#Country Specific Analysis

[chiropteracupola]

Sovay, Sovay, all on a day / She dressed herself in man's array...

[zvaigzdelasas]

American Unexceptionalism

[wonder-worker]

"The feast of the Nativity of Saint John the Baptist being appointed as the day upon which the coronation of the king [Edward V] would take place without fail, all both hoped for and expected a season of prosperity for the kingdom."

-Excerpt from the Croyland Continuator / David Horspool, "Richard III: A Ruler and Reputation"

Even though Edward IV’s death was unexpected, after twelve years of peace there need not have been too much of a sense of foreboding about the succession. The great dynastic wound from which the Wars of the Roses had grown had not so much been healed as cauterized by the extinction of the House of Lancaster. There was no rush for London, as had happened in earlier, disputed successions. The royal party didn’t set out from Ludlow for ten days after hearing the news of Edward IV’s death, while Richard took his time, too. And the new king had [his mother the dowager queen and] two uncles to support him: his mother’s brother, the sophisticated, cultured, highly experienced Earl Rivers; and his father’s, the loyal and reliable Duke of Gloucester, to whom Edward IV had entrusted unprecedented power and vital military command.

... [Richard of Gloucester] had achieved his goal by a mixture of luck and ruthlessness, and if he made it appear, or even believed himself, that destiny played a part, this only made him a man in step with his times. Modern historians have no time for destiny, but sometimes the more ‘structuralist’ interpretations of the events surrounding the usurpation can come close to it. When we read that ‘the chances of preserving an unchallenged succession were . . . weakened by the estrangement of many of the rank-and-file nobility from . . . high politics, which was partly a consequence of the Wars of the Roses and partly of Edward IV’s own policies’, it is hard not to conclude that an unforeseeable turn of events is being recast as a predictable one. But without one overriding factor – the actions of Richard, Duke of Gloucester after he took the decision to make himself King Richard III – none of this could have happened. That is, when the same author concedes ‘Nor can we discount Richard’s own forceful character’, he is pitching it rather low*.

Edward IV had not left behind a factional fault line waiting to be shaken apart. Richard of Gloucester’s decision to usurp was a political earthquake that could not have been forecast on 9 April, when Edward died. After all, Simon Stallworth did not even anticipate it on 21 June, the day before Richard went public. We should be wary of allowing hindsight to give us more clairvoyance than the well-informed contemporary who had no idea ‘what schall happyne’. This is not to argue that Richard’s will alone allowed him to take the Crown. Clearly, the circumstances of a minority, the existence of powerful magnates with access to private forces, and the reasonably recent examples of resorts to violence and deposition of kings, made Richard’s path a more conceivable one. But Richard’s own tactics, his arrest of Rivers, Vaughan and Grey, the rounding up of Hastings and the bishops, relied on surprise. If men as close as these to the workings of high politics at a delicate juncture had no inkling of what might happen, the least historians can do is to reflect that uncertainty [...].

(*The author who Horspool is referencing and disagreeing with is Charles Ross)

[skalidris]

i read some of kim yideum's gisaeng poetry and it got me to thinking

so, in ancient greece, and also arguably in edo japan, and so on, prostitutes were... skilled? as in, it was normal for them to have some actual ability or hobby-like supportive income, or extra selling-point, or whatever--

i'm specifically thinking of an article about, i think, athenian prostitution, that actually was about how prostitutes were wool-workers. they made & also sometimes sold small weavings and yarns and such--work you can do on the move, and put down easily, once you get a client.

and i know even tea-house prostitution tended to involve some degree of cultural entertainment, like, it wasn't all The Flesh Itself or whatever. which probably indicates another serious lacuna in mxtx's writing of sex-workers/women (shocking /sarcasm)

i understand that the issue with meng shi is written to be something that can extend to her son, where they are both performing a gentry-like education, which is just... not any level of prostitute class-ranks, if they exist in this setting, which i can't say either way due to lack of evidence.

the key traits for that are guqin (which is a very high-society instrument. although in JP contexts, i'm certain some female entertainers played it.) and of course reading/writing/classical education (with the intent of being a cultivator, too). imo, that's the big one; nobody wanted women to do that really. or a-yao. sorry a-yao.

side note for painting, which i think jgy did not pick up? that means meng shi is, in the context of this story, classed only with wwx, nhs, and lxc... this is fine. moving on.

what i'm saying is, i feel that there should have realistically been some concrete pursuits, even very high-level skilled ones, that would not have marked meng shi & her son for the kind of bullying they received. ones that, in fact, other prostitutes at the brothel were also versed in, depending.

and i just wish i knew what those were. and if meng shi and/or jgy learned any of those, or if they completely refused to. i want brothel lore, is what i'm saying.

[katsurolle]

Hi! Love your art! <3

Could you try not to put sexism on my dash, though?

https://katsurolle.tumblr.com/post/701427759658991616/recentering-women-in-feminism-is-the-only-way-to

oops! i was primarily agreeing with their criticism against liberal + exclusive feminism + terf feminism. didn't really see this part in the notes when i reblogged it, my bad!

if i may add tho. ngl ops comment in the screenshot u took. now that you've shown me. kinda lacking class analysis lol. dare i say op is committing the same liberal feminist ideology they claim to be criticizing n r aware of. conversations re feminism r not limited to just sexual + gender identity + gender roles and norms. class plays a major role in the oppression of marginalized identities n even that is whats preventing a lot of working class men from overcoming their ignorance re: gender issues. so. yea.

[vistakai]

On one hand, it's frustrating when family members translate for patients because they tend to not know medical terms... on the OTHER HAND I have, multiple times, had a patient speak at length in another language and the hospital translator just says, "he said that's fine" like??? There has GOT to be another way to do this

[squidthusiast]

Ok, but why do I imagine Eight being the unofficial child of Pearl x Marina?

Because I imagine Eight was minding their business and all of a sudden, Pearl would slam the paper down and said “You’re adopted now”

Basically OTH at the start of their world tour haha, I love that they took Eight with them.

I have more detailed thoughts under the cut for those interested in my ramblings, analysis and interpretations of the characters.

Disclaimer: This is my own take on it, don’t let it ruin your fun!

I personally don’t really subscribe to the fandom’s ‘pearlina moms’ headcanon.

On the one hand, I am an absolute sucker for the ‘found family’ trope, and I definitely think Agent 8 and OTH fit in it!

On the other hand, I think people immediately put Pearl and Marina into the ‘parenthood’ box, a little too eagerly. Not saying this specific ask is that, btw, it just reminded me of some instances i’ve seen.

I personally think that the relationship between OTH and Agent 8 is a little more nuanced & sibling-esque, for the following reasons:

1. Within canon, we often see 8 being referred to as a friend by both Pearl and Marina.

Pearl does it more explicitly (see that one interview at her house), whereas with Marina it’s more insinuated (ex. In the Side Order dev diaries, she starts calling Agent 8 as ‘Eight’, which is stated to be a name used by their friends).

Pearl seems to be an accidental-duck-parent of sorts who haphazardly collects octoling teenagers & young musical talent. It goes in line with her whole mentor-esque leader personality, and i’m sure these disoriented teens find relief in an idol who seemingly knows what she’s doing (she really doesn’t).

However she doesn’t act in a parental manner. More-so like your estranged gay cousin who hit it big in another country and is down to show your queer little butt the ropes.

Marina on the other hand seems to have a more empathetic approach with Agent 8 (opposite to Pearl’s brashness). Marina clearly connects with Agent 8 through their shared experience as defected octoling soldiers, and probably sees her younger self in them. She’s already caring as it is, but this is accentuated during octo expansion given the circumstances.

I feel however that, unlike Pearl, Marina has a bit of a harder time actually forming a bond with Eight at the beginning. Their similarities (seemingly) end at their shared experience, and probably leaves Marina awkwardly wondering how to approach them further. What we can assume though is that they become closer friends during OTH’s world tour, given the events described in the Memverse Dev Diaries.

Meeting Eight during difficult circumstances (OE) and helping them get out creates a sense of camaraderie between them, which probably devolves into genuine care, established friendship and a strong bond amongst the three overtime.

2. Pearl and Marina are very career-centric both in Splat 2 and 3.

It is reasonable that the two young idols, who see their fame and musical recognition rise spectacularly & fast, are not particularly interested in settling down at this point in their lives.

Now entering her late 20s, Pearl is most definitely still interested in keeping the ball rolling with Off the Hook’s international success. Her character often points towards restlessness, freedom and discovery. There has definitely been character development in regards to her maturity in Splatoon 3, but these aforementioned traits are still ever present in her demeanour & decision-making.

Marina on the other hand can be seen slowly blossoming from a supporting character to being her own person. She definitely develops more self-confidence by Splatoon 3, but is still naturally bashful. It’s clear that she is allowing herself to explore & open up to new things for her own sake. She remains a caring and somewhat nurturing individual, but she is at a stage where she’s learning to live for herself and not for others.

Parenthood (and all the responsibilities and sacrifices it entails) at this moment of their lives would probably freak Pearl out, and stunt Marina’s personal growth.

3. The age gaps between OTH and Agent 8 are too close for it to create a parent/kid bond.

This makes their relationship a little hazy in regards to roles; 8 is still young enough that they may seek out rolemodels and mentors (still relatively influenceable), but they’re also nearing their 20s. By this point they are fairly self sufficient, have a sense of their personal values & identity, and they are relatively responsible & mature.

Pearl and Marina are 8’s seniors by approximately 4-6 years. However, in Splatoon 2 they’re entering their early 20s and their career has just begun to take off.

They are both still relatively youngsters, albeit older & more mature(? glancing at Pearl) youngsters than 8. This places them in a position where they can guide 8 and offer certain support and resources, but lack the maturity and experience of a full-fledged adult. This would approximate their relationship closer to that of siblings in a family setting.

Pearl & Marina are also less likely to feel a duty towards Eight as an adult would with a child. Instead, the latter’s circumstances are more likely to incite feelings of rapport and compassion as a fellow young inkfish.

Now, with all of this said, I will acknowledge that friendship/found family is MUCH more nuanced than a strict binary.

From personal experience in my last years of college, I did find myself caring for my fellow freshmen as though they were my kids, in certain ways. Hell, I called them my kids.

I acted as a proud parent whenever some of them achieved something, attempted to pass down my knowledge to them, and was protective of them to a certain extent.

They also annoyed me sometimes, like younger people do haha. And i’m sure I annoyed them too!

So I wouldn’t put it past OTH to call Eight their kid and have this mentor/parent-esque rapport with them in certain circumstances.

This is all based both on canon & my own interpretations of it, but still closely aligned to what has been shown in-game.

So if you have a different interpretation of Agent 8 and OTH, that’s great! I love to see people’s personal headcanons. Ultimately, Agent 8 is meant to be somewhat of a blank slate for the players to mold, with some hinted-at personality traits of their own.

As long as you have fun with these characters, that’s all that matters. This is just my personal opinion on their relationship in-game.

If you read all of this, you deserve the biggest golden star for listening to my incessant yapping 🤲⭐️

Feel free to bother me about this or other opinions you may have in my inbox, just be kind please!

[pathologicalreid]

stuck between a rock and a hard place | S.R.

next

You, an undercover agent, uncover a hidden secret of the country's largest operation, putting your life in danger and under the protection of the BAU.

who? spencer reid x fem!FBI!reader category: angst content warnings: general cm violence, hospitals, medical inaccuracy, drugs, sex crimes/trafficking, attempted sa, reader works in sex crimes. mentions foyet and also 6x24 (supply and demand). established relationship. word count: 7.7k a/n: this has been sitting in my wip folder for far too long. i am now emotionally attached to these two. i will write more of this specific pairing because now all i want is for them to be happy.

Spencer

It wasn’t every day that men and women in suits piled into the BAU carrying evidence boxes, everyone stood up at their desks. Spencer watched as Andi Swann followed in behind the other agents, not even bothering to greet the team as she went straight to Emily’s office.

Prentiss opened the door, letting Andi in before beckoning for Reid to join them. This had to be about you.

Ignoring the way his heart rate spiked, Spencer stood up from his desk and went up to Emily’s office. On the other side of the bullpen, the rest of the team filed into the roundtable room.

“Spencer, have a seat,” Emily offered, gesturing to one of the chairs in front of her desk.

Glancing at Agent Swann, he crossed his arms in front of his chest, “No, I’ll stand.”

Andi cleared her throat, looking at Spencer, she spoke, “Y/N missed her last two check-ins. As her next of kin, I need to notify you to let you know that as of now, the FBI is considering her missing.”

He wanted to be angry. He wanted so badly to be mad, but he’d seen this before. Years ago, an agent in Andi’s unit missed her check-ins and the BAU helped find her. More than that, he knew how much Andi cared about her agents, so he couldn’t find it in himself to be mad.

“Section Chief Cruz has asked that the BAU help to recover Y/N,” Emily said, looking at Spencer. “You know I have to tell you that you can’t be on this case,” she explained, leaning against her desk, eyes flickering as she tried to read Spencer’s expression.

Taking a deep breath, Spencer looked at Emily, “Y/N’s gone missing, and I’m not allowed to help look for her?”

Sympathetically, Prentiss shook her head, dark hair swaying with the movement. “You know it’s a conflict of interest to be involved with a loved one’s case.”

“Isn’t that kind of what the BAU does?” He could’ve rambled off a list of BAU agents who worked on cases involving their loved ones – including himself and Emily.

Turning to face Agent Swann, Emily suggested she join the rest of the team in the roundtable room. She waited until the door was closed before speaking again, “When’s the last time you saw Y/N?”

Closing his eyes, he remembered the morning of the day you left, the both of you had stayed up late as if you could delay your departure, but the last time he saw you was when he dropped you off at the Sex Crimes Unit before making his way up to the Behavioral Analysis Unit. “We haven’t even spoken since she left,” he answered, almost a month ago now.

“Is there a chance she tried to reach you or her family?” Emily asked. She had to ask, he knew that, but it didn’t make the questions any less ridiculous to him.

Shaking his head, he began to pace around the office, “No, she wouldn’t have done that. She follows the undercover playbook obsessively. She always said freestyling was like signing your death certificate.” He tried. He tried to get you to leave him breadcrumbs, but you never did.

Nodding, Emily watched as he paced back and forth “When did you get married?”

Pressing his lips into a thin white line, he stopped in his tracks, “When I came back after The Believers. It was the next day.” You had offered to sleep on the couch in an attempt to give him space when he asked you to go to the courthouse with him. That was two months ago now.

He didn’t want space. Not from you. Never from you.

Finally, he sat down.

“Did you tell anyone?” Emily asked, sitting down in the chair next to him. “Did you have a witness to sign your marriage certificate?”

Nodding, Spencer reached into the breast pocket of his suit jacket and produced three rings, his wedding ring, your engagement ring, and your wedding band. You didn’t have the time to get them soldered together yet. “Rossi was our witness,” he responded, “He was the only one who answered his phone.” He slipped his ring on and closed his fist around your two rings.

After a moment, Emily stood, “I’m going to speak with the rest of the team, but I won’t tell them anything I don’t think is pertinent to the case.” Which was her way of saying ‘Your secret is safe with me.’ “Stay in here as long as you need, Spence,” she offered before walking out, shutting the door tightly behind her.

He thought of the last night you were together. Spencer tried to check in with you, he told you that if your job ever became too much, you just had to tell him, and he’d be there. What he neglected to tell you was that he was beginning to feel like your job was too much for him.

You had given him the opportunity to hold you close, and instead, he let you slip through his fingers.

Opening his fist, he looked down at your rings and the indent they had left on his palm, slipping them back into his pocket before he walked over to the roundtable room. Everyone paused what they were doing to look up at him.

Spencer just shrugged and looked at Emily, “I can’t just do nothing.”

In response, Emily nodded solemnly and suggested he go through the case files with Matt.

It had been hours. The sun had set, jackets had been shed, and takeout had been ordered. The clock behind him showed it was nearly midnight, meaning it had been almost two days since anyone had last heard from you.

“Oh god,” Penelope said, her voice cutting into the thick silence of the roundtable room. Her fingers began frantically typing on her laptop.

Spinning in the office chair, Spencer wheeled over so he could look at the screen, vaguely aware of Emily hovering above him, “What is it? What did you find?”

She hit the keyboard so hard he thought they might break, but she answered, “The trauma center at Johns Hopkins reported a Jane Doe brought in a few hours ago. She matches Y/N’s description.”

“Did they run prints?” Andi asked, of course, there would be red tape if the hospital tried to run your prints, seeing as you were undercover.

Another tap and dozens of files opened, “It looks like she went right into surgery. Uh, the EMTs reported she was listing off a string of numbers when they brought her in… 265D019Z?”

Spencer swallowed thickly, “That’s Y/N’s badge number.”

Shaking her head, JJ looked over at the map of DC on the wall, “It’s a two-hour drive to Baltimore from here.”

“But it’s a thirty-minute flight, Reid, Tara, Swann, and Alvez go. The rest of us will look into what happened from here,” Emily doled out responsibilities, nodding at everyone as the team broke.

Spencer stayed still, still looking at Penelope’s screen, his eyes flickering over the documents. Words jumped out at him, drugged, punctured, and knife. It made his stomach churn. How had you gotten to Baltimore? Your unit had you set up in an apartment near the Hill. When did you travel from the district to Baltimore?

The thirty-minute flight felt like it was hours long, the drive from the airstrip to the hospital dragged on, but thankfully Emily had called the hospital ahead of time to let them know who you were and who was coming for you.

A doctor stopped the four of you from going into the room, a police officer was already stationed outside of the room, and the blinds were closed. Please, Spencer wanted to plead, please just let me see her.

“She’s weak, she just came down from recovery and she hasn’t fully woken up yet,” the doctor said, placing her hands on her hips. “I can’t in good faith let you go in there and badger her with questions. Not with no one in there to focus on her well-being,” she ordered. The doctor stared the four of them down with piercing gray eyes.

Taking a deep breath, Spencer peeked through the doorway when a nurse exited your room. “She’s my wife, I’ll advocate for her,” he responded, hoping the doctor would let him through. He could feel Tara and Luke staring, but he didn’t care.

Nodding, the doctor continued sizing Reid up, “Alright, but just you, for now. She’s not awake enough to be questioned anyway.” Stepping to the side, the doctor let Spencer through before blocking the doorway to everyone else.

In the worst way possible, you took his breath away. Your skin was sallow, you had an IV, nasal cannula, and a chest tube out the left side. Walking to your right, he took a seat next to you, taking your hand in his and pressing a gentle kiss to your bloodied knuckles – evidence that you had put up one hell of a fight. “Oh sweetheart, what did they do to you?” He whispered even though he knew you wouldn’t answer.

Reaching over you, he smoothed your hair from your face, your skin was clammy, probably as a result of blood loss. It looked like they were still transfusing, so you had probably lost a considerable amount of blood.

Shuffling the seat closer to you, Spencer took your hand in his. The doctor came back in holding a tablet, “Dr. Reid?”

He hummed in response, not daring to take his eyes off of you. “What happened to her? Why did she need surgery?”

“She had been bleeding out in an alley, according to the police officers who reported to the scene. The other agents are talking to them now,” the doctor said, tapping a few buttons on the tablet. “She had been stabbed several times in the upper left side, we went in to repair damage to her spleen, liver, and lung. There was some strain to her heart, it appears she was drugged before she was stabbed.”

He intently watched the steady rise and fall of your chest before he spoke up again, “Is she going to be okay?”

Setting the tablet down, the doctor paused before answering, “We’ll know more when she wakes up.”

Spencer leaned back in the chair, finally taking his eyes off of you and looking at the doctor, “Was there anything… did they…” He felt ridiculous, having spent the better part of his adult life in the BAU, and he couldn’t even put the words together.

To his relief, the doctor shook her head, “There were no injuries that suggested she was sexually assaulted.”

Reading the doctor’s badge, Spencer nodded. “Thank you, Dr. Herman.”

“Hit the call button when she wakes up, we’ll need to evaluate her pain and other treatment,” the doctor said, gathering her things before walking out of the room, and shutting the door behind her.

Spencer kept his eyes on you, tapping his foot on the ground impatiently, every once in a while, his phone rang, but he didn’t have the energy to talk on the phone. When his phone buzzed, he pulled it out of his pocket and checked the messages.

Penelope Garcia: How is she? Spencer Reid: Still sleeping. Penelope Garcia: How are you? Spencer Reid: Not sure.

Setting his phone on the table, screen down, he watched you again, every once in a while, your nose would twitch, or your eyes would flutter. Every time he would hold his breath, hoping you’d open your eyes.

He waited, and about an hour after he had arrived, a small, keening noise came from you. His head snapped up at the sound, your eyes were still closed, but you were moving. “Y/N?” He whispered hesitantly, not wanting to wake you up if you weren’t ready. Slowly, he stood up from the chair, not sure if he should keep waiting or if he should hit the call button.

You were muttering something, talking to someone in your sleep, when suddenly you jerked away. Instinctively, Spencer put his hands on your shoulders to stop you from tearing your stitches, and it was that touch that caused your eyes to snap open. “No, no, no, no,” you babbled, frantically looking around the hospital room.

“Y/N,” Spencer said, keeping his hands on your shoulders, “You’re safe, I’m here. You’re at Johns Hopkins in Baltimore.”

With wide eyes, you looked up at him and mouthed the word ‘Baltimore.’ As if you were trying to figure out how you had ended up in Baltimore, something the BAU still hadn’t figured out. “I thought I…” Your voice was nothing more than a rasp, but with the bruises he could now see littering your neck, that didn’t surprise him much. “Did you see it?”

Spencer pushed the call button without you noticing, “Did I see what, love?” He asked, keeping his voice low as he gently sat down on the edge of your hospital bed.

You furrowed your eyebrows and looked around the room, “Is Andi here?" Your voice was tight, like you were struggling to breathe. "I need to talk to Andi.”

Helplessly, Spencer watched as the number signifying your heart rate jumped, “Not just yet, alright?” He said, looking up when the doctor and a nurse came through the door.

The doctor introduced herself and started trying to get you to even out your breathing, one of the monitors was beeping like crazy until the nurse hit a button on it.

All he could do was watch, making sure he didn’t get in the way. Listening in to words about medications and making a mental note to research everything. “How’s your pain, Y/N? On a scale from one through ten.” The doctor asked, standing at the foot of the bed.

“Like a seven? When I breathe it’s more like a nine,” you answered, every word was strained. The doctor flashed a light in your eyes, “That isn’t helping,” you said through gritted teeth.

The doctor said something to the nurse, prompting her to nod before pushing something through your IV. After a few moments, Spencer watched as your heart rate lowered and your body visibly relaxed into the mattress. You nodded softly when the nurse asked if that was better.

Dr. Herman left and the nurse scrawled some notes down on your chart, introducing herself as Amelia before she left as well.

“Oh no,” you whispered, looking in the direction of the door. “Is the whole BAU here? How badly did I fuck up?”

Quickly, Spencer shook his head, “You didn’t, at all. It’s just me, Tara, and Luke,” he tried to reassure you as best he could without knowing the full story. “Do you feel up to talking?” He asked, smoothing your hair away from your face.

You nodded gently, “I need to talk to Andi. Alone, if it’s okay with you.”

“I can wait right outside in the hallway,” he offered, holding your hand in his and skimming the pad of his thumb over top of your knuckles.

You hummed contentedly, “Could you see if I can have water?”

Grateful to have something to do, Spencer stood up, leaned forward, and pressed a kiss to your forehead, “I’ll be right back.” He stepped out of the room, garnering the attention of the agents who were waiting in the hallway, all of them staring at Spencer expectantly, “Andi, she wants to talk to you.”

The Unit Chief nodded and disappeared into the room, leaving the door open just a crack.

He was gone for three minutes, that was the time it took him to walk to the nurses’ station and ask if you were allowed liquids and back, but when he returned the door to your room was wide open. “Where did they go?” He asked, looking over at Tara.

She was still leaning against the taupe hospital walls before nodding in the direction of the red exit sign, “Swann was in there for maybe two minutes before she came out in a huff, she took Alvez with her.” Lewis spoke calmly like it didn’t necessarily mean anything to her.

But it did to him. Walking back into your room, he stood at the side of your bed, “What did you tell Andi that you didn’t want me hearing?”

“Huh?” You sounded tired – rightfully so. Your pupils were dilated, which told Spencer that the drugs that the doctors had given you were working.

It comforted him that you weren’t in as much pain, but you were still hiding something from him. “You asked me to leave while you talked to Andi because you didn’t want me to hear what you were telling her. What did you tell her?”

Your face softened as your eyes filled with a different kind of hurt, “Don’t profile me.” You were too tired to hide the pain in your voice.

He raised his eyebrows and shrugged, “Don’t lie to me,” He countered. You were lying by omission, but what was worse was that you might’ve been putting yourself in danger.

“Please don’t leave me,” you whimpered.

Spencer’s chest tightened as he watched your eyes fill with tears, he sat down on the edge of your bed and took your hand in his. “I’m not going anywhere. Why would you think I’d leave you, darling?”

Your eyes were half-closed, “because you…” your voice trailed off and he squeezed your hand to get your attention. “When Scratch had Emily, you wanted to kill him,” you murmured.

The air had been knocked out of his lungs. You hadn’t been talking about a divorce. You were saying that you could identify your assailant, and you didn’t want Spencer to know. “I won’t go,” he whispered, “I’ll be right here.”

“It was Jake,” you mumbled, barely able to open your mouth as you fought your exhaustion.

That hadn’t been the answer he was expecting. He swallowed thickly, “Jake did this to you?” He asked slowly, looking at your hand, your fingers intertwined.

Minutely, you shook your head, “Jake blew my cover, Spence.” Yawning, you proceeded to mumble about him doing it on purpose.

Untangling your fingers, Spencer reached out and smoothed your hair away from your forehead, “Get some sleep, angel. I love you.”

You hummed an ‘I love you’ back, and the next moment your eyes were shut.

A nurse came in and asked for a moment while she checked the output of your chest tube, ushering Spencer and Tara out. “Okay, I’ll bite, who’s Jake?” Tara asked, putting a hand on her hip as she looked expectantly at Reid.

“Jake is her partner. When she’s not undercover and just out in the field, they’re partners,” Spencer explained.

Tara pursed her lips thoughtfully, “So, he would’ve known that she was undercover.”

Nodding as the newly added weight of the situation threatened to pull him down, Spencer turned and faced you, watching as the nurse examined you as you slept. “He blew her cover on purpose,” he reached up and rubbed his eye. Jake knew exactly what he was doing when he blew your cover, and you knew exactly what you were doing when you begged Spencer not to leave you.

“We have to go back in and ask her more questions,” Tara said.

Usually, Spencer agreed with Tara, but not this time. He saw the monitors you were hooked up to, he read your chart, and he watched the concerned looks on the nurses’ faces. They all told him that you weren’t stable enough to be speaking, let alone a cognitive interview. “No,” Spencer said finally.

Clearing her throat lightly, Tara stood next to him in the doorway, “We can’t let them get away, Reid.”

“And I can’t lose her,” he rebutted, ignoring the way his voice broke in his desperation. 

Stepping back slightly, the other agent nodded in understanding. “Okay, I’ll call Emily. You go sit with her.”

She didn’t have to tell him twice; he pulled a chair up impossibly close to your bedside and draped his jacket over the back of it before loosening his tie and sitting down.

You

When you woke up, it was still dark outside, but the bright lights of the hospital room made it hard for you to get any real rest. You were pleased to find that, true to his word, Spencer was right next to you when he woke up.

He was sleeping, resting his head on his hand with his wrist bent awkwardly. “Spence,” You whispered, clearing your throat, “Spencer.” You couldn’t reach out to touch him, but you wanted to wake him up, so his wrist wasn’t sore.

Jolting awake, he looked at you, “Hey, did you just wake up? How do you feel?”

It was a weird question, you felt like an absolute dumpster fire. “Better,” you whispered, “less hurt, achier. Sore. I don’t know, my head feels fuzzy,” you rambled, trying to move higher up on the hospital bed, but being limited by the chest tube. “How long do I have to have it?” You asked, staring at the plastic tubing as if you could make it go away via the power of suggestion.

“At least through the night, but it could be longer,” he said, reaching over and smoothing over the edges of your blanket. “Do you know what they gave you?” Spencer asked, shaking out his wrist.

You hummed in response, “No, it was intravenous though. They were big on amphetamines, but it didn’t feel like a stimulant. Benzos maybe,” you told him, your voice was soft. The pain in your throat had subsided after being intubated during surgery, but you were still swollen from when Cal grabbed you.

None of this made sense to you. The one thing that bothered you more than anything else was why Cal stopped when Jake said to. It couldn’t have been as simple as the money.

Spencer must’ve noticed you burrowing into your memories, “You remember everything?” He asked gently.

He knew what he was implying, in more cases involving severe trauma, victims generally remember everything or remember nothing. It was lucky for law enforcement when they remembered, but bad for the victims. Bad for you. “Mostly,” you breathed, avoiding his eyes. “I’m so sorry,” you said softly.

“Why? You don’t have anything to be sorry about,” he tried to reassure you, reaching out and taking your hand in his.

You hummed, “I don’t remember anything after they drugged me, just the stuff before. Just the…” Your voice trailed off as you returned to your confusion. “Who’s still here that I can talk to?”

He squeezed your hand comfortingly, “Do you feel up to it?”

“I’m afraid I don’t have much of a choice,” you answered him despondently.

Spencer nodded before he got up from his chair, pressing a tender kiss to your forehead before he stepped out into the hallway and let Tara in.

The agent smiled at you gently, “Hey, Y/N, how are you feeling?” She asked, sitting down at a free chair at the end of your hospital bed, leaving the chair at your side available for Spencer to return to.

You gave your best attempt at returning the smile before you answered, “I think I’m going to make it.”

As Spencer sat back down next to you, placing a water cup on your bedside table, Tara opened a file and looked through it, “Can you start by telling me a little bit about your assignment? You were undercover as… Barbara?” She read from the file.

Nodding slowly, you held out your hand for Spencer to hold, “Yeah, but they called me Babs.”

Three days ago...

You shifted self-consciously in the gold dress. It was a silky, slippery number that displayed more than you particularly liked. Spencer would probably like it, but he’d hate how uncomfortable you were in it.

Inadvertently, you smiled at just the thought of your husband. It was late, so he was probably at home, reading next to the fireplace. Maybe he was on a case, off somewhere in the United States and saving lives.

It had been twenty-nine days since you had last seen him.

“You look gorgeous tonight, Babs,” Johnathan McCallister, better known as Cal, told you, reaching out and placing a hand on either one of your shoulders before placing a kiss on both cheeks.

Bashfully, you smiled at him, “You’re too good to me, Cal. I can’t believe you got me in!” Deep down, you knew tonight could be the night, you would be able to take down The Program. At least the D.C. chapter of it.

When it was over, you could be Y/N Reid again, instead of Barbara McFarston.

The Program took women around your age and sold them into sex slavery. The chapter in Washington D.C. was one of the most active, which made sense when you looked around the room and saw a majority of the people were elected officials – men and women alike.

Andi Swann had assured you that taking down this chapter would create a domino effect, causing the other chapters to topple. According to her, if you could take down D.C., Miami, and Los Angeles, The Program would most likely cease to exist.

Turning to ask Cal about the selection tonight, you were startled to see familiar gray eyes on your companion’s other side. You felt your façade slip, but only for a second before you pasted a brilliant smile back on your face.

You tilted your head to the side, “And who might you be?” You asked Jake, wondering if Andi had sent him in to get a status report on you.

“Jake Cohn,” he answered, and goosebumps spread over your exposed skin at his answer. He should’ve said William Jacoby, that was his identity for this case.

In horror, you watched as Jake leaned in to whisper something in Cal’s ear, maintaining eye contact with you the whole time. You bit your tongue as Cal wrapped an arm around your waist and pulled you in tightly, “Let’s talk.”

You stumbled a little over your own feet and looked at Jake with wide eyes, the leader forcefully shoved you into a private room, one that would probably light up like a Christmas tree under a blacklight. “What’s wrong, Cal?” You asked, standing up straight.

He reached over and grabbed the back of your neck, gathering the hair at the nape of your neck in his fist. The force of it made you scrunch your shoulders up, “You’re a fucking fed?” He seethed, tossing you to the ground in one swift movement.

“I don’t know what you’re talking about,” you tried to convince him. Tried to flip the script so that Jake was the liar instead of you.

Cal grabbed your throat next, holding you down on a booth seat. “Oh, Y/N… Jake’s been one of my best employees for years.” He said, chuckling at the betrayal in your eyes, he only laughed more when you kneed him in the gut. “Oh, I like it when they fight back.”

You shut your eyes tightly as you heard the clinking of his belt buckle, but they snapped back open when you heard the word, “Stop.”

“What? Did you want first go on her?” Cal asked, wiping his cheek – you must’ve scratched him in your struggle.

Jake cleared his throat and met your eyes, “We should keep her clean, you know?” He said, and for a moment you thought he was actually trying to help you, “Think about how much a clean fed would go for here. Especially in D.C.”

And just like that, your hopes were dashed, “he’s right,” you told Cal, trying to formulate a plan.

“Shut up, whore,” Cal spat, causing you to involuntarily flinch.

At least there’s nothing he could call you that you hadn’t heard before, in your line of work, people got very creative.

Cal looked at you, inspecting your neck where he had grabbed you before, “You’ll make me a lot of money, won’t you?” He said, rubbing a hand up and down your arm soothingly before poking you with a needle.

Your legs gave out beneath you, but Jake caught you before you hit the ground. “I’m sorry, Y/N. I didn’t think he’d do this. I thought he’d kick you out, but I didn’t think…”

Looking up at him, your throat burned, and you weren’t sure if you were going to cry or throw up, but you shut your eyes. “No, you didn’t.” You don’t just casually tell the leader of a sex trafficking ring that the person with them is an FBI agent.

Present

“And that’s the last thing you remember?” Tara asked, scribbling something down in your file.

You nodded absentmindedly, “I think…” Your voice trailed off as you looked at Spencer, “I think Jake might’ve been in charge the whole time. Pulling the strings from behind the curtain while he waited for the perfect time to catch me off guard. That’s the only reason Cal would’ve backed off when Jake told him to,” You proposed your theory, not missing the way Spencer was holding your hand a little tighter than before.

Tara’s brows were raised, “Jake Cohn has worked in the bureau for almost a decade, it would be hard for him to evade detection for that long.”

“But he knows exactly how to evade it,” you rebutted. “He’d know all of the tricks from Sex Crimes and all of my tricks. He- He set me up,” you realized.

Spencer turned around and looked at your monitor, “Okay, let’s take a break. We can talk more later.”

Getting up, Tara let Spencer know she was going to call the rest of the team before she stepped back into the hallway.

“My chest hurts,” you said, hating how your voice sounded like a whine.

In response, Spencer smoothed your hair back in an attempt to comfort you. “Your heart is racing,” he whispered, “Take a deep breath, okay?”

You nodded slowly, breathing in deeply through your nostrils and letting the air collect in your lungs before blowing it out your mouth. Looking up at Spencer, worry plain in his eyes no matter how hard he tried to hide it, you came to a decision, “Spence?”

He bowed slightly closer to you so he could hear you better, “What is it, love?” He moved his hand, so it was gently cupping your cheek.

Leaning into his touch, you whispered, “It’s too much.” The only thing you had left was to hope he knew what you were talking about, the words were too hard right now, but you felt them contributing to the burning in your chest.

“Okay,” he answered. “It’s okay. You don’t have to worry about disappointing anyone.”

You practically melted back into the hospital bed; the weight of your job eased off of you. Nodding, you closed your eyes, “It’s good, this is good. I just feel crazy, but a good crazy.”

Spencer smiled at you, “Okay crazy,” he whispered, “I’m going to-“ He was abruptly cut off by his phone ringing, furrowing his brows, he swiped the screen and held the phone up to his ear, “Hey, JJ.”

Cocking your head to the side, you tried to listen to JJ’s side of the conversation, but either she was speaking quietly, or Spencer had his phone volume really low. From the way Spencer’s jaw tightened, you knew that this couldn’t be anything good.

He looked at you before looking at the door, “Do you know where?” He said in a tone entirely unfamiliar to you, it was low and steely. Reaching over you, he nimbly pressed the call button on your bed, “Okay, keep me updated.”

“Spencer, what is going on?” You asked as the nurse came into your room, faltering for a moment as she looked at the two of you.

Placing a hand on the bar of your hospital bed, Spencer looked at the nurse, “Do you have somewhere secure she can be moved to?”

The nurse looked shellshocked, surely the FBI occupying the hospital wasn’t an everyday occurrence, “I don’t… I don’t think so?” She seemed unsure of herself.

“Spencer,” you repeated his name.

He turned to look at you, “Jake’s here and he’s looking for you.” Turning back to the nurse, he pointed at you, “She has to be moved.”

“I don’t… I’m just a student, my preceptor is taking a break. I could try to find-“ The nurse stammered nervously. “We don’t usually just move people.”

Nothing about this situation was usual, but one look at Spencer told you this was life or death. Your life or your death. You sighed in defeat, “This is really going to suck.” Reaching over to your side, you gripped the tube that had been draining blood from outside your lung and pulled it out. Like ripping off a band-aid.

In the process, you tore the stitches holding it in place and set off all kinds of alarms, leading to a crowd of nurses and doctors charging into the room.

As someone held pressure down on where you were bleeding, someone said something about moving you to a sterile procedure room, and the nursing student trailed along, whispering “That was the stupidest smart thing I’ve ever seen anyone do.”

Everything was blurry when you woke up next and, through the blinds, you could see that the sun was finally rising. The warm, orange light peeking through like lines on a piece of paper.

“Hey,” Spencer said from right next to you, placing a gentle hand on your arm. “It’s okay, you’re okay,” he whispered.

You looked away from him, back towards the blinds, “Will you open them?” You rasped, your throat felt raw, and your body felt heavy.

He got up and ambled over to the window, twisting the mechanism until the sun poured into your room. “How are you feeling?”

“Heavy,” you whispered, the mental weight of the past several days was threatening to take you down, but physically you felt like Atlas himself, carrying the weight of the world on your shoulders.

Spencer hummed in response, “They sedated you, standard procedure for people who rip their own chest tubes out.” He adjusted the way your gown rested on your shoulders, “Luckily you didn’t do too much damage.”

You took a deep breath and leaned your head so you could look out the window. The outside felt so foreign to you now, you couldn’t remember the last time you had breathed real, fresh air. “So, what is the damage?” Your voice was little more than a murmur but with just the two of you in your room, it wasn’t hard to hear.

“You’re going to be fine; they think the tube can go later today. Then they’ll evaluate whether enough you’re strong enough to go home, it’ll probably be another couple of days,” He explained to you, matching your gentle tone. “Johnathan McCallister is in custody, and Jake Cohn is dead,” he told you, studying your face for any kind of reaction.

Closing your eyes, you felt white hot tears stream down your cheeks. “I’m sorry,” you whispered, laughing a little despite yourself. He probably thought you were losing it, crying over the death of someone who had nearly had you murdered.

The edge of your mattress dipped down slightly, and you opened your eyes to see Spencer sitting next to you, “You don’t need to be sorry, my love.” Gently, he rested a hand on your hip, skimming his thumb over the rough fabric of your hospital gown, “He was like family to you. I’m not sorry he’s dead – I’m not. I am sorry for that loss, though.”

Nodding, you felt it as your face crumpled, leading Spencer to lean down and hug you as best he could. “I’m sorry I scared you,” you said as he pulled away.

Your furrowed your brows in confusion as he reached into his pocket and produced your wedding ring, taking your left hand, he slid the rings on, “For better or for worse, right?”

A small smile grew on your face as the gem on your finger shimmered in the morning light, “for richer or for poorer,” you continued.

“In sickness and in health,” Spencer whispered, eyes flickering around the hospital room.

You reached up a shaky hand and cupped his cheek with your palm, “to love and to cherish.” You said, feeling a dopey, lovesick grin blooming on your face.

He turned his head and kissed the center of your palm, “until parted by death,” he finished, taking your hand in his.

“No dying,” you insisted, feeling your energy begin to drain, you started to understand why the doctors didn’t want you going home for a few days.

Spencer hummed in response, “You almost did. If you hadn’t been found when you were-“ his voice broke off and you had to tear your eyes away from his for a moment. “I still can’t believe you chose that,” he whispered, looking at you like you hung the moon.

Shrugging as if it was nothing, you melted back into the pillows, “I had a split second to weigh my options – get sold into sex slavery or get stabbed in the chest.”

“A catch-22,” he nodded, wrapping his head around your impossible decision. You couldn’t help but wonder how long it would take until the fear in his eyes left.

You shifted a little in the hospital bed, the sheets rustling as you did, “We get it, you’ve read Joseph Heller.”

He smiled at that, the light teasing seemed to bring brightness to his face, “What is it about blood loss that makes you think you’re funny?”

Laughing lightly, you squeezed his hand as tightly as you could manage, “I am funny. And I’m tired.”

“Go back to sleep then, baby,” he said softly, “it’ll all be here when you wake up.”

There was a party in your hospital room. It started with just Emily, coming in because you were finally up to seeing anyone other than Spencer, and it ended up being the entire BAU.

Someone had gone to the apartment and gathered clothes for you so that, once your chest tube was removed, you could put on real clothes. So now you were sitting up, wearing sweatpants and a ratty old college sweatshirt, and laughing with the BAU. You were leaning heavily on Spencer, who was also sitting on your hospital bed, but he didn’t seem to have a problem with keeping you steady.

Luckily for you, no one in the BAU wanted to ask about what had happened on your assignment, they were more interested in the rings that adorned your and Spencer’s fingers.

“I still can’t believe you two secretly got married,” Penelope said. “Of all of the times for me to not answer my phone.”

Next to her, Luke shrugged, “Honestly, I can believe it. It feels like a very Y/N and Reid thing to do.”

Gently, Spencer rubbed your back. His hovering was quickly going to become insufferable, but right now you were welcoming every touch with open arms.

“Well, we’ll have a party for the two of you. When you’re up for it, of course,” JJ said, smiling from where she was standing next to Emily.

You wanted to shake your head and tell them that it really wasn’t necessary, but asking the BAU to refrain from throwing a party was like asking a shark to stop swimming. Instead of debating, you just smiled and bobbed your head.

Eventually, Andi showed up, just as you knew she would. “Hey, guys,” Emily nodded in the direction of the doorway, “Why don’t we go raid the hospital cafeteria?”

After a few more hugs, including a lingering one from Garcia, the BAU, save for your husband, filtered out, and Andi made her way to the foot of your bed. “Hey,” you said, your voice was soft.

Nine years. You had spent nine years in the sex crimes unit. Spencer had done the math, you’d spent approximately seventy-six percent of that time undercover, missing birthdays, holidays, not ever really looking forward to the future. Until now.

You, the most decorated member of the sex crimes unit, were leaving.

Suspiciously, you eyed the files in Andi’s arms, one was a case file, the other a plain manila folder. She silently handed you the case file, and you shared a look with Spencer before flipping it open. “The Program is gone?” You asked, your eyes skimming the folder.

Swann nodded, her brown hair swaying with the movement, “The arrest of the leader of the D.C. chapter greatly contributed to that, but it was the death of the ringleader that took the remainder of The Program down.”

Closing your eyes, you nodded as you tried to process what she was telling you. Jake had been in charge all along. “Andi, I-“

“It was your intel that did it,” she cut you off. “From your last several assignments, everything you collected directly contributed to the downfall of this trafficking network. One of the largest networks the FBI has ever seen.”

She handed you the next file, labeled with only your name. You flipped it open, well aware that Spencer was reading from over your shoulder. “I don’t qualify for retirement,” you told her, furrowing your eyebrows, and looking at the papers in front of you. You didn’t qualify for retirement, and yet, you were looking at a retirement offer.

Your unit chief nodded understandingly, “I pulled some strings, with some help. Collectively, Prentiss and I know a lot of people.”

Spencer placed a supportive hand on your back, and you looked up at Andi. “I’m only thirty-two?” You asked, it wasn’t a clarification, it was a question.

“And yet,” she answered, “you’ve done more for the Bureau than most agents could hope to do in their whole career. This plan came from the director, Y/N. He wanted you to have it.”

Shaking your head, you handed the folder over to your husband so he could look through it. “I don’t… can I think about it?”

“He’ll want an answer soon but talk it over and give me a call when you’ve come to a decision,” she said, grabbing her things and making her way to the door. “And Y/N?”

You lifted your head up to meet her eyes, “Yeah, Andi?”

She smiled at you, a rare, real smile from her, “Make the right decision for you. You have a small army ready to support you through everything.”

Slowly, your gaze followed her out the door, waiting until you heard the latch of the door secure. Spencer handed the folder back to you, “What do you want to do?”

You flipped through the folder again, it was a lot of money, and there were a few different distribution options, but it was more than you felt you’d ever need. “I don’t really feel like I deserve this,” you whispered, reaching your hand up and rubbing the back of your neck. “The Bureau doesn’t offer early retirement like this, not without extenuating circumstances,” you continued.

“They did it with Hotch,” Spencer said, reading the file over your shoulder.

Shaking your head, you leaned over to look at him, “That was way different, Haley was murdered by a serial killer.”

Spencer sighed, “I think you’re selling yourself short, darling. The Program was trafficking almost 12,000 people across the country. That’s almost 70 percent of the yearly total trafficking victims. You took them down,” he told you earnestly.

Your shoulders slouched forward, “I didn’t do it alone, though.”

“Didn’t you, though? They sent you in with no communication device, no emergency signal, and information that wasn’t even true. Your unit told you Johnathan McCallister was the leader of the ring, but it ended up being a decorated agent and you’re the one who figured that out,” Spencer spoke emphatically. “You almost died in the process, and now there are thousands of victims who are going to go home – all thanks to you.”

Wiping at your eyes, you looked at your husband, “You’re biased.” That felt true, but Spencer was the person who knew you best in the world.

“What’s holding you back?” He murmured gently, sweeping strands of your hair behind your ears.

Smiling unsurely, you closed your eyes, “Fear of the future. In the past nine years, the longest I’ve ever been home was four weeks. I don’t… What do you want me to do?”

He shook his head slowly, “it’s not my decision.” A diplomatic answer, you should’ve guessed.

“But what do you want me to do?” You pressed.

Sighing, you watched him weigh his options, “If my choices are you going back out into the field and getting hurt again, where maybe it doesn’t have this good of an outcome, or you, safe at home, where I get to see you more than approximately three months a year, then the choice is clear.”

When he laid it out for you like that, it was pretty clear. “Maybe I could finally see what all the BAU spouses are talking about. You know, how you’re never home,” you said. Some part of you always felt disconnected from the other BAU family members, Spencer wasn’t the one who was never home, you were.

Spencer laughed lightly, “We could celebrate your birthday together.” That was the one day you always missed. Almost six years together, and something always came up on your birthday.

“I’ve never had this before,” you whispered, there was still something about it that felt tentative, almost frail.

Smilingly softly, Spencer reached out and took your hand in his, “Had what before?”

You beamed, “A future to plan.” Everything was always laid out for you, every day was spent waiting for the next directive, a new assignment. “I mean, not in nine years.”

There were always dreams, late-night murmurs with Spencer about a house with a yard and kids running around, but they were just dreams. The nights when you were able to sleep next to each other. “Do you have plans for us?”

Nodding rapidly, you answered, “Oh yeah, you and me, I’ve got big plans for us.”

next

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[anyroads]

OK you know what, if we're gonna talk about Bake Off then fuck it, let's do this.

It used to be this wholesome, lovely show! We used to watch it for the bakers! And the learning! And the light banter and occasional bit of coy innuendo! What happened?

Channel 4 happened. When they bought the show they made a number of changes, most of them Not Good™️. Not just in the sense of them resulting in a lot of 😬 and 🫠 moments, but in the sense of how they changed the show's purpose, atmosphere, and brand.

Look, I know most people are just like, "whatever, it's just a baking show," and yeah, sure. But it's one of the UK's most successful TV exports, and where it once shifted the tone of reality competition to being wholesome and supportive of contestants, it's since moved towards creating tension at the contestants' cost. So aside from the fact that most people watching it signed up to watch a nice show, it has also shifted the goalposts of what that even means. And that, lovelies and gentlefolk, is some bullshit.

I decided to break my rant analysis into four main parts: theme weeks, the hosts, the judges, and the bakers. Let's get to it!

Theme Weeks:

If you watch Bake Off, you know the show's always had a specific theme for each week. The staples that come up in most seasons are:

cake

biscuit

bread

pudding/dessert

pastry

patisserie

Less common but consistent are things like caramel and chocolate week.

Then there are the fun episodes! When GBBO was on the BBC, this started out with things tea week, tarts, pies, tray bakes, basically little tangents still focused on emphasizing specific baking skills. In Series 6 (still on the BBC) they had their first nation-focused theme week with French week -- fairly innocuous given that a lot of patisserie is French, France and England share much more culture than either cares to admit [Norman Flag dot gif], and it was a nice change from watching Paul make the bakers do recipes that involved boiling things while talking about how wonderful boiled doughs are (are they, Paul? Are they?).

The show kept mixing it up with innocuous themes like advanced dough and alternative ingredients weeks, European cakes, Victorian week, batter week, and botanical week. And while it was frustrating to watch Paul Hollywood mispronounce things like the Hungarian Dobos Torta and lecture bakers on babka when he clearly knew nothing about it (or about Jewish baking in general, go off Past Me), the show's general attitude was that the judges had their own opinions, which were separate from the immutable facts around the chemistry of baking (more on this later) and shouldn't affect how bakers are judged.

After the show moved to Channel 4, the number of themed weeks increased and more of them focused on specific countries. In 6 seasons on the BBC, there were only two country-focused theme weeks, and in 5 seasons on Channel 4 there have been five. And while they've also had themes like vegan baking, roaring 20s, the 1980s, spice week, etc. the show has really started to go hard on exoticizing other cultures in outright disrespectful and racist ways. There's been Italian and Danish week, German, Japanese (it wasn't, it was East Asian week), and now Mexican week (which doesn't touch on interspersed Jewish bakes that didn't get a theme week, like versions of bagels and babka set as technical challenges that were borderline hate crimes and mansplained by a guy who has no idea how to make either and once wrote in a cookbook that challah was traditionally eaten during Passover). Each time the hosts played up the theme with racist bits and jokes that can be used as evidence in court if your case is "why should shows with scripted content have a professional writing staff."

Which touches on other issues the show has now...

The Hosts:

When GBBO was on the BBC, the show was hosted by ✨Mel Giedroyc✨ and ✨Sue Perkins✨. They encouraged the bakers! They'd hold stuff for them sometimes! They were interested in them! If a baker had a breakdown, they would start singing copyrighted material to render the footage unusable! When the show moved to Channel 4, they left, though I'm not unconvinced that Channel 4 offered them impossible to accept contracts to force them out so they could rebrand the show. They replaced them with Sandy Toksvig and Noel Fielding. Sandy was a lovely host in the vein of Mel and Sue, and she and Noel had a relatively sweet rapport, but she left a few seasons ago and was replaced by Matt Lucas.

Noel Fielding is mostly known for his quirky brand of comedy, a sort of British Zooey Deschanel who's goth from the neck up, an upperclass British gay divorcee from the neck down, and basically an early 60s Beatle re: trousers. Matt Lucas has almost definitely never watched a single episode of GBBO and his most redeeming quality is his thinly veiled contempt for Paul Hollywood.

The two treat the baking tent as their personal playground. Far from the supportive attitude of Mel and Sue, they tend to get in the bakers' way during the most stressful moments, especially when they try to do hilarious "comedy" bits (I can't not put that in quotes) like Noel's talking wooden spoon thing, or Matt talking over Noel to do time calls. During theme weeks like Japanese and Mexican week, they do culture-specific bits that are both racist ("just Juan joke" and "is Mexico a real place?") and unsurprising, given that both Matt and Noel did blackface on their respective sketch shows and absolutely could and should have known better because it was already the current fucking century.

All this to say, there's now a separation between the bakers and the hosts, as if they're on different shows. The hosts are doing their own thing and the bakers are doing GBBO. The show has gotten meaner to the bakers, and the hosts aren't there to support them anymore, they're just there to be comic relief. Because when you refocus your show on stressing the bakers the fuck out, you need a forced laugh I guess ¯\_(ツ)_/¯.

The Judges:

First of all, a sincere congratulations to Paul Hollywood who managed to squeeze I jUsT cAmE bAcK fRoM mExIcO aNd YeT sTiLL pRoNoUnCe PiCo De GaLLo As 'PiKa De KaLLa' and I aM aN eXpErT oN s'MoReS wHiCh aRe MaDe WiTh DiGeStiVe BiScUiTs AcCoRdiNg tO mE, aN eXpErT oN s'MoReS, just two in a giant pile of astoundingly wrong hot takes, into a short enough time span that they all aired within Liz Truss's term as Prime Minister. A true man of accomplishments.

In the interest of fairness, I need to preface this with a disclaimer that, due to the fact that I've been watching Bake Off for most of its run, I'm biased. Specifically, I can't stand Paul Hollywood's smarmy, classist, egomaniac ass because he's proven time and again he's more interested in looking smart than actually knowing what he's talking about. Since the show moved to Channel 4, they've changed the occasional handshake Paul would give bakers to the HoLlYwOoD hAnDsHaKe™️. It's gone from being an emphasis of someone's skill to a goal, a reward, and one that emphasizes the judges' place above the bakers.

The judges used to function as teachers, imparting their skills and insights to the bakers. When the show was on the BBC, the voiceover leading to a judging would focus on the bakers' work being finished, saying how it will now be evaluated based on their skill and how well they met the brief. The voiceovers now, on Channel 4, focus on the judging (literally saying something along the lines of, "the bakers will now be judged by Prue and Paul"). There is a clear distinction Channel 4's producers have made, to mark that the show is now about whether or not the judges approve, not whether the brief was understood and executed well. On the BBC, it was irrelevant whether the judges liked a particular flavor, as long as the bake was well-made. Now, the bakers are expected to know the judges tastes and cater to them, which is frankly bullshit. A judge doesn't have to like a flavor to know whether or not it was executed well, ie. is it carrying a bake and was it meant to etc.

The judges have been turned into a brand. Cynically, Channel 4 knows that by building them up and focusing the show more on them, they can exploit their image more for profit. In the process, they've become much more biased and their own biases have come out as well. Most recently in the flaming dumpster fire that was Mexican Week, Paul Hollywood tried to intimidate a baker by telling them he had just gotten back from Mexico (which must have been a fruitful learning trip if he couldn't even learn how to pronounce pico de gallo correctly). Where do I even start with this? Here's an amateur baker from England (the show specifically casts middle and lower middle class bakers for the most part??) who likely can't afford trips to Mexico, who lives in a country with incredibly limited access to Mexican cuisine, who is expected not only to understand the cooking and baking traditions of a completely different culture but to do so well enough to play with it and do something creative with it. On top of which, one of the judges is now using his privilege of traveling halfway around the world as some kind of leverage, as if this were a bar that any amateur British baker could clear.

Prue, meanwhile, has openly asserted her biases against cultural flavors and textures, prioritizing her own personal preferences over them, as if they were in any way relevant to the skills and knowledge necessary to execute the tasks she sets to the bakers. She has also been consistently elitist, criticizing bakers for choices they made that were clearly informed by their experiences within income brackets that are too low and foreign for Prue to comprehend. She once had a go at a baker on a Christmas special because his Christmas dinner themed bake didn't have a turkey, even though it was clear from the stories he shared of his own Christmases that his family likely couldn't afford one. "It's not really Christmas dinner without a turkey," Prue said into the camera angrily while sitting on a chair made of live orphans and telling the ghost of Christmas Future to come back when he had another museum gift shop necklace for her to round out her collection.

The show is no longer about which baker has the best skills. It's become about which mortal can appease the gods of Mount Olympus, ie. the judges.

The Bakers:

Remember when the show was about them? Channel 4 doesn't! Because this is a reality competition show, the bakers are chosen both based on their skills, as well as cast-ability. They're cast as characters, distinct from each other, from different areas, age groups, ethnicities. All of them are amateurs. All of them are middle or lower middle class. They've ranged from college students to supermarket cashiers to prison wardens to scientists.

Something I noticed when the show moved to Channel 4 is that the baker who goes home in the first week is always wildly behind the rest in skills. I have no proof of this other than my eyeballs and deductive reasoning skills, but I think that Channel 4 deliberately casts a ringer each season who they think will be an easy send-off in the first week, just to get the audience's feet wet.

Anyway, like I said, this show used to be about the bakers - about them building skills and learning, and having walked into the tent with a self-taught foundation and understanding of the processes and chemical reactions involved in baking. When the show was on the BBC, the end of each round had some (often brief) moments of tension - will they finish in time? Will they get their bakes on the plate before time is up? Did they forget to add sugar to their batter and only remember at the last minute? In the end, they usually managed to finish and we'd all breathe a sigh of relief and think, yeah! You go, Bakers Who I'm Rooting For!

Now, on Channel 4, the end of round drama has been stretched to be so much longer that they've composed extra music for it. The bakers often seem out of their depth, whether because the instructions for the technical challenge are too vague (bake a lemon meringue pie??? As if anyone in the UK under the age of 60 has had one in the last decade???), or because they were expected to bake something that required a more than a basic foundation they weren't told of. Often it seems like they just aren't given enough time, a tactic used by reality competition shows to manipulate contestants into giving the cameras more dramatic content. On top of all this, the hosts get in their way, instead of helping them plate their bakes. As has been pointed out before, when everyone fails the challenge, the real failure lies with whoever set it.

In conclusion:

The show no longer exists to teach the bakers - and the audience - skills or knowledge. It now manipulates contestants for dramatic effect and prioritizes showing conflict over wholesome content. Channel 4 sees the bakers as social media content they can churn out season after season, and don't care about them because in a few months there'll be a new batch to exploit. Meanwhile, the judges are also out of their depth, co-opting recipes from other cultures and butchering them horrendously, while the camera gives them nothing but status as they hold bakers to the expectation that they learn how to make things very much the wrong way. If you saw any of the tweets about Mexican or Japanese week, or read my post on how Paul Hollywood isn't allowed to go near babka ever again, you'll understand.

So what would fix all this? Scrap the current judges and the hosts altogether. Bring back Mel and Sue, and replace the judges with expert bakers who have a love of their craft and want to share it with others. The draw of GBBO used to be its warmth and comfort - if Channel 4 isn't going to start its own version of Master Chef For Bakers, then it needs to stop trying to find a balance of how it can insert that vibe into GBBO. It can't. That's not a thing. Stop trying.

[eastgaysian]

My offhand analysis of why tumblr usamericans are falling so hard for the 4b movement currently is that’s it’s straightforward vicarious revanchism, and you tend to see this sort of thing a lot with people who vaguely call themselves “leftists” but have no framework of material analysis and work solely off of vibes. The fact that it’s in a colonial outpost they can condescend to makes it even easier for them to indulge in the fantasy of it from afar

it makes me feel like a wild chimpanzee truly the total lack of any analytical framework that's being demonstrated. the amount of people in the notes of my post falling over themselves to go well ok so clearly there's rampant transmisogyny but maybe all those terfs found their way into this movement by accident. maybe political lesbianism is not inherently transmisogynistic? maybe bioessentialism is fine actually and sound material analysis? did anyone consider that?

like, i wanted to choose excerpts from lee hyun-jae's article focusing on specific real-life instances of transmisogyny to add in the post, but frankly i'm not even sure people read those. and they certainly didn't digest the display of blatantly trans exclusionary politics that are central to mainstream korean feminism. (which actively prevent the movement from critically understanding much less dismantling the mechanisms of patriarchy.) hooray those poor oppressed women in that terribly backwards country are standing up for themselves! well of course we can't expect them to care about trans women, they can't possibly have Our Expansive Gender Understanding and it's unreasonable to ask them to share their hard-earned resources with fake women uhhh people who can't hope to understand their struggle uhhhh let's circle around to that. how exciting that those people over there are Doing Something despite their horrific ignorance! isn't that inspirational for us enlightened people over here?

[mesetacadre]

Does socialist theory have any use for classes based on wealth/income? (rich/poor as opposed to bourgeoisie/proletariat)

Short answer: kinda but not really

Long answer: Classes in marxist theory are exclusively defined by the objective relationship of the subject to the property of the means of production and to the organization of labor, in capitalism it being mostly salary work. From these objective and economic relationships spring the classes of the proletariat, the bourgeoisie, the petit-bourgeoisie, the lumpen-proletariat, artisans...

Income, while highly correlated with one's position in class society, is not the defining trait of the subject, but the consequence's of the individual's conditions and specific relationship to their own work. Income itself is just the remuneration for a part of the labor-power that one exerts, or for the value created by others' labor-power that you exploit by virtue of having private ownership of the means of production. In neither of these cases is income the cause of one's class, but a consequence of it.

What a "class" analysis based on income gets you is the inability to actually strike at the core of what organizes class society. For example, the income-based analysis most radical liberals and social-democrats prefer to use (while still choosing to appropriate marxist terminology like "owning class") does not allow them to properly identify the exploitative nature of small businesses, thus, you'll see them rallying against Big Capital while their beloved family-owned small business commits labor law violations on the daily with 11 hour workdays for minimum wage. The income of the petit-bourgeoise is not that great, it's still higher than an average salary worker, but small enough that recessions or the mere existence of concentrated capital is enough to render the small property owner into a worker, a process known as proletariatization. See this really good explanation of what that dynamic means for the political implications of this economic fact.

An income-based analysis would place the small business owner and their 3 employees on the same side with, supposedly, the same interests, because they don't get a lot of money. I don't need to harp on any more to explain why that is nonsense, I hope.

Furthermore, within the working class, there are contrasts in income. There are workers who have a lavish salary, and there are workers who don't even make enough to support their basic needs. The objective fact of their exploitation is the same: they generate value with their labor-power, and sell it to a capitalist for a fraction of what they generate. Exploitation in the marxist sense is not a moral judgement. This is not about whether it's morally wrong or not to extract value from workers. Exploitation creates alienation and a class antagonism that can only ever be resolved one way, which is through the overthrow of the exploiter class by the exploited, history shows that this antagonism is what has propelled it forwards.

It is another question, and one that concerns us less, whether the salary, the price with which a capitalist buys a fraction of the worker's labor-power, is enough for the worker to lead a relatively accommodated life or not. If this was the question, which it is for, say, social-democrats, then the mere reform of capitalism (which, to be clear, is not possible to enact for all workers and all countries) to ensure a decent livelihood under the system of salary work would be enough.

With a lavish income, some might argue, a worker ceases to share the same interests with the rest of the working class who can't afford the first's lifestyle. But what this is omitting is that, in the cases of some workers with a really high salary, it becomes possible for the worker to join the ranks of the bourgeoisie by acquiring capital. Here, top-rated actors and athletes comes to mind. Actors and athletes are paid a salary in exchange for their labor-power, but the highest rated ones generate so much value that the capitalists pay them a really high salary, and then, most of the time, these highly-paid workers acquire some property and become a part of the bourgeoisie. In the US, for example, a bunch of high-rated workers of the entertainment industry such as Oprah, with more than 2,000 acres, have become large landlords in Hawai'i, taking advantage of the colonization of the island chain.

The break in common interests between highly-paid workers and the rest of their class comes from the change in economic class that their income allows for, not the income itself.

There is one instance when income becomes more relevant, and that is in the case of the labor aristocracy. Because of the international division of labor created by and protected by imperialism, the workers of the imperial core, as much as they are still exploited by capitalists and have revolutionary interests, benefit directly or indirectly from the even greater exploitation placed on the workers of the imperial periphery and global south, allowing for a generalized improvement in the quality of life for the imperial core workers.

Two conclusions can be made from this fact:

First, that the social-democratic welfare state depends on the exploitation of vast swaths of the world, and thus, it is not an applicable system in the majority of the world. Second, that the working class of the imperial core can, by the objective fact of the improvement of their material conditions by the spoils of imperialism, can act in the interests of the imperialist bourgeoisie. Take as an example the SAG-AFTRA union, which decidedly supported the imperialist project of Israel after al-Aqsa Flood. This does mean that a greater effort is needed for most workers in the imperial core, the labor aristocracy, to achieve revolutionary-political consciousness. The spontaneous class consciousness that some people insist is enough to be revolutionary, is born of the daily class antagonisms one experiences, and also of the material conditions underlying one's existence, therefore, as we have seen a lot this past year, spontaneous consciousness can include attitudes that favor the bourgeoisie.

And still, even if the labor aristocracy is broadly defined by a higher income, it is still dependent on the relationship to the organization of labor. Even the most desperate and destitute homeless citizen of the imperial core benefits in a lot of ways from the system of imperialism. For example, they don't need to worry about the political instability most imperialized countries suffer, and to put a cruder example, they are never going to get shot by a 22-year-old USamerican soldier doing target practice.

[dailyadventureprompts]

Hello Dapper. I don’t really expect too much about this, but do you have any ideas for Wargs? They have an interesting relationship with goblins and are weird in that they’re essentially sapient wolf monsters, but I don’t think they’re ever really used that creatively.

Monsters Reimagined: Wargs, wolf panics, and the Economics of Lupophobia

While the surface level answer is pretty simple (warg is a conversion of varger, an old Norse way to refer to mythological wolves like Fenrir) there's actually a surprising amount of material to drill into here on the topic of sapient wolf monsters, especially for someone like me who has a interest in moral panics and mass hysteria events. Wolves were effectively a boogyman for pre-industrial societies, a deep seated generational fear that we only recognize today through cultural relics like the big bad wolf or boy who cried wolf.

TLDR: If you want to do something interesting with wargs beyond just "wolves that talk" I'd advise playing to their folk / fairytale roots. They're creatures of embodied dread, drawn from the stuff of the feywild to sow fear among those who would travel off the path or too close to the wilderness. This lets you tell interesting stories about how the party/major characters respond to fear: Does fear of being attacked in the dark drive the party to make risky decisions that might endanger their quest? How do the villagers react when the wolves are very literally at the door, demanding just one of their neighbours as a meal in exchange for safety?

I'd also advise getting weirder with a warg's powers, playing into that fear of the unknown by doing unexpected things. The party can fight off a pack of wolves, sure, but what does it mean when the lead wolf rips off the bard's shadow and takes off into the night?

Background: If you want a window into the headspace of wolf-panic, think about the neigh omnipresent fear of sharks created by the Jaws franchise. Children who have never seen the movie, let alone seen a shark in person can become irrationally afraid of getting into deep water because they've absorbed the pervasive cultural phobia, which goes onto shape environmental policy as sharks are overhunted or killed out of spite for their perceived threat.

So it was for wolves, even after they were largely hunted to near extinction by medieval and postmedieval societies, the fear of them was so ingrained into cultural traditions that wolf and werewolf panics were a thing that went hand in hand with witchtrails. France had a country wide one as late as the 1760s and the movie based on it ended up inspiring Bloodborne. Alternatively look at the anti-wolf efforts during the colonization of the Americas, right up to the opposition to reintroducing wolves back to Yellowstone park.

On that note (and because we can't have a Monsters Reimagined without some kind of class analysis), lets talk about how these fears are propagated: On many levels it makes sense for everyday people to be afraid of wolves, they're a hunting species that can absolutely pose a danger to us, and when you're living or travelling outside the protection of a settlement you really are vulnerable to a coordinated pack of carnivores running you down.

However, the primary threat that wolves pose to humans isn't predation, it's property damage, specifically in how they kill livestock. While we can talk about individual farmsteads beset by beasts, in reality the herds that wolves were most likely to prey upon belonged to the landowning classes, powerful people who had a profit incentive in seeing wolves driven off or exterminated. This is where you get bounties on dead wolves, not just paying for the value of the hide but actively rewarding people for going out and killing as many wolves as possible to the point of it becoming a profession. This practice has existed for MILLENIA and is still active today, primarily in places where big agriculture influences governments.

It seems incidental at first but then you realize that it fits the model of just about every other kind of cultural panic: widespread ignorance and fear that just so happens to mobilize the populace in a way that financially benefits a select few. You can see the same thing happening today in england with badgers of all things, which have been identified with the local dairy industry as a threat to their herds. This is not only led them to petition the government to cull the badger population, but to put out anti-badger propaganda, eventually turning it into a culture war issure to the point where conservative mouthpieces like Jeremy Clarkson openly encourages killing and gassing badgers on sight.

Returning to the land of fantasy for now: I think it's worth taking the idea of the warg and mixing it with a few other "black dog" cultural archetypes, which can also include the creatures like the shuck or church grimm. In this instance the warg is a sort of curse made manifest, the fear of a haunted place given literal teeth. People who transgress into these forbidden spaces find themselves pursued by a manifestation that dogs them till they're exhausted and vulnerable, much like a wolf harrying its prey.

The bhargest is also of special interest here, considering how I like to relate goblins back to the feywild. You could easily see bhargests as agents of fey that feed on human fear, leading a pack of goblins or hobs that occupy the desolate lands they've called to haunt. My version of Maglubiyet would also delight in employing such creatures as his emissaries.

Going back to the vargr/ Norse mythology angle, it's interesting that most of the wolves that show up are destined to devour something, whether it be a god or celestial certanty like the moon and sun. It's like the concept of an inevitable chase is so fundimental to what a wolf IS that it became a theme of ragnarok's inevitable certantly. Consider having certan packs of wargs be offspring of some fenrir style god eater, beasts of forboding doom who's mere presence is an omen of ill times.

Alternatively, if you wanted to play on the big bad wolf angle, give wargs the ability to take on flimsy human disguises, all the better to get close to their pray and sow fear among the townsfolk. Historical wolf panics after all are not all that different than serial killer panics, and it'd be a fun twist on a traditional werewolf adventure to have the party on a creature that didn't play by the usual lycanthropic rules.

Artsource

[cardboardheartss]

Tyla D1 Chart Analysis

Tyla is a Bharani Nakshatra; so she is a Venus girlie, which is why when people always mention Tyla they always mention her visuals. Tyla also has a Shatabhisha Ascendant and Uranus, and Purva Bhadra Venus, all sideral Aquarius placements.

This makes her COMPLETELY unique and easily makes her stand out really well in social/group settings; but in this context, it's her in the music industry and her concepts/promotion techniques.

The placements in her chart truly do resonate with Tyla because she was truly born to be in the public eye! Her beauty, talent, hard work, and dedication!! She is killing it!!

Now with her Bharani Nakshatra, which is the same as NEWJEANS as well, these two artists truly are breakthrough artists who both had a delay in their careers but they finally got their chance to shine and surprisingly love each other as well!!

Tyla has a Bharani Rahu, Moon, and Aswini Mars! She is passionate about her singing and dancing! We all have seen her dances and her energy on stage… I mean just look at her!

Another thing I would like to point out is how all her dances are quite fast-paced and require a certain amount of energy to actually do… along with hard practice because you also have to focus on footwork and strengthen lower body movement.

Here in South Africa, we always say “The aim is not to sweat.”

When we dance, we tend to just enjoy the music, feel the beat, and just go with the flow! hence why when you come across a video of South African kids dancing or TikTok trends, people barely sweat! We just have fun and relax!!

Here are links to some videos :

For Tyla, she is one of the few figures we have representing South Africa as a whole, in a completely positive light! She is constantly praised by us for raising our flag up high.

This was all possible thanks to one specific placement in her chart that stands out which is her Rohini (Taurus) Part of Fortune (PoF) in the 4H, in astrology the 4H represents home, native land/roots and Tyla basically promotes our country every single day lol.

Her placement lands right directly on South Africa’s 11H Rohini Stellium too! This emphasizes her being unapologetically proudly South African and sharing it with the world!

And surprisingly enough… Tyla has no negative hard aspects with her Saturn placements.

Tyla has her Purva Phalguni Jupiter (Leo), this could mean that she has luck in terms of building partnerships and getting brand deals too! Many brand deals would like to work with Tyla but it seems she is very picky in terms of her choices as well!

What made me giggle is the aspect of Jupiter square PoF because South Africans were begging Tyla to avoid advertising products that are already expensive or just any South African product because they knew that the companies will increase their prices.

mind you those go-slo crisps you see are usually R5, and that is REALLY cheap here, mainly when you buy them from a corner store. Surprisingly after the music video for ‘Jump’ dropped, this well known store, in the screenshot is the one store that high to high-middle class citizens shop. This company NEVER sells “corner store” products in their stores lol!

Tyla has a 9H Vishakha Ketu (Libra), and Ketu in Vedic astrology represents detachment I would like to point out that Tyla once mentioned that she had no interest in going to university, but she would have only gone there to study engineering because it brings in a lot of money lol! I can’t find the interview now but I will get it soon!!

OHHH! Another thing I would like to mention is that Ketu also represents the body and Rahu represents the head. Tyla is obsessed with wearing tiger prints! and Vishakas representative animal is a TIGER! Her name branding always has a tiger claw too!!

Aswini/Bharani placements are also known to have scars/markings and I, an Aswini ascendant, have a teardrop-shaped birthmark right beneath the corner of my eye! And Tyla has a Rahu In Bharani and she does her own DIY scar on her eyebrow too!

Tyla has a Anuradha MC and a Jyeshtha Pluto (Scorpio) in her 10H since Scorpio is ruled by Mars, and her Mars is in her 3H, I would not be suprised to see if she would suddenly release a new album with a completely different sound and concept. Since MC is how we’re seen by the public, i do not know if anyone has noticed this but Tyla has a really alluring energy/aura and this placement will also attract a lot of jealousy… so i hope shes careful!!

She has a Purva Ashadha Mercury and Chiron (Sagittarius), her Mercury placement in the 11H makes so much sense because she is spoken a lot about on International social media. She is literally popular, hence why I am doing this post because she got majority votes lol! Tyla is also known for her South African accent too and she does not shy away from speaking that way too!

Chiron being there could mean she could’ve experienced issues with past friendships or connections, and with Sagittarius being there could also mean she could not enjoy life overseas and would rather stay in South Africa instead. Another issue that could come along are hate comments, i am going to need troll accounts to log off and stop causing people in the public eye mental distress.

Finally, Tyla has a Shravana Sun and Neptune in her 12H, and 12H in vedic represents foriegn lands so Tyla has to accept that she may have to relocate overseas for good! This placement also makes Tyla a really calculated women who really knows her ways to navigate around this world too!Tyla could also be a homebody and enjoy relaxing and recharing her energy too! These placements could mean she also has an interest in the occult/tarot and would also excel a lot in that too!!

Overall, Tyla is ONE LUCKY GIRL! A literal 10/10 too! Wishing her thee best of luck and may she continue to make us, South Africa proud and continue raising our flag up high!

South Africa To The World! 🇿🇦

If you made it this far! Thank you for reading, I hope you enjoyed it and learned something new about my country lol!😉🫂

[mostlysignssomeportents]

AI “art” and uncanniness

TOMORROW (May 14), I'm on a livecast about AI AND ENSHITTIFICATION with TIM O'REILLY; on TOMORROW (May 15), I'm in NORTH HOLLYWOOD for a screening of STEPHANIE KELTON'S FINDING THE MONEY; FRIDAY (May 17), I'm at the INTERNET ARCHIVE in SAN FRANCISCO to keynote the 10th anniversary of the AUTHORS ALLIANCE.

When it comes to AI art (or "art"), it's hard to find a nuanced position that respects creative workers' labor rights, free expression, copyright law's vital exceptions and limitations, and aesthetics.

I am, on balance, opposed to AI art, but there are some important caveats to that position. For starters, I think it's unequivocally wrong – as a matter of law – to say that scraping works and training a model with them infringes copyright. This isn't a moral position (I'll get to that in a second), but rather a technical one.

Break down the steps of training a model and it quickly becomes apparent why it's technically wrong to call this a copyright infringement. First, the act of making transient copies of works – even billions of works – is unequivocally fair use. Unless you think search engines and the Internet Archive shouldn't exist, then you should support scraping at scale:

https://pluralistic.net/2023/09/17/how-to-think-about-scraping/

And unless you think that Facebook should be allowed to use the law to block projects like Ad Observer, which gathers samples of paid political disinformation, then you should support scraping at scale, even when the site being scraped objects (at least sometimes):

https://pluralistic.net/2021/08/06/get-you-coming-and-going/#potemkin-research-program

After making transient copies of lots of works, the next step in AI training is to subject them to mathematical analysis. Again, this isn't a copyright violation.

Making quantitative observations about works is a longstanding, respected and important tool for criticism, analysis, archiving and new acts of creation. Measuring the steady contraction of the vocabulary in successive Agatha Christie novels turns out to offer a fascinating window into her dementia:

https://www.theguardian.com/books/2009/apr/03/agatha-christie-alzheimers-research

Programmatic analysis of scraped online speech is also critical to the burgeoning formal analyses of the language spoken by minorities, producing a vibrant account of the rigorous grammar of dialects that have long been dismissed as "slang":

https://www.researchgate.net/publication/373950278_Lexicogrammatical_Analysis_on_African-American_Vernacular_English_Spoken_by_African-Amecian_You-Tubers

Since 1988, UCL Survey of English Language has maintained its "International Corpus of English," and scholars have plumbed its depth to draw important conclusions about the wide variety of Englishes spoken around the world, especially in postcolonial English-speaking countries:

https://www.ucl.ac.uk/english-usage/projects/ice.htm

The final step in training a model is publishing the conclusions of the quantitative analysis of the temporarily copied documents as software code. Code itself is a form of expressive speech – and that expressivity is key to the fight for privacy, because the fact that code is speech limits how governments can censor software:

https://www.eff.org/deeplinks/2015/04/remembering-case-established-code-speech/

Are models infringing? Well, they certainly can be. In some cases, it's clear that models "memorized" some of the data in their training set, making the fair use, transient copy into an infringing, permanent one. That's generally considered to be the result of a programming error, and it could certainly be prevented (say, by comparing the model to the training data and removing any memorizations that appear).

Not every seeming act of memorization is a memorization, though. While specific models vary widely, the amount of data from each training item retained by the model is very small. For example, Midjourney retains about one byte of information from each image in its training data. If we're talking about a typical low-resolution web image of say, 300kb, that would be one three-hundred-thousandth (0.0000033%) of the original image.

Typically in copyright discussions, when one work contains 0.0000033% of another work, we don't even raise the question of fair use. Rather, we dismiss the use as de minimis (short for de minimis non curat lex or "The law does not concern itself with trifles"):

https://en.wikipedia.org/wiki/De_minimis

Busting someone who takes 0.0000033% of your work for copyright infringement is like swearing out a trespassing complaint against someone because the edge of their shoe touched one blade of grass on your lawn.

But some works or elements of work appear many times online. For example, the Getty Images watermark appears on millions of similar images of people standing on red carpets and runways, so a model that takes even in infinitesimal sample of each one of those works might still end up being able to produce a whole, recognizable Getty Images watermark.

The same is true for wire-service articles or other widely syndicated texts: there might be dozens or even hundreds of copies of these works in training data, resulting in the memorization of long passages from them.

This might be infringing (we're getting into some gnarly, unprecedented territory here), but again, even if it is, it wouldn't be a big hardship for model makers to post-process their models by comparing them to the training set, deleting any inadvertent memorizations. Even if the resulting model had zero memorizations, this would do nothing to alleviate the (legitimate) concerns of creative workers about the creation and use of these models.

So here's the first nuance in the AI art debate: as a technical matter, training a model isn't a copyright infringement. Creative workers who hope that they can use copyright law to prevent AI from changing the creative labor market are likely to be very disappointed in court:

https://www.hollywoodreporter.com/business/business-news/sarah-silverman-lawsuit-ai-meta-1235669403/

But copyright law isn't a fixed, eternal entity. We write new copyright laws all the time. If current copyright law doesn't prevent the creation of models, what about a future copyright law?

Well, sure, that's a possibility. The first thing to consider is the possible collateral damage of such a law. The legal space for scraping enables a wide range of scholarly, archival, organizational and critical purposes. We'd have to be very careful not to inadvertently ban, say, the scraping of a politician's campaign website, lest we enable liars to run for office and renege on their promises, while they insist that they never made those promises in the first place. We wouldn't want to abolish search engines, or stop creators from scraping their own work off sites that are going away or changing their terms of service.

Now, onto quantitative analysis: counting words and measuring pixels are not activities that you should need permission to perform, with or without a computer, even if the person whose words or pixels you're counting doesn't want you to. You should be able to look as hard as you want at the pixels in Kate Middleton's family photos, or track the rise and fall of the Oxford comma, and you shouldn't need anyone's permission to do so.

Finally, there's publishing the model. There are plenty of published mathematical analyses of large corpuses that are useful and unobjectionable. I love me a good Google n-gram:

https://books.google.com/ngrams/graph?content=fantods%2C+heebie-jeebies&year_start=1800&year_end=2019&corpus=en-2019&smoothing=3

And large language models fill all kinds of important niches, like the Human Rights Data Analysis Group's LLM-based work helping the Innocence Project New Orleans' extract data from wrongful conviction case files:

https://hrdag.org/tech-notes/large-language-models-IPNO.html

So that's nuance number two: if we decide to make a new copyright law, we'll need to be very sure that we don't accidentally crush these beneficial activities that don't undermine artistic labor markets.

This brings me to the most important point: passing a new copyright law that requires permission to train an AI won't help creative workers get paid or protect our jobs.

Getty Images pays photographers the least it can get away with. Publishers contracts have transformed by inches into miles-long, ghastly rights grabs that take everything from writers, but still shifts legal risks onto them:

https://pluralistic.net/2022/06/19/reasonable-agreement/

Publishers like the New York Times bitterly oppose their writers' unions:

https://actionnetwork.org/letters/new-york-times-stop-union-busting

These large corporations already control the copyrights to gigantic amounts of training data, and they have means, motive and opportunity to license these works for training a model in order to pay us less, and they are engaged in this activity right now:

https://www.nytimes.com/2023/12/22/technology/apple-ai-news-publishers.html

Big games studios are already acting as though there was a copyright in training data, and requiring their voice actors to begin every recording session with words to the effect of, "I hereby grant permission to train an AI with my voice" and if you don't like it, you can hit the bricks:

https://www.vice.com/en/article/5d37za/voice-actors-sign-away-rights-to-artificial-intelligence

If you're a creative worker hoping to pay your bills, it doesn't matter whether your wages are eroded by a model produced without paying your employer for the right to do so, or whether your employer got to double dip by selling your work to an AI company to train a model, and then used that model to fire you or erode your wages:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

Individual creative workers rarely have any bargaining leverage over the corporations that license our copyrights. That's why copyright's 40-year expansion (in duration, scope, statutory damages) has resulted in larger, more profitable entertainment companies, and lower payments – in real terms and as a share of the income generated by their work – for creative workers.

As Rebecca Giblin and I write in our book Chokepoint Capitalism, giving creative workers more rights to bargain with against giant corporations that control access to our audiences is like giving your bullied schoolkid extra lunch money – it's just a roundabout way of transferring that money to the bullies:

https://pluralistic.net/2022/08/21/what-is-chokepoint-capitalism/

There's an historical precedent for this struggle – the fight over music sampling. 40 years ago, it wasn't clear whether sampling required a copyright license, and early hip-hop artists took samples without permission, the way a horn player might drop a couple bars of a well-known song into a solo.

Many artists were rightfully furious over this. The "heritage acts" (the music industry's euphemism for "Black people") who were most sampled had been given very bad deals and had seen very little of the fortunes generated by their creative labor. Many of them were desperately poor, despite having made millions for their labels. When other musicians started making money off that work, they got mad.

In the decades that followed, the system for sampling changed, partly through court cases and partly through the commercial terms set by the Big Three labels: Sony, Warner and Universal, who control 70% of all music recordings. Today, you generally can't sample without signing up to one of the Big Three (they are reluctant to deal with indies), and that means taking their standard deal, which is very bad, and also signs away your right to control your samples.

So a musician who wants to sample has to sign the bad terms offered by a Big Three label, and then hand $500 out of their advance to one of those Big Three labels for the sample license. That $500 typically doesn't go to another artist – it goes to the label, who share it around their executives and investors. This is a system that makes every artist poorer.

But it gets worse. Putting a price on samples changes the kind of music that can be economically viable. If you wanted to clear all the samples on an album like Public Enemy's "It Takes a Nation of Millions To Hold Us Back," or the Beastie Boys' "Paul's Boutique," you'd have to sell every CD for $150, just to break even:

https://memex.craphound.com/2011/07/08/creative-license-how-the-hell-did-sampling-get-so-screwed-up-and-what-the-hell-do-we-do-about-it/

Sampling licenses don't just make every artist financially worse off, they also prevent the creation of music of the sort that millions of people enjoy. But it gets even worse. Some older, sample-heavy music can't be cleared. Most of De La Soul's catalog wasn't available for 15 years, and even though some of their seminal music came back in March 2022, the band's frontman Trugoy the Dove didn't live to see it – he died in February 2022:

https://www.vulture.com/2023/02/de-la-soul-trugoy-the-dove-dead-at-54.html

This is the third nuance: even if we can craft a model-banning copyright system that doesn't catch a lot of dolphins in its tuna net, it could still make artists poorer off.

Back when sampling started, it wasn't clear whether it would ever be considered artistically important. Early sampling was crude and experimental. Musicians who trained for years to master an instrument were dismissive of the idea that clicking a mouse was "making music." Today, most of us don't question the idea that sampling can produce meaningful art – even musicians who believe in licensing samples.

Having lived through that era, I'm prepared to believe that maybe I'll look back on AI "art" and say, "damn, I can't believe I never thought that could be real art."

But I wouldn't give odds on it.

I don't like AI art. I find it anodyne, boring. As Henry Farrell writes, it's uncanny, and not in a good way:

https://www.programmablemutter.com/p/large-language-models-are-uncanny

Farrell likens the work produced by AIs to the movement of a Ouija board's planchette, something that "seems to have a life of its own, even though its motion is a collective side-effect of the motions of the people whose fingers lightly rest on top of it." This is "spooky-action-at-a-close-up," transforming "collective inputs … into apparently quite specific outputs that are not the intended creation of any conscious mind."

Look, art is irrational in the sense that it speaks to us at some non-rational, or sub-rational level. Caring about the tribulations of imaginary people or being fascinated by pictures of things that don't exist (or that aren't even recognizable) doesn't make any sense. There's a way in which all art is like an optical illusion for our cognition, an imaginary thing that captures us the way a real thing might.

But art is amazing. Making art and experiencing art makes us feel big, numinous, irreducible emotions. Making art keeps me sane. Experiencing art is a precondition for all the joy in my life. Having spent most of my life as a working artist, I've come to the conclusion that the reason for this is that art transmits an approximation of some big, numinous irreducible emotion from an artist's mind to our own. That's it: that's why art is amazing.

AI doesn't have a mind. It doesn't have an intention. The aesthetic choices made by AI aren't choices, they're averages. As Farrell writes, "LLM art sometimes seems to communicate a message, as art does, but it is unclear where that message comes from, or what it means. If it has any meaning at all, it is a meaning that does not stem from organizing intention" (emphasis mine).

Farrell cites Mark Fisher's The Weird and the Eerie, which defines "weird" in easy to understand terms ("that which does not belong") but really grapples with "eerie."

For Fisher, eeriness is "when there is something present where there should be nothing, or is there is nothing present when there should be something." AI art produces the seeming of intention without intending anything. It appears to be an agent, but it has no agency. It's eerie.

Fisher talks about capitalism as eerie. Capital is "conjured out of nothing" but "exerts more influence than any allegedly substantial entity." The "invisible hand" shapes our lives more than any person. The invisible hand is fucking eerie. Capitalism is a system in which insubstantial non-things – corporations – appear to act with intention, often at odds with the intentions of the human beings carrying out those actions.

So will AI art ever be art? I don't know. There's a long tradition of using random or irrational or impersonal inputs as the starting point for human acts of artistic creativity. Think of divination:

https://pluralistic.net/2022/07/31/divination/

Or Brian Eno's Oblique Strategies:

http://stoney.sb.org/eno/oblique.html

I love making my little collages for this blog, though I wouldn't call them important art. Nevertheless, piecing together bits of other peoples' work can make fantastic, important work of historical note:

https://www.johnheartfield.com/John-Heartfield-Exhibition/john-heartfield-art/famous-anti-fascist-art/heartfield-posters-aiz

Even though painstakingly cutting out tiny elements from others' images can be a meditative and educational experience, I don't think that using tiny scissors or the lasso tool is what defines the "art" in collage. If you can automate some of this process, it could still be art.

Here's what I do know. Creating an individual bargainable copyright over training will not improve the material conditions of artists' lives – all it will do is change the relative shares of the value we create, shifting some of that value from tech companies that hate us and want us to starve to entertainment companies that hate us and want us to starve.

As an artist, I'm foursquare against anything that stands in the way of making art. As an artistic worker, I'm entirely committed to things that help workers get a fair share of the money their work creates, feed their families and pay their rent.

I think today's AI art is bad, and I think tomorrow's AI art will probably be bad, but even if you disagree (with either proposition), I hope you'll agree that we should be focused on making sure art is legal to make and that artists get paid for it.

Just because copyright won't fix the creative labor market, it doesn't follow that nothing will. If we're worried about labor issues, we can look to labor law to improve our conditions. That's what the Hollywood writers did, in their groundbreaking 2023 strike:

https://pluralistic.net/2023/10/01/how-the-writers-guild-sunk-ais-ship/

Now, the writers had an advantage: they are able to engage in "sectoral bargaining," where a union bargains with all the major employers at once. That's illegal in nearly every other kind of labor market. But if we're willing to entertain the possibility of getting a new copyright law passed (that won't make artists better off), why not the possibility of passing a new labor law (that will)? Sure, our bosses won't lobby alongside of us for more labor protection, the way they would for more copyright (think for a moment about what that says about who benefits from copyright versus labor law expansion).

But all workers benefit from expanded labor protection. Rather than going to Congress alongside our bosses from the studios and labels and publishers to demand more copyright, we could go to Congress alongside every kind of worker, from fast-food cashiers to publishing assistants to truck drivers to demand the right to sectoral bargaining. That's a hell of a coalition.

And if we do want to tinker with copyright to change the way training works, let's look at collective licensing, which can't be bargained away, rather than individual rights that can be confiscated at the entrance to our publisher, label or studio's offices. These collective licenses have been a huge success in protecting creative workers:

https://pluralistic.net/2023/02/26/united-we-stand/

Then there's copyright's wildest wild card: The US Copyright Office has repeatedly stated that works made by AIs aren't eligible for copyright, which is the exclusive purview of works of human authorship. This has been affirmed by courts:

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

Neither AI companies nor entertainment companies will pay creative workers if they don't have to. But for any company contemplating selling an AI-generated work, the fact that it is born in the public domain presents a substantial hurdle, because anyone else is free to take that work and sell it or give it away.

Whether or not AI "art" will ever be good art isn't what our bosses are thinking about when they pay for AI licenses: rather, they are calculating that they have so much market power that they can sell whatever slop the AI makes, and pay less for the AI license than they would make for a human artist's work. As is the case in every industry, AI can't do an artist's job, but an AI salesman can convince an artist's boss to fire the creative worker and replace them with AI:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

They don't care if it's slop – they just care about their bottom line. A studio executive who cancels a widely anticipated film prior to its release to get a tax-credit isn't thinking about artistic integrity. They care about one thing: money. The fact that AI works can be freely copied, sold or given away may not mean much to a creative worker who actually makes their own art, but I assure you, it's the only thing that matters to our bosses.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

[pumpacti0n]

We should always be aware that it isn't some innocent mistake that authoritarian "leftists" have constantly failed to acknowledge systems of power other than a vulgar "anti-capitalism" or "anti-imperialism", like they've carelessly left out an ingredient in a cake recipe.

"Whoops, we've acknowledged one abusive hierarchy, but the other ones slipped through our fingers, silly us!" Nope. The reason this analysis of power isn't included in their ideology and praxis is because they consider these hierarchies useful to their projects.

This is why they'll mock or ignore discourse related to youth liberation, disability justice, gender self-determination or anti-patriarchal struggle, for example, or engage in apologetics for capitalist regimes in other countries -- they want to "have their cake, and eat it too".

A key reason why "the left", as some might call it, is not as powerful as it could be isn't because of some lack of discipline (or "degeneracy"), but rather a lack of intersectionality, a criticism that many of those within the black radical tradition, (black feminists and transfeminists more specifically,) have been highlighting in one way or another for at least 50 years.

Authoritarian "leftists" don't want to sacrifice the power that these hierarchies afford them, which explains why they're largely not opposed to prisons, borders, police, the enforcement of gender roles and even capitalism itself, if it's under the purview of the "socialist" ("workers") state and its bureaucrats.

And this is why I keep putting "leftist" in quotes...We're not free until we're all free, so the implication that we should settle for addressing one or two systems of domination while allowing all the others to flourish until we address them in some vague point in the far future is a distortion of what truly radical liberatory politics should entail.

It's simply a myth that we can address capitalism while leaving racism, ableism and misogyny etc. intact, as if they aren't mutually reinforced by one another, as if fascists and reactionaries will forget that they exist once capital is abolished. This is a fantasy, a delusion.

Authcoms love to pose questions like "without a state to enforce class rule, how will the proletariat defend itself?" but a better question would be: "if we fail to acknowledge the hierarchies that atomize and disempower the masses, how could we ever be a threat to capitalists in the first place? how would abandoning the most vulnerable populations serve the interests of the "working class" and "anti-imperial" struggle?

For example, (cis) women make up approximately 50% of the world's population -- so if women are still subjugated by patriarchal rule and the gendered division of labor, how will we have the numbers to fight?

Similarly, a significant portion of the world's population are currently incarcerated. If we don't abolish prisons, allowing the State to continue extracting labor from prisoners and destabilizing untold millions of social relations in the process, how can we hope to match or exceed their powers?

If we do not challenge the capitalist, productivist logic of endless resource accumulation, with its constant pollution of the environment and the displacement and erasure of indigenous peoples and non-human animals, there will be no habitable planet left for us during this "revolution", because we will have destroyed all of it in the name of profit...so what would be the point?

These aren't minor concerns that we can put off indefinitely, and it isn't some innocent mistake that they are left out of the discourse, but are instead deliberate attempts to co-opt liberation struggle for the sake of advancing counter-revolution and authoritarian projects.

It's no wonder then, that they are eager to dismiss any criticism of their projects the result of "western propaganda", as if these same critiques aren't leveraged by very people belonging to populations they constantly tokenize whenever it suits their agenda.

They'd much rather treat every marginalized community as some monolith or as primitive victims in need of saving and representation by a vanguard. This chauvinist, colonial, assimilationist, antisocial attitude is endemic in (often white,) authoritarian circles, because it forms the basis of their position towards racial and gender hierarchies, that they are a natural and inevitable factor of organization itself. They are wrong.

In this sense, they aren't meaningfully different from the capitalists they pretend to hate so much. In truth, they are just jealous and greedy for more cake.

[reasonsforhope]

"The amount of electricity generated by the UK’s gas and coal power plants fell by 20% last year, with consumption of fossil fuels at its lowest level since 1957.

Not since Harold Macmillan was the UK prime minister and the Beatles’ John Lennon and Paul McCartney met for the first time has the UK used less coal and gas.

The UK’s gas power plants last year generated 31% of the UK’s electricity, or 98 terawatt hours (TWh), according to a report by the industry journal Carbon Brief, while the UK’s last remaining coal plant produced enough electricity to meet just 1% of the UK’s power demand or 4TWh.

Fossil fuels were squeezed out of the electricity system by a surge in renewable energy generation combined with higher electricity imports from France and Norway and a long-term trend of falling demand.

Higher power imports last year were driven by an increase in nuclear power from France and hydropower from Norway in 2023. This marked a reversal from 2022 when a string of nuclear outages in France helped make the UK a net exporter of electricity for the first time.

Carbon Brief found that gas and coal power plants made up just over a third of the UK’s electricity supplies in 2023, while renewable energy provided the single largest source of power to the grid at a record 42%.

It was the third year this decade that renewable energy sources, including wind, solar, hydro and biomass power, outperformed fossil fuels [in the UK], according to the analysis. Renewables and Britain’s nuclear reactors, which generated 13% of electricity supplies last year, helped low-carbon electricity make up 55% of the UK’s electricity in 2023.

[Note: "Third year this decade" refers to the UK specifically, not global; there are several countries that already run on 100% renewable energy, and more above 90% renewable. Also, though, there have only been four years this decade so far! So three out of four is pretty good!]

Dan McGrail, the chief executive of RenewableUK, said the data shows “the central role that wind, solar and other clean power sources are consistently playing in Britain’s energy transition”.

“We’re working closely with the government to accelerate the pace at which we build new projects and new supply chains in the face of intense global competition, as everyone is trying to replicate our success,” McGrail said.

Electricity from fossil fuels was two-thirds lower in 2023 compared with its peak in 2008, according to Carbon Brief. It found that coal has dropped by 97% and gas by 43% in the last 15 years.

Coal power is expected to fall further in 2024 after the planned shutdown of Britain’s last remaining coal plant in September. The Ratcliffe on Soar coal plant, owned by the German utility Uniper, is scheduled to shut before next winter after generating power for over 55 years.

Renewable energy has increased sixfold since 2008 as the UK has constructed more wind and solar farms, and the large Drax coal plant has converted some of its generating units to burn biomass pellets.

Electricity demand has tumbled by 22% since its peak in 2005, according to the data, as part of a long-term trend driven by more energy efficient homes and appliances as well as a decline in the UK’s manufacturing sector.

Demand for electricity is expected to double as the UK aims to cut emissions to net zero by 2050 because the plan relies heavily on replacing fossil fuel transport and heating with electric alternatives.

In recent weeks [aka at the end of 2023], offshore wind developers have given the green light to another four large windfarms in UK waters, including the world’s largest offshore windfarm at Hornsea 3, which will be built off the North Yorkshire coast by Denmark’s Ørsted."

-via The Guardian, January 2, 2024