Currently playing: All Final Fantasy games in numerical order
Steam: Dragon Scrya
XB/PSN: DragonScrya
Guild Wars 2: drachenwulf.6318 (Ehmry Bay)
ESO: @DragonC0mmander
(Please let me know who you are or I'm likely to not accept the request.)
Pinned Post
I’m terrible at remembering to make this thing and having to change my stream schedule because my coworker is having a baby reminded me??
Anyway, hi, I’m Dragon! My pronouns are He/They and I’m a 30 something Trans queer. I stream three days a week; playing a lot of rpgs while babbling about my cats and writing.
This is my current stream schedule (At least until the end of my current semester or until forever. Idk, swing by and find out.)
“That sounds like a good idea…….”-“Is there something bothering you with the idea?”-“No, the idea is GOOD…..🙂”
Can someone explain this to me?
Old people use quotation marks to indicate emphasis, as a substitute for italics (which many of them could not produce on the old typewriters they learned to write on), whereas young people use them to indicate sarcasm or falseness. They’re used as “scare quotes”.
And old people use ellipses simply to indicate a pause, or for some other incomprehensible reason I’m not aware of. But young people use ellipses to indicate passive-aggression.
So an old person could type something like:
how are things going with your “boyfriend”….
and what they mean is
How are things going with your boyfriend? [Im so excited for you, sweetie, and I wanna hear about it]
But a young person would interpret that sentence as
How are things going with your so-called boyfriend…. [I say, while seething with contempt for him and possibly for you too]
The linguistic difference across generations is beautifully explained here thank you
I’ll say it here rather than burying it in various tags again:
Always remember that the people hoarding the money can make the strike stop at any time.
And they, the studios and streaming services, want you to forget that their profit hoarding is the problem. They’re the reason this is happening, not the writers and actors.
You can’t see that movie you wanted because a studio is clutching a fistful of nickels. They can afford to pay writers and actors–large collectives of not-famous workers–something even a little bit closer to fairly. But they are determined not to, with the cruelest resolve. An unnamed executive said, and I quote exactly this time, “The endgame is to allow things to drag on until [writers’] union members start losing their apartments and losing their houses.”