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I do not have the energy to make this look nicer but i felt i needed to get this out or it would consume me.

I have been feeling an immense amount of rage and grief lately and this only encapsulates some of my thoughts

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We need to talk.

Hello there, fellow gifmakers. I’m writing this post to address a phenomenon that’s been happening for years both here and on Twitter – gif stealing. However, today we will talk about Twitter only (kinda ironic considering the circumstances, I know). Today we’ll talk about one particular person, whose whole Twitter brand is based on getting hit tweets with stolen Tumblr gifs, and it’s been happening for years now. So why we’re talking about this now? Because due to Twitter turning into a dumpster fire Tumblr welcomed a lot of new users, including that one person.

The person in question is @/red3corat3 (both here and on Twitter). Unfortunately, I already had an encounter with them a year ago, last summer when The Fear Street was trending. They screenshotted my gifset and posted it on Twitter with a same caption. When I asked them for credit – they simply blocked me. 

My post: https://deenafier.tumblr.com/post/656902582632136704/when-6-hours-chemistry-read-pays-off

Today I noticed that this person followed me on Tumblr (thankfully I remembered the username from that situation). I decided to check if they still were doing the same thing, and to no surprise it turned out to be true (I’m adding some screenshots, in reality there’s even more posts like this made by them). Currently their main interest is Warrior Nun so their account is full of stolen WN gifs, however they’re also in fandoms such as Motherland Fort Salem, Station 19 and House of the Dragon.

What can we do? Block them on here, make sure their access to gifs is limited, let them know gif thieves are not welcomed here. Here’s their tumblr blog:

We, gifmakers, spend hours on gifs, we’re doing this completely for free, simply out of passion for our favorite things. We don’t expect anything in return, but a simple credit or respect when a person says “I don’t want to see my work on other platforms” would’ve been enough.

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Druck Season 6 Bloopers!

#druck #there are tears #this era was so much in so many ways #WHERE'S THE BLOOPERS FOR ROOF CLIMBING SCENE

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Druck Season 5 Bloopers!

#druck #oh i adore them. so much #also that musical prowess??? oh my god #i love this #love what this season means to me

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Aicha Lopes as AVA PEREIRA in DRUCK S8 season finale ‘Forever’ (2022)

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having now finished druck s8, I’m incredibly saddened at how this season has gone, considering it’s the end of the second generation, and it’s unlikely that we will see any of these characters again. after 10 weeks, mailin is still a cipher—she had no internal struggles; her flaws were left unaddressed from previous seasons. there was no growth. overall, this season felt incredibly pointed towards silencing BIPOC members of this cast—particularly ish, which isn’t surprising given her comments. every episode, repeatedly, had ava and fatou either comforting or praising mailin for her “feminism,” her “girlbossing,” when it’s clear in seasons produced by q3/jünglinge that ava, in particular, would not say these things. for a season where finn was the LI, we learned nothing more about him or his family, besides that they run a furniture business impacted by the pandemic. yara was given a romance plotline with zoe, but that was entirely offscreen until the last two episodes. kieu my was only allowed to criticize the action mailin and zoe engaged with once, and it was apparently because nhungi and the others intervened on set. season 8 was also a season pointed towards conservatism—nora upheld purity culture in her final clip before departing for three weeks, and essentially shamed mailin, one of her best friends, for taking pictures of herself. in one of their fights, finn also did the same to mailin. zoe and mailin’s activist action with the destroying of books was essentially a parody of Teenage Activism™️, while in earlier seasons, activism was treated as something worthwhile, something important to engage with and discuss.

but the thing is, it just wasn’t season 8 of druck. season 7 had much of the same issues. the instas and sascha were static. the season, while hinting at the ideas of toxic friendship, did not touch on that internal struggle within isi from season 6, choosing to instead show the topic of gender dysphoria. while this topic is incredibly important, the new writers and SM team did not remember how isi was the one who introduced kieu my to the LGBTQ+ community, queer terms and language, and how she already was following drag queens and non-binary people on IG, and would have had some inkling into what was happening with themselves. the writers chose an easy route instead of building on the nuances already in the character. lou’s actions from s7 with the tampons could also be seen as a parody of true activism, and she also may have been a character created to fight back against the “isi is fatphobic!” allegations—but he was. that four minute clip in which he apologizes to ava for the bullying, and then it is never addressed again confirms it. the LGBTQ+ youth group & david could have been incredibly important for isi, but they were only shown in two clips; same with the turkish community, where they made a nameless neighbor into a bigot and homophobic and transphobic, rather than addressing the issues where consti essentially assaulted isi and made terrible comments towards her head-on. sascha, much like finn, didn’t have a personality beyond plant boy and LI either, and isi treated him like shit in his shoe until a bogus apology in ep 9. screentime was taken from BIPOC members of the cast and given largely to two white newcomers. eren had to fight for the pronoun scene, but also mentioned the efforts of the team/castmates to help them in that fight.

it’s sad to see the parallels between s5/s6 and how s7/s8 turned out. this last clip really showed me how much this cast had to fight tooth and nail to try and protect these characters who they loved. the cashqueens memory scenes consisted of s5/s6 references; as did the montage in between the cast speaking, again primarily about the early generation 2 seasons. overall, i wish the cast the best, i wish jünglinge & q3 the best. their talent is stunning, and i can’t wait to see what they do next. thank you, mina, sira, eren, frida, ish, zethphan, nhungi, madeleine, elena, anh, casper, paul, and paula. thank you for these characters. they will always have a place in my heart, even if the writing doesn’t. rant over!!

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Diversity is not just Black suffering or the gay best friend. Diversity is so much more than that.

#druck #them. just them

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I really appreciate that Q3 took the feedback they received after s4 and worked to create a generation that featured the stories viewers wanted to see. Thanks Jonas for writing Freundinnen First and thanks Jasmina for being so involved with the fandom and devoted to the show.

Thanks Jünglinge for all that you brought not just in terms of casting, character development and directing, but also making it a condition that all cast and crew attend anti-racism workshops and hiring crew of color behind the scenes.

Thanks especially to Raquel Dukpa and Naomi Bechert, who did a lot of good work with casting (Raquel) and as social media manager (Naomi in s5-s6). Druck was for them both one of their first credits as writers, and they got a lot of shit for their trouble.

Thanks Lukas for all that you put of yourself into s7 and how much you offered to gen 2.

And finally I want to thank the cast, but most especially Mina, Sira, Nhungi, Madeleine, Paula (girl, sorry this fandom hated you for getting between their beloved boy ships) and Eren.

AND OF COURSE AICHA, the most robbed, the most outspoken, thank you for everything that you gave us. I'm sorry we couldn't give you more in return. 💛

#s5 and s6 my absolute beloved. the cast and the team working behind the screen during these times were druck's peak. #it was so so special to be there following the clips as they dropped #experiencing excitement that did end up giving a satisfactory emotional payout #spiderwitz. kieutou. #the thick of cashqueens! the nuances of it all #i would forever keep you alive in my heart along with s3 and s4 #druck

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There can be different forms of wlw media. From Portrait of a Lady on Fire to First Kill. Sapphics deserve everything. Every option of media out there. Artistic and deep to teen cringy romance. Cuz we’re all different ages, different cultures, different races, etc. First Kill might not be for you but there’s probably some young sapphic out there losing their mind over it the same way you lost your mind watching Glee. Let us just have stuff plz. We can have more than one form of representation on screen than period pieces.

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It’s soooo weird to me that Ava came to help Consti, who is her former bully and who didn’t apologize, move in his new flat. It’s like these writers just stopped caring about bullying after one horribly bad Isi’s apology in s7.

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this is a maike tribute fatou told me herself

#druck

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soo...let's see if i get it..first kill is too sexual and caters to the male gaze, crush was too cringey cheesy and unrealistic, blymanor was queerbaiting, killing eve is too toxic, happiest season was just not good enough, fear street was not the right genre and the characters were unlikeable. what else? *checks notes* oh, period dramas are overdone and so are high school romances and any kind of meet cute, coming out stories are boring and too out and proud characters are unrealistic, slowburn is now equal to queerbait, and if the entire team shooting the film isnt queer forget it - truth is yall are constantly finding excuses not to watch wlw media ripping it to shreds over the smallest things in the name of "better reppresentation" and than log on twitter and cry "where are the sapphics????" ????????!!!

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Luise Emilie Tschersich (Sara) on the alt er love podcast

In case you're curious about what she shared on the podcast, but perhaps think an almost 2-hour long episode is a bit much:

She mentioned that NRK fines the remake teams with money fines if they break the adaptation contract. She says Druck wasn't fined because Germans don't like paying fines. She also said that other remake teams have been fined.

(I will say I don't think Skam Austin was fined since it was made with Julie's input, and they had a different contract anyway. And eskam wasn't fined for at least s1 and s2 because I know the changes were personally accepted by Marianne Furevold-Boland who was in charge of such decisions. If eskam was fined for s3, I say good for eskam. And if eskam was fined for s4, they fully deserved it lmao. Aside from that, I'm looking forward to a fandom discussion over which remakes might've been fined and why. I say wtfock for s4 definitely.)

That being said, the conditions can be negotiated. For instance, the Druck team negotiated that certain aspects of s3 were changed, such as David being trans and how the mental illness topic was handled. Again, the Druck team was very careful about how far they could take these changes in order to avoid a fine.

She didn't say this outright, but she heavily implied that the Druck team had to fight with ZDF for Amira's season to even be made. (My note: DESPITE ZDF having a contractual obligation to center a season around the Sana character.) She also implies that the reason it was made in the end is because 3 episodes weren't in Amira's POV.

She says Jule, who played Leonie, was quite open to the possibility of having Leonie be sapphic canonically. On the other hand, she used to think Sara was the straightest girl ever. She now thinks that maybe if Sara and Leonie met now, something could happen.

She shared a BTS story from s3. As some people might know, Michelangelo (Matteo) was shooting a project in Prague (Preis der Freiheit) at the same time as he was shooting Druck in Berlin. As a result, he was often tired. So, they were shooting the scene where Sara asks Matteo if they're boyfriend and girlfriend. They started doing the close ups on her face, meaning Michi was out of frame. As she was saying her lines, she noticed that Michi was so tired that he just fell asleep on the pillow Matteo was using in that scene.

She was upset that Sara and Leonie didn't get to appear in the final clip of s4, i.e. Amira's goodbye party and David's movie. She understands that there wasn't really space in the season for her and Leonie anyway, what with Amira being robbed of 3 episodes as it was and Sara/Leonie not being besties with Amira. She was also disappointed since, once she got the Sara character (she auditioned for Mia and Kiki), she was looking forward to the original s4 storyline, but then she was written out. Tbf, while I don't think Sara and Leonie were hugely relevant to Amira's season, neither was Victoria or, like, Alex lmao, but they were still at the party while Amira's brothers weren't.

There was some other stuff about her own experience getting cast in Druck, as well as how stuff like her taking on the Emma Larzen role and the family financial struggle storyline came to be, but I find those less interesting.

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None of the yt viewers deserve Ava

#oh my god i hate it here what the hell is This

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“Isn’t it crazy how animal documentaries can make you root for the lion OR the gazelle, just with the editing? Anyway, back to watching hilarious meme clips of an actual real world legal trial.”

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What would you do with the remaining plot of this season to make it good?

i don’t pretend I could do any better but I’m also not a paid professional who said she could write a tv season, I’m just here to pick it apart

and you know every new plotline/detail just infuriates me more, like yesterday when mailin said she struggled with having divorced parents A) since when are her parents even divorced?? her family has always been described as close-knit and wholesome which leads me to B) this was supposed to be Ava’s storyline, she was the one who struggled with her divorced parents but instead we have to endure watching her console mailin about it? like all the build up of her own struggles just magically went away, she’s granted absolutely zero feelings anymore

it’s like every character - especially noticeable with ava because this clearly was meant to be her season - is just a vessel to support and hype up mailin while she sulks and whines

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Rick Riordan’s response to the racism and hatred directed at Leah after she was cast as Annabeth:

“Leah Jeffries is Annabeth Chase”

“This post is specifically for those who have a problem with the casting of Leah Jeffries as Annabeth Chase. It’s a shame such posts need to be written, but they do. First, let me be clear I am speaking here only for myself. These thoughts are mine alone. They do not necessarily reflect or represent the opinions of any part of Disney, the TV show, the production team, or the Jeffries family.

The response to the casting of Leah has been overwhelmingly positive and joyous, as it should be. Leah brings so much energy and enthusiasm to this role, so much of Annabeth’s strength. She will be a role model for new generations of girls who will see in her the kind hero they want to be.

If you have a problem with this casting, however, take it up with me. You have no one else to blame. Whatever else you take from this post, we should be able to agree that bullying and harassing a child online is inexcusably wrong. As strong as Leah is, as much as we have discussed the potential for this kind of reaction and the intense pressure this role will bring, the negative comments she has received online are out of line. They need to stop. Now.

I was quite clear a year ago, when we announced our first open casting, that we would be following Disney’s company policy on nondiscrimination: We are committed to diverse, inclusive casting. For every role, please submit qualified performers, without regard to disability, gender, race and ethnicity, age, color, national origin, sexual orientation, gender identity or any other basis prohibited by law. We did that. The casting process was long, intense, massive and exhaustive.

I have been clear, as the author, that I was looking for the best actors to inhabit and bring to life the personalities of these characters, and that physical appearance was secondary for me. We did that.  We took a year to do this process thoroughly and find the best of the best. This trio is the best. Leah Jeffries is Annabeth Chase.

Some of you have apparently felt offended or exasperated when your objections are called out online as racist. “But I am not racist,” you say. “It is not racist to want an actor who is accurate to the book’s description of the character!”

Let’s examine that statement.

You are upset/disappointed/frustrated/angry because a Black actor has been cast to play a character who was described as white in the books. “She doesn’t look the way I always imagined.”

You either are not aware, or have dismissed, Leah’s years of hard work honing her craft, her talent, her tenacity, her focus, her screen presence. You refuse to believe her selection could have been based on merit. Without having seen her play the part, you have pre-judged her (pre + judge = prejudice) and decided she must have been hired simply to fill a quota or tick a diversity box. And by the way, these criticisms have come from across the political spectrum, right and left.

You have decided that I couldn’t possibly mean what I have always said: That the true nature of the character lies in their personality. You feel I must have been coerced, brainwashed, bribed, threatened, whatever, or I as a white male author never would have chosen a Black actor for the part of this canonically white girl.

You refuse to believe me, the guy who wrote the books and created these characters, when I say that these actors are perfect for the roles because of the talent they bring and the way they used their auditions to expand, improve and electrify the lines they were given. Once you see Leah as Annabeth, she will become exactly the way you imagine Annabeth, assuming you give her that chance, but you refuse to credit that this may be true.

You are judging her appropriateness for this role solely and exclusively on how she looks. She is a Black girl playing someone who was described in the books as white.

Friends, that is racism.

And before you resort to the old kneejerk reaction — “I am not racist!” — let’s examine that statement too.

If I may quote from an excellent recent article in the Boston Globe about Dr. Khama Ennis, who created a program on implicit bias for the Massachusetts Board of Registration for Medicine in Boston: “To say a person doesn’t have bias is to say that person isn’t human. It’s how we navigate the world … based on what we’re taught and our own personal histories.”

Racism/colorism isn’t something we have or don’t have. I have it. You have it. We all do. And not just white people like me. All people. It’s either something we recognize and try to work on, or it’s something we deny. Saying “I am not racist!” is simply declaring that you deny your own biases and refuse to work on them.

The core message of Percy Jackson has always been that difference is strength. There is power in plurality. The things that distinguish us from one another are often our marks of individual greatness. You should never judge someone by how well they fit your preconceived notions. That neurodivergent kid who has failed out of six schools, for instance, may well be the son of Poseidon. Anyone can be a hero.

If you don’t get that, if you’re still upset about the casting of this marvelous trio, then it doesn’t matter how many times you have read the books. You didn’t learn anything from them.

Watch the show or don’t. That’s your call. But this will be an adaptation that I am proud of, and which fully honors the spirit of Percy Jackson and the Olympians, taking the bedtime story I told my son twenty years ago to make him feel better about being neurodivergent, and improving on it so that kids all over the world can continue to see themselves as heroes at Camp Half-Blood.”

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