#Covid negative report

[riotbeankai]

after over 3 years of managing to avoid it, I tested positive for covid yesterday. literally 3 days after I got my covid booster, so it may be that I got exposed ON the day I got the booster 🙃 but idk if I got it from work or the pharmacy or dinner with family or what so that's fun. I'd been wearing a mask (except to eat) since coming home from a work convention until I could be sure I didn't catch anything there, so hopefully I didn't expose too many people ☹️🤧

[thistlecrimes]

Things I've learned from getting covid for the first time in 2023

I wear an N95 in public spaces and I've managed to dodge it for a long time, but I finally got covid for the first time (to my knowledge) in mid-late November 2023. It was a weird experience especially because I feel like it used to be something everyone was talking about and sharing info on, so getting it for the first time now (when people generally seem averse to talking about covid) I found I needed to seek out a lot of info because I wasn't sure what to do. I put so much effort into prevention, I knew less about what to do when you have it. I'm experiencing a rebound right now so I'm currently isolating. So, I'm making a post in the hopes that if you get covid (it's pretty goddamn hard to avoid right now) this info will be helpful for you. It's a couple things I already knew and several things I learned. One part of it is based on my experience in Minnesota but some other states may have similar programs.

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The World Health Organization states you should isolate for 10 days from first having symptoms plus 3 days after the end of symptoms.

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At the time of my writing this post, in Minnesota, we have a test to treat program where you can call, report the result of your rapid test (no photo necessary) and be prescribed paxlovid over the phone to pick up from your pharmacy or have delivered to you. It is free and you do not need to have insurance. I found it by googling "Minnesota Test to Treat Covid"

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Paxlovid decreases the risk of hospitalization and death, but it's also been shown to decrease the risk of Long Covid. Long Covid can occur even from mild or asymptomatic infections.

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Covid rebound commonly occurs 2-8 days after apparent recovery. While many people associate Paxlovid with covid rebound, researchers say there is no strong evidence that Paxlovid causes covid rebound, and rebounds occur in infections that were not treated with Paxlovid as well. I knew rebounds could happen but did not know it could take 8 days. I had mine on day 7 and was completely surprised by it.

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If you start experiencing new symptoms or test positive again, the CDC states that you should start your isolation period again at day zero. Covid rebound is still contagious. Personally I'd suggest wearing a high quality respirator around folks for an additional 8-9 days after you start to test negative in case of a rebound.

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Positive results on a rapid test can be very faint, but even a very faint line is positive result. Make sure to look at your rapid test result under strong lighting. Also, false negatives are not uncommon. If you have symptoms but test negative taking multiple tests and trying different brands if you have them are not bad ideas. My ihealth tests picked up my covid, my binax now tests did not.

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EDIT: I'd highly suggest spending time with friends online if you can, I previously had a link to the NAMI warmline directory in this post but I've since been informed that NAMI is very much funded by pharmaceutical companies and lobbies for policies that take autonomy away from disabled folks, so I've taken that off of here! Sorry, I had no idea, the People's CDC listed them as a resource so I just assumed they were legit! Feel free to reply/reblog this with other warmlines/support resources if you know of them! And please reblog this version!

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I know that there is so much we can't control as individuals right now, and that's frightening. All we can do is try our best to reduce harm and to care for each other. I hope this info will be able to help folks.

[perkwunos]

But there’s a cruel reality behind the decision to track right: The campaign, once it hitched its wagon to Biden’s policy of unqualified support for genocide in Gaza, really had no other choice. In 2020, the Biden campaign tentatively rode the progressive wave of the George Floyd protests, anger about Trump’s racist border policies, Covid activism, and anti-war protests against Saudi Arabia’s destruction of Yemen to energize the Democratic Party base to defeat Trump. It was, in retrospect, mostly lip service, and certainly no one at the time thought Biden a firebrand progressive. But the broader theme of the campaign was that everyone would have a seat at the table, even if the plate would most likely end up being empty.

Harris made no such pretensions, because any strategy that played to similar themes would have had to address the elephant in the room: the Democratic Party’s ​“ironclad” support for Israel’s elimination of a people in whole or in part. And this simply would not have worked. One can’t really bank on activist energy, youth turnout, and base-mobilizing when those involved — while canvassing together, or running phone banks at each others apartments, or getting drinks afterwards — have to awkwardly address the fact of genocide and their candidate’s support for it. This isn’t to say there was no activist or youth energy in the campaign — clearly there was. But those in charge quickly decided against making this their central theme and vote-gathering strategy, given the uncomfortable questions that would naturally arise from campaigning in these spaces. So Liz Cheney and her negative-2 favorables it was. 

Countless pro-Democratic Party pundits tried to warn Harris. Polls were commissioned. The Uncommitted Movement very politely, and well within the bounds of loyal party politics, begged Harris to change course. But she refused. The risk, to her, was worth sticking to the unshakable commitment to ​“eliminating Hamas” no matter how many dead Palestinian children it required, or the degree to which images and reports of these dead children would fuel cynicism and create an opening for Trump to win. 

... Turning every party advocate into a dead-eyed trolley problem expert triaging which genocide was morally preferable may have made cold logical sense, but it was hardly an inspiring message. Making it less compelling was that, by and large, it was not a position emanating from Palestinians themselves, as virtually every major Palestinian organization and the sole Palestinian-American in Congress, Rashida Tlaib, refused to endorse Harris.

[outarou-mikado]

Cleaned So Much this weekend in a fit of ~Anxiety~

So I bought myself two (2) dresses ☺️

[hillbillyoracle]

Now is the Time to Start Masking Again

If you stopped paying attention to COVID with the release of vaccines, you've missed a lot.

COVID is airborne.

Long COVID impacts 10% of people infected by COVID (though this is beginning to look like a low estimate). Risk of Long COVID goes up with each reinfection. Long COVID is worse than initially reported.

Bisexual and trans people are more likely to develop Long COVID.

Black and Hispanic folks are more likely than White folks experience more symptoms and health problems from Long COVID.

***COVID and Long COVID has much more in common with HIV and AIDS than the flu (28:19 - 38:30 of linked video)***

The Basics

[WEBSITE] You Have to Live Your Life

[ZINE] What's Up With COVID and How to Protect Yourself - 2024 Edition

[FAQ] r/ZeroCOVIDCommunity's FAQ and Resource List

"This is great and all but it's overwhelming. TL;DR?"

COVID is airborne. Long COVID is much more common (and serious/debilitating) than previously thought.

Mask with an N95 or better in all indoor spaces and outside when close to others. Improve your indoor air quality by opening windows and using fans/air filters.

Rapid tests are prone to false negatives so make sure to retest in 48 hours after exposure and/or when you develop symptoms. Isolate in the meantime. Consider upgrading to a NAAT (PlusLife, Metrix) or PCR (Lucira) if you have the money.

Things for you to do today:

buy some N95s or request some from a local mask bloc

open a window more often and/or buy an air purifier

buy the best COVID tests you can afford

Basics in Video Form

If you have limited time, watch the videos with * first. They will cover the basics in about 20 minutes.

*VIDEO: COVID is Airborne [2:53]

*VIDEO: What the latest research tells us about long COVID's most common symptoms [5:58]

*VIDEO: FDA warns of false negatives with at home COVID Tests [2:19]

*VIDEO: How to Stay Safe(r) at Home [10:35]

--

VIDEO: The Astounding Physics of N95 Mask [6:08]

VIDEO: Mask Fit 101: Seal [4:07]

VIDEO: Mask Fit 101: Qualitative [3:49]

VIDEO: Mask Fit 102: Quantitative [5:04]

VIDEO: How to get [and give] FREE Masks [6:07]

VIDEO: Try this DIY indoor air purifier for cleaner air [4:22]

VIDEO: Why is EVERYONE more SICK [54:55]

Want to Get Involved?

Join your local Mask Bloc

No local Mask Bloc? Consider starting one

Talk to the people in your life about COVID

Print quality zines and spread them in your communities

Push for COVID Conscious changes in your spaces.

[acti-veg]

Leather vs. Pleather: 8 Myths Debunked

Since we are all beyond tired of seeing the same regurgitated leather posts every day, I've compiled and briefly debunked some of the most common myths peddled about leather and pleather… So hopefully we can all move on to talk about literally anything else.

1) Leather is not sustainable.

Approximately 85% of all leather (almost all leather you'll find in stores) is tanned using chromium. During the chrome tanning process, 40% of unused chromium salts are discharged in the final effluents, which makes it's way into waterways and poses a serious threat to wildlife and humans. There are also significant GHG emissions from the sheer amount of energy required to produce and tan leather.

Before we even get the cow's hide, you first need to get them to slaughter weight, which is a hugely resource-intensive process. Livestock accounts for 80% of all agricultural land use, and grazing land for cattle likely represents the majority of that figure. To produce 1 pound of beef (and the subsequent hide), 6-8 pounds of feed are required. An estimated 86% of the grain used to feed cattle is unfit for human consumption, but 14% alone represents enough food to feed millions of people. On top of that, one-third of the global water footprint of animal production is related to cattle alone. The leather industry uses greenwashing to promote leather as an eco-friendly material. Leather is often marketed as an eco-friendly product, for example, fashion brands often use the Leather Working Group (LWG) certificate to present their leather as sustainable. However, this certification (rather conveniently) does not include farm-level impacts, which constitute the majority of the negative environmental harm caused by leather.

2) Leather is not just a byproduct.

Some cows are raised speciifically for leather, but this a minority and usually represents the most expensive forms of leather. This does not mean that leather is just a waste product of beef and dairy, or that it is a completely incidental byproduct; it is more accurate to call leather a tertiary product of the beef and dairy industries. Hides used to fetch up to 50% of the total value of the carcass, this has dropped significantly since COVID-19 to only about 5-10%, but this is recovering, and still represents a significant profit margin. Globally, leather accounts for up to 26% of major slaughterhouses’ earnings. Leather is inextricably linked to the production of beef and dairy, and buying leather helps make the breeding, exploitation and slaughter of cows and steers a profitable enterprise.

3) Leather is not as biodegradable as you think.

Natural animal hides are biodegradable, and this is often the misleading way leather that sellers word it. "Cow hide is fully biodegradable" is absolutely true, it just purposely leaves out the fact that the tanning process means that the hide means that leather takes between 25 and 40 years to break down. Even the much-touted (despite it being a tiny portion of the market) vegetable-tanned leather is not readily biodegradable. Since leather is not recyclable either, most ends up incinerated, or at landfill. The end-of-life cycle and how it relates to sustainability is often massively overstated by leather sellers, when in fact, it is in the production process that most of the damage is done.

4) Leather is not humane.

The idea that leather represents some sort of morally neutral alternative to the evils of plastic is frankly laughable, at least to anyone who has done even a little bit of research into this exploitative and incredibly harmful industry. Cows, when properly cared for, can live more than fifteen years. However, most cows are usually slaughtered somewhere around 2-3 years old, and the softest leather, most luxurious leather comes from the hide of cows who are less than a year old. Some cows are not even born before they become victim to the industry. Estimates vary, but according to an EFSA report, on average 3% of dairy cows and 1.5 % of beef cattle, are in their third-trimester of pregnancy when they are slaughtered.

Slaughter procedures vary slightly by country, but a captive bolt pistol shot to the head followed by having their throats slit, while still alive, is standard industry practice. This represents the “best” a slaughtered cow can hope for, but many reports and videos exist that suggest that cows still being alive and conscious while being skinned or dismembered on the production line is not uncommon, some of these reports come from slaughterhouse workers themselves.

5) Leather often involves human exploitation.

The chemicals used to tan leather, and the toxic water that is a byproduct of tanning, affect workers as well as the environment; illness and death due to toxic tanning chemicals is extremely common. Workers across the sector have significantly higher morbidity, largely due to respiratory diseases linked to the chemicals used in the tanning process. Exposure to chromium (for workers and local communities), pentachlorophenol and other toxic pollutants increase the risk of dermatitis, ulcer nasal septum perforation and lung cancer.

Open Democracies report for the Child Labour Action Research Programme shows that there is a startlingly high prevalence of the worst forms of child labour across the entire leather supply chain. Children as young as seven have been found in thousands of small businesses processing leather. This problem is endemic throughout multiple countries supplying the global leather market.

6) Pleather is not a ‘vegan thing’.

Plastic clothing is ubiquitous in fast fashion, and it certainly wasn’t invented for vegans. Plastic leather jackets have been around since before anyone even knew what the word vegan meant, marketing department have begun describing it as ‘vegan leather’ but it’s really no more a vegan thing than polyester is. Most people who wear pleather are not vegan, they just can’t afford to buy cow’s leather, which remains extremely expensive compared to comparable fabrics.

It is striking how anti-vegans consistently talk about how ‘not everyone can afford to eat plant-based’ and criticise vegans for advocating for veganism on that basis, yet none of them seem to mind criticisms directed at people for wearing a far cheaper alternative than leather. You can obviously both be vegan and reduce plastic (as we all should), but vegans wear plastic clothing for the same reason everyone else does: It is cheaper.

7) Plastic is not the only alternative.

When engaging in criticism of pleather, the favourite tactic seems to be drawing a false dilemma where we pretend the only options are plastic and leather. Of course, this is a transparent attempt to draw the debate on lines favourable to advocates of leather, by omitting the fact that you can quite easily just buy neither one.

Alternatives include denim, hemp, cork, fiber, mushroom fiber, cotton, linen, bamboo, recycled plastic, and pinatex, to name a few. Alternatives exist for everything from materials designed to ensure sub-zero temperatures and specialist motorcycle equipment. There are exceptions in professions like welding, where an alternative can be difficult to source, but nobody needs a jacket, shoes or a bag that looks like leather. For most of us, leather is a luxury item that doesn’t even need to be replaced at all.

8) Leather is not uniquely long-lasting.

The longevity of leather is really the only thing it has going for it, environmentally speaking. Replacing an item less often means fewer purchases, and will likely have a lower environmental impact than one you have to replace regularly. Leather is not unique in this respect, however, and the idea that it is, is mostly just effective marketing.

As your parents will tell you, a well-made denim jacket can last a lifetime. Hemp and bamboo can both last for decades, as can cork and pinatex. Even cotton and linen can last for many years when items are looked after well. While some materials are more hard wearing than others, how long an item will last is mostly the result of how well made the product is and how well it is maintained, not whether or not the item is leather.

[brucebocchi]

Summer 2024 anime roundup: ALL IN ONE

hey! i also post these reviews on my ko-fi. this is a labor of love so if you like the stuff i write, i'd really appreciate it if you'd throw a few bucks my way. thanks!

Well, I'm much busier now than I was in the first half of the year, so that means less time for anime and less time for writing about it. I managed to watch only (ONLY?) nine shows this season, so might as well put it all in one post.

As always, each show's OP is linked in the title.

Let's jump in.

Returning anime

NieR: Automata Ver. 1.1a, part 2

After a COVID-plagued production delayed the last few episodes of its first half last year, A-1 Pictures’ adaptation of Yoko Taro’s landmark action-RPG returns to deliver the real meat of the story. And as with the game, the first half of NieR: Automata Ver. 1.1a was something I’d classify as “pretty good!,” while the remainder is what makes the entire endeavor worthwhile.

I’m happy to report that not only did the studio not lose a step, but they improved on the presentation of Ver. 1.1a immensely. The action sequences are superb and expressive throughout, and the CGI integration is actually, y’know, integrated this time out. The score, both original and borrowed from Keiichi Okabe’s contributions to the NieR duology, remains as evocative as ever. They also ramped up the cheesecake more than a little bit, and let’s be real, that was the draw for a lot of people in the first place.

If there’s any one thing Ver. 1.1a can claim as an advantage over the game’s narrative, it’s that the former does a lot more work in building on A2 as a character. There’s just enough to chew on in the game, but having more of her backstory from the YoRHa stage play and manga adaptation integrated into the narrative makes for more of a meal. Having A2’s history and real personality pinned up as a backdrop as she struggles to suppress both really fleshes out her journey and eventual resolve as shit continues to hit the fan. She’s also just a big ol’ tsundere sometimes. And not for nothing, but they gave her an absolute DUMPY for no reason, but I can’t really pin that as a negative.

9S’ whole thing happens too. I really don’t have much to add to that.

When I reviewed this show’s first half at the end of 2023, I mentioned that the initial concern with the anime’s very existence is that it’s adapting a narrative that is functionally being told through the very fact that it’s a video game. The delivery of the game’s true ending, especially, is so innately A Video Game that it’s functionally impossible to adapt directly into a television show. I’m happy to say that although that function is lost, Ver. 1.1a’s ending is still plenty satisfying (and I’m told especially so for Drakengard fans, without giving too much away). Something is still very much lost in the transition, though. In his review of the penultimate episode, Anime News Network’s James Beckett wrote:

What the anime of NieR:Automata has not been able to capture in these critical final moments is the way that the game makes its players complicit in the tragedy in a way that they could never be if they simply sat down and passively watched these events unfold from behind the safe veil of the fourth wall. It would be like if we were each individually guided on stage to place our hands on Hamlet's shoulder and push him gently onwards to his final destination. It doesn't change anything about what happens in the story, but it changes everything about what it means to us.

These acts of “ludonarrative culpability,” as Beckett called it, are the reason why Yoko Taro is considered an auteur in the gaming sphere. Both NieR games are tragedies writ large, and Yoko’s genius lies in making you, the player, carry out the tragedy, often well before you realize what you’ve wrought. And to Beckett’s point from his review, NieR: Automata is a perfectly fine sci-fi story in its own right, but the game puts the blood squarely on the player’s hands and inserts them into the narrative in a way that simply watching cannot. The connection I felt to the story was only there because I’d already played the game myself; I can only imagine how it would feel if this was your introduction to NieR.

So to return to a question I suggested at the end of last year: Do I recommend this to people who haven’t played the game? Eh, not particularly. It’s a well-made show, to be sure, but there’s enough missing from what makes Automata such an exceptional game that I’m not sure I can recommend it wholeheartedly if you’re not already familiar. Then again, I wouldn’t really know how it reads from the other side. To those who know and love the game, Ver. 1.1a isn’t quite the “Rebuild of NieR” some were hoping it to be, but it’s an interesting companion piece that takes surprising strides to tie it even closer to the preceding franchise. If you’re a newcomer? YMMV. Either way, play the game.

Oshi no Ko, season 2

I spent far more time than was necessary in the Discourse Mines following Oshi no Ko’s thunderous debut last year and a controversial (but fortunately inconsequential) turn of events in the manga shortly after the season finale. Though I remain one of the series’ foremost glazers, I’ve had my moments where I worried that maybe I overrated it a bit in my head, that I carried too much water for writer Aka Akasaka, and that I’m still riding the high of the series’ premiere.

Oshi no Ko’s second season completely erased any lingering worry almost immediately and reminded me and the world that yes, it Really Is That Good. The “It’s So Over” switch flipped to “We Are So Back” as soon as best girl Kana Arima and co-lead Taiki Himekawa dazzled their co-stars and one another with literally colorful displays of their acting prowesses. My expectations continued to rise as an active reader of the source material, and studio Doga Kobo continued to surpass them. This adaptation is just that good.

Aqua’s quest for revenge and Akasaka’s continuing examination of Japan’s entertainment industry both lead us into the world of stage acting, specifically 2.5D adaptations of famous manga and anime. Aqua is cast alongside Kana and his sham girlfriend and former reality show co-star Akane in an adaptation of the fictional smash hit shonen manga Tokyo Blade, along with several members of a theater company to which Ai once belonged. While Aqua is more concerned with getting dirt on Ai’s background than he is with acting, Kana and Akane have much more personal stakes as they try to show one another up and still put on the best play they can. Kana can’t stand Akane’s absolutist, matter-of-fact approach to acting (nor the fact that she’s fake-dating the guy for whom Kana’s down abysmal), while Akane, who idolized Kana as a child and is disappointed to see her take a step back as an actress, is trying her damnedest to rekindle the spark that convinced her to pick up acting in the first place. On the fringes, rookie actor Melt Narushima is trying to make up for a heinous performance in the first season that earned him the scorn of his more experienced castmates as well as a mangaka’s permanent ire.

A good amount of this arc does feel like Akasaka was still sorting through his feelings about the Kaguya-sama live adaptation when he wrote it, but he also gave himself some room for reflection on his own side of the equation as a mangaka. Tokyo Blade’s creator, Abiko Samejima, holds her creation very dear and is not impressed with the script. Her friend and former boss, Yoriko Kichijouji, is entirely too familiar with how badly the process can go; her own manga, Sweet Today, was horribly botched in this show’s first season, and she wants to help Abiko-sensei keep a level head. Kichijouji-sensei is the voice of reason this time out as she points out all of the concessions creators may need to take in order to get their work adapted and the unimpeachable truth that mangaka are basically crazy people (and you can practically hear Akasaka screaming through her lines; four months after Kichijouji said this in the manga, Kaguya-sama published its final chapter, marking Akasaka’s retirement from illustrating serialized manga). At her urging, in addition to an all-nighter helping Abiko-sensei make a deadline, the play goes off without any more hitches.

I didn’t much care for the Tokyo Blade arc in the manga but I knew full well that it would translate well to anime just as well as the acting sequences in the first season had. Akasaka’s decision to have the actors treat the stage as a battleground felt a little silly on the page, but experiencing everything again in sound and motion reminded me that this was the same genre of psychological competition that made Kaguya-sama one of my all-time favorites. Doga Kobo is just stupidly good at adapting manga. God, the animation is incredible. Character animation is as deliberate and mesmerizing as always, and emotional moments are punctuated by interpretive splashes of watercolors. Melt’s breakout on stage was a standout moment in the manga, but the abstract, expressionistic depiction of his redemption was so perfectly conceived on screen that life imitated art: Kichijouji-sensei cried in the anime, and manga artist Mengo Yokoyari cried in real life.

I could go on and on and on, but if you’re already this deep into Oshi no Ko I really don’t need to tell you anything else. This season, for all its gorgeous visuals and onstage glory, does not hesitate to remind you at the worst possible moments that this is still ultimately a revenge story and pulls the rug from you just as gleefully as it dazzles. The first season was already exceptional, but the second cements Oshi no Ko as an all-time great adaptation. As a fan of the manga, this is as good of an anime as I could ask for, and then some.

Mixed Bags

My Deer Friend Nokotan

I’m just exhausted.

I’ll admit, I bit a little too hard on the marketing. The preview trailers promised madcap, nonsensical fun on the level of Nichijou or Asobi Asobase, the cast was exceptional, and the OP’s refrain was a total earworm (Shikanoko Nokonoko Koshitantan! Shikanoko Nokonoko Koshitantan! Shikanoko Nokonoko Koshitantan!). It even has the cast jumping in the air! And we all know the Ryo Yamada rule! This was going to set the bar for gag anime!

Oh, how little I knew. Y’know how sometimes you see a trailer for a middling comedy movie and you can tell they already gave away all of the movie’s best jokes? Turns out My Deer Friend Nokotan did just that. I did temper my expectations; it’s not like I thought this was going to be the second coming of Nichijou or anything, but I guess I was still expecting something, I dunno, funnier?

The premise seemed to lend itself to a good comedy either way: Torako Koshi, a former delinquent, has successfully expunged her prior reputation and worked her way up to becoming her school’s student council president. All of that is nearly thrown away when a bizarre new student, Noko Shikanoko, immediately clocks her and almost spills the beans. Also, Shikanoko (who prefers to be addressed as Nokotan) has antlers and can commune with deer. She may even be a deer herself. She hoodwinks Koshi into starting a Deer Club at school, where they recruit Koshi’s upsetting younger sister Anko and the languid, rice-obsessed Bashame. Allegedly, shenanigans ensue.

Take this with a grain of salt, as humor is very subjective, but this show just plain isn’t very funny. Nokotan’s gags hit at least as often as they miss, and a lot of them just feel unforgivably dull. One bad segment can feel like an entire episode. The only reliable gags are gross-out humor, outsized slow-motion violence, or Nausicaä references. Everything else is just Koshi barging into the lower third of the screen to shout about how wacky the joke was just then.

Look, I know that humor doesn’t always translate across cultures. The things I don’t understand about Japanese humor could fill several libraries. I do, at the very least, get the basics of the boke/tsukkomi dynamic (fool and straight-man, basically) and how the reaction to a silly thing is usually the real punchline. I’ve absorbed enough Japanese media to adapt to that momentum. That nearly goes out the window here, because Koshi’s role as the tsukkomi is a straight-up momentum killer. It’s rarely just a “wait, what?!” or a “yeah, that’s rich coming from you;” it’s usually more like “wait, that is so ridiculous! You couldn’t possibly have pulled that off! And what’s that you’re wearing all of a sudden?” The rhythm is just gone. Comic timing? Don’t know her. Even if I thought the joke was funny at first, you could probably see any semblance of a smirk fading off my face by the time she was done. And hey, maybe some of this stuff doesn’t translate. Maybe it’s not that funny in Japan either.

The other characters outside of our main two really don’t help. Anko’s whole “yandere siscon” act isn’t very funny to start with, and she brings nothing to the table otherwise. Bashame is such a nothing character that even Koshi was sick of her by the end of the season. And while I feel like a good narrator can add a good level of je ne sais quoi to a comedy anime (see: Kaguya-sama), an overly intrusive one can actively take away from the humor (see: the Kaguya-sama dub). Nokotan’s narrator comes at it with a sort of winking, nudging “HEY, WE’RE A GAG ANIME” energy that gets too grating, too quickly. What doesn’t help is that he eventually affects a fake-desperate “please watch this show and tell your friends!” bent that called to mind Ron Howard’s narration in Arrested Development’s third season as it was approaching cancellation. Meta humor, as in the latter, can absolutely elevate the level of comedy; 100 Girlfriends in particular wielded it like a machete. In Nokotan, on the other hand, it betrays a clear lack of confidence in the writing, and there’s nothing less funny than comedy that doesn’t even believe in itself.

It’s not all awful, I swear. There are genuinely some very good gags; Nokotan’s cat-and-mouse game with an anachronistic matagi was a blast from beginning to end, and the skin-suit gag got a bigger laugh out of me than almost anything else I saw this season. Any good anime, especially a comedy, lives and dies by its voice cast, and Megumi Han’s performance as the titular Nokotan is this show’s whirring, beeping life support. She makes the absolute most of her considerable range as the jokes call for it, while somehow never stepping on her own toes by dipping into her Kana Arima voice from Oshi no Ko. Koshi shares a VA with Hatsune goddamn Miku. Bashame is pretty much only tolerable thanks to the languid performance of relative newcomer Fuuka Izumi, whom I’m very glad to hear in something that isn’t Gushing Over Magical Girls.

And aside from the music (the OP, to be fair, is infectious), that’s about all there is to like about the production. Did Studio WIT really make this? It looks like it could’ve been made by anybody, and that’s not a compliment. The uncanny CGI deer were the only real visual standout, and even those lost their shine before long. Something attempting to be this audacious needs to have a look to match, and Nokotan falls flat. Again, maybe that’s on me for trying to hold it to the standard Nichijou set.

I’d honestly be surprised if this gets picked up for another season. I’d be hard-pressed to come back for more.

No Longer Allowed in Another World

(CONTENT WARNING for discussion of suicide)

Osamu Dazai was one of the most complex and fascinating figures in Japan’s modern literary canon, right up there with his ideological opposite and real-life rival, Yukio Mishima. Dazai was, frankly, a disaster. He was a serial womanizer, terrible with money, repeatedly disowned by his family, unemployable, a deadbeat dad, and hopelessly addicted to drugs and booze. His magnum opus, Ningen Shikkaku, or No Longer Human, is a stark semi-autobiography, just barely fictionalizing his repeated failures of dignity and self-preservation, including his several failed attempts at double-suicide with his many illicit lovers. The same year it was published, however, Dazai was successful in his final attempt, drowning himself alongside his mistress in 1948.

But like, what if he got hit by the isekai truck instead?

Isekai Shikkaku, or No Longer Allowed in Another World, fully Goes There. The series begins with the legally distinct, unnamed Sensei and his lover Sacchan blindsided by an anachronistic truck along the riverbed. Sensei comes to, alone, in a monastery inspired by the JRPGs from well after his time. He doesn’t know what’s going on and he doesn’t care. All that matters is that he’s still alive, and that sucks for him. Sensei is greeted by Annette, an elf priestess in a virgin killer sweater, who is shocked to discover that not only has he not gained a single stat boost by coming to this world, but he’d also rather kill himself than take her up on the standard offer of an OP cheat skill (and he’d also just rather kill himself in general). So he bounces to go find Sacchan. His refreshing outlook on the new world, as opposed to the other excitable losers who got isekai’d before him, completely melts Annette’s brain to the point of falling in love with him on the spot, so she dons her sluttiest Persona 3 battle armor to chase after him.

Sensei hates this shit. Contemporary western fantasy hadn’t made its way to Japan yet in his time, so he has zero point of reference in this world, and he sure as shit has no clue what a JRPG is. The level-up jingles give him migraines. He has no self-preservation instincts and the only solace he has in this strange new world is a jar of toxic sleeping pills that he munches like M&Ms. He has no interest in or aptitude for fighting, so when he encounters a big-tiddy catgirl being squeezed half to death by a walking tree’s branches, Sensei sees the perfect opportunity to get himself killed. Unfortunately, his blood has become so toxic from said pills that piercing his skin instantly kills the tree, saving the young lady he incorrectly names Tama. Much to Annette’s consternation, she joins the party, and they set out on Sensei’s quest to find his lover and finally die in peace.

As you can guess, that’s not what happens. For some time, we see Sensei throwing himself in harm’s way, floridly imploring various fantasy monsters to kill him in one shot with their big bats, to the point where they get creeped out. His vaguely-threatening exhortations for death make for a fine formula, but one that can wear thin quickly. Before it gets that chance, though, the seed planted in Annette’s introduction bears fruit: The visitors to this world from our own aren’t here in isolation, and they have succeeded in completing the usual isekai goal of overthrowing the demon king. There’s now a massive power vacuum, and nature abhors that shit, so a cabal of erstwhile isekai protags dub themselves the Fallen Angels and decide to take over.

This turn was, to put it bluntly, the main thing that kept me watching. There’s a fine bit of commentary inherent to this framing that the type of wet-noodle, borderline faceless self-insert isekai protags tend to appeal to antisocial losers who would rather give into their basest impulses than see an opportunity to actually better themselves. This is not at all lost on Sensei; his keen eye for the human condition leads him to interrogate the Fallen Angels his party encounters so that he can write about their own failures as humans, as well as the gaping voids in their previous lives that led to them acting like petty tyrants as soon as they gained a bit of power and treating a brand new world like their own personal playground. Sensei’s writings reveal that he did indeed gain a power when he came over to this world; if he sees fit, a finished book will surround its subject and reanimate them back in their original world and afford them a second chance to right their wrongs or, in one particularly moving case, start over on the right foot.

For as audacious as No Longer Allowed’s premise is and as impeccable its comic timing and voice cast (you will find some absolute heaters completely buried on the call list), I just didn’t find it all that compelling. Isekai as a genre is so oversaturated that it was old hat to call it oversaturated even five years ago, so while I do try to pan for gold, sometimes I just come up with a neat-looking river stone. Hell, I can’t even say this one’s all that neat-looking; there’s nothing that looks all that great about it to begin with. The character designs and backdrops are pretty standard JRPG-style stuff that you’re just as likely to find in the likes of Helck, with lackluster animation to match. Didn’t care too much for most of the characters either. Even for its commentary on the isekai genre and the type of person it caters to, No Longer Allowed just ends up shaking out like another isekai series. 

There’s clearly more at play here, and I might just go ahead and read the manga because I didn’t really find myself looking forward to watching the anime. Maybe it just didn’t translate well. No Longer Allowed in Another World does clearly have something to say under its silly premise, but its method of getting that message across is, ironically, buried underneath the usual trappings of the genre it’s trying to say something about. 

Wistoria: Wand and Sword

I’m gonna preface this by saying that Wistoria is probably the best anime I watched this year that I’ve classified as a “Mixed Bag,” save for Jellyfish Can’t Swim in the Night. I’m generally of the mind that excellent production can make up for a middling story (my enjoyment of the likes of Solo Leveling and Wind Breaker this year was pretty emblematic of that), and that is the case here for the most part. Wistoria, story-wise, is nothing special; it’s your standard power fantasy set in a magical school, but the entire presentation is just almost fascinating enough to overcome that hurdle.

Hell, it’s almost not even worth going over the plot. Unassuming boy named Will goes to a magic academy, he doesn’t have any magical aptitude, so he makes up for it by honing his hand-to-hand combat prowess in the school’s designated dungeon. It’s Mashle meets Solo Leveling. Will gets picked on (like, a LOT), but he doesn’t care, because he made a promise long ago to reach the pinnacle of magical society to reach his childhood friend, who happens to be a genius mage. There are duels, there’s a tournament, there’s monsters, you know how this goes.

Will has allies in the school, namely a female friend who’s madly in love with him as well as a professor who covers for his shortcomings in magic-related subjects, but remember that this is a self-insert fantasy: There are also increasingly menacing bullies for him to put in their place. Will is challenged by a Snape-like instructor, a classmate who just hates him so much for not having magic aptitude, and a top performer at the school who’s just flat-out evil (and racist to boot!). And of course the latter two also have goon squads of snickering hangers-on. Will always succeeds, of course, because despite his shortcomings, he’s the strongest and most specialest boy. It’s almost like an isekai without the isekai. Too bad we find out that Will is hilariously shredded, which kinda blows a hole in the self-insert aspect.

Goofy shonen-isms aside, there’s still plenty to enjoy here. Varying types of magic, artifacts, and fantasy races abound, and lore is sprinkled throughout the show in character biographies in the commercial break eyecatches. The story does get gradually less stupid as the season goes on and characters are better fleshed out. And hey, there’s nothing wrong with watching a really strong dude beat the shit out of monsters and assholes.

The only thing that really kept me coming back to Wistoria was that, plainly, it looks and sounds fucking awesome. It’s not the best-looking anime I watched this season (that would either be Oshi no Ko or one of the next two anime on this list), but Wistoria takes such a surprisingly cinematic approach to such an uninspiring story that I couldn’t help but keep watching. The lighting effects are lush, combat animation is bonkers in its best moments, and the score is pretty darn good too. It definitely takes some big swings at simulating camera movements and perspective shots that don’t always accomplish what they set out to do, but I can appreciate the ambition bleeding through. I can see the vision, and that’s what counts.

The actual content is pretty paint-by-numbers, but Wistoria is well-made enough that it’s worth a shaky recommendation. Maybe just turn your brain off until the action picks up. I've heard the manga gets pretty good from here on out, so I'll probably stick it out for another season.

The Gems

The Elusive Samurai

If you’re not already familiar with this series, do me a favor and watch the OP linked right above. Pretty good character animation, right? Expressive, weighty, plenty of personality. The colors pop like crazy too! A lot of the time, an anime series will heavily stylize its OP to attract eyeballs and YouTube metrics, oftentimes bringing in outside animators and directors for a unique feel. In the case of The Elusive Samurai, I cannot stress enough that all that animation is the standard.

Yes, this show looks exceptional. Even putting aside the fact that it’s historical fiction, this show has a truly timeless look to it that I still struggle to put into words. The Elusive Samurai is clearly a modern production but bears all of the hallmarks of what great animation has always looked like when a studio is willing to invest in it: Colors are so bold and saturated that I want to take a damn bite out of them, backgrounds are painstakingly hand-painted even for brief cuts, and there even seems to be a film grain overlay to really sell the classic feel. It’s not perfect (I’ll get into that later), but holy shit is it a feast for the eyes.

Adapted from the pages of Weekly Shonen Jump, The Elusive Samurai is a heavily fictionalized retelling of the fallout of the Siege of Kamakura in the 14th Century. Tokiyuki Hojo, left without a family in a bloody coup of the shogunate, is prevented from committing suicide by enigmatic priest Yorishige Suwa and then thrown right back into the fire of the battlefield. Yorishige, who has prophetic visions of the future, foresaw Tokiyuki’s ascent to leadership and wants to see how he fares in battle. Tokiyuki didn’t bother with his training as a young master, instead playing elaborate games of hide-and-seek with the Hojo clan’s advisors, so in the face of certain danger, he’s left with no choice but to do what he does best and run the fuck away. And as with evading his training, Tokiyuki realizes that it’s way more fun than actual combat, and the future is suddenly even more clear to Yorishige: Evasion, not bloodthirst, will guide Tokiyuki’s path to revenge.

At Yorishige’s increasingly unnerving behest, Tokiyuki goes into hiding at Suwa Shrine and begins building a squad to take down the usurper, Takauji Ashikaga. Along with Yorishige’s daughter, Shizuku, he teams up with young warriors Kojiro and Ayako, and in their travels pick up the crass, kitsune-masked thief Genba and the food-obsessed swordsboy Fubuki. It’s fine as extended casts go, though we don’t get much from a few of them past their introductory arcs. Tokiyuki is an absolute delight, though. He’s a sweet and joyful kid despite his circumstances; real shonen protag material. And most importantly, he’s completely over Yorishige’s shit.

I’m a sucker for magical realism, and The Elusive Samurai delivers. Yorishige really does appear to be a prophet, to the point where he can even predict Dragon Ball Z (yes, really), and he and Shizuku are capable of pulling off acts that any actual person would consider a literal miracle. Mythical beasts roam the land and those that were slain appear to reside on a different realm accessible to the Suwas. All of Takauji’s top soldiers have senses and abilities far beyond anything human or animal, and Takauji himself seems to have borrowed some of his prowess from the devil himself. With this show’s commitment to top-tier visuals and animation, the sky's the limit for what we can see, and it kept me glued to my TV every episode. It almost made me want to watch Demon Slayer. Almost.

The cast has some solid performances from familiar names and voices: Yuichi Nakamura is his usual blusteringly silly self as Yorishige, Aoi Yuuki is a riot as Genba, and Katsuyuki Konishi (Kamina himself!) infuses Takauji with appropriate menace. There’s some Chainsaw Man and Bocchi sprinkled into Tokiyuki’s clan of rookie warriors as well. Good stuff, but what really caught my attention was a surprisingly familiar voice giving life to the bug-eyed villain Sadamune Ogasawara: None other than Yutaka Aoyama, the narrator of Kaguya-sama: Love is War. Nobody could have more perfectly infused Sadamune with the appropriate level of self-serious goofiness than the guy who narrated Kaguya-sama’s balloon game like it was an NFL Film. Perfect casting.

As incredible as this show looks most of the time, the remainder does have a critical issue: CloverWorks didn’t seem too invested in hand-animating horses or any of the show’s characters riding them, so it opted instead for CGI. Very poorly-implemented CGI. I really try to take stuff like this as it comes, but the modeling looks way too video-gamey for the style the rest of the show is going for, to the point where I’m taken out of it. There’s really no excuse for something this uncanny with the high bar The Elusive Samurai set for itself early on (and yes, Uzumaki is airing as I write this, and I’ll talk about the similar problem that show has at the end of the year).

I know I just said this about Wind Breaker last year, but this may be CloverWorks’ other Big Shonen Hit. It certainly has the juice, between the wacky gags and shockingly brutal violence, and CGI issues aside, the studio has clearly invested in it. A second season is already on the way, and I’d say it’s paid off. If the studio can iron out the kinks, this could end up becoming an all-timer.

Makeine: Too Many Losing Heroines!

If I haven’t made it clear enough, my anime journey has turned me into a bit of a romcom guy. Couldn’t tell you why. Maybe it’s because Tenchi Muyo was a formative anime for me, or maybe it’s because I got on Kaguya-sama relatively early in my return-to-weebdom trek and I’ve been chasing that high ever since. I could go on and on about the ones I’ve watched and which particularly stood out, but we’d be here all day. At the same time, though, a burgeoning market for the genre, particularly among the shonen demographic, means that there’s gonna be some real slop out there. Plenty of anime, manga, and especially light novels are targeted at the “lonely boy who wishes cute girls would attach themselves to him just because he’s A Nice Guy” type, and while there are some genuinely excellent series that cater plenty to that kind, there’s a well-defined line between the good and the trash.

Makeine is well aware of that line and elects to skip rope with it. Genre subversion is at its best when the work in question shows a genuine care for the milieu it’s satirizing, and Too Many Losing Heroines is to trashy light novel romcoms what The Eminence in Shadow is to edgy isekai and Bang Brave Bang Bravern is to vaguely homoerotic mech warfare. It’ll slap you in the face with every dumb threadbare cliche you’ve come to expect from the genre, and it’ll do so with a smile.

These stories are usually fronted by a total wet noodle and Kazuhiko Nukumizu is the soggiest soba you’ve ever seen. His main interests are water fountains and hey, wouldn’t you know it, light novel romcoms. As far as he’s concerned, he’s a background character with the personality to match. He’s thrust to the forefront, though, when he’s caught staring at his classmate, Anna Yanami, embarrassingly picking up the pieces from being brutally rejected at a cafe. She forces herself into Nukumizu’s booth and helps herself to several courses’ worth of stress-eating on his dime, which he never agreed to. As recompense, Anna decides to cook him lunch until her debt is more or less repaid, and would you look at that, Nukumizu just made a friend!

As the title would suggest, Anna’s not the only lovelorn maiden finding her way into Nukumizu’s school life. He’s exhorted into joining the school’s literature club, where he meets the track runner, Lemon Yakishio, and the lit club’s stammering stalwart, Chika Komari. He also has to bear witness to each of their own crushes backfiring and deal with the fallout. And amidst this chaos, there’s plenty of botched confessions, getting locked in storage closets, boob faceplants, and all the other nonsense you’d expect from the genre. And it’s terrific! And in the midst of all this, even as Nukumizu seems to be a passenger in this journey, you see him ever-so-slowly realize that he has some agency and grow closer to these girls. Makeine is plenty silly and more than a little stupid, but there’s plenty of heart in here as well.

The offbeat character dynamics and clever dialogue are what really make this. Everyone is just refreshingly weird in their own ways. Anna is a complete menace and totally convinced she’s the protagonist of life, and she may not even be wrong. I almost don’t care whether she and Nukumizu get together or not; they’re such a fun “serious guy/goblin mode girl” pairing that I’m not that interested in their dynamic changing. Komari and the lit club VP Koto are a dynamic fujoshi duo, ensuring that the club’s shenanigans aren’t too shonen-centric (and funny enough, Koto has her own idea for an Osamu Dazai isekai). Everyone in the student council has something demonstrably Wrong With Them, the homeroom teacher is a disaster, and the school nurse probably belongs in prison. I love every single one of them. I could’ve done without Nukumizu’s offputtingly-clingy little sister (and learning about her analogue in this season’s other romcom LN adaptation, Alya Sometimes Hides Her Feelings in Russian, was enough to put me off of watching it), but it looks like one of her own female classmates is in love with her, so that could be gold in later seasons.

A-1 Pictures, to borrow an industry term, put its entire pussy into this production. As with last year’s Heavenly Delusion, there was so much love put into the lighting effects, background art, and character animation that I felt like I was watching a Makoto Shinkai film at times. All of those elements working in tandem massaged my brain in such a way that when every episode ended, I was left confused because hey, where the hell is the rest of the movie? Makeine is also loaded with killer visual gags, and I give A-1 a ton of credit for letting those jokes land without calling too much attention to them, unlike a certain other show I watched this season. The opening and endings were real treats, with three different EDs as the season progressed, each depicting one of the titular heroines’ personal journeys (and performed by each respective girl’s VA, no less). This is some real investment on the studio’s part and it absolutely paid off.

I promise that every time I compare a romcom to Kaguya-sama, it comes at a great inner struggle to prevent myself from doing so, but if that anime is truly over and this is where A-1 is focusing its resources, Makeine may very well be a worthy successor. I really can’t say for sure whether this or The Elusive Samurai was the best new anime of the summer season, and it doesn’t help that they aired on the same day and I’d always watch them back-to-back. Just know that they’re easily two of the better anime I’ve seen this year.

Mayonaka Punch

If “mega-cancelled YouTuber starts up a new channel with a bunch of disaster lesbian vampires” isn’t enough of a hook for you, I really don’t know what else to tell you.

Masaki got kicked off her popular NewTube channel after punching one of her co-hosts, and the internet is letting her hear it. Maybe barging in on the “we’re firing Masaki” live stream and tackling one of them didn’t help either. Rather than film the bog-standard apology video, she figures she can just wing it and start up a solo channel. Masaki decides to start by playing the hits and drunkenly recreate her first channel’s breakout video in a spooky abandoned hospital, and finds more than she bargained for in a vampire named Live (pronounced like it’d be short for Olivia) who really, really wants to drink her blood in particular. Masaki nearly falls to her death in a panic, only for Live to save her and reveal that she has the very filmable ability to fly, so Masaki cuts a deal: If Live can help her get a new channel off the ground, Masaki will let her drink her blood.

This is tremendous content, so Masaki moves in with Live at Banpai Manor along with her vampire roomies to produce a new channel, co-starring the eternal 10-year-old day trader (night trader?) Ichiko, the soft-spoken fujoshi musician Fu, and the heavy-vaping gambling addict Tokage. They name the channel Mayonaka Punch (because mayonaka means “midnight” and because Masaki punched the shit out of her former co-host) and quickly get to work trying to beat Masaki’s former channel to their goal of a million subscribers (and a delicious lunch for Live). Even though they try to pass off their vampire shenanigans as Very Good CGI, they run afoul of a vampiric authority figure for exposing their identities, so they have to get internet famous the old fashioned way: Cute Girls Doing Cute Things.

I can’t quite put into words what a blast this show is. Mayonaka Punch frequently barrels along at a madcap pace, often punctuated by an electro-swing score, as its cast of loud idiots (and Fu) carom off of one another to chaotic effect. The voice cast really sells it, too: Ikumi Hasegawa (Kita in Bocchi the Rock!, Vladilena in 86, Übel in Frieren) owns every ounce of Masaki’s mounting exasperation as she deals with all the vampire nonsense while continuing to avoid the consequences of her own actions. Fairouz Ai continues her MVP-caliber resume for 2024 in style as Live, infusing her with a kind of desperate manic energy as she scratches and claws for Masaki’s approval. This was easily my favorite of her many roles so far this year, and two years removed from Chainsaw Man’s debut, it’s been a treat to hear her once again voicing a feral, bloodsucking loser.

As silly as Mayonaka Punch gets, though, it delivers some serious emotional blows when you least expect them. The fourth episode, centering on Fu’s history, is one of the best of any anime I watched this season. There’s also some very interesting history between Live and the head vampire’s go-between, Yuki, that was told through (though partially buried by) a series of video game facsimiles, and I hope there’s more there someday. And, of course, there’s Masaki’s evolving relationship with Live, with romantic undertones so tantalizing they might as well be overtones. I really thought there wasn’t enough time left in the season to reach a satisfying conclusion, and though it might not have fully reeled in the yuri bait, I was pleasantly surprised at how well everything tied together.

Mayonaka Punch’s ending is open enough that I can only hope it gets a second season, but I’m not about to hold my breath. That’s a tall order for original anime that don’t set the world on fire, but this one has all the right pieces for a future cult classic. Liked and subscribed. 

Suicide Squad Isekai

When this was announced, the only reaction it really got out of me was “Sure dude, why not.” As far as what this show is, it does what it says on the tin. It’s an isekai featuring a motley crew of anti-heroes plucked directly from the David Ayers and James Gunn Suicide Squad films. You already know what you’re in for.

Sure enough, this is a straight up Suicide Squad story from the jump: Harley Quinn and the Joker (the latter sporting yet another heinous makeover) try to pull off a heist, it goes sideways, Harley gets arrested and forced into Amanda Waller’s scheme to mine rare resources in another world alongside Deadshot, Clayface, Peacemaker, and King Shark. It’s your standard JRPG-style isekai fantasy world, except the previous Suicide Squad of Enchantress, the Thinker, Ratcatcher, and Killer Croc seem to have run roughshod over tensions between races and kingdoms, leaving Rick Flag alone to pick up the pieces.

And what ensues is pretty much what you’d expect. Everyone looks appropriately anime; Psycho-Pass character designer Akira Amano did especially good work with Harley, to the point where I’m shocked that a billion-yen idea like “anime Harley Quinn” was slept on for so long. All of this makes it even funnier that Peacemaker is still very much just John Cena. Character designs aside, Suicide Squad Isekai only seems to look good when it wants to; most of the moment-to-moment stuff looks a bit muted but absolutely pops off when business picks up. There’s even a flashback sequence of Deadshot and Ratcatcher that has a sort of loose, crumbly Masaaki Yuasa look to it. Despite the genericism of the setting and inconsistency of the aesthetic, though, Suicide Squad Isekai still carries plenty of style with it. The intro and outro are both blasts; I didn’t realize until the season ended that the “Tank!”-style OP was by Tomoyasu Hotei, the composer of the most iconic piece of music from Kill Bill. The ED (content warning: Mori Calliope) heavily features Amanda Waller getting down in ways I can only hope to one day see Viola Davis recreate. 

The fusion of American and Japanese styles is definitely awkward at times; the occasional references to other Warner Bros properties like Lord of the Rings and Tom and Jerry feel particularly shoehorned in considering this is a Japanese production, but the voice cast makes up for a lot of faults. Anna Nagase captures Harley’s freewheeling energy perfectly, and her penchant for nicknames is extra cute in Japanese when she’s calling the Joker “Purin-chan” or King Shark “Nana-chan.” Jun Fukuyama is a real standout as Clayface, channeling the flashy spirit of Joker (not this one, the Persona 5 one) to animate Basil Karlo’s irritating showmanship. Takehito Koyasu as Peacemaker doesn’t quite have the self-serious goofy energy we’ve come to expect from the live action version, but it’s such funny casting on its face that I don’t really mind. Can this tradeoff go both ways? I want John Cena as DIO yesterday.

For a Studio WIT production and a story by Re:Zero’s writers, Suicide Squad Isekai may occasionally feel like less than the sum of its parts (par for the course for the property’s recent adaptations, unfortunately, save for the Gunn film), but if you don’t come at it expecting too much you’ll have a good time. Far from my favorite this year, but it’s a crowd pleaser, and those, I like.

[collapsedsquid]

The despair goes deeper. Almost a quarter of renters report skipping meals to make their monthly rent payments. The expiration of pandemic-era tenant protections and rental assistance programs—which Biden and congressional Democrats did nothing to prevent—has caused evictions to spike back to pre-Covid levels. Homelessness is at an all-time high. Wider economic discontent can also be connected to housing. An astonishing 75 percent of swing-state voters said housing costs were the most stressful economic issue for their families, and nearly two-thirds said housing unaffordability made them feel negatively about the economy. Rent remains the single largest factor keeping inflation high, accounting for half the overall increase in inflation as recently as September.

It's too damn high

[covid-safer-hotties]

Also preserved in our archive

I've been saying the whole pandemic: "Covid is a class issue."

“COVID is still going on,” says Ishtiaque Fazlul, lead author of the study and an assistant professor in both University of Georgia’s School of Public and International Affairs and UGA’s College of Public Health. “Long COVID is very much a problem that is affecting people’s lives right now. And it’s affecting people from all walks of life in terms of financial hardship.”

The COVID-19 pandemic panic that characterized the early 2020s may be gone, but the SARS-CoV-2 virus is continuing to wreak havoc on some Americans’ finances, according to a new study.

The researchers found that long COVID-19 is making it harder for people to pay their bills, buy groceries, and keep their utilities on.

The study suggests much of that financial hardship is the result of lost jobs and reduced working hours. And the researchers found that the negative economic effects of the illness are present regardless of socioeconomic status.

“COVID is still going on,” says Ishtiaque Fazlul, lead author of the study and an assistant professor in both University of Georgia’s School of Public and International Affairs and UGA’s College of Public Health. “Long COVID is very much a problem that is affecting people’s lives right now. And it’s affecting people from all walks of life in terms of financial hardship.”

But long COVID is particularly hard on the finances of individuals with lower incomes.

The study found that for individuals in the lowest income bracket, having long COVID increased the likelihood of food insecurity by 10 percentage points. They also were at higher risk of losing important utility services due to not being able to pay their bills.

Even those in higher income brackets faced similar difficulties.

Almost 18 million Americans are living with long COVID. It’s a chronic condition triggered by the COVID-19 virus that can leave people suffering from extreme fatigue, memory problems, and a variety of other unpleasant and sometimes incapacitating symptoms for months to years on end.

The present study relied on nationally representative data from a Centers for Disease Control and Prevention survey of more than 270,000 Americans across 40 states.

Of the participants, about 20,000 reported having long COVID. The individuals in lower income groups and those without college degrees were disproportionately affected by the condition.

Previous studies have shown that people with lower incomes have a higher risk of contracting COVID. And when they do get the virus, they tend to be sicker and even die at higher rates than their high-income counterparts.

When illness gets in the way of work, particularly for long stretches of time, higher-earners are sometimes able to work from home or rely on savings and various safety nets to keep themselves from running out of cash.

But low-income Americans may have a harder time staying afloat.

“Lower income groups probably have less savings and less to fall back on if something happens with their job,” Fazlul says. “Lower socioeconomic groups also tend to have more hands-on jobs that have less opportunity to work from home.

“If their income decreases even by a little bit, they may cross a threshold that makes them food insecure and makes it difficult to pay bills.”

Having more flexibility in both hours and work from home policies could help long COVID sufferers keep their jobs and health care coverage. Improving access to health care services to help patients manage symptoms of the condition could also make a real difference.

Increasing job security and access to credit is another option to increase long COVID patients’ financial stability, the researchers say.

“People’s financial well-being is being affected by long COVID,” Fazlul says. “That’s something we should care about.”

The study appears in Health Services Research.

Additional coauthors are from the University of Georgia and Augusta University.

Source: University of Georgia

Study link: onlinelibrary.wiley.com/doi/10.1111/1475-6773.14413

[littlegreenwyvy]

You have covid

"I'm sure it's just a flu"

Flu:

Covid:

"I tested negative for covid"

"It's not so bad cuz hardly anybody dies of covid anymore anyway"

(Note, this ^ study's scope was for the 'core' of the pandemic (I.e. the first 2-3 years), but still has implications today)

"I'm young and healthy so I don't have to worry"

Take covid seriously, or else

Sources:

[wundergeek]

I've been skimming the ace tag to report bots, since I'm recovering from COVID and needed to Feel Productive and... man. It's really heartbreaking the amount of negativity I'm reading from some ace folks absolutely convinced that they'll never have successful and happy relationships of any variety and. Like.

This aging (42) ace (bi/demiromantic 95% asexual, if you need to me establish my credentials) just wants the younger aces to know that MY LIFE AND RELATIONSHIPS TURNED OUT PRETTY GREAT, ACTUALLY. I have a spouse and co-parent who accepts and loves the entire messy package of me, including my copious quantities of mental illness and my ridiculous number of queer letters. I have queer friends that may or may not be QPRs. I'm pretty indifferent the idea of labeling it, I just know that our relationship goes far beyond "just" friendship - they are family. And I'm in a place where I'm able to be as open about my ace identities as I am about the rest of my queerness. Don't fall into the trap of delegitimizing your aceness the way you've been taught! "Partners" don't have to be ROMANTIC to matter. And there are people out there ready and eager to love you for exactly who you are, aceness included.

[probablyasocialecologist]

“The ‘war on drugs’ may be understood to a significant extent as a war on people. Its impact has been greatest on those who live in poverty, and it frequently overlaps with discrimination directed at marginalised groups, minoritiesand Indigenous Peoples. In our reporting and experience, we have found that such discriminatory impact is a common element across drug policies with regard to the widest range of human rights, including the right to personal liberty; freedom from torture, ill-treatment and forced labour; fair trial rights; the right to health, including access to essential medicines, palliative care, comprehensive drug prevention and education, drug treatment, and harm reduction; the right to adequate housing; freedom from discrimination and the right to equal treatment before the law; right to a clean, healthy and sustainable environment; cultural rights and freedoms of expression, religion, assembly and association. Globally, drug control has had massive costs for the dignity, humanity and freedom of people of African descent, with reports showing that people of African descent face disproportionate and unjust law enforcement interventions, arrests and incarceration for drug-related offences. In various countries, the ‘war on drugs’ has been more effective as a system of racial control than as a tool to reduce drug markets. Policing interventions based on racial profiling remain widespread, whilst access to evidence-based treatment and harm reduction for people of African descent remains critically low. Around the world, women who use drugs face significant stigma and discrimination in accessing harm reduction programmes, drug dependence treatment and basic health care. Although one in three people who use drugs are women, women constitute only one in five people in treatment. Women are also disproportionately affected by criminalisation and incarceration, with 35% of women in prison worldwide having been convicted of a drug-related offence compared to 19% of men. The causes of women’s interaction with the criminal justice system in relation to drugs are complex, often linked to other factors such as poverty and coercion, and may reflect systemic gender inequality in society more broadly. Of note, most women in prison for drug related offences have little education. Under international law, States that have not yet abolished the death penalty may only impose capital punishment for the ‘most serious crimes’, meaning crimes of extreme gravity involving intentional killing. Drug offences clearly do not meet this threshold. However, drug-related offences are still punishable by death in over 30 countries, and human rights experts have raised concerns about evidence of its discriminatory impact on individuals belonging to minorities. Everyone without exception has the right to life-saving harm reduction interventions, which are essential for the protection of the right to health of people who use drugs. However, according to UN data, only 1 in 8 people with drug dependence have access to appropriate treatment, and the coverage of harm reduction services remains very low. The situation is particularly critical for women, LGBTIQ+ persons, and other marginalised groups, for whom harm reduction and treatment services may not be adapted or respond to their specific needs. Women and LGBTIQ+ persons also face even higher levels of stigma, including self-stigma, and discrimination than men who use drugs.

As the world grows older, drug use among people over 65 has also increased. The COVID-19 pandemic had a negative impact on the health and well-being of older persons, and studies show an increased use of pain relievers, tranquillizers, and sedatives among this age group. Older drug users are also more often using the dark web, social media, and online forums to obtain illicit substances resulting in a rise of drug-related deaths among older populations. The criminalisation of substances traditionally used by Indigenous Peoples such as the coca leaf can also result in the suppression, undermining and marginalization of traditional and indigenous knowledge systems and medicine, which has wide-ranging health impacts and is rooted in discriminatory hierarchies and conceptions. Forced eradication of crops, including through the aerial spraying of highly hazardous pesticides, can cause serious harm to the environment and clean water, as well as to the health and welfare of Indigenous communities. Indigenous Peoples that might be affected by these and other drug control operations must be meaningfully consulted, and guarantees should be given that their lives, cultural practices, lands and natural resources are not violated. Criminal laws and the punitive use of administrative and other sanctions stigmatise already marginalised populations. Criminalisation results in significant barriers to access to health services (including those for HIV and palliative care) and in other human rights violations. As called for by the UN system Common Position on drug-related matters, drug use and possession for personal use should be decriminalised as a matter of urgency. Drug use or dependence are never a sufficient justification for detaining a person. Compulsory drug detention and rehabilitation centres need to be closed and replaced with voluntary, evidence-informed, and rights-based health and social services in the community.

[flaresanimedump]

I'm gonna get so canceled for this but

The Harlow isolation studies and why there is no maturity gap between Oda and Dazai: An analysis

CW for monkeys used in psychological studies

As we all know from Covid, isolation has a lot of negative effects on humans. In 1955 a man, his wife, and his buddy set out to explore what those effects were and, eventually, if they could be reversed. Margaret was a child psychologist and this was 1955, so they focused primarily on the effects of isolation on very young children. This led to a bunch of other studies with a bunch of other scientists, and everyone now cites him as the guy who "determined the importance of the maternal bond uwu," but that's not what his studies showed - and what they did show is interesting, so I'm gonna talk about it. And eventually make it about Sakunosuke Oda from Bungo Stray Dogs. But first, the study:

Harlow and co. started off raising monkeys in partial social isolation, which was quite literally just raising them in side-by-side wire cages, and even that resulted in serious psychological symptoms including increased aggression and self-harm. If that sounds a little like the world today and you'd like to read more, you can read the 1965 paper here. The 1974 paper discusses rehabilitating monkeys that were kept in total isolation for between 6 and 12 months after birth. The symptoms these monkeys displayed were similar but much more debilitating than what was seen in the partial isolates, and even after reintroduction to monkey society they never improved.

The highlights of the 1974 study:

When placed with each other the social isolates are worse than wallflowers, as they shun social contact and instead withdraw to the extremities of the test area.

Aggression is routinely administered to strangers by competent subjects at 7 months of age. Since the behavior of isolates is indeed strange by normal monkey standards, it is not surprising that previous studies reported extensive aggression against and no recovery exhibited by isolates exposed to competent age-mates. Further, by 7 months of age well-socialized macaques have complex behavioral repertoires, characterized by highly active and extensive play bouts. It is no wonder that isolates seem overwhelmed by the behavior of competent peers. However, well-socialized monkeys are not aggressive nor do they possess a highly complicated social repertoire earlier in life. For example, in normal 3-month-old monkeys aggression has not yet matured and simple play patterns are just beginning to emerge.

In a nutshell: Isolated monkeys come out super antisocial and other monkeys think they're freaks and bully them. But that's only true if the other monkeys have learned what "normal" is. So Harlow decided to see what would happen if an isolated monkey met a 3 month old socialized monkey. The results:

To our delight, the 6-month isolates developed their social repertoire in parallel with the therapists: when the therapists clung, they clung back, and when the therapists played, they played back. By the end of the therapy period the isolates and therapists were hardly distinguishable in terms of levels of both social and nonsocial behaviors. As such activity generalized to other social situations (Cummins, 1973), social rehabilitation appeared to be complete.

In a more impressive study of isolate rehabilitation, Novak & Harlow reared monkeys in total social isolation for the first 12 months of life before subjecting them to a similar therapeutic procedure. The 12 month isolates were far more debilitated than are 6-month isolates. As in the Suomi & Harlow study, remarkable recovery was displayed by Novak’s 12 month isolates. By the end of the therapy period isolates and therapists did not differ significantly in levels of play, social contact, exploration and locomotion while levels of self-clasping, rocking and stereotypy were low in both groups. Novak & Harlow continued to test these isolates formally until the monkeys were 3 & 1/2 years of age. The impressive recovery shown by the isolates did not regress over time.

Resounding success. Social rehabilitation is totally possible in these extreme cases - though one thing I really really want to point out here is that this study says multiple times that the isolated monkeys reached the maturity level of the younger therapists. Eventually this won't matter as the age difference will be rendered insignificant (rhesus and macaques monkeys live something like 30 years and the largest gap in the studies was only 9 months), but it's an important note.

As stated at the beginning, the 1965 Harlow study showed that partial isolation, i.e. even just being separated from society while still able to interact somewhat, can have significantly damaging affects on social skills along the same lines as what was observed in total isolates.

This is Oda when he was 15

You may have already guessed where I'm going with this.

Fukuzawa says Oda's a famous assassin already at this time. Some quick math: if Ranpo is 14, Oda is 15 14, and Fukuzawa is 32, Untold Origins must take place between October 26th and January 10th. That means Oda has JUST turned 14 in the above image, meaning he was an assassin for at least the entire year he was 13. (Edited- apparently Oda was confirmed 14 in Origins.)

So: Oda lives in the shadows and is shown to be quiet and obviously antisocial from at least the age of 13 on. Even after he stops killing people he lives in a neighborhood described as "sparsely populated," works odd hours as a delivery man, and has no friends or visitors to his house. He's like the isolated monkeys that were let out into society without any rehabilitation: a wallflower who tucked himself away from everything because it was comfortable and familiar.

Enter Dazai, who isn't much older than Oda was when he fell completely into Yokohama's underbelly and most importantly is the weirdest little freak in the greater Tokyo area. Oda says repeatedly in The Day I Picked Up Dazai that he doesn't understand himself or Dazai and most of his actions in the novel are him doing whatever makes the most sense to him and nobody else, which would be avoid-level weird to anybody who wasn't weirder (Dazai).

A good example is the paragraph of his attempts to get Dazai the (poisonous) foods he asks for, which also includes the negative reactions he gets from other people:

He's got no idea how to deal with others. But Dazai's too weird to care beyond how it affects him, which is easy to understand even with Oda's rudimentary understanding of humanity at large. Dazai wants something, he doesn't get it, he gets annoyed. Understandable.

When Dazai (who is 16, remember) talks about his views on life, Oda thinks he sounds like a wise otherworldly being:

Which he later admits made him feel a little out of his depth:

Oda doesn't feel that Dazai is less mature than him - he feels that Dazai is wise and understands more of the world than he does in some ways. And he may feel that way because he was isolated from society from an even younger age than Dazai is when they meet. There isn't a maturity gap between them because Oda hasn't had any of the natural, standard social development you get when you actually interact with people (and Dazai unarguably has even if he's got other very bad influences in his life).

But Harlow says Oda can get that social development if he grows with Dazai, which is what happens between The Day I Picked Up Dazai and Dark Era.

Basically:

Dazai was Oda's therapy monkey.

Thank you for coming to my TED talk.

[pedge-stuff]

102 degrees (pedro pascal x gn/m!reader)

a/n: same vague universe as “marked.” drop a line if you have a sug. (:

summary: maybe it's the fever talking, but Pedro might finally be ready to go public with your relationship.

————————————————————————

It’s not a whine, per se— more like a thin, whistle-y exhale as the press tents come into view. A noise of quiet resignation; Pedro is exhausted, and the night hasn’t even started. 

There is little comfort you can offer. You’ve been careful not to touch his face or hair throughout the ride, per the explicit instructions of Mira. This has left you no option but the back of his neck, between the high collar of his overcoat and the lowest hang of his curls. You thumb rhythmically over the overly-warm, slightly damp skin. Small comforts. 

Of course he’d wake up with the flu on the day of the biggest premiere of his career thus far. “Fucking shit-ass karma,” he’d groaned between dry heaves over the toilet that morning. Three negative covid tests and a house-call IV drip later (celebrity medical care is, you’ve come to realize, very fucking weird), he was semi-functional. But fucking miserable.

This once, you’ll give your grown ass boyfriend a pass for whining. 

Though the windows are tinted, you are quick to remove your hand as the car pulls up. He is anxious enough about the evening, without having to worry about people seeing. You know the drill— low profile has basically become your middle name. The only thing worse than having the flu on premiere night, you muse, would probably be Pedro getting outed to the world. 

“It’s going to be fine,” you insist softly, squeezing his knee. “Carpet, premiere, talkback, reception. Easy.” 

He straightens out of his slump against you, taking a deep breath. “Easy,” Pedro repeated, unconvincingly. He sighs.

“Then a full cap of NyQuil and no alarm tomorrow morning.” 

You dare to grip his hand, one last time, as the car slows to a stop. He brings yours to his lips, and presses a (noticeably fever-warm) kiss to the exposed skin of your wrist.

"Only thing getting me through this is the prospect of going back to bed with you tonight."

"Mr. Pascal, are you coming on to me?"

He offers a weak chuckle. "Ask me again when I'm not about to barf in the back of an Uber."

The car slows to a stop. Another deep breath, as Pedro slips an easy mask back into place. "Carpet, premiere, talkback, reception."

— — — 

There are layers to the whole thing. You don’t begrudge his hesitancy, to publicly reveal your relationship. The few times a pap has caught you out together, the TMZ byline is something along the lines of “Pedro Pascal Seen Strolling Sunset with SNL Sidekick.” Perks of heteronormativity, you suppose. 

It’s all him. You’ve been out for a long, long ass time— frankly, never thought you’d go back in, til suddenly you’re signing an NDA and attaching yourself at the hip to a man whose hand you can’t hold in public. 

It’s not that he’s ashamed. (He reassures you of this often.) He’s just private, and unwilling to pop a bubble he’s lived comfortably in for the better part of five decades; sometimes, his perspective on (and fear of) public homophobia speaks volumes to the age gap between you. 

So you stand back, under the cover of the press tents, watching Pedro walk the carpet. You’re in good company— Mira and Coco track him beside you with narrowed eyes, vigilantly monitoring him for accidental hair touches or makeup smudges. 

He sways on his feet between interviews. Your heart clenches.

The carpet is short, much less elaborate than the ones at awards ceremonies. After a few interviews and a series of photographs, everyone starts slowly making their way into the theater.

You hang back in the lobby, a little unsure of how to proceed. There is guest seating in the mezzanine, mostly for the press reporters and various network reps in attendance. It's not a big venue. The main seating is reserved, obviously, for the people actually associated with the show. And their guests. Which is, technically, you, but... Well.

You maybe should have ironed this out prior to arrival. The whole flu thing kinda took priority.

"Yo!" There is a light shove on your shoulder. Bella, flush with excitement and fresh off the carpet, pulls you in for a quick hug. "Your man is so unwell."

They are laughing, though your heart clenches. Poor baby. "This would only happen to him," you agree. "He come in already?" You'd been scanning the crowd, hoping to catch a glimpse of him. Like a fan. (A fan that spent the better part of the morning pressing a cold washcloth to his neck, sitting on the bathroom floor.)

Bella cocked an eyebrow. "You guys are so fucking weird about this shit." They are privy to the details, courtesy of Pedro. Apparently it was a hot topic of conversation while killing time on set. You'd received many a FaceTime during long stop-downs between takes; calls you'd assume were your boyfriend, but had Bella cackling on the line after you picked up.

As if on cue, a mass of black fabric appears in your periphery.

"Are you conspiring to put me out of my misery?" Pedro is still wearing his 'everything is fine and I'm doing great' press smile.

"Duh." Bella smooths down the front of their blazer. "I think it's gonna start soon? I gotta find my mom."

They wade back into the dwindling crowd, leaving you and your germy boyfriend in the corner. Pedro's eyes are closed, as he takes measured breaths through his nose.

"Oh babe," you whisper quietly. "I'm sorry this is happening to you."

He softens. "It's okay. I'm okay. Gonna be honest, I'm relieved we're about to sit down for a couple hours."

"Just a few more hours left, that's all. I'll see you at the reception?" Your eyes drift to the door upstairs, behind the velvet rope separating press and attendees.

“Are we not—“ He clears his throat, voice breaking weakly. “Are we not sitting together?”

His eyes are glassy, but lack the same fever-bright quality he’d woken up with. The crease between his eyes deepens as he frowns. This feels like the start of a larger conversation that most definitely will not be happening in the lobby of the Regency Village Theater. 

“We can,” you offer cautiously. “If that is what you want.” 

A large, slightly trembly hand grasps your shoulder. “Of course that’s what I want, love. ‘M sorry. It’s dark, it’s safe, I just… I’m so tired.” The last part is admitted in a pained whisper. Your heart aches. It takes a concerted effort to not reach out and touch him. (It usually does, in public. He is a tactile aficionado– preens over little touches, forehead kisses, the brush of your hand over his hair. You offer these so frequently in private, that in public, your hand twitches regularly against the impulses.)

Pedro's manager waves from the other side of the room. He musters a small smile, releasing the grip on your shoulder. "Premiere, talkback, reception. Bed."

In the stiff theater seats, he leans so far over the armrest, you know his back will be sore later. But he tucks himself into your side the moment the lights dim, head on your shoulder. The frame of his glasses digs into your neck, and you couldn't care less. Your focus is on the lines he is tracing into your palm, large hand cupping yours in your lap.

The show is fantastic. Of course. The talkback is short, courtesy of Craig, and the reception is informal enough that you are in-and-out. Pedro makes the rounds while you make awkward small talk with Bella's mom (whose name you always forget, dammit, but she's lovely nonetheless). Take two sips of some cocktail called "Look for the Light" and wait for your cue to leave. Though you remain blissfully flu-free, you have been anticipating the conclusion of this evening as strongly as Pedro.

The Uber home has to make an emergency stop, so the star of the evening can puke water and crackers on the side of Mulholland Drive. You tip well.

And then, hours after he stepped onto the carpet, the prophecy is fulfilled. Pedro is tucked into bed, dogs at his feet, empty but blue-tinged medicine cap discarded on the nightstand beside a mug of water and his glasses.

His face is smushed into the pillow. Eyelids at half-mast, as he watches you change out of your simple suit and into a pair of well-loved flannel bottoms.

You don't need a shirt. On cue, your boyfriend octopus-latches as you slide under the covers, head resting on your bare collarbone.

"You did good tonight," you say, through a yawn. Reach up to tug the chain on the bedside lamp. Your other hand cards through Pedro's hair, detangling little clumps of hair spray he was too tired to brush out. "'M so proud of you."

"I mean it," he whispers back. "It's time. I'm sick of not being able to hold your hand."

Your lips brush his temple. 'We can talk about it tomorrow."

"Plenty of time for it," he mumbles, right on the cusp of sleep. "Since we're not leaving this bed."

[koyoba]

Folks in the US, get your new batch of free tests!

This current surge is no joke- My family and I got complacent and went shopping in a crowded store on Labor Day, and our whole household ended up laid up with COVID for about a week. I'm still personally dealing with some lingering fatigue, as are a couple others in my house, and as we all (hopefully) know, some long COVID symptoms can be way worse!

So mask up, use your tests if you have symptoms or have been around someone who has, and if you suspect you've been exposed, or especially if you test positive, just stay home!

(And also, be sure to report your test results here, positive or negative (but esp. if positive)! Since at-home COVID test results rarely get submitted, it's difficult for public health organizations to track what the current infection numbers actually are; IIRC most current tracking is based on waste water analysis, which is not the most reliable indicator, so make sure that you help that data get tracked. And FYI, the data can be submitted anonymously if you choose, so privacy concerns shouldn't be an issue!)

[darkmaga-returns]

As of October 15, 2024, CDC has released more than half of the anticipated 7.8 million entries of V-safe free-text entries. ICAN’s analysis of the entries released so far reveals almost 12,000 reports of kidney pain, kidney stones, or kidney infections.

As many of you already know, V-safe was developed by CDC for individuals to report symptoms after COVID-19 vaccination. This month, we decided to look at V-safe reports of kidney issues.

We know from other vaccines that vaccination can negatively affect kidney function, causing harm far from the injection site. Sadly, it doesn’t occur to most people that an injection in their arm can harm a distant system of their body. But as ICAN has reported again and again, all body systems can be impacted by vaccination.

A 2024 study found a “strong causal relationship” between COVID-19 vaccination and kidney diseases such as acute interstitial nephritis (inflammation of kidneys) and podocytopathy (injury to special cells in the kidney). A 2022 study found a correlation between acute kidney injury (AKI) and COVID-19 vaccination and that “AKI following the COVID-19 vaccines led to poor prognosis, with 19.78% death in the Pfizer-BNT group, 17.78% in MODERNA, and 12.36% in JANSSEN.”

The V-safe app entries—most made in just the first few days and weeks following vaccination—reveal many reports of kidney pain, the abrupt development of kidney stones, and hospitalization for kidney infections. Here are a few examples:

“Infection of Kidneys and UTI. Blood in urine and kidney stone on left kidney.”

“I’m in the hospital right now Because I’m still peeing blood they think it’s kidney stones.”

“Kidney stone requiring emergency surgery, ureteral stent placement and subsequent removal; UTI.”

“Intermittent stabbing, pulsing pain around left kidney.”

“Severe flank pain (I think it’s a kidney stone) I’m in the ER”

“Diagnosis with new onset kidney stone”

“Severe kidney infection back pain fever”

Readers will not be surprised to learn CDC doesn’t recognize kidney issues as adverse events related to COVID-19 vaccination, despite CDC’s access to this same V-safe data in real time as the vaccines were rolled out. ICAN will continue to do CDC’s job for it and bring attention to these dangerous and sometimes life-threatening conditions.