I have to wonder, what's left behind for her in Ka Bue? She brings up going back there quite a bit, might just miss home and possibly her father if he's still alive, but given it took her years to get here for something so personal rather than idk 'materially rewarding' I think Odile might have some kinda family estate or something back in Ka Bue... Something she wasn't worried about potentially losing while far away, but solid enough to want to return to, beyond her father who she'd definitely want to see again if he's still around. (...But given how open she is to chilling about Vaugarde a few more months with the others, I really don't think he is alive, since well, given their respective ages and travel between Vaugarde and Ka Bue apparently taking years, there'd definitely an uncomfortably high chance of him passing away while she's gone and that seems like the thing that'd stress Odile out so... Yeah. Probably got an estate in Ka Bue she'd like to take the Family to visit/possibly sell off if she decides she'd like to live with them in Vaugarde so... Just my off the cuff headcanoning here and hoping that gives others ideas or something).

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Anyway that's all the ramble I've got in me so... yeah! Hope this was interesting and useful for those needing a bit of a 'possible tech'/timeline calcs breakdown for the Island + a few more vague things and um. Probably will post a long winding ramble about my attempt at a ISaT Selkie AU fic I've been working on next <3 (Not to be confused with looped-140-and-counting's already existing and quite wonderful Selkie Siffrin AU which already has a completed oneshot fic, a snippet of sequel, two snippets of prequel/Sif flashbacking and I believe a comic too, all of which I highly recommend <3)

#isat #isat spoilers #useful notes #in stars and time #speculation ramble #isat timeline notes #hope some of my isat fans out there find this useful for their fanworks <3 #I know its pretty basic stuff but I find having things laid out clearly handy for working out backstory and what to change in AUs so yeah =#i link interesting things. read selkie sif fic rec plz #isat nille #isat siffrin #isat bonnie #start again a prologue mention! (sorry there's not more than that XD)#thinking too hard about what I can and can't get away with in the big beautiful void that is 'left open to speculation' worldbuilding <3 #the forgotten island allows so many shenanigans people are not taking enough advantage of and I will call this out XD #also isat features a surprising amount of 'more modern-ish' tech or magitech that can basically do the same or better so like #Also had way too much fun wiki walking and going 'ohhh that's more recent than I thought. Cool!' and would highly recommend it #please ramble back to me your own random thoughts and notes as I love them even if I'm never sure as whether or not (or how) I should reply

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