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likeadevils · 9 months

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1989 Timeline

This is a very long post that puts all the songs on 1989 in order of Taylor creating them. I’ve also included a few other songs she worked on while writing 1989 and quotes from Taylor and her collaborators talking about her process

Of all the albums in Taylor's discography, I think this is the one that improves the most when you listen to it in order. All of those things Taylor was talking about in the promo for this album-- how this is an album of her coming into her own, figuring out her values, learning to stand on her own two feet-- it all clicks into place. Listening to it in order has made me cry on more than one occasion, and it's also the thing that made me start this whole crazy process of figuring out the dates she wrote each song.

If you don't want to read the whole post, check out this playlist of the album in order or this playlist of her entire discography.

I’ve also added this color coded scale of how sure I am of the date:

Confirmed: There is some type of official source for the date

Inferring: Nobody has officially said “This is when we wrote it,” but all available evidence points to that date

Speculation: This date is based on guesswork and is highly likely to change, or, all that is known is the general season.

Unknown: All that is known is the year (from the US Copyright Offices)

Without further ado...

Oct 6, 2012: Taylor seems to have been in a studio in London (Note: I have no idea where this photo comes from and I can not find a place that specifies if this is a music studio or radio interview.)

This Love: Oct 17, 2012 (Confirmed)

October 19, 2012: Taylor mentions wanting to work with Imogen Heap, prompting Imogen to get in touch with Taylor

Time Interview: Who’d be your dream collaboration, especially now that you’re taking more musical risks? Let me think. Imogen Heap! She’s amazing. Taylor: Someone asked me in an interview "Who would you like to work with?" and I said Imogen Heap. I get an email to my management, sent like "Imogen just saw that Taylor just said an interview that she would like to work together" She said "Why don't you come out to my studio." Imogen: I got a phone call [in 2014] saying Taylor Swift was in London, she'd love to work with me and the only date she could do (between 4 sold out 02 arenas!) was the day after we got back, Sunday. It was both unexpected and not at the same time as I'd heard Taylor was a fan a while back via this Time magazine piece but somehow didn't think it would actually happen.

Fall 2012: Taylor possibly writes a song with Harry Styles and Jacknife Lee (her producer for The Last Time)

“It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about. She was seeing Harry Styles at the time, so he came to Topanga on her recommendation. She wrote a few songs with him, and it was the same thing – quick. But this time it was more directed by the management and label. They were after something specific. I wanted more acoustic and gentle, almost Americana, and they wanted bombast. They got what they wanted, and that was the extent of my foray into teen-pop territory. It was fun.”

All You Had to Do Was Stay: Jan 10, 2013 (Confirmed)

Taylor is photographed outside Conway, and then tweets "Back in the studio. Uh oh..." Later, Taylor confirmed that she was recording All You Had To Do Was Stay. Taylor: I had a dream that my ex showed up at my door, knocked at my door, and I opened it up, and I was about ready to launch into the perfect thing to say [...], Instead, all that would come out of my mouth was that high-pitched chorus of people singing, 'Stay!'...and then you go to say something else, and it's just like 'Stay! Stay! Stay!' And I woke up, I was like 'Oh, that was mortifying. But that's kind of a cool vocal part.'

January 11, 2013: Taylor is photographed outside Conway again

How You Get The Girl: Jan 15, 2013 (Confirmed)

Taylor posts a picture of her playing a guitar in the studio, captioned "Somewhere in LA..". Later, Taylor confirmed that she was recording How You Get The Girl. Given what was going on in her personal life, she likely wrote this sometime in the fall/winter of 2012, but all we know for sure is the date she recorded it.

February 9, 2013: Tweets "Grammy rehearsals last night, studio today, who knows what tonight holds! (I do. Laying around watching TV and eating candy.)"

March 6, 2013: Taylor is photographed outside a studio in LA

March 23, 2013: Posts a picture of her playing guitar captioned "Pre show. Columbia, South Carolina"

I Wish You Would: May 28, 2013 (Inferring)

Taylor is photographed out for lunch in Rhode Island with Lena Dunham (and likely Jack Antonoff, who was Lena's boyfriend but not as famous at the time) on May 27 before leaving for her show in Phoenix, Arizona the next day Jack: "We were hanging out at her house in Rhode Island and we were talking about John Hughes movies, and a lot of the music that inspired [them], and just this general culture of sound in that time period that was really larger-than-life in an anthemic, positive way. These songs could be at the end of films that were really, really beautiful and said a lot. That actually ended up being a song called 'I Wish You Would' which is going to be on her album. We first worked on that song together and realised we kind of have a good thing. Taylor: “This is a song I did with Jack Antonoff, and Jack is one of my friends and so we were hanging out and he pulled out his phone and goes "I made this amazing track the other day. It's so cool, I love these guitar sounds." And he played it for me and immediately I could hear this finished song in my head, and I just said "Please, please let me have that. Let me play with it, like send it to me" And so he sent it to me and I was on tour and this was me playing the track on my laptop recording me singing the vocal into my phone and it ended up being a song called "I Wish You Would", because Jack wrote back and said "I love that".”

June 7, 2013: At the CMA fest, Taylor is asked if she's started writing for her next album yet

“It's starting, all the anxiety is starting and when the anxiety starts, then the writing happens right afterward, usually. Um, so, yeah, I basically... I like to, I like to write for about two years before I'm finished with an album because I... at this point I kind of know that whenever I write in the first year is going to get thrown away, because, I'm going to like it, but it's going to sound a little bit like the last project I had, and the second year usually ends up sounding like the next project. So I think at this point, at this point I feel like staying the same is the easy way to go but it's not the way that I want to go, creatively. I think you need to challenge yourself, I think you need to change up your influences, I think you need to be inspired by different things that you've been inspired by before, and, uh, y'know, It's harder to call people you don't know, and it's harder to think of topics you haven't covered and think of new ways to say old emotions that everyone feels, but, that's the goal at this point."

June 20-21, 2013: Taylor and Selena Gomez hang out, and Taylor potentially writes Wildest Dreams.

July 15, 2013: Taylor gives a brief interview to Rolling Stone

“The floodgates just opened the last couple weeks,” she says of the songwriting process. “I’m getting to that point where I’m irritating to be around because I’ll be with you for half the conversation and then the second half of the conversation I’m clearly editing the second verse of whatever I’m writing in my head.” “I really loved collaborating [on Red],” she says. “You work with a lot of different people and you find the people you have this dream connection with in the studio. I know those people and I know the ones I want to go back to. But I also have a really long list of the people I admire and I would really love to go and contact. So that’s kind of where that is.” “I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What’s the point? It’s so overwhelming that when you’re starting a project there are such endless possibilities if you’re willing to evolve and experiment. If you’re willing to become a different version of yourself, you can really go anywhere with it. And that’s kind of where I am. The kind of the laboratory experimental stage of really catching onto a new thing that I’m liking.”

July 18, 2013: Taylor unfollows the three backup dancers that left her tour for Katy's, meaning Bad Blood was likely written sometime between July and November 2013.

Sweeter Than Fiction: Summer 2013 (Speculation)

Taylor wrote this one over email, and then it was recorded in New York (partially in Jack's living room, partially in an actual studio)

August 25, 2013: Taylor and Selena Gomez hang out at the VMAs, and Taylor potentially writes Wildest Dreams.

August 25, 2013: Taylor gives a brief interview on the VMAs red carpet

"But I think [songwriting is] about to start to kick into full gear. I'm about to go into the studio. It's about to get really intense."

Out Of The Woods: September 14 2013 (Inferring)

On September 14, Fun cancelled their show. Taylor was likely either flying to or from Charlottesville, where she had a show for the Red Tour. Jack: "When I did the track for Out of the Woods, which is a Taylor song that I'm really proud of, there was some issue at a venue and our show was canceled that night and I didn't have my stuff, I had left it on the bus, so I only had these old samples on what was on my laptop, and caught up that 'oh oh'' thing, and I only had one drum kit on there, and these dumb little things [sometimes turn into a great song]" Jack: "So 'Out Of The Woods' was the third thing we worked on together, and probably the easiest. I sent her the track for it, and she sent back a voice note with the verse and chorus in what felt like five seconds. And it was just perfect. It's eerie how similar it is to what the final product is." Taylor: "This is a track that Jack Antonoff sent me, and I was actually on a plane, I got it and I got on a plane and I'm listening to it, and I'm just like listening to it and mumbling melodies cause the song came to me immediately like, in full [...] I think what I should start by playing you, is when I got the track, what I sent him like an hour later, and it is, me.. um, me singing what came to me, which ended up being the finished version of the song, or at least really close to it."

September 20, 2013: In a brief interview with USA Today, Taylor says she plans to work on her next album between the next few legs of the Red Tour

"I’ll be in the studio, figuring out what comes next. I really like to take two years to make a record, and I’ve been writing and doing stuff for the last year. This is kind of the year that it goes into overdrive, and it’s all I think about and I become obsessive over it and I’m hard to talk to"

September 22, 2013: Taylor gives an interview to New York Magazine where she talks about her plans for TS5

These days, Swift is thinking a lot about her next record. While on the Red tour, she’d been writing songs and stockpiling ideas: reams of lyrics, thousands of voice memos in her iPhone [...] she plans to spend much of 2014 writing and recording the new album, a prospect she finds exhilarating and terrifying. “I worry about everything. Some days I wake up in a mind-set of, like, ‘Okay, it’s been a good run.’ By afternoon, I could have a change of mood and feel like anything is possible and I can’t wait to make this kind of music I’ve never made before. And then by evening, I could be terrified of the whole thing again. And then at night, I’ll write a song before bed.” Swift hopes to collaborate with new songwriters and producers. But she planned to begin, she said, by heading back into the studio with Max Martin and Shellback. “I want to go in with Max and Johan first, just to figure out what the bone structure of this record is going to be. “I have a lot of things to draw from emotionally at the moment. But I have to draw from them with a different perspective than on Red. I can’t say the same things over and over, you know? I mean, I think it’s just all the more important that I don’t ever allow myself to coast. At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs.”

September 28-October 5, 2013: Taylor and Selena Gomez are in the same city, and Taylor potentially writes Wildest Dreams.

October 12, 2013: Taylor gives an interview to the Associated Press

Swift: I think the goal for the next album is to continue to change, and never change in the same way twice [...] How do I write these figurative diary entries in ways that I’ve never written them before and to a sonic backdrop that I’ve never explored before? It’s my fifth album, which is crazy to think about, but I think what I’m noticing about it so far is it’s definitely taking a different turn than anything I’ve done before. AP: You said recently you’ve been working on songs for the new album for about six months. What can you tell us about what you have planned? Swift: It’s too early to tell who are going to be my predominant collaborators, but I do know that my absolute dream collaborators were Shellback and Max Martin on the last project. I’ve never been so challenged as a songwriter. I’ve never learned so much. I’ve never just been so excited to show up to the studio every day, just because you never know what we’re going to put together. I’ll bring in ideas and they’ll take such a different turn than where I thought they were going to go, and that level of unexpected spontaneity is something that really thrills me in the process of making music. ... What if we did this? What if we made it weirder? What if we took it darker? I love people who have endless strange and exciting ideas about where music can go."

October 14, 2013: At the NSAI, Taylor talks about reinventing herself for different albums

"I’m making my 5th record now, so I think you have to change things up, you have to explore different corners of music as much as you can. Cause I really, it’s been a big goal of mine to never make two albums that sounded the same. I really want my fans to be able to be like "Oh that song? Clearly that's from the Fearless album", "No that one, that one was from Red" and so I’m in the process of doing that thing all over again for my 5th album and it’s amazing to be in the studio and to be songwriting again, and be honored for songwriting tonight"

Blank Space: October 26, 2013 (Inferring)

It looks like she’s wearing the same outfit in this behind the scenes footage and these candids Taylor: "I was going into write with Max Martin and Shellback, who are two of the primary collaborators on 1989, and I... was preparing all these things, and I, I think Blank Space was like the third thing I played them, and they just stopped and they were like "NO, this is the first thing we're working on today." [...] I had the idea for the chorus and I had the hook, but a lot of the verse was gibberish." Taylor (On what song took her the least amount of time to write): "Blank space, cause I'd written a lot of the lines down already in the year preceding the session"

October 29, 2013: Tweets "Sitting in the studio writing the next album (!!!!) and wanted to thank you for the American Music Award nominations!"

November 1 : While promoting Keds, Taylor is asked about her next album

"What I go through is going to be the story that I tell. I think lyrically, I always try to tell my fans exactly what’s happened to me in the last two years, and that’s the thing they can expect. Everything else, they won’t be able to expect. Having been in the studio with this one, I’m just like… oh, this is going to be fun"

Bad Blood: Fall 2013 (Speculation)

The backup dancer drama seems to have kicked off in mid-July. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

New Romantics: Fall 2013 (Speculation)

Unfortunately, Taylor doesn't really talk about this song. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Wildest Dreams: Fall 2013 (Speculation)

Selena reportedly told a fan she was there when Taylor wrote this, and I've noted above all the times Selena could have been with Taylor in 2013 (Here's my personal ranking of how likely each date is). Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013.

Wonderland: Fall 2013 (Speculation)

Another one Taylor just doesn't talk about all that often. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Nov 20, 2013: Taylor posted "While in the studio, I came to the realization that my bangs are long enough to use as a sleep mask on long flights. Then I remembered I don't ever use sleep masks on flights. So really, I just need a haircut"

November 25, 2013: Taylor and Scott Borchetta have a meeting to talk about her plans for TS5 and are both asked about the next album at the AMAs

Taylor: “We got a lot already. There are probably seven or eight [songs] that I know I want on the record. It’s really ahead of schedule for me. I’m just stoked because it’s already evolved into a new sound, and that’s all I wanted. And I would have taken two years to make that happen, but it just kind of happened naturally, so that’s all I could really ask for.” Scott Borchetta: "Well earlier today we got together and she played me seven new songs, and she’s just on fire. The level of desire and passion that she has just to keep getting better, she’s an artist that just really never wants to just say ‘Well okay this is good enough’. It’s always gotta be better. She’s in amazing creative place right now." By the end of November, Taylor had likely recorded This Love, All You Had To Do Was Stay, How You Get The Girl, I Wish You Would, Out Of The Woods, Blank Space, Bad Blood, New Romantics, Wildest Dreams, and Wonderland. That’s 10 songs total, 5 of which were likely recorded in the past two months, and 7 that had been made since Taylor and Jack had their conversation about 80s music in May.

Dec 21, 2013: Taylor briefly talks to Billboard about TS5

"I’m really loving collaboration right now [...] I see it as a bit of an apprenticeship. I want to be around people who love writing songs and have done it for years. Every time I’m in a studio I’m learning, like how to build a drum track, and getting a new perspective on things. It’s so thrilling to keep learning on your fifth album. As soon as [an album] comes out I’m figuring out what the next one will be. It’s gotten to the point where each one is a reinvention, which is what I like best. I like it when it sounds new and people don’t know where you’re going to go next."

Say Don't Go: Jan 1, 2014 (Confirmed)

Diane Warren: Warren, who typically writes on her own, says the two of them “sat down and wrote the song […] from scratch” during the last few days of 2013. She remembers being impressed with how specific Swift was with her lyricism and how considerate she was about how her fans might receive it. “She was very particular about how she said certain things. It was a really interesting experience. She gets her audience [...] She’s deeply aware of how her fans want to hear something. I can’t explain it, but that’s probably why she’s the biggest fucking star in the world.” Several days after writing the song together, they got into Warren’s office to record a demo, where Swift played it on her acoustic guitar. “We demoed it on New Year’s Day. And I’m a workaholic, and that’s fine for me,” she says. “But I remember being impressed that she did, too. Everybody’s on vacation, but she showed up.”

You Are In Love: Jan 2014 (Inferring)

This song is copyrighted for 2014. Taylor has said a few times that Clean, Shake It Off, and Style were the last songs written for the album, meaning You Are In Love was likely completed in January or early February. Given Taylor's busy schedule in late January and early February, I'd guess this was written at some point in early January. Furthermore, I'd guess it was sometime after the 9th, when she returned from looking at house in New York.

I Know Places: Jan 22, 2014 (Confirmed)

Taylor: "I sent this voice memo to Ryan Tedder because I'd always wanted to work with him, and finally we scheduled some studio time. So I always wanna be prepared, I wanted to send him the idea that I was working on before we went into the studio just in case he wrote back and said "I can't stand that, I wanna work on something else, think of something else" So I just sat down with the piano, put my phone on top of the piano and just kind of explained to him where I wanted to go with the song, how I saw the melody sitting in and we ended up recording the song the next day and it ended up being on the record called "I Know Places" So this was the voice memo that I sent to him the night before we ended up finishing the song"

Welcome To New York: Jan 23, 2014 (Confirmed)

Ryan Tedder: "I thought we were going to walk in and start something from scratch because that's what I was used to. Then she calls me and says, 'Is it cool if I already have an idea?' I said, 'Sure.' She said, 'I have this song, I'm obsessed with New York and I just moved there, I want to write an ode to New York because no one's done it in a long time.' And then she sent me a voice memo. She's like, 'I want it to sound like 1980s.' So the next day I brought in a Juno-106, which is a very 1980s keyboard and I literally programmed that entire song right in front of her. It was very much on the fly, and that song was done in about three hours. And I did the rest of the production I think later that week. I was in Switzerland on a tour bus, and I did four versions of 'Welcome to New York,' one of which I liked personally more, but the thing about artists is they become very obsessed with the demo. She was in love with the demo so no matter how hard I fought, she brought it back to the demo, so really what you hear is what I did on the first day."

January 26 2014: Dianne Warren says that she recently wrote a song with Taylor

"I worked with Taylor Swift on a great song [...] I'm excited about the [song] that we did, it's pretty cool Dianne in 2016: “I know [Swift] likes it, so hopefully it will see the light of day. I know she really likes the song. She didn’t want me to give it away, so hopefully that means she wants it.”

January 26 2014: Taylor loses Album of the Year at the Grammy's to Daft Punk. She tells a few different stories about what the rest of the night looked like for her-- in some she goes home alone, in some she has some friends over-- but in all of them, this is the night where she decides that she's gonna name the album 1989, and she's not going to let her label tell her to put any country songs on it.

Clean: Feb 9, 2014 (Confirmed)

According to Imogen Heap's blog post, Taylor had the first verse and chorus by the time they got into the studio, and then wrote the second verse and bridge during the session. Taylor's part was wrapped up in 9 hours, ending at 8pm, while Imogen stayed up until 4am because she didn't want to stop working on it. Taylor: ""Shake It Off" and "Clean" were the last two things we wrote for the record, so it shows you where I ended up mentally. “Clean” I wrote as I was walking out of Liberty in London. Someone I used to date— it hit me that I’d been in the same city as him for two weeks and I hadn’t thought about it. When it did hit me, it was like, ‘Oh, I hope he’s doing well’. And nothing else. [...] The first thought that came to my mind was – I’m finally clean." Imogen Heap: I was really writing the tiniest amount just to help her do what she does. I put some noises to [“Clean”], played various instruments on it, including drums, and anytime she expressed she liked something I was doing, I did it more. It was a really fun day. She recorded all her vocals [for “Clean”] during that one session. She did two takes, and the second take was it. We always thought she would probably re-record it, because we thought it can’t possibly be that easy. But after we lived with it for a few months, we felt it was great.

February 15, 2014: Taylor posts "It was a studio Valentines Day with Max and Johan!"

Shake It Off: Feb 15, 2014 (Confirmed)

Lover Diaries (From Feb 22): "This week I’ve been in the studio with Max and Johan every day and it has been the most creatively successful and fulfilling time. The first day, Johan just made a really up tempo drum beat because we decided we needed something UP and light. We worked at it for a few hours before I just started singing “shake it off, shake it off.” And then the best way I know how to describe it is that the chorus just fell out of the sky. It ended up being this song about doing your own thing even though haters are gonna hate, and you just have to dance to your own beat. We all went home and I wrote the first and second verses and brought them in the next day. We wrote this chanty cheer leader bridge that I absolutely LOVE. We spent all day doing vocals and the next day recording background vocals. I think it’ll end up being the first single and Max said it’s his favorite song he’s ever been a part of." Taylor: "The problem was, I had all these lyrics, and I didnt have, like... writing session was coming up and I'm just like "I'm not getting a melody, I'm dead, I don't know what I'm gonna do." The thought terrified me, so I just sorta sulked into the studio and I was like "Guys, I have like an idea but its like, lyric, but I... and I know the vibe I want-- I want it to start off and the second the song starts, I want it to be the song where like, if it's played at a wedding, and there's this one girl who hasn't danced all night at the reception, all her friends come over to her and there like "You have to dance, come on, you have to dance on this one!". That's what I wanted. So I was like "Shellback, can you just go to the drum kit and try to play that?" Taylor: "There's one thing that I've always said to Max, is like "I don't like horns" I just always had a thing about it, I was always like weirdly scared of it, or intimidated by horns, I don't know what it was? It's a weird, like, nerdy studio fear of mine. I was like "No, no horns!" and I don't.. I don't even know, I don't have a reason for it, I love songs that have horns on them, I was just like "I don't think I can pull off horns." Strange. But, he goes over to the mellotron and he starts playing this horn sound. I'm like "What are you doing. Don't do that." and he's like, "No, I think this is cool" and I'm like "No it's not cool, and where are your chorus chords, because, that, you're just playing three chords over and over again and I can't make a chorus out of them, why don't you go to like a chorus chord that starts off the chorus, where is the one, like why don't you go--" and then there was this moment, where I thought of the whole chorus, and it's over the chords that I had just told him are not "chorus chords", which is a ridiculous thing to say."

February 18, 2014: Taylor is photographed entering Conway Studios

Style: Feb 19, 2014 (Confirmed)

Niklas Ljungfelt (guitarist): I played on “Style,” a song I started with Ali Payami for ourselves. He was playing it for Max Martin at his studio; Taylor overheard it and loved it. She and Max wrote new lyrics. But I recorded the guitar on it before it was a Taylor song. It was an instrumental. I didn’t have a clue that Taylor would sing on it. The inspiration came from Daft Punk and funky electronic music. Taylor: I'm pretty sure after we finished this one I knew the record was done. Shake It Off and Style were the last two songs to be written for 1989.

March 2014: Taylor's interview with Glamour is published (likely conducted two months beforehand)

TS: Working on this album has been unbelievable [...] I'm already in love with it. It's so different. CL: What's the new sound? TS: On Red I did three songs with Max Martin Shellback [...] I think we'll be doing a lot more than three songs together on the next album [Laughs].

March 26, 2014: Taylor is photographed entering a music studio in New York

May 30, 2014: Taylor writes in her diary:

So a crazy story unfolded in the last 24 hours. Last night, I had this vivid dream where the photo I’d chosen for the album cover wasn’t good enough, intriguing enough, artful enough. It woke me up. I couldn’t shake it and it stayed with me all day. Because that nagging feeling I’d been pushing back for weeks was now confirmed in my gut … It wasn’t good enough. I went to the venue, mind racing, wondering if I’d have to do an entirely new photo shoot … I got to my dressing room with newer versions of the “cover.” I looked at it and felt nothing. The team pulled up this new scanned file of the Polaroids we had taken during the shoot. I saw within 10 seconds. The shot. The cover. It’s a Polaroid of me sitting against a beige wall with a blue seagull swear shirt on. You can see my red lips, but the photo cuts off my eyes. From some reason unknown to me, it’s the most intriguing photo I’ve seen. I think it’s the mystery of not seeing my eyes. Maybe it just looks effortlessly cool. The craziest moment came when something caught my eye. The cover photo is photo 13. I kid you not.

August 23, 2014: Taylor is photographed walking out of a studio in LA (Note: I can not find a place that specifies if this is a recording studio, dance, photography, radio, or television studio.)

Now That We Don't Talk: Summer 2014 (Speculation)

Seeing as Taylor said she didn't have time to figure out the production, I imagine this came fairly late in the process. Taylor has a habit of adding songs right up to the deadline-- with Folklore and Evermore, she added multiple songs a week before the album came out. The latest she added songs to albums while signed to Big Machine was September, though (both Forever & Always and So It Goes...), so I assume that's the absolute latest she could've added a song. Taylor: "Now That We Don’t Talk” is one of my favorite songs that was left behind, it was so hard to leave it behind, but I think we wrote it a little bit towards the end of the process and we couldn’t get the production right at the time. But we had tons of time to perfect the production this time and figure out what we wanted this song to sound like. I think it’s the shortest song I’ve ever had, but I think it packs a punch, I think it really goes in. For the short amount of time we have, I think it makes its point.

And that's all for this timeline! Check out my others:

TIMELINES: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights PLAYLISTS: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights • entire discography GENERAL: tag

#txt*#timeline*#taylor swift #OH MY GOD ITS OUT ITS OUT ITS OUT I'VE BEEN RESEARCHING THIS FOR THREE YEARS AND IT'S DONE #!!!!!#as always let me know if you want further sourcing on anything/if you spot a typo or something

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purgatory-jar · 8 months

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You can find other examples of my art here;

I can be commissioned to draw art for fanfics, covers, OCs, all ships/fandoms, small animations, comic strips, tarot cards, icon/headers combo and so on!

It's not just deancas. Hit me up with good omens, ofmd, heartstopper, the witcher, 911, ted lasso, your baldur's gate OCs, star wars, whatever you want! I am a huge nerd and 90% chance is I know the characters already :)

It would be amazing if you could signal boost even if you're not interested, every bit of sharing helps.

Full pricelist and rules under the cut :)

PRICE LIST

SKETCH FLAT COLOR

base price 45 $

+ each additional character 24 $

complex bg 24 $

SKETCH FULL COLOR

base price 50 $

+ each additional character 24 $

complex background 24 $

INKED

base price 55 $

each additional character 27 $

complex background 27 $

FLAT COLOR LINEART

base price 77 $

each additional character 38 $

complex background 38 $

FULL COLOR

base price 110 $

each additional character 44 $

complex background 44 $

RULES

Want a commission? Write to me at [email protected] and describe what you would like me to draw!

-PRICE: the price is calculated on the hours of work I put on it, and it already includes ALL taxes. (45 % of the amount goes up in taxes, my dudes). It is based on the amount of characters, details and background you ask for. The more complicated it is, the more time it takes, the more it costs. Please explain in your email what you would like and your budget and we will come up with a suitable price for both of us! Animations and comic strips need to be discussed as their price depends on the style chosen. Don't worry if your budget is not much: just let me know and we can surely squeeze a drawing in there :)

-WHAT I NEED: photo references and information on what you want, the more the better. They don’t have to be super accurate! You can send ten photos and say: “I want this dress with this character with this other background etc.” You don't know what you want? no problem! we can chat and discuss it!

-WHAT I WILL DRAW: I am comfortable drawing nsfw, most kinks, and animals of all kind, real and fantasy alike. I also draw every ship, so don’t be shy in asking! I won’t draw underage nsfw, non-con or dub-con, domestic violence etc. If you’re not sure, ask!

-WHAT FANDOMS? All of them. Just provide references and I’m good. Also, I’m a huge nerd, so there’s a 90% chance that I already know what you’re talking about. I draw OCs too!

-HOW TO PAY: via Bank transfer. After we agree on a price I will draw the sketch, and after the you have approved of the sketch I will send the invoice that you will need to pay. The invoice will contain all the info for the payment (it’s pretty easy to do online) and it’ll be in euros, and it will obviously be the amount we agreed on. I will then proceed with the rest of the drawing once I receive the payment.

-TIPS: If you wish to leave a tip, it’s greatly appreciated! However, the invoice has to match the exact amount of money I’ll be receiving, so if wanna tip you’ll have to tell me before I send the invoice! Again, a tip is not necessary nor will I be mad or offended if it’s not there. Sharing my art and signal boosting my commission masterpost or recommending me to others means a lot to me too and it’s a great way to help.

-HOW IT WILL WORK: I’ll send you the progress AT LEAST three times: the sketch, the lineart, and the base colors, so you can see them and ask me to change what you don’t like. Do not worry about offending me! The key to a good commission is communication! Also, I won’t be able to change stuff if you don’t tell me in time, so there’s that too ;)

-CAN I SHOW THE DRAWING TO THAT ACTOR? Sure, as long as it’s not nsfw! Please let me know if you do, I’m super curious to know what they said ;)

-DEADLINES: Please let me know if you have any deadlines you want respected. If you want it ready in less than 10 days there’s an extra 10$ fee. If you want it ready in less than 7 days there’s an extra 20$ fee. Also, if you ask for a deadline please try to reply to emails as promptly as you can manage.

-LIVESTREAMING: I might livestream the last phase of your commission (the coloring) on my Picarto.tv account, if the inspiration strikes and time is there. If you don´t want me to, please say so in advance, even tho I usually ask for permission before I do it.

#destiel #destiel fanart #deancas #deancas fanart #castiel #dean winchester #deancas art #spn art #good omens #good omens fanart #ineffable husbands fanart #crowley fanart #aziracrow fanart #buddie fanart #buck x eddie #buddie 911 #ofmd fanart #our flag means death fanart

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ticklishraspberries · 11 months

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Teeth (Alex/Henry)

Summary: Alex makes good on a promise he made via email, and discovers something interesting about Henry. (Somewhat based on an anonymous prompt, and on one of Alex’s canon messages to Henry in the book. Hope y’all enjoy!!)

Alex had just been teasing when he sent the email, but the more he thinks about it, the more he wants to follow through on those words: “I’ll fly to London right now and pull you out of whatever pointless meeting you’re in and make you admit how much you love it when I call you ‘baby.’ I’ll take you apart with my teeth, sweetheart.”

And so, the next time Henry is around, Alex decides to do just that. They’re making out in a hotel room, as they’ve done plenty of times before, but the time they’ve spent apart adds to the desperation of it all.

Kissing at Henry’s neck, Alex experimentally nips at the pale skin, resulting in a small gasp. He knows it’s a terrible idea, but he isn’t thinking about paparazzi or makeup artists or public appearances as he begins to worry a bruise on the side of Henry’s throat.

“Marking me up doesn’t seem very wise.”

Mind-reader. “I promised to take you apart with my teeth, though.”

Henry’s cheeks flush a deeper shade of pink. “Do it somewhere that I can hide, at least.”

Alex pouts but complies, pulling away from his neck and observing the red spot — it should fade quickly, but Henry is so pale, the mark sticks out. Oops!

“Where do you suggest I go, baby?” he asks, smirking as the pet name results in a shiver. “I believe I also promised to make you admit how much that gets to you…”

Henry covers his eyes with one hand, smiling like a fool and shaking his head. “You’re incorrigible.”

“You know it turns me on when you use big words.”

They both laugh, easily switching between dirty talk and silly banter. Since Henry failed to answer his question, Alex takes it upon himself to gently sink his teeth into Henry’s right shoulder, resulting in a groan.

His mouth wanders, trailing kisses, nips, and licks along smooth skin. He even dares to dart his tongue out to tease one of Henry’s nipples, which causes a hilarious noise somewhere between a moan, a gasp, and a giggle.

It’s a ridiculous sound, so why does Alex find it so fucking hot? He trails kisses past Henry’s sternum and down his belly, pausing to nip the softness below his navel, just above where his pantline would be, if he were wearing any pants.

Henry squirms, and it's the first time he’s put up any sort of physical resistance so far, and it stops Alex in his tracks.

“Is this alright?” he asks.

Henry nods. “Yes, it’s perfect.”

“You just got a bit wriggly there, I wasn’t sure if you were trying to tell me to stop.”

“If I wanted you to stop, I’d tell you,” Henry assures him, reaching a hand out to stroke the side of his face. “It just feels…odd, in some places, I suppose.”

“Odd?” Alex quirks a brow. “Odd how?”

Even in the low lamplight, Alex observes Henry’s blush darken even further.

“It’s just…sensitive.”

Alex is about to snark at how unspecific of an answer that is before an idea pops into his head. “Did that tickle?” he asks, unable to hide the mischievous smile that curls on his lips.

“No,” Henry replies, far too quickly to be believable, and Alex is clambering on top of him in an instant, trying to hold his hips and legs in place. He returns his mouth to Henry’s belly, barely ghosting the skin with his lips.

Perhaps it’s the light, playful mood, or the anticipation of the inevitable, but Henry starts to giggle after just a few moments. It’s completely and utterly adorable, and Alex just about melts.

“How did I not know about this?” he asks. “How dare you not share this important information with me, your best friend. How will the tabloids believe that we actually like each other if I don’t know everything about you, Your Highness?”

Henry’s hands do little to bat him away, twitching beneath each brush of skin. Alex can’t stop grinning like a dumbass.

“Cut it out,” Henry whines. “You’re killing the mood!”

“I disagree,” Alex replies. “I have the Prince of England helpless under my touch, breathless and blushing. I’m tickling a member of the monarchy! Is this some kind of crime?”

As he talks, his fingers join the game, spidering up Henry’s sides and keeping a steady stream of laughter pouring from his lips.

“Yes! This is punishable by death!” he cries.

“It’d be worth it,” Alex says without thinking, and then, since that feels too sincere, too vulnerable, he leans down to blow a small raspberry on Henry’s stomach, a stupid thing that June used to do to him when he was a kid, and it just seems like a natural way to distract from his words.

Henry didn’t react too strongly, but Alex could feel his muscles twitching under his lips. “Please—”

“Begging already?” Alex asks. “Tell you what: I’ll stop tickling you if you say you love being called ‘baby’. And, add that I’m awesome in there somewhere.”

Henry's laughter kicks up a notch as Alex’s fingers find the soft curve of his waist and squeeze. “Never!” he still manages to reply.

Alex takes his time exploring different spots, poking and pinching all over the torso before him. There’s a charming, almost boyish quality to Henry’s laughter, mainly when Alex focuses on his ribs.

“Okay, okay!” he finally gives in, hands batting uselessly at the offending fingers. “I’ll say it!”

He could be really mean and make Henry spit his confession out between those sweet giggles, but he’s feeling generous this evening, and slows his touches to a stop. “I’m all ears.”

Henry refuses to look at him as he catches his breath before murmuring, “I like it when you call me ‘baby’…And, you’re awesome, I suppose.”

“A little cheeky, but I’ll accept it.”

Henry slumps back against the mattress, and Alex moves to lie down beside him.

“You are a menace to society,” Henry says.

“I got you to admit it though,” Alex replies, smug as ever.

“You used more than your teeth, though.” It almost sounds like a challenge.

“Maybe next time.”

#firstprince #firstprince fic #firstprince fluff #alex claremont diaz #henry prince of wales #red white and royal blue #rwrb fic #rwrb ticklefic #rwrb tickle fic #tickle fic #ticklefic #raspberry writes

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biocrafthero · 5 months

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An analysis of WKTD and HWBM in relation to psychology, Christianity, and oppression.

Spoilers for almost all of We Know The Devil and parts of Heaven Will Be Mine (only stuff from when you play as Saturn tho that’s the only character I’ve played as so far)

This post is very much off the cuff so it is quite messy but I really needed to put my thoughts into words, I guess. Hopefully it makes sense, and sorry if there’s any errors!

vvv Analysis under the cut because this post is LONG vvv

Okay because when WKTD said “the devil is the shadow of man cast from the light of god” and when HWBM said that the Existential Threat was just a byproduct of the shadow of humanity cast from gravity (via humanity’s Culture) its like the enemy that humans want to fight is just themselves. The concept of the “shadow self” (also called the id, but I’ll be using shadow instead) in psychology refers to the parts of oneself that does not fully fit in with what society expects of them (Super-ego) and sometimes separately from the true self (Ego), typically leading to rejection of those aspects and self-conflict.

Now, please note that I haven’t 100%’d HWBM but I have 100%’d WKTD, and in that game the true ending results in the main trio all becoming devils and embracing those sides of themselves they’ve been running from for the entire game. The thing I quoted earlier is an actual line from the game said by god, the line following it being “the meaning of this phrase is that there is no devil.” Only through self-acceptance and helping each other alongside ourselves do we really reach the true ending to these stores.

While WKTD leans more towards individuals, HWBM puts more emphasis on the idea of the collective shadow; the story still focuses on individuals, yes, but is very much about the conflict between a humanity that is tearing itself apart over the things that don’t fit the collective image. The main conflicts of the story focuses a lot on that general unrest, and was initially the Existential Threat, but after that dissipated humanity still saw its own shadow, this time in itself. An email you can find in the game even says that “In abandoning Existential Threats to address the threats of our home, it will inevitably result in us turning to conflict between humans one more. And in turn, the Existential Threat will thrive.” The Existential Threat literally feeds on unrest and trauma, manifesting as paranoia and leading humanity to fight it, only for them to find that they were just fighting their own literal shadow.

It’s also important to note that HWBM briefly mentions that the Existential Threat is tangentially related to “their cousins on Earth, and even those are so weak kids with radios can take them out”. This, while it can easily be seen as a nod to WKTD for those who played it, the fact that the reference is super blatant (along with the mention of the Scout programs, likely referring to groups like the Summer Scouts from WKTD) leads me to believe that these two stories exist in roughly the same universe (or at least their worlds do, maybe not the characters present in the stories themselves existing at the same time*). This is for a very specific reason, and it has to do with the themes both of these games are tackling, regarding acceptance of the self, both on an individual and societal level, symbolized by the apple.

Both games reference the apple when talking about the idea of becoming something new, sometimes even beyond humanity. It’s about the embracing of the shadow and all the parts of yourself, seeing yourself as a whole being and accepting all of it. The joy and contentment brought upon yourself by finally letting go of all that repression and division, even if the world around you is going to perceive those parts as scary or ugly. Bad endings in these games are brought about by rejection of the self, which makes sense considering all the themes around queerness and transcending one’s humanity, so obviously and fittingly the true endings focus on healing oneself by accepting all of their aspects as part of the greater whole.

The apple in these stories, especially noticeable in its original thematic incarnation in WKTD, is in reference to the fruit from the Tree of the Knowledge of Good and Evil in the Garden of Eden from the Bible. Man was forbidden from eating the fruit, but Eve (VERY important to note that the dev studio is named Worst Girls Games btw) is tempted by the serpent (was not originally the devil, but came to be in the New Testament) to eat the fruit, which they do and become aware of themselves. God banishes them from the garden for breaking this rule he set out for them, also punishing the snake in the process due to how it tempted Adam and Eve. This incident is referred to as the “original sin.”

What is interesting about this part of the Bible though is what God says at the end of Genesis 3, right before the banishment actually occurs: “And the Lord God said, ‘The man has now become like one of us, knowing good and evil. He must not be allowed to reach out his hand and take also from the tree of life and eat, and live forever.’” The specific wording of “become like one of us” in the context of the apple metaphors from the games from Worst Girls Games is super intriguing to me, mostly due to how the idea of becoming something new is super common throughout these stories—becoming the devil in WKTD, and becoming one’s Ship-Self in HWBM.

There’s also the framing of the serpent in these stories, as well. The serpent in modern Christianity is almost always depicted as the devil, tempting humanity away from God throughout almost the entire scripture. In the book of Revelation, the devil is said to have gone to direct war against God and fighting against his angels; “Then war broke out in heaven. Michael and his angels fought against the dragon, and the dragon and his angels fight back. But he was not strong enough, and they lost their place in heaven. The great dragon was hurled down—that ancient serpent called the devil, or Satan, who leads the whole world astray. He was hurled to the earth, and his angels with him.” These verses can easily be seen in parallel to WKTD, with how the devil forms are said to be unstable and her world more fickle than god’s, and how in HWBM the Ship-Selves are delicately maintained by the Lunar Gravity Well.

But here’s the thing: the framing of the devil in these stories puts it in the position of being correct, with humanity making the right choice to follow it. This may sound strange, almost like villain behavior, until you remember these games deal with themes regarding repression of the self under an oppressive society, which is why these societies tend to be characterized by Evangelical conservative Christianity. Under this lens, alongside the themes of queerness and transcending humanity (rising to the throne of god, in a way), everything begins to click into place. The idea of being forced to live a certain way by a society that hates parts of your very being is killing our main characters, and they want a way out. The personification of the Collective Unconscious (ex: the devil) gives them this out—even if it’s less concrete and stable than the known world (the light), the unknown world (the darkness) is what truly gives our characters the freedom they desire.

They cannot do this alone, however, as we see in the Bible further into the book of Revelation, when the devil is aided by a beast from the sea and a beast from the earth, all three of them holding one another up and emphasizing one another’s’ powers and authorities. This, of course, most likely is reflected in the games in the main trios we play as. While I am still unsure about specifics, I trust you guys enough to understand what I’m getting at here, even if my speculations are likely flimsy at best. Either way, the idea gets across—the true endings for the games can only be obtained if everyone supports one another properly.

The scripture states that the devil does not have long on earth to do what he wishes (“… [The devil] is filled with fury, because he knows that his time is short.”), but that doesn’t stop him from trying at all. When it comes to the games, in WKTD the main trio stay in the cabin only for the night (player choices start at 7pm and the final one is at 1am, 2am onward being the ending you got, so choices go on for 6-7 in-universe hours), and in HWBM they have eight days to get back to earth before humanity declares them to be a threat. In both stories, our protagonists are all under strict time limits to do what they can in order to get the outcome they desire. As it’s said in WKTD, “the devil only ever gets one chance.”

Even though in the Bible the devil is ultimately defeated, in these games it’s the opposite. This is less about the theology they draw from and more having to do with undoing oppressive power structures through solidarity and community support while doing what you can to avoid infighting. Systems of hate and oppression are easily undone, which is why they put in so much work to scare you away from even trying to undo it and make you fall in line; resistance scares oppressors. Of course, resisting is not an easy task, but that’s just part of the work—they don’t call it a fight for no reason, after all.

Accepting all aspects of yourself and embracing that is the first small, yet very important step, to rejecting oppressive systems as a whole, and when society as a whole accepts what the system rejects, that system will inevitably fall, freeing those who are under it. Even though the world that comes after may be more uncertain and unstable that the last one, we still have each other to rely on and a foundation to build something greater and healthier than before.

So, roughly and basically…

Super-ego = God = Culture

Ego = Humanity (consistent throughout both games)

Projection = Light = Gravity

Resistance = Radio = Ship-Self

Shadow (personified by Collective Unconscious) = The Devil = Existential Threat

Acceptance (of the Shadow) = Apple (consistent throughout both games), characterized by devil possession forms and Ship-Selves (Ship-Selves are dual natured like that, I think)

… Or something like that. I dunno, I’m not a psychologist.

Once again, I have seen all of WKTD, so I can say these things concretely about that story. However, I have not seen all of HWBM, so it more so feels like I’m making guesses as to what happens in that one, so just bear with me. I’ll be super hype if I’m correct in my theory/analysis.

*On this note, it is very amusing to me to imagine the WKTD trio as space mech pilots. The idea of the main cast of HWBM having to deal with devil possessions is also very fun :3

Sources for information + screenshots I’m referencing

Wikipedia: Shadow (psychology) (links throughout the article lead to other things I’ve mentioned like the Collective Unconscious)

Bible Gateway: Genesis 3, Revelation 12, Revelation 13 (New International Version)

(from WKTD) (not my screenshot, stole this from my friend) (hi Ash <3) (platonic)

(I don’t have a screenshot of the line that comes afterwards or the line talking about the metaphorical apple in the epilogue of the true ending but I know they’re there. I have it in my brain. I’m too lazy to get a picture of it just trust me I know what I’m talking about trust)

(from HWBM) (screenshots taken by me)

(I don’t have absolutely everything either just work with me here sorry)

#rambles #hwbm #wktd #analysis #sorry guys I had a category 10 autism event and needed to get this out of my system #we know the devil #heaven will be mine

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bonzos-number-1-fan · 3 months

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TMAGP 10 Thoughts: History Lessons

What an episode. I'd love to do a bit of preamble up front but there is a load to talk about. No one needs me to ramble before the ramble. This will be a long one so buckle in, kids.

Spoilers for episode 10 below the cut.

Another episode that jumps straight into the incident. I really enjoyed this one. Both for its novel format and also for the way it lays the foundations of what's to come. It's also nice to see an incident that is mostly mundane. There was very little in this, outside of an allusion to something more sinister, that was out of the ordinary. A fairly British dude telling a unique British story. However, I don't think there is an awful lot to say here that isn't quickly expanded upon later in the episode or that won't be best served talking about elsewhere.

So let's get to the more interesting bit of this case. For those of you not from here, or a little too young to remember, the reason it's all so authentically British is because Mr. Bonzo is TMP's version of Mr. Blobby. A very real TV show mascot from the 90's. A lot of what was just discussed in that interview is lifted from Mr. Blobby's real history. He first appeared on a Saturday night variety show called Noel's House Party in its "Gotcha" segment. He was first introduced as a children's TV character to prank unsuspecting celebrities. He got very popular and became a mainstay of the series, became a huge icon at the time, launched a fairly massive range of merchandise, plans to create a Mr. Blobby theme park happened, and he even had a chart topping single. Blobby was a big deal and still pops up a fair amount. He didn't do any murders that we know of, and no one dressed as him to kill either. There is also this which I think everyone should watch to better prepare themselves for Mr. Bonzo, or to soothe the horrors he's already inflicted.

Colin's back! He's still weird! Not much to say here but it's nice to see him and Celia interact.

Next up were hear Alice and Sam, via Sam's phone, exploring the damp ruins of the Magnus Institute. There isn't a whole lot to say in this portion of their exploration but it's nice to see them outside of work again.

Gwen's section of this episode was really the standout IMO. Anusia is killing it and continues to kill it more and more each episode. I think Gwen is now my #2 blorbo. Colin had an early lead with a great email but is more of a background character at the moment. I am really excited to see how Gwen is going to react to this down the line. Whether the abject terror of meeting Bonzo is going dissuade her from pursuing Lena's job or further stoke that fire. I also wonder if she's going to assume what a lot of us are assuming. That the more recent Bonzo related murders are perpetrated by Bonzo, and that the envelope she gave him was his next target, which further plays into the golem references. Can't wait to hear more about what his role is in regards to the OIAR.

But no one could possibly replace Mr. Bonzo as #1 and I'm sure we can all see why this episode. Just everything about how he's being handled is perfect. A lot of history to ground him, incredibly ambiguous origins, his teeth are not soft, topped off with one of the most impactful "screen presence" of the entire TMA cast. Everything I was hoping for.

For those not a part of the ARG, and not a part of the Statement Remains discord server for it, Mr. Bonzo quickly became a massive fixture of basically everything that happened on that server. It's where my blog's name is from. Which is to say Mr. Bonzo has been a HEAVILY anticipated character and has had no small amount of hype built up around him. RQ have managed to deliver on that and then some. It's really pretty amazing he's managed to show up and not be a disappointment if you were part of that crowd, but they really pulled it off.

Bonzo Fact: Did you know that Mr. Bonzo is entirely unique in all of TMA? He's the only character to have a canonical design. He's the only character we can truly behold, and his visage is glorious and awe-inspiring. He is, quite literally, more real than any other character in the show. (Ignoring historical characters we never met)

I'm sure lots of you will have seen what Mr. Bonzo looks like but for those who haven't and have missed it on my posts, it's this.

If you checked out the links earlier, which you should have, you'll see that he's very close to Mr. Blobby. And, yes, he is kinda creepy if you're grossed out by weird mascots but he's not "Oh my god!" levels of horrifying. That's the original Mr. Bonzo, Mr. Bonzo the suit, not Mr. Bonzo the monster. This is who Gwen met.

Which really raises a rather interesting question; when did the suit stop being just a suit? Which in turn raises a more interesting one; why did the suit stop being just a suit? It's pretty clear that Mr. Bonzo really did start off as something mundane but whatever he is now very clearly isn't.

After all that excitement we return to Alice and Sam fumbling about in a ruin. Interestingly we're no longer listening through their phone, but a tape recorder. Which is actually a fairly big deal. Not because it's a TMA thing but because it's an analogue format that's not being digitised. So far that's not been something we've been able to listen through. Which means "Freddy" has some tricks up its sleeves, or "Freddy" isn't the one listening. The actual contents of this part isn't terribly important for the most part. Archivist's office, worms and trapdoors for an allusion to TMA, mystical symbols maybe, lots of books, etc. The real revelation here is "why they chose us… why they didn’t choose me". Likely confirming that the contents of CHDB (see masterdoc) was mostly the first step. Sam "failed" and wasn't chosen for whatever came next. It also likely confirms that Gerry wasn't chosen either as the two had remarkably similar test scores. Anyway, after that they call it quits and head on home.

Now, if you weren't reading the transcript's you'll have missed the introduction to a new character, [Error] played by Beth Eyre who voiced Lucia Wright from MAG 130: Meat. As Alice and Sam leave a padlock rattles on a trapdoor before a key twists and the lock pops open. The trapdoor opens and [Error] emerges. Very very little to really say here. Imprisonment below the Institute probably isn't a good sign, and they're the likely immortal overarching villain of either this season, or the show in general. But combined with strange PoV on those events, what was likely a mystical prison, and it being under the Institute that was burned down for a reason it's not good news. Unless it was burned down to free them, then who knows.

------------------------------------------------------------------------------

Incident/CAT#R#DPHW Master Sheet (I added the Magnus Institute's child psych eval. sheet to it)

Somewhat notably here CAT1RB2275 is also very close to the trailer's case number of CATIRB2275.

DPHW Theory: 2275 is actually a pretty interesting number. For clarity this refers to only the initial recording that Celia heard, not anything related to Mr. Bonzo beyond that. 2 in Death is pretty reasonable as the statement brings the subject of murders up but doesn't dwell on them much. 2 in Pain falls under the same explanation. The 7 in Helplessness tracks well too because not only was the format of the interview a bit of a gotcha, but the content dealt heavily with imprisonment. Both in context to the show's premise and the legacy's impact upon his life. It was also eerie and weird and mascot-centric which is good Weird fodder.

The reason this is all so interesting is because it's possible this is an entirely mundane incident that still happens to line up well with the DPHW of Mascot (Kids). What occurred in the interview didn't seem supernatural, what was described in it also seemed mundane. It's only really the last couple of lines that hint towards something supernatural occurring but notably none of that happens in this recording itself, the details of it discussed, nor are any of the people on the recording first hand witnesses to those events and retelling them. But despite all of that the mundane occurrences of the interview still heavily reflect the supernatural ratings of the section (subsection).

CAT# Theory: CAT1. [Insert your favourite screaming reaction GIF here.] I've got no clue what to make of CAT#'s at this stage. This one wasn't particularly elucidating. Gonna be a long few weeks.

There are a couple of theories floating about that I'll briefly mention because someone will do it if I don't. The Subject/Agent/Catalyst theory presumes a lot of stuff about the OIAR I don't think holds up, and assumes they're happy to throw away information which I don't think they are. See here for more. The Person/Place/Object theory overlooks that Dolls (Watching) is CAT2, and not a place, and that Agglomeration (Miscellany) is about a collection of objects despite it taking place at Hilltop. A location only important to us listeners. If you do like those theories by all means keep liking them. I'm just not convinced by them and it seems prudent to mention that I have seen them.

R# Theory: B is right in line with what I outlined last week. Bonzo-themed murders are not overtly supernatural but they are something that definitely happened. The Klaus doc also have a few incidents with the note "Mr. B", including the only known S rank. With Gwen's reaction being so strong I think it's a good indicator that S rank's follow the pattern.

Header talk: Mascot (kids) -/- murder is just another header that seems pretty weird. The section (subsection) bit is all pretty normal but that crosslink again shows that crosslinks have very little structure to them. I'm starting to wonder if they're actually relevant at all, or pre-assigned like other elements are. They're starting to seem more and more like vibes than anything.

#the magnus protocol #tmagp theory #tmagp #klaus = kl4-u5

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sterekreversechallenges · 2 months

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Sterek Reverse Bang 2024

**TIMELINE**

*April 15, 2024* - Sign-ups open via Google form

*May 30, 2024* - Art due, sign-ups close

*June 2, 2024* - Art goes up for viewing

*June 8, 2024* - 7 pm UTC - Claims round 1

*June 9, 2024* - 7 pm UTC - Claims round 2, if necessary and until all art has been claimed.

*June 14, 2024* - Check-in 1: Teams must confirm that they have made contact and are good to collaborate.

*July 14, 2024* - Check-in 2: Team update: Writers submit an outline of 200-500 words to their artist for comment and mods for check-in.

*August 11, 2024* - Check-in 3: Writers should have 3k written. They will submit a draft link to the mods and their artist. Artists will confirm that their writer has been in communication with them and that they have seen the draft.

*August 30, 2024* - Last day to request a pinch hitter and receive a one year ban. Dropping after this date will result in a permanent ban.

*September 14, 2024* - Check-in 4 aka The Final Check-in: Teams must confirm that they are on schedule to post. Writers will receive a link to a Google form for submitting their drafts. Drafts should be 80 % done with any parts/scenes that are not yet complete outlined. Artists will confirm that their writer has been in communication with them and that they have seen the draft.

*October 6, 2024* - All collaborations posted to the challenge collection on AO3.

*October 11, 2024* - Moderated posting starts and runs until all collaborations have been posted.

**RULES and EXPECTATIONS for all Participants**

Sign-ups open April 15th via Google Form.

By signing up to participate you acknowledge that you have read and agree to the rules.

While the mods will send out reminders in the Discord server, it is your responsibility to meet the Sterek Reverse Bang deadlines.

Communicate with your partner within 48 hours of your claim being confirmed. Mandatory partner check-ins should be met as well. This is meant to be collaborative and fun.

>>>Check-ins are mandatory and deadlines are strict.<<<

Participants must be 18 years or older.

Participants need an email address that they check on a regular basis, a Google account for sign-up and submission forms, and must have a Discord account.

Any questions or disagreements should be taken to the mods.

**GUIDELINES for ARTISTS**

In the regular reverse bang round the following types of art are accepted:

painting/drawing (traditional, digital, mixed)

mood boards

fanvids (min 30 sec)

original gif sets (min 6 gifs)

>>All art will be uploaded through a Google Form so you must have a google account.

>> In the spirit of anonymous claims, no watermarks, signatures etc. are permitted during initial submissions! If you are worried about art theft, you can add "Sterek Reverse Bang" as a watermark. Signatures will be added for the final posting with the fics.

>> Artists are limited to submitting one or two pieces.

>> Art must not have been published before, been a commission, or be associated with a fic at the time of claims.

>> When you submit your art, it should be finished. You may of course keep working on it until posting.

>>You may choose to create more art or headers for longer fics but this is not a requirement.

>>If you do not regularly have communication from your writer or you have not seen an actual draft as a deadline approaches, please contact the mods.

>>If you feel like an explicit dislike of yours is being disregarded by your writer, you are not being kept up to date with major story changes (especially when the deadline is approaching), or your input is not being heard, please contact the mods.

>>TLDR Your mods are here to help but we can’t help if you don’t talk to us.

**GUIDELINES for WRITERS**

>> Minimum word count for fics in this challenge is 10k.

>> Artists' prompts and requests need to be followed unless both writer and artist agree to something else.

>> Squicks and triggers have to be followed without discussion.

>>Authors may not demand or request changes to the art. The artists may offer to do this, but that is up to the discretion of the artist.

>>Fics must be in English.

>>Submitted drafts for check-in must be typed and be in a standard document form (.docx or Google Drive). iOS extensions or photos will not be accepted.

>>Writers must follow all check-in dates, including sharing an 80% completed draft with the mods and their artist by September 14, 2024.

>>All fics should be posted in their entirety on the submission date.

>>You must tag for any of AO3’s major warnings and use appropriate tags, including the Sterek Reverse Bang tag.

>>All fics need to be beta read. If you need help finding a beta reader, you can ask on Discord. Mods for the bang will not assign beta readers.

Like a regular Bang, a Reverse Bang is meant to be a collaboration between artist and writer. Think of your artist like a partner in your creative process and follow the sharing guidelines that we have laid out in terms of sharing outlines and drafts. Everyone has their own creative style, but do be willing to listen to the input from your artist as you write. One of the joys as a writer is having a collaborative partner to bounce ideas off of and talk through your WIP. Your artist will probably love to be part of this process.

>>>This means that you should regularly be sharing drafts with your artist.<<<

>>TLDR Your mods are here to help but we can’t help if you don’t talk to us.

**Dropping**

>> Should any participants drop before claims, no harm done, no worries.

>> Should any participants drop out after claims without extenuating circumstances, participants may not be allowed to take part in the next round. In any case, talk to your mods! There is usually a solution, both for the person dropping and the person remaining in the bang (e.g. finding a pinch hitter), and the sooner one is figured out, the better.

>>If you drop before August 30, 2024, and request a pinch hitter, you will receive a one year ban. Dropping after this date will result in a permanent ban.

>> Should a team wish to drop out by mutual consent, they may do so, but may not post their work as part of the Sterek Reverse Bang Collection.

**COMMUNICATION**

The STRB is meant to be a collaborative effort between artist and writer. Part of the fun of the process is working with another creative person to make something new in the Sterek fandom. With that in mind, we have a set of things you should be talking about with your partner.

**First check-in: June 14, 2024**

Teams must confirm that they have made contact and are good to collaborate.

Talk to your artist/author partner and exchange:

Names and pronouns

Account names (AO3, Tumblr, Discord)

Best way to communicate

Any general ideas you have

**Second check-in: July 14, 2024** - Team update

Author to Artist contact

Writers submit an outline of 200-500 words to their artist for comment and to mods for check-in.

**Third check-in: August 11, 2024**

Writers should have 3k written. They will submit a draft link to the mods and their artist. Artists will confirm that their writer has been in communication with them and that they have seen the draft.

**Fourth check-in: September 14, 2024** - The Final Check-in (insert klaxon siren here)

Teams must confirm that they are on schedule to post. Writers will receive a link to a Google form for submitting their drafts. Drafts should be 80% done with any parts/scenes that are not yet complete outlined. Artists will confirm that their writer has been in communication with them and that they have seen the draft.

Artists and writers are free to decide mutually on how much contact they wish to have and in how much detail they wish to collaborate.

🟡 **Check-ins** 🟡

All Check-ins must be done on time and are mandatory. Missing a check-in forfeits your art prompt (writers) and will result in a year ban (before August 30th) or permanent ban after August 30th.

**SIGN-UPS**

Sign-up via Google Doc

https://forms.gle/xt1pm2UY3HospyAPA

You may sign up as both an artist and a writer.

#sterek reverse challenges #sterek reverse bang #sterek #teenwolf #sterek reverse bang 2024

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sciralta · 11 months

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With PB’s adult romance book covers continuing to step further into the bodice ripper cover aesthetic, I think it’s worth questioning who it is that’s appearing on these kinds of covers and why that is.

Heterosexual couples. They’re all heterosexual couples.

The first inkling of this post came when the Alpha cover was leaked, showcasing a truly breathtaking unwillingness to do almost anything to distinguish itself from Choices’ other werewolf romance, Wolf Bride.

My first thought on seeing the Alpha cover was, why? Why would you use a practically identical composition as your other omegaverse book? Why wouldn’t you want to give this book its own identity? Does it have its own identity? Are the two books connected narratively? Because as far as we know, no, they’re not.

And then I truly thought about what an obvious missed opportunity this was. Why didn’t they make the obvious decision to distinguish this book by making it a gay cover? Alpha is confirmed to be a gender of choice book, and making it a gay cover would kind nod to the fact that a truly significant portion of the omegaverse sub-genre of fiction is dedicated to male x male pairings.

Later, I was thinking about how I’d really want to see one of these bodice ripper style covers with an m/m pairing, and I remembered that Choices only has a single gay cover with Foreign Affairs, and it is the picture of chaste. At that point it hit me—probably not for the first time—that none of these adult romance covers have been queer.

PB giving pittance to the mlm audience is honestly expected at this point, but it is genuinely weird that we haven’t gotten a lesbian cover in what, years? And that’s not even just for these adult romance covers. But if we’re talking adult covers; while only some of them have been GoC and so had the feasible option for a gay cover, all of them had the ability to play as a female MC, and all of them had a female love interest optional. They have had every opportunity to do at least one. Why have none of the bodice ripper style covers been queer?

How come the straight covers get to be this:

But the queer covers have only ever been this?

The obvious counter-argument to this is to say that the majority of Choices players are straight women and so they’re going to market their books with the straight female audience in mind.

And to that I say, I do not care. I truly, unequivocally do not care. Words cannot express how little I care about this argument, especially because there’s this, straight from PB via the Choices Insiders email in March this year:

So actually though, why no queer covers for their adult romance books? All I can say is that I do think it is in part influenced by the homophobic standard in media that queer desire isn’t marketable, and that image isn’t something they necessarily want to market themselves with. Not because PB themselves are homophobic, but perhaps because they don’t want the perception of a cover like that to potentially turn away their largely straight female audience. And that if true, to put it simply, is cowardice.

So, conclusions: With the growing number of Choices’ adult romance book covers using the bodice ripper aesthetic, the lack of any queer covers in this style—despite all opportunities to do so—leaves one with the impression that PB, intentionally or not; are both being informed by and feeding into the homophobic standard that queer desire is not something to be showcased or celebrated on the same level as heterosexual desire.

Basically, not only do PB need to start doing more queer covers; but they also need to start showing them being horny on their covers too.

It’s equality.

#am I off base here? who knows but it’s still fucking WEIRD why haven’t we gotten a queer cover in YONKS #playchoices #choices

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citrus-soda · 4 months

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Orikero blast attack!!! These fellas have been rattling around in my head for a couple months now. Lore stuff under the cut <3

It’s mentioned once or twice in the series that the planet Keron’s weather is controlled via satellite. I like to think the weather conditioning satellite (WCS) is less like an unmanned satellite and more like a space station, with crew both on the planet’s surface and aboard the satellite - constantly working to keep the installation up and running.

A weather satellite might seem like a huge deal to humans, but to Keron’s general public it’s regarded with about as much reverence as a power plant or water treatment center. It’s just a municipal service to them, and one they seriously take for granted! You can take tours of the satellite sorta like how one can tour money mints or chocolate factories here on earth. There’s a gift shop!

Rotada is the highest-ranking non-military crew member of the WCS, holding the position of head engineer. The WCS is her pride and joy, and even if she isn’t the station’s official captain, she’s pretty much the de-facto second in command. Often butts heads with the actual captain (Neneki) about what’s best for the WCS and its crew.

Kind, but not nice.

She knows just about everything that goes on around here.

Before working on the WCS, she was an engineer for an aerospace company.

Rocheche is one of the WCS’s many onboard scientists. He’s specifically in quality control - keeping an eye on the station's near-constant stream of data to ensure the planet’s artificial weather patterns are flowing smoothly.

The new guy.

Developing a caffeine addiction as we speak.

Fresh out of college and fought tooth and nail to get this job. "Per my last email" is his most often typed sentence this year!

Neneki is the WCS's captain and a warrant officer in the Keronian army. He'd been assigned to the satellite as punishment after being demoted from the rank of second lieutenant, but he's actually been enjoying himself immensely. He's not sure what to think about Rotada, and sometimes clashes with her if he feels she’s undermining his authority too much.

Easy-going. To a point...

Misses his wife. When's his next shore leave coming up???

Before being sent to the WCS, he served as an ambassador / negotiator for the Keronian Empire.

Neneki might’ve only gone down one military rank when he got demoted, but he essentially is a former diplomat sent to manage a municipal / scientific facility. Considering how much importance Keron assigns to military jobs… they did him dirty. At least he's having fun?

Junii is a tour guide, as well as a member of the satellite's PR team.

Chipper and friendly, shes pretty good at keeping kids entertained. Probably because she herself is easily amused.

Double-faced like a Janus cat. She is able to talk with both mouths at once, but since shes only got one set of lungs she runs out of air faster. She usually only does this as a party trick.

i quite literally just realized she looks like beta-design tamama. someone come and kill me right the fuck now

#keroro gunso #orikero #myart #theres more wcs crew i want to make but for now?? im tired.#neneki was the easiest to design! while rotada's color scheme took me literal hours... Rocheche is somewhere in the middle #if you're curious about these guys or the satellite they live in you can shoot me an ask. brainstorming with an audience is fun.#oc Rotada #oc Rocheche #oc Neneki #oc junii #Keron WCS #edit. fucking christ i misspelled nenekis title. hes a WARRANT officer not a warden officer.#edit: JUNII HAS LANDED. shes been a thing before neneki was designed i just needed to figure out her COLOR SCHEME. IM SO BAD AT THISSSS

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abcd-adventures · 5 months

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Once a month, I meet with a supervision group of other therapists. We talk about our cases, ask for advice, etc. It's often made me wonder how different I would have to be if I was a more "traditional" therapist--if clients came to my separate office somewhere or met with me virtually and we were mostly scheduled for set 50-minute sessions.

From those groups, I have mostly determined that the hugest advantage I have is working in an office onsite where my clients live. There's no escaping me. Lol I feel like it's easier to push or take risks. For example, yesterday, one of my clients was totally lying to me (and himself) and I was like, "WOW...there is so much bullshit happening right now; I don't even know what do do with all that." He tried making some excuses and I wasn't hearing it, and I told him that I had been out for five days and had way too much work to catch up on to sit there and have him insult both of our intelligence, so he could be honest, tell me he wasn't ready to talk about that topic, or we could wrap things up for the day. He was mad at me and chose to leave. I'm not sure I would have or could have used that approach if I didn't know perfectly well that I'd be back up there knocking on his door and following up that same afternoon. I let him cool off and then I went up and told him that I cared about him way too much to let him get away with bullshitting me or more importantly himself and that if something was difficult to face, I could respect that and we could approach it slowly, and I would never judge him for making mistakes or struggling with anything or needing to take a break from discussing something heavy, but lying doesn't accomplish anything and I won't indulge that because it's an insult to us both. We had a good talk, and I'm seeing him again on Friday. I guess if it were a more traditional situation I could have called or sent an email or note...but there's something way more solid about looking a person directly in the face when you push them in that manner and then following up and wanting them to know you will continue to do that but that it's because you absolutely adore them and only want the best for them. It can be harder to make that clear via other forms of communication...

I don't know. Definitely makes me grateful! :) I can be a total asshole and it would probably be difficult to have to be more mindful of that all the time!

#work things

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lingthusiasm · 6 months

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Lingthusiasm Episode 87: If I were an irrealis episode

Language lets us talk about things that aren't, strictly speaking, entirely real. Sometimes that's an imaginative object (is a toy sword a real sword? how about Excalibur?). Other times, it's a hypothetical situation (such as "if it rains, we'll cancel the picnic" - but neither the picnic nor the rain have happened yet. And they might never happen. But also they might!). Languages have lots of different ways of talking about different kinds of speculative events, and together they're called the irrealis.

In this episode, your hosts Gretchen McCulloch and Lauren Gawne get enthusiastic about some of our favourite examples under the irrealis umbrella. We talk about various things that we can mean by "reality", such as how existing fictional concepts, like goblins playing Macbeth, differ from newly-constructed fictions, like our new creature the Frenumblinger. We also talk about hypothetical statements using "if" (including the delightfully-named "biscuit conditionals), and using the "if I were a rich man" (Fiddler on the Roof) to "if I was a rich girl" (Gwen Stefani) continuum to track the evolution of the English subjunctive. Finally, a few of our favourite additional types of irrealis categories: the hortative, used to urge or exhort (let's go!), the optative, to express wishes and hopes (if only...), the dubitative, for when you doubt something, and the desiderative (I wish...).

Read the transcript here.

Announcements:

Thank you to everyone who shared Lingthusiasm with a friend or on social media for our seventh anniversary! It was great to see what you love about Lingthusiasm and which episodes you chose to share. We hope you enjoyed the warm fuzzies!

In this month’s bonus episode, Gretchen gets enthusiastic about swearing (including rude gestures) in fiction with science fiction and fantasy authors Jo Walton and Ada Palmer, authors of the Thessaly books and Terra Ignota series, both super interesting series we've ling-nerded out about before on the show. We talk about invented swear words like "frak" and "frell", sweary lexical gaps (why don't we swear with "toe jam!"), and interpreting the nuances of regional swear words like "bloody" in fiction.

Join us on Patreon now to get access to this and 80+ other bonus episodes! You’ll also get access to the Lingthusiasm Discord server where you can chat with other language nerds.

Here are the links mentioned in the episode:

'Irrealis' entry on Wikipedia

'How do you get someone to care about Shakespeare? Two words: Goblin Macbeth' on CBC

xkcd comic 'Conditionals'

'Pedantic about biscuit conditionals' post on Language Log

'The pragmatics of biscuit conditionals' by Michael Franke

Lingthusiasm episode 'This time it gets tense - The grammar of time'

'Realis and Irrealis: Forms and concepts of the grammaticalisation of reality' by Jennifer R. Elliott

'If all the raindrops' on YouTube

'If I Were a Rich Man (song)' entry on Wikipedia

'Rich Girl (Gwen Stefani song)' entry on Wikipedia

'Louchie Lou & Michie One' entry on Wikipedia

'Louchie Lou & Michie One - Rich Girl' on YouTube

'Semi-Toned - Rich Girl (acapella)' on YouTube

'Subjunctive mood' entry on Wikipedia

'Céline Dion - Pour que tu m'aimes encore' on YouTube

WALS entry for 'Feature 73A: The Optative'

Lingthusiasm bonus episode 'How we make Lingthusiasm transcripts - Interview with Sarah Dopierala'

Lingthusiasm episode 'Listen to the imperatives episode'

'Dubitative' entry on Wikipedia

'A grammatical overview of Yolmo (Tibeto-Burman)' entry on WikiJournal of Humanities

You can listen to this episode via Lingthusiasm.com, Soundcloud, RSS, Apple Podcasts/iTunes, Spotify, YouTube, or wherever you get your podcasts. You can also download an mp3 via the Soundcloud page for offline listening.

To receive an email whenever a new episode drops, sign up for the Lingthusiasm mailing list.

You can help keep Lingthusiasm ad-free, get access to bonus content, and more perks by supporting us on Patreon.

Lingthusiasm is on Bluesky, Twitter, Instagram, Facebook, Mastodon, and Tumblr. Email us at contact [at] lingthusiasm [dot] com

Gretchen is on Bluesky as @GretchenMcC and blogs at All Things Linguistic.

Lauren is on Bluesky as @superlinguo and blogs at Superlinguo.

Lingthusiasm is created by Gretchen McCulloch and Lauren Gawne. Our senior producer is Claire Gawne, our production editor is Sarah Dopierala, our production assistant is Martha Tsutsui Billins, and our editorial assistant is Jon Kruk. Our music is ‘Ancient City’ by The Triangles.

This episode of Lingthusiasm is made available under a Creative Commons Attribution Non-Commercial Share Alike license (CC 4.0 BY-NC-SA).

#language #linguistics #lingthusiasm #episode 87 #podcasts #episodes #irrealis #morphology #syntax #semantics #mood #if I was a rich girl #if I were a rich man #SoundCloud

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sealestial-k · 10 months

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Good Omens the Musical!

Yes! It's a thing!!

Since I have this knowledge and I keep bringing it up and people always seem surprised to learn about it- so here's a little recap of everything we know-

"Good Omens the Musical" is an official musical adaptation of the Book- both Terry Pratchett and @neil-gaiman know about it- and It has been given their blessing.

Those running the musical, Vicki Larnac (music & Lyrics), Jim Hare (Book), and Jay-James Moody (Book) are all very passionate and heartfelt, (and also seem very sweet) and I absolutely believes that it is in some of the best hands, hands down. There is a bunch of info on their website but if you only watch one thing watch the Video on the landing page. They talk about how the Good Omens musical came to be- It starts with what is already in the Sizzle reel and has bits and pieces of the musical scattered throughout it.

https://www.goodomensthemusical.com/

Other things:

I reached out to them via email recently (July 2023)(still so happy that I heard back from them~) and asked a couple of Questions, the most important one-

Q: Is this still an active project? Since last I heard about it was 2019-2020.

A: Yes! While COVID stopped progression on the project- they are still very much working on it! And have plans for the next step!

So while I am no expert in this musical, I am very happy to hear that is still being worked on.

But where can I watch the musical?

Right now- Nowhere. There isn't a full recording of this musical- what we do have- are clips of the musical, from the workshop version- we are still witnessing the starting stages of this production! It's quite exciting to see!

However there is at least one review out there on Tumblr by @seraphofshadows

In summary -

#good omens #good omens s2 #musical omens #Good omens the Musical #so many people don't know about it- so I figured i should make a post just in case #neil gaiman

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carry-on-big-bang · 6 months

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COBB 2024 OFFICIAL SCHEDULE

Alright! We hope everyone is ready for COBB 2024! Here is the official schedule for the Carry On Big Bang 2024!

(If anyone needs here is a refresher on the Rules and FAQ )

COBB 2024

MON, January 1st 12:00 PM PST: Sign-ups for both writers and artists open

WED, January 31st, 11:59 PM PST: Both writer & artist sign-ups close

THURS, February 1st: Emails will go out to writers with a link to a form asking for fic concepts

WED, February 7th 11:59 PM PST: Fic concepts from writers due. From there the mods will ready them for claiming

WED, February 14th - THURS, February 15th: Preview Days (Artist can view the writers' concepts)

FRI, February 16th, 09:00 AM PST: Claims open

MON, February 19th, 11:59 PM PST: Claims close

SUN, February 25th: Teams are announced via email and expected to get in touch with each other

SAT, March 9th: Team Check-In #1 is emailed to participants. Just a small survey to check the progress with your partner. Not a deadline for anything. MUST RESPOND BY SATURDAY, MARCH 16TH 11:59 PM PDT.

SAT, May 4th: Team Check-In #2 is emailed to participants. Casual survey to check you and your partner’s progress. MUST RESPOND BY THURSDAY, MAY 9TH 11:59 PM PDT.

SAT, June 8th: Team Check-In #3 is emailed to participants. Survey to rate your experience and to find out how you and your partner plan to post your work. WORKS ARE EXPECTED TO BE FINISHED AT THIS DATE. MUST RESPOND BY THURSDAY, JUNE 20TH 11:59 PM PDT.

SAT, June 22nd: The schedule for posting is published. Each team’s posting information will be sent to their email.

July 1st-15th: Posting time!

This is just the broken down version of the essentials you need to know.If you’d like to see the schedule with more explanations, see below the cut.

In-Depth Schedule:

Sign-Ups open on Monday, January 1th at 12:00 pm (Noon) PST. It will be a simple google form to fill out, just like last year! You’ll be asked to enter your contact information (email, tumblr handle, discord) and agree to our rules. Both writers and artists must sign up by Wednesday, January 31st 11:59 pm PST.

After completing the sign-up form, you’ll receive an email from us confirming that we have entered your data into our participants tables! You must reply to your confirmation email to be considered a participant.

Writers, on February 1st you will receive a link to a form to submit your fic concept. You can fill this out at any time but it must be submitted by Wednesday, February 7th 11:59 pm PST. If your idea changes just send a message to one of the mods (via email, tumblr, or discord) telling us and fill out the form again. You can only fill out this form once per team, as more concepts will tell the mods that you want to be on more than one team.

We will organize the fic concepts and put them on airtable, where all artists will be able to see the fic concepts on Wednesday, February 14th. Claiming begins the following Friday, February 16th 9:00 am PST and lasts until Monday, February 19th 11:59 pm PST.

Teams will be announced Sunday, February 25th. From there on we’re leaving it up to you and your partner to talk about what you’re doing!

We’re going to have a small check-in on Saturday, March 9th for us to see how the teams are doing. All people in your team must fill out the check-in forms (special note for co-writing: Only 1 of your writers needs to do this). The responses for this are due Saturday, March 16th, 11:59 pm PDT.

We’re going to have another check-in on Saturday, May 4th to see where in the process you are and if there’s anything we can do to help. Responses for this are due Thursday, May 9th 11:59 pm PDT.

We have our final check-in on Saturday, June 8th to see how the entire process went for you and what we can do in the future! Responses for this are due Thursday, June 20th 11:59 pm PDT. If neither you or your partner respond your team will be considered dropped out.

The posting schedule comes out on Saturday, June 22th. Every participant will receive an email from us on this date saying when your assigned date for posting is.Posting will take place from Monday, July 1st to Monday, July 15th.

If you have any further questions, please do not hesitate to contact the mods, we are always available and there for you!

#carry on big bang #carry on #cobb 2024 #cobb schedule #schedule #mod kal

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mariacallous · 3 months

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Jalon Hall thought she was being scammed when a recruiter reached out on LinkedIn about a job moderating YouTube videos in 2020. Months after earning a master’s degree in criminal justice, her only job had been at a law firm investigating discrimination cases. But the offer was real, and Hall, who is Black and Deaf, sailed through the interviews.

She would be part of a new in-house moderation team of about 100 people called Wolverine, trudging daily through freezing weather to offices in suburban Detroit during the early pandemic. When she accepted the job, the recruiter said via email that a sign language interpreter would be provided “and can be fully accommodated :)” That assurance unraveled within days of joining Google—and her experience at the company has proven difficult in the years since.

Hall now works on responsible use of AI at Google and by all available accounts is the company’s first and only Black, Deaf employee. The company has feted her at events and online as representative of a workplace welcoming to all. Google’s LinkedIn account praised her last year for “helping expand opportunities for Black Deaf professionals!” while on Instagram the company thanked her “for making #LifeAtGoogle more inclusive!” Yet behind the rosy marketing, Hall accuses Google of subjecting her to both racism and audism, prejudice against the deaf or hard of hearing. She says the company denied her access to a sign language interpreter and slow-walked upgrades to essential tools.

After filing three HR complaints that she says yielded little change, Hall sued Google in December, alleging discrimination based on her race and disability. The company responded this week, arguing that the case should be thrown out on procedural grounds, including bringing the claims too late, but didn’t deny Hall’s accusations. “Google is using me to make them look inclusive for the Deaf community and the overall Disability community,” she says. “In reality, they need to do better.”

Hall, who is in her thirties, has stayed at Google in hopes of spurring improvements for others. She chose to talk with WIRED despite fearing for her safety and job prospects because she feels the company has ignored her. “I was born to push through hard times,” she says. “It would be selfish to quit Google. I’m standing in the gap for those often pushed aside.” Hall’s experiences, which have not been previously reported, are corroborated by over two dozen internal documents seen by WIRED as well as interviews with four colleagues she confided in and worked alongside.

Employees who are Black or disabled are in tiny minorities at Google, a company of nearly 183,000 people that has long been criticized for an internal culture that heavily favors people who fit tech industry norms. Google’s Deaf and hard-of-hearing employee group has 40 members. And Black women, who make up only about 2.4 percent of Google’s US workforce, leave the company at a disproportionately higher rate than women of other races, company data showed last year.

Several former Black women employees, including AI researcher Timnit Gebru and recruiter April Christina Curley, have publicly alleged they were sidelined by an internal culture that disrespected them. Curley is leading a proposed class action lawsuit accusing Google of systemic bias but has lost initial court battles.

Google spokesperson Emily Hawkins didn’t directly address Hall’s allegations when asked about them by WIRED. “We are committed to building an inclusive workplace and offer a range of accommodations to support the success of our employees, including sign language interpreters and captioning,” Hawkins says.

Figuring out how to accommodate people like Hall could be good business for Google. One in every 10 people by 2050 will have disabling hearing loss, according to the World Health Organization.

Mark Takano, who represents a slice of Southern California in the US House and cochairs the Congressional Deaf Caucus, says that Google has an obligation to lead the way in demonstrating that its technology and employment practices are accommodating. “When Deaf and hard-of-hearing employees are excluded because of the inability to provide an accessible workplace, there is a great pool of talent that is left untapped—and we all lose out,” he says.

Unaccommodated

Hall was born with profound bilateral sensorineural hearing loss, meaning that even with hearing aids her brain cannot process sounds well. Two separate audiologists in memos to Google said Hall needs an American Sign Language interpreter full-time. She also signs pre- and post-segregation Black ASL, which uses more two-handed signs and incorporates some African American vernacular.

During her childhood in Louisiana, Hall's parents pushed her into speech therapy and conventional schools, where she found that some people doubted she was Deaf because she can speak. She later attended a high school for Deaf students where she became homecoming and prom queen, and realized how much more she could achieve when provided appropriate support.

Hall expected to find a similar environment at Google when she moved to Farmington Hills, Michigan, to become a content moderator. The company contracts ASL interpreters from a vendor called Deaf Services of Palo Alto, or DSPA. But though Hall had been assigned to enforce YouTube’s child safety rules, managers wouldn’t let her interpreters help her review that content. Google worried about exposing contractors to graphic imagery and cited confidentiality concerns, despite the fact interpreters in the US follow a code of conduct that includes confidentiality standards.

Managers transferred Hall into training to screen for videos spreading misinformation about Covid and elections. She developed a workflow that saw her default to using lipreading and automated transcriptions to review videos and turn to her interpreter if she needed further help. The transcriptions on videos used in training were high quality, so she had little trouble.

Her system fell apart late in January 2021, about 20 minutes into one of her first days screening new content. The latest video in her queue was difficult to make sense of using lipreading, and the AI transcriptions in the software YouTube built for moderators were poor quality or even absent for recently uploaded content. She turned to her interpreter’s desk a few feet away—but to her surprise it was empty. “I was going to say, ‘Do you mind coming listening to this?’” she recalls.

Hall rose to ask a manager about the interpreter’s whereabouts. He told her that he and fellow managers had decided that she could no longer have an interpreter in the room because it threatened the confidentiality of the team’s work. She could now talk with her interpreter only during breaks or briefly bring them in to clarify policies with managers. She was told to skip any videos she couldn’t judge through sight alone.

Feeling wronged and confused by the new restrictions, Hall slumped back into her chair. US law requires companies to provide reasonable accommodations to a disabled worker unless it would cause the employer significant difficulty or expense. “This was not a reasonable accommodation,” she says. “I was thinking, What did I get myself into? Do they not believe I’m Deaf? I need my interpreter all day. Why are you robbing me of the chance of doing my job?”

‘Pushed Aside’

Without her interpreter, Hall struggled. She rarely met the quota of 75 videos each moderator was expected to review over an eight-hour day. She often had to watch through a video in its entirety, sometimes more than an hour, before concluding she could not assess it. “I felt humiliated, realizing that I would not grow in my career,” she says.

Throughout that February, Hall spoke to managers across YouTube about the need for better transcriptions in the moderation software. They told her it would take weeks or more to improve them, possibly even years. She asked for a transfer to child safety, since she had heard from a colleague that visuals alone could be used to decide many of those videos. An HR complaint filed that spring led nowhere.

Black and disabled colleagues eventually helped secure Hall a transfer into Google’s Responsible AI and Human-Centered Technology division in July 2021. It is run by vice president Marian Croak, Google’s most distinguished Black female technical leader. Hall says Croak supported her and described what she’d been through as unacceptable. But even in the new role, Hall’s interpreter was restricted to non-confidential conversations.

Hall says the discrimination against her has continued under her new manager, who is also Black, leading to her exclusion from projects and meetings. Even when she’s present some coworkers don’t make much effort to include her. “My point of view is often not heard,” Hall says. In 2021, she joined two gatherings of Google’s Equitable AI Research Roundtable, an advisory body, but then wasn’t invited again. “I feel hidden and pushed aside,” she says.

Hall filed an internal complaint against her manager in March 2022, and an HR staffer has joined their one-on-one meetings since October of that year. One of the interpreters who has assisted Hall says the friction Deaf workers encounter is sadly unsurprising. “People truly don’t take the time to learn about their peers,” the interpreter says.

The allegations are notable in part because a civil rights audit Google commissioned found last March that it needs to do more to train managers. “One of the largest areas of opportunity is improving managers’ ability to lead a diverse workforce,” attorneys for WilmerHale wrote. Hawkins, the Google spokesperson, says all employees have access to inclusion training.

Hall says when she has access to an interpreter, they are rotated throughout the week, forcing her to repeatedly explain some technical concepts. “Google is going the cheap route,” Hall claims, saying her interpreters in university were more literate in tech jargon.

Kathy Kaufman, director of coordinating services at DSPA, says it pays above market rates, dedicates a small pool to each company so the vocabulary becomes familiar, hires tech specialists, and trains those who are not. Kaufman also declined to confirm that Google is a client or comment on its policies.

Google’s Hawkins says that the company is trying to make improvements. Google’s accommodations team is currently seeking employees to join a new working group to smooth over policies and procedures related to disabilities.

Beside Hall’s concerns, Deaf workers over the past two years have complained about Google’s plans—shelved, for now—to switch away from DSPA without providing assurances that a new interpreter provider would be better, according to a former Google employee, speaking on the condition of anonymity to protect their job prospects. Blind employees have had the human guides they rely on excluded from internal systems due to confidentiality concerns in recent years, and they have long complained that key internal tools, like a widely used assignment tracker, are incompatible with screen readers, according to a second former employee.

Advocates for disabled workers try to hold out hope but are discouraged. “The premise that everyone deserves a shot at every role rests on the company doing whatever it takes to provide accommodations,” says Stephanie Parker, a former senior strategist at YouTube who helped Hall navigate the Google bureaucracy. “From my experience with Google, there is a pretty glaring lack of commitment to accessibility.”

Not Recorded

Hall has been left to watch as colleagues hired alongside her as content moderators got promoted. More than three years after joining Google, she remains a level 2 employee on its internal ranking, defined as someone who receives significant oversight from a manager, making her ineligible for Google peer support and retention programs. Internal data shows that most L2 employees reach L3 within three years.

Last August, Hall started her own community, the Black Googler Network Deaf Alliance, teaching its members sign language and sharing videos and articles about the Black Deaf community. “This is still a hearing world, and the Deaf and hearing have to come together,” she says.

On the responsible AI team, Hall has been compiling research that would help people at Google working on AI services such as virtual assistants understand how to make them accessible to the Black Deaf community. She personally recruited 20 Black Deaf users to discuss their views on the future of technology for about 90 minutes in exchange for up to $100 each; Google, which reported nearly $74 billion in profit last year, would only pay for 13. The project was further derailed by an unexpected flaw in Google Meet, the company’s video chat service.

Hall’s first interview was with someone who is Deaf and Blind. The 90-minute call, which included two interpreters to help her and the subject converse, went well. But when Hall pulled up the recording to begin putting together her report, it was almost entirely blank. Only when Hall’s interpreter spoke did the video include any visuals. The signing between everyone on the call was missing, preventing her from fully transcribing the interview. It turned out that Google Meet doesn’t record video of people who aren’t vocalizing, even when their microphones are unmuted.

“My heart dropped,” Hall told WIRED using the video chat app Sivo, which allows all participants to see each other while a hearing person and sign language interpreter speak by phone. Hall spent the evening trying to soothe her devastation, meditating, praying, and playing with her dog, which she has trained in ASL commands.

Hall filed a support ticket and spoke to a top engineer for Google Meet who said fixing the issue wasn’t a priority. WIRED later found evidence that users had publicly reported similar issues for years. Microsoft Teams generally will record signing, but Hall wasn’t permitted to use it. She ended up hacking together a workflow for documenting her interviews by laboriously editing together Meet recordings and screen-captured video using tools that she paid $46 a month for out of her own pocket.

Company spokesperson Hawkins did not dispute Meet’s limitations but claims support for the Deaf community is a priority at Google, where work underway includes developing computer vision software to translate sign language.

Google leaders have often paid lip service to the importance of including people with diverse experiences in research and development, but Hall has found the reality lacking. Despite her understanding of the Black Deaf community and research into its needs, she says she is yet to be invited to support the sign translation work. In her experience, Google’s conception of diversity can be narrow. “In the AI department, a lot of conversations are around race and gender,” Hall says. “No one emphasizes disability.”

Her research showed Black, Deaf users are concerned about the potential for AI systems to misinterpret signs, generate poor captions, take jobs from interpreters, and disadvantage individuals who opt for manual interpretation. It underscored that companies need to consider whether new tools would make someone who is unable to hear feel closer or further from the people with whom they are communicating.

Hall presented her findings internally last December over a Google Meet call. Twenty-four colleagues joined, including a research director. Hall had been encouraged, including by Croak, to invite a much larger audience from across the company but ultimately stuck with the short list insisted upon by her manager. She didn’t even bother trying to record it.

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