#Freedom Fighter Interview

[hadesknockedupintheunderworld]

Which era of Archie Sonic did you enjoy more? Pre reboot or post reboot?

Hmmm that's a good question. Idk I think I liked some of the writing post reboot better and I did like the new characters. I also personally think the removal of the love triangles specifically made the comic so much more enjoyable for me and opened up for better characterization for Sally. However, reading post sgw I did miss some of the old charcters (rip all those claimed penders ocs) and their now unresolved storylines, was sad at the loss of certain character struggles (like Rotor who was struggling between his health and wanting to be in the field again), and I missed how pre sgw had just some of the most insane or out of the blue plot developments/world building choices.

In terms of enjoyment, though, I'd have to say post reboot for the following reasons:

1. I enjoyed pre reboot for what it was more often than not, but I had my most fun during Flynn era. I liked how the Penders era moved things to being more serious, but I often felt like he had good and interesting concepts/ideas without the writing to back it up. Meanwhile, while Flynn wasn't perfect either, I felt like he was able to make a lot of those established relationships more believable to me, and while he also made some batshit plot choices he had more of the writing skills to back it up. This is all to say that aside from some stuff at the very beginning of pre reboot, it was a long while before I was able to really enjoy what I was reading instead of just taking things I liked where I could. Post reboot was a lotta Flynn, so despite the loss of characters and plotlines I enjoyed greatly, I at least felt like I could enjoy everything post reboot.

2. It didn't have all of those Sonic based love triangles. I know I know I'm a multishipper I ship Sonic with a lot of people but by god. I just could not take the Sonic/Sally drama anymore. Bunnie/Antoine was fine. Flynn actually made me believe in Julie-Su and Knuckles as decent partners. But by that point (and this is coming from someone who loved Sonic/Sally before reading the comic) everything going on re-Sonic and Sally's romance prospects with the opposite gender and each other was like beating a dead horse. And for Sally specifically, she had been recharacterized so so so many times pre-reboot just for the sake of drama that she often...didn't feel like her own character. So post reboot with the love triangles and the romance with Sonic removed I felt like we could really see who she was as a character and a clear vision of her ambitions/cares. I could feel like who she *is* wouldn't be changed on a whim for the purpose of plot.

3. As they say, people get better with practice. And while I thought some of his pre-reboot stuff was interesting, I felt like by post reboot era, Flynn had grown better at depicting the nuance of living under the eggman empire.

ㅤ

So yeah I guess I'd say, gun to my head? Post reboot. But it's really more complicated than that. I did enjoy both a lot, and especially in the last like 80 issues pre reboot. Pre reboot was wild an interesting in a way that I enjoyed with characters and storylines I loved, but it wasn't always written amazingly and contained much too many ongoing love triangles and mehhh canon relationships to me. Post reboot gave certain characters more time to shine as characters, reverted the pre reboot growth of other characters, delivered some of its nuanced situations better, and was largely written nicely, but you could often feel that the post reboot team was now restricted in a much different way than they were pre reboot (like, pre reboot's struggle was keeping up with existing storylines and relationships and keeping things true to what they have been, but post reboot's struggle feels more like it may have had some of Sega's restrictions we see nowadays).

In the end, though, I miss characters and storylines from both pre and post reboot after the cancelation.

[ausetkmt]

Angela Davis Interview (1989)

Angela Y. Davis discusses the Black Panther Party, the prison system, women in prison and in the Civil Rights Movement, Malcolm X, and self-defense.

[goldfades]

SCREAM QUEENS──NICHOLAS CHAVEZ

free palestine carrd 🇵🇸 decolonize palestine site 🇵🇸 how you can help palestine it's crucial that we stand in solidarity with those who need our support. right now, the people of palestine are facing unimaginable hardship, and it's up to all of us to do what we can to help. whether it's raising awareness, donating to relief organizations, or supporting calls for justice and peace, every action counts. we can amplify their voices, shed light on their struggles, and work towards a future where every individual can live with dignity and freedom. your support can make a difference! FREE PALESTINE!

for this request!

─ summary | after filming Scream with cooper and nicholas, you and nicholas develop a slow-burn romance filled with subtle tension.

─ pairing | nicholas chavez x fem!actress!reader, platonic!cooper koch x fem!actress!reader

─ warnings | sooo sweet and soft!! literally nothing except fluff and a few kisses at the end.

ok love u bye!!! pls send me requests!!!!!!

⇨ missing out on updates? check out my masterlist!

The red carpet glistens under the flashing lights of countless cameras, and the hum of excited voices fills the air like an electric current. The Scream premiere is your first big debut in a film of this scale, and it feels like you're stepping into another world. Your breath catches slightly as you look up at the towering poster of your character, Sydney, splashed across the theater behind you. It’s surreal.

You smooth your dress—a deep, rich burgundy that makes you feel powerful, but in a quiet way, like you're not here to scream but to be heard when it matters. A few feet away, Nicholas stands in his sleek suit, posture rigid yet calm, looking every bit like he belongs. Stoic, as always. But there’s something in the way his eyes shift toward you when he thinks no one’s watching—a softness, a quiet admiration hidden behind his mask of indifference.

Next to him, Cooper is an absolute ball of energy, talking animatedly with an interviewer, his hands gesturing wildly as he laughs, completely unrecognizable from the unnerving, cold-blooded Stu he portrayed in the movie. His warmth is contagious, and you can’t help but smile, even though you’re more used to blending into the background at events like these. Still, this is your night too.

The interviewer finally reaches you, and your stomach flutters—not from nerves, but from the anticipation of sharing this moment. "How does it feel to be a part of such an iconic horror franchise?" they ask, their microphone hovering in front of you.

You glance at Nicholas briefly, his lips curling into the tiniest of smiles as if he’s silently encouraging you to take the lead. The smallest gesture, but you catch it. You always do. You gather your thoughts, tucking a strand of hair behind your ear before leaning in.

"It’s… unreal," you start softly, your voice measured. "Scream changed the game, and being a part of that—it's hard to describe. It’s like stepping into a legacy, but also bringing something new."

You pause for a second, letting the weight of your words settle, and then continue. “It’s not just about stepping into Sydney’s shoes—it’s about understanding her fear, her resilience. Horror is… more than just jumpscares. It’s psychological, it’s emotional. It’s about survival, and I think that’s what makes Scream different.”

As you speak, you feel the lights and the noise around you blur into the background. Your focus is on the moment, on articulating what’s been buzzing in your mind ever since you landed the role. Sydney was never just a scream queen—she was a fighter, an anchor in the madness, and playing her was like learning how to channel that same strength in yourself.

The interviewer nods, visibly impressed, and moves on to Nicholas. You shift slightly, glancing at him as he takes a steady breath. His expression is the perfect picture of composure, but you can tell from the slight twitch of his fingers that he’s thoughtful about what to say.

“Well, Billy’s not exactly the hero,” Nicholas begins, a small chuckle escaping his lips, eyes narrowing with that subtle sharpness that made him perfect for the role. “But I think what’s interesting about him—and about the film as a whole—is the way it plays with the audience’s expectations. Horror has always been about tension, about twisting what you think you know. Scream does that, but on a deeper level. Billy’s... manipulative, sure, but there’s a layer of humanity there, buried under all that chaos. And that’s what makes him so terrifying. You don’t just hate him—you understand him.”

He doesn’t say much, but his words settle like a weight in the air, his voice low and reflective. You’ve always admired that about him, the way he can strip away all the noise and say something that matters, something you’ll still be thinking about long after the conversation ends.

And then, of course, there’s Cooper.

The moment Nicholas finishes, Cooper bounds into the spotlight, his energy bright and overwhelming, making everyone laugh before he’s even answered the question. “Oh man, playing Stu was wild,” he says, shaking his head with a grin that’s far too friendly for someone who spent the entire movie butchering people. “I had to turn off my brain to even think like him. I’m pretty much the opposite in real life, so going to that dark place took some effort.”

He laughs again, carefree, but you’ve seen it—the way he can flip a switch when the cameras roll. One moment, he’s this ball of sunshine, cracking jokes and keeping the mood light, and the next, his eyes go cold, his smile sinister. It’s what made his portrayal of Stu so chilling, so disturbingly real.

“But honestly, I think the best part was working with these two,” Cooper continues, throwing an arm around both you and Nicholas in one smooth motion. “We were like family on set. Every scene, every rehearsal, we got closer. There’s this... chemistry we developed that I think really translates on screen.”

You feel a flush of warmth at his words. Cooper’s enthusiasm has always been infectious, and you can’t help but nod in agreement, even if you’re not as loud about it as he is. The connection between the three of you—Nicholas, Cooper, and you—had been undeniable, a sort of unspoken understanding that had only grown stronger as filming went on.

The interviewer seizes on that. “It sounds like you all bonded a lot on set. Can you talk more about your dynamic? What was it like working together?”

You’re about to respond, but Cooper jumps in first, unable to help himself. “Oh, totally! It was a blast. I mean, there were some intense scenes, obviously—especially for Nick and her,” he says, nodding at you. “But between takes? We’d be laughing, hanging out, keeping it light. It’s the only way to survive a horror film without going crazy yourself, right?”

Nicholas smirks, leaning into the moment with his usual understated charm. “Yeah, Cooper’s energy definitely kept things interesting.” There’s that subtle warmth again in his tone, a softness in the way he talks about you both. “I think we balanced each other out in a lot of ways. You”—he nods toward you again—"you brought this quiet focus, and I think it rubbed off on me. It’s easy to get lost in a role like Billy, but watching you... I learned how to ground myself.”

The compliment, though wrapped in his usual casual delivery, sends a faint flush up your neck. Nicholas had never been one for big declarations, but when he did speak, it was always with meaning, as if he had chosen each word carefully, deliberately.

You find your voice again, wanting to contribute before the moment passes. “I think we each brought something different to the table,” you add softly, your gaze flicking between them. “Cooper has this incredible energy that keeps everything light, but he can flip a switch when it’s time to get serious. And Nicholas...” You pause, considering. “He’s... steady. There’s this calmness about him that keeps you anchored, even when the scenes get intense. It’s hard to explain, but it made working with him feel... safe.”

Your words hang in the air for a moment, and there’s a flicker of something in Nicholas’s eyes—a glimmer of appreciation, though it’s fleeting, quickly hidden behind his usual cool demeanor. But you catch it. You always do.

The interviewer, sensing the dynamic between the three of you, smiles warmly. “It sounds like you all formed a pretty tight-knit group. That’s rare in an industry like this.”

Cooper nods enthusiastically. “Oh, for sure. We’re stuck with each other now,” he jokes, but the sincerity behind his words is unmistakable. “I mean, how could we not? We’ve been through the trenches together.”

You smile, unable to suppress the warmth that floods through you. He’s right. Despite the long nights, the emotionally draining scenes, and the weight of stepping into such iconic roles, the bond you’ve formed with these two has been something special—something real.

As the interview wraps up, you take a step back, letting Cooper and Nicholas finish with their final thoughts. The night isn’t over yet—the premiere still looms ahead, and there are more cameras, more questions waiting. But for a moment, in the midst of the chaos, you feel a deep sense of gratitude. For the film, for this experience, but mostly for them.

For the way Nicholas’s steady presence has become a quiet comfort, his admiration for you evident in the smallest of gestures. For the way Cooper’s energy has pulled you out of your shell, making you laugh, making the hard days bearable.

And as you glance at them both, standing under the glow of the premiere lights, you can’t help but feel like something has shifted. Something subtle, yet undeniable.

───

“—that is not what happened, and you know it.” Cooper sighed dramatically as he glanced your direction, a mock upset settled on his face as you bite your lip, stifling a laugh. Nicholas watches the two of you, amusement clear in his expression.

You settle into the couch as you shrug, letting a small laugh escape your lips. "Okay, fine," you say, holding up your hands in mock surrender, still grinning. "Maybe I don't remember it exactly the way you do, but come on, Cooper, you were the one who started it."

Cooper gasps, clutching his chest dramatically like he’s been mortally wounded. "I started it? Oh no, no. Let’s be real here. You and Nicholas were the ones conspiring against me from day one!"

Nicholas raises an eyebrow, a quiet smirk tugging at the corner of his lips. “Conspiring? That’s a bit dramatic, Coop.”

The host of the podcast, a friendly guy with a genuine smile, watches all of this unfold with a look of amusement, clearly enjoying the easy chemistry between the three of you. “So wait, wait. What exactly did happen on set? I need to know who’s telling the truth here.”

You lean back into the couch, crossing your arms playfully as you glance between Cooper and Nicholas. "Oh, this is good," you say, your eyes lighting up with the memory. "You tell him, Nick. I think you’ve got the best perspective here."

Nicholas, always the picture of calm, shakes his head slightly, clearly entertained by the chaos unfolding between you and Cooper. "Alright," he says, his voice steady but with a hint of amusement. "Here’s the real story. Cooper, as usual, was trying to lighten the mood between takes. It was one of those intense scenes—you know, where Billy and Stu are supposed to be... doing their thing."

Cooper jumps in, unable to help himself. "You mean brutally stabbing people?"

Nicholas just gives him a look, unfazed. “Yes. That. Anyway, Cooper decided to improvise a little—”

“A little?” you interject with a laugh. “He completely threw the script out the window!”

Cooper grins, not remotely ashamed. "Hey, I was trying to make everyone laugh! It was a tense day, okay? I thought Billy needed to lighten up. Maybe do a TikTok dance between stabs. You know, just to mix things up."

Nicholas rolls his eyes good-naturedly, the smallest chuckle escaping him. “Needless to say, it didn’t go over well with the director.”

“Or anyone else on set,” you add, giggling at the memory of Cooper’s ridiculous, over-the-top dance moves while still in full Stu costume.

Cooper holds his hands up defensively. “Alright, fine. It was a bold choice. But you two were laughing! Don’t try to deny it. I saw you both.”

Nicholas’s expression softens, and he nods. “I’ll give you that. You definitely broke the tension.”

The host laughs, clearly enjoying the banter. “It sounds like you guys had a lot of fun on set, despite the heavy material. How do you balance that, being in such a dark, intense movie but still having this kind of dynamic off-screen?”

You exchange a look with Nicholas and Cooper, your smile softening a bit as you think back on the experience. "I think it’s because we had to," you say thoughtfully. “When you’re dealing with a film like Scream—where you’re surrounded by horror and violence every day—it’s easy to let that weight stick with you. So we found ways to break it up, to remind ourselves that we’re just playing characters, that we don’t have to carry that darkness with us.”

Cooper nods along, his usual high energy subdued for a moment as he listens to you speak. “Yeah, exactly. And it helps when you’re working with people you trust, you know? Like, we got along so well from the beginning, so it made everything easier. Even on the tough days, I knew I could look at you guys and just... snap out of it.”

Nicholas glances at you, his expression a little more serious now. “There’s a lot of trust involved, especially with a film like this. You have to trust that the people around you are going to be there, not just as actors, but as friends. And we built that over time.”

You smile at him, grateful for the sincerity in his words. He may be quiet, but when he speaks, it always feels intentional, like there’s weight behind everything he says. And in moments like this, you’re reminded of just how much you appreciate that about him.

The host shifts in his seat, leaning forward. “That’s great to hear. It really shows on screen—the chemistry, the dynamic between you three. So, what’s next? I mean, after Scream, where do you go from here?”

Cooper jumps in again, back to his usual lively self. “Well, I think we should all do a rom-com next, right? Something light, something fluffy. Get away from all the blood and guts.”

You laugh, the idea of the three of you in a rom-com so absurd it’s actually kind of appealing. “Oh yeah, I can totally see Nicholas as the romantic lead.”

Nicholas raises an eyebrow, looking completely unfazed by the suggestion. “I don’t know about that. I think I’ll stick to horror.”

“Stoic, mysterious guy,” Cooper teases, leaning forward dramatically, pretending to narrate. “He’s hiding a dark secret, but deep down, he’s just a big softie.”

You and the host burst out laughing, and even Nicholas can’t help but crack a smile. “Alright, alright,” he concedes. “Maybe one rom-com.”

The host grins, looking between the three of you. “I would definitely pay to see that.”

The interview wraps up soon after, the room filled with easy laughter and lingering energy as you stand from the couch. You, Nicholas, and Cooper thank the host, chatting amongst yourselves as the podcast crew wraps up.

As you head toward the door, Cooper slings an arm around your shoulder, pulling you close. "Next time, we do the rom-com," he says with a wink. “We can be the love interests and... Nick can just be there. I’ll start writing the script tonight.”

Nicholas falls into step beside you, his hands in his pockets, watching the two of you with that familiar glint of amusement in his eyes. “I’ll leave that to you, Cooper.”

You smile, shaking your head. “I can’t wait to see what you come up with.”

After the interview wraps up and the bright lights of the studio fade behind you, the three of you pile into Cooper’s car. He’s talking a mile a minute, still buzzing from the podcast, hands waving animatedly as he drives.

“Man, that was fun. Did you hear how the host lost it when we started talking about the rom-com? I think we should seriously pitch that,” he jokes, throwing you a wink in the rearview mirror.

You laugh, leaning against the window in the back seat, the city passing by in a blur of neon and headlights. “You’re never going to let this rom-com thing go, are you?”

“Absolutely not,” Cooper replies, grinning. “We’d crush it. But first…” He slows the car as you approach Nicholas’s place. “How about we just hang out for a bit? Relax, watch a movie or something.”

You glance at Nicholas, who’s sitting quietly in the passenger seat, his eyes focused on the road ahead. He nods slightly, a small smile playing at his lips. “Yeah, that sounds good. It’s been a long day.”

Cooper pulls up to the curb, parking in front of Nick’s apartment. “Alright, I’ll grab the snacks, you two go ahead. I’ll catch up in a sec.”

You and Nicholas exchange a look as you step out of the car, the cool evening air brushing against your skin. There’s a comfortable silence between you as you walk up to his place, the quiet hum of the city surrounding you.

Inside, the atmosphere feels different—quieter, more intimate than the usual chaos of set or interviews. Nicholas’s apartment is minimalistic but warm, with soft lighting and a collection of books and records scattered about, telling more about his quiet, thoughtful nature than he’d ever openly admit.

You slip off your shoes at the door, glancing around as Nicholas sets down his keys and heads to the kitchen. “Want something to drink?” he asks, his voice casual but soft, like it always is when it’s just the two of you.

“Water’s fine,” you reply, following him to the kitchen, leaning against the counter as he pours a glass. There's something unspoken hanging between you, an undercurrent of energy that’s been building for a while now—something neither of you has acknowledged out loud, but it lingers, making your every interaction feel just a little more charged than it used to be.

Nicholas hands you the glass, his fingers brushing against yours for the briefest moment. You feel the jolt of electricity, the way your skin warms under his touch, and you quickly look away, pretending not to notice the way your heart beats a little faster.

He leans against the counter beside you, his shoulder just inches from yours, close enough that you can feel the warmth radiating from him. “Today was fun,” he says quietly, his voice low in the soft glow of the kitchen.

“Yeah,” you agree, looking up at him, your gaze catching his for a second too long. “It was. It always is when we’re all together.”

He doesn’t say anything for a moment, just holds your gaze with those steady eyes of his, and you can feel the tension growing, thickening the air between you. It’s not uncomfortable—it’s the kind of tension that makes your skin buzz, that fills the quiet with unspoken words, words you’ve both been too careful to say.

The front door swings open, breaking the moment as Cooper strolls in with a bag of snacks. “I’m back! Got the goods!” he calls, completely unaware of the quiet, charged moment he’s just interrupted.

You and Nicholas both turn away, the spell broken, but that energy doesn’t dissipate. It lingers, hanging in the air as Cooper throws himself onto the couch, oblivious as ever. “Alright, what are we watching?” he asks, rummaging through the bag. “Something funny, I hope. Or... maybe Scream?” He shoots you both a mischievous grin.

Nicholas chuckles softly and shakes his head. “I think we’ve had enough Scream for one day.”

“Agreed,” you say, settling onto the couch next to Cooper, grateful for the distraction but still hyper-aware of Nicholas as he joins you, sitting a little closer than usual on your other side.

You all end up picking a lighthearted comedy, something easy to watch without much thought, but your mind isn’t fully on the movie. The whole time, you can feel Nicholas beside you, his presence magnetic, pulling at you without even trying. Every now and then, your knee brushes his, and even the smallest touch sends a ripple of awareness through you, as if your body is attuned to his in a way you can’t quite explain.

Cooper, true to form, falls asleep halfway through the movie, his head dropping back against the cushions as soft snores escape him. You and Nicholas exchange a glance, both trying to stifle a laugh.

“I don’t know how he does it,” Nicholas murmurs, his voice low in the darkened room. “He was the one who wanted to hang out, and he’s the first one out.”

You smile, your heart skipping a beat at how close his voice sounds, the intimacy of the moment amplified by the quiet. “He always does this.”

Nicholas leans back, his arm stretching casually along the back of the couch, his fingers brushing against your shoulder. The touch is light, barely there, but it’s enough to send a shiver down your spine. You feel the tension building again, heavier this time, as if the universe is pushing the two of you closer, daring you to acknowledge what’s been simmering between you for months.

You steal a glance at him out of the corner of your eye, and he’s already looking at you, his expression softer, more open than usual. There’s something in his gaze, something unguarded, like he’s letting you see just how much he cares. The realization makes your breath catch.

“Hey,” he says quietly, his voice barely above a whisper now. “You okay?”

You nod, but your heart is racing, and you’re not sure if it’s the quiet or the closeness, or the fact that, for once, it feels like the unspoken tension between you might finally break.

“I’m good,” you say softly, your voice catching a little, and you feel his eyes on you, searching.

For a moment, the world outside the apartment doesn’t exist. There’s just you and Nicholas, the space between you shrinking with every second, and it feels like you’re both standing at the edge of something, something that could change everything.

Nicholas doesn’t break eye contact, and neither do you. The air in the room feels thick, almost electric, as if the space between you is charged with something both of you have been too careful to admit. His arm rests casually on the back of the couch, but his fingers twitch slightly, brushing the barest edge of your shoulder. The touch is subtle, but it’s enough to send a ripple through you—a pulse of heat that spreads from where his skin meets yours.

You swallow, trying to keep your breathing steady, but you can’t ignore the way your heart races, thudding in your chest like it’s trying to communicate something your mind hasn’t fully processed yet.

Neither of you says a word, and yet, everything is being said in the silence between you. There’s a pull, an invisible string tugging you closer, and for the first time, it feels like maybe—just maybe—it wouldn’t be so impossible to cross that line.

Nicholas shifts slightly, turning his body more toward you, and you realize just how close you are now. His leg brushes yours again, this time lingering. His eyes are darker in the low light of the room, his usual calm and controlled demeanor giving way to something more vulnerable, something he’s usually so good at hiding.

“Are you sure?” he asks, his voice barely above a whisper, but it carries weight, like he’s asking more than just about how you’re feeling in this moment. He’s asking if you’re ready, if you’re willing to let whatever this is between you two finally come to the surface.

You nod, your mouth dry, unable to trust your voice to respond. Your heart is pounding, and you’re acutely aware of every inch of space between your bodies—or lack thereof.

His hand moves from the back of the couch, sliding down slowly, deliberately, until his fingers are resting on your shoulder, gentle but firm, as if testing the waters. You don’t pull away. In fact, you lean in just a fraction, closing the distance, and you see the shift in his expression—his guarded facade softening as his breath hitches slightly.

It’s so quiet in the room now, save for the soft, steady sound of your breathing and the distant hum of the city outside. You can feel the tension building, thick and palpable, wrapping around the two of you like a thread that’s been pulled tight, ready to snap at any second.

He tilts his head, just the slightest bit, his gaze flicking down to your lips for a moment before meeting your eyes again. It’s a small, almost imperceptible movement, but it feels like the ground beneath you is shifting.

You lean in, your breath catching in your throat, and for a second, everything else falls away—the interview, the movie, even Cooper snoring softly on the other side of the couch. It’s just you and Nicholas, and the space between you feels like it’s vanishing.

His hand moves to the back of your neck, his touch impossibly gentle, and you feel your breath falter as your heart skips a beat. He’s so close now that you can see the way his pupils have dilated, the soft rise and fall of his chest matching your own.

“Tell me if you want me to stop,” he murmurs, his voice low and rough with something unspoken, something fragile but undeniable.

You shake your head, barely able to manage the words, “Don’t stop.”

And with that, the tension that’s been simmering between you for months finally breaks. He closes the distance, his lips brushing against yours softly at first, tentative, as if he’s still giving you the chance to pull away. But you don’t. You lean into the kiss, your hand coming up to rest against his chest, feeling the steady thrum of his heartbeat beneath your palm.

The kiss deepens, slow and deliberate, like he’s savoring every second of it. His lips are warm and soft, and you can feel the unspoken words behind the way he holds you, the way his hand slips to the nape of your neck, pulling you in closer. There’s a gentleness to the kiss, but also a hunger—a need that’s been simmering beneath the surface for far too long.

Your fingers curl into his shirt, pulling him closer as the kiss grows more urgent, more intense. The world around you falls away entirely, and all that matters is the way his lips move against yours, the way his hands grip your waist like he’s afraid to let go.

When you finally pull apart, your foreheads rest against each other, both of you breathing heavily, the room around you still thick with the weight of what just happened. You don’t say anything at first—there’s no need to. The look in his eyes says everything.

“I’ve wanted to do that for a while,” Nicholas finally admits, his voice barely above a whisper, his thumb brushing lightly against your cheek.

You let out a soft, breathless laugh, your heart still racing. “Me too.”

There’s a moment of quiet between you again, but this time, it feels different—less tense, more comfortable, like something has finally clicked into place. Nicholas watches you with that same look of admiration, the one you’ve caught glimpses of before but never fully allowed yourself to acknowledge. Now, it’s out in the open, undeniable.

Slowly, he leans in again. The kiss is slow, unhurried and easy. He hums at the taste of your lips, your hands reached up for his shoulders as you deepen the kiss. You both part after a moment, opening your eyes to meet his darkened eyes.

“Knew it.” Cooper rings out, his voice groggy and tired.

You both snap your heads toward Cooper, your bodies still close, as if you’re caught in the middle of a secret you thought no one else knew. He’s sitting up, rubbing his eyes lazily, a mischievous smirk spreading across his face as he watches you.

“Fucking knew it,” he repeats, his voice groggy but teasing, clearly amused by the moment he’s woken up to. His eyes narrow slightly, a knowing glint in them as he looks between you and Nicholas. “You two think you’re so slick, huh?”

You feel a flush creep up your neck, the heat of embarrassment mixing with the adrenaline still pulsing through you from the kiss. Nicholas tenses beside you, his jaw tightening for a split second before he exhales, leaning back slightly but keeping an arm casually draped around you.

“Cooper…” Nicholas begins, his voice steady but with a hint of exasperation.

“What? I’m just saying,” Cooper continues, throwing up his hands defensively, but the grin never leaves his face. “It’s about time. Thought I was gonna have to give you two a nudge.”

You roll your eyes, but you can’t help the small smile that tugs at your lips. Cooper, being Cooper, doesn’t seem fazed by anything, and it’s almost a relief that he’s not taking this too seriously. You can feel the tension easing out of Nicholas, too, his posture relaxing as he shakes his head.

“Were you even asleep?” you ask, raising an eyebrow at Cooper, trying to divert the attention away from the blush still lingering on your cheeks.

Cooper snickers, leaning back into the couch like he’s settling in for a good story. “Oh, I was out. But I guess I woke up just in time for the good part.”

Nicholas groans lightly, rubbing a hand over his face, but there’s a small, amused smile playing on his lips. He glances at you, a soft look in his eyes, and even with Cooper’s teasing, you can still feel that unspoken connection between the two of you—stronger now, undeniable.

“Well, now that you're awake,” Nicholas says, standing up and stretching, his hand lingering on your back for a moment before he lets go, “you wanna order food?”

Cooper grins, sitting up straighter. “Oh, I see. Change the subject. Nice try, man. But yeah, I could eat.”

You laugh, standing up as well, the warmth of Nicholas’s earlier touch still lingering on your skin. Despite Cooper’s teasing, there’s a lightness in the room now, like something that had been building for so long has finally settled. The moment between you and Nicholas wasn’t lost—it’s just the beginning.

As you walk to the kitchen with Nicholas, Cooper still muttering something under his breath about “finally,” you exchange a quick, knowing glance with Nicholas, and the spark that lit up between you earlier remains. There’s no rush. Whatever this is, it’s yours, and it’s just getting started.

↳ make sure to check out my navigation or masterlist if you enjoyed! any interaction is greatly appreciated !

↳ thank you for reading all the way through, as always ♡

[spidergvven]

Interview with a Jenin refugee camp resistance fighter.

I highly recommend watching the full episode here (warning for graphic violence). It documents the violence inflicted on Palestinians in the West Bank including raids and attacks earlier this year.

It's not hard to see why young people are drawn to armed resistance when they grow up refugees in their own homeland, having their families killed and arrested by Israeli forces. What choices are left for Palestinians? Of course they will resist, of course they will retaliate. Why do only Israelis have the right to defend themselves? Palestinians are humans too, they want freedom from occupation and colonization. The violence will not end as long as Palestinians continue to be displaced, killed and oppressed by Israel.

[metamatar]

more excerpts from the excellent jamhoor article about the histories of caste class and power embedded in kamala's nom

In a 2003 interview with the San Francisco Weekly, Shyamala Gopalan, Kamala Harris’s mother, announced proudly— In Indian society we go by birth. We are Brahmins, that is the top caste. Please do not confuse this with class, which is only about money. For Brahmins, the bloodline is the most important. My family, named Gopalan, goes back more than 1,000 years. [...]

TamBrahm supremacy undefeated

Gopalan was a life-long civil servant, first in the Imperial Secretariat Service of British India, and then the Central Secretariat Service post-Independence. In her 2019 memoir, The Truths We Hold: An American Journey, Harris calls Gopalan “an original Indian Freedom Fighter”. However, some of her close family members highlight how any public opposition to British rule would have meant the loss of Gopalan’s job and livelihood.

if this is true it would be hilarious.

[brf-rumortrackinganon]

I don't know if you have enough data to answer this, but I believe that the Sussexes are becoming more irrelevant, people have just lost interest: do you get the same number of rumors nowadays as you did a couple of years ago? Or less?

What's your "sentiment" about this, if you feel inclined towards a little speculation?

I don’t have any quantitative data, this is just based on my observations.

First, the media’s interest in the Sussexes has dropped significantly. It used to be that they had new stories on them daily. Every day, no matter the occasion or what else was happening. Now, it’s about once a week, if that. (Excluding when they’re on “foreign tours”.)

Second, they’re not organic discussions on social media. They aren’t in the algorithms unless there’s a huge PR push (aka $$$) involved, like with the recent ARO product “launches” or the rumormongering about Kate’s health/the Waleses’ marriage. That means people aren’t talking about them until they’re paid to talk about them and then they go to work with trending topics and algorithm manipulations.

Third, there was a huge reckoning during the pandemic that saw an enormous shift away from the celebrity influencer culture of the ‘10s. People aren’t paying attention to celebrities just because they’re pretty or famous or wealthy anymore. People are paying attention to, and supporting, people who have values, who do something, who are meaningful.

That’s not the Sussexes. The Sussexes - Meghan more so than Harry (because Harry still offers purpose through Invictus Games, but he destroyed a lot of it with the whining in Spare) - are trapped in their “famous for being famous” mindset that was the late ‘90s - mid ‘10s. They haven’t evolved as the culture and as society has evolved. Meghan tried, with all those bandwagon trends and topics she spouted 2018 - 2021, but they always failed because everyone could clearly see she didn’t actually care about those things, she was only using them. So people aren’t giving them attention because they don’t fit the current model for our idea celeb. (And that’s why you see a lot of celebs hustling with their own companies and brands or charities now, separate from their acting or music or modeling - the market has shifted from their pretty faces to the contributions they give to society at large.)

Fourth, the Sussexes greatly overestimated the Oprah interview and their “revenge era” against the BRF (the time from Oprah to Spare when they were, more or less, gossiping about the BRF and whining about not having enough privilege). Their expectation was that everyone would be on their side and we would all condemn the BRF with them. They overestimated and misunderstood that the global majority of the world a) respected The Queen as much as we did, b) saw it was completely ducked up to have done the Oprah interview while Philip was literally dying (and also the Sussexes’ claim that “they’re just saying he’s sick so we don’t do this interview” was all sorts of inappropriate), and c) would never air our own family’s dirty laundry in public like that and judged them horrendously for doing that to The Queen and the BRF while their patriarch was dying. That alienated a lot of people and the result wasn’t “all hail Harry and Meghan, Royal Freedom Fighters” (which was the Sussexes’ expectation); it was “who the f@&k do they think they are” (especially after Fleet Street published about all the lies they told during the interview with receipts).

And finally, the biggest indicator that they’ve become irrelevant is the blogs here. Just look at how many blogs have stopped posting or changed their content. There’s a huge group of bloggers that left or lost interest, and the blogs that remain tend to fall on either side of the spectrum: they either love the Sussexes or they hate them. There’s no middle ground anymore, and it kinda does actually suck. It doesn’t mean the neutral/middle blogs and anons and readers don’t exist (they do, they’re here, I see them on my dash and in my mentions) but they’re lurking more than engaging. The people engaging are people that either love or hate the Sussexes, so there’s a lot of “same” being blogged and discussed. (It’s why I’ve not been posting recently - I get bored when we talk about the same things over and over so I check out for a bit until I can think of something (or see something) different to change the conversation with or I get anons with questions (like this one) that scratch an itch in my brain.)

So to that question, yes, the Sussexes are becoming irrelevant. They’ve become quite irrelevant if you go by the media and social media that was happening in 2017 when they got engaged.

For your question about the rumors and theories, yes. There’s been a huge drop off in those as well. I used to be updating my spreadsheet daily with all the gossip and discussions happening, but now, it’s just once or twice a month. I will admit that part of that is because the sources I used have become venomously anti-Sussex or anti-Kate and I’m just not interested in that so I don’t go to those places as much anymore. But another part of it is that there’s just an absence of people talking about it. The people left discussing the Sussexes are, again, either you love ‘em or you hate ‘em and that brings a certain bias to the rumor mill and the conspiracy theories, which can actually become very toxic very easily because there’s no one left to moderate or play devil’s advocate to remind everyone that these are real people with real families and real lives; yes, running away with your imagination is fun but it’s also not a realistic barometer of who these people (the subjects of the gossip, the sources of the gossip, and the consumers of the gossip) are.

And I think when you’re left with the two extremes of the spectrum - haters and lovers - that’s the ultimate show of irrelevance. The “middle” (or the silent majority, if you will) has completely noped out of the conversation and doesn’t have even a rat’s ass to give you.

That’s why all the Sussexes have left is either divorce or reconciliation with Charles, William, and Kate. If either one of those things happen, they’ll suddenly become relevant again. But they don’t either of those. They can’t afford either of those options reputation-wise because both options end with egg on their faces and a global chorus of “I told you so” from family, press, and the public.

So they’ll just stay stuck getting more and more irrelevant because their egos are too enormous to allow being served some serious humble pie.

[zwischenstadt]

I've posted it before, but I wanted to highlight that there is an active fundraiser for Muhammad Ahmad (Maxwell Stanford). Ahmad was the founder of the Revolutionary Action Movement, a Leninist Black Power that preceded the Black Panthers, and spent the 60s as a radical community organizer in and around Philadelphia. He was targeted by COINTELPRO, and suffered throughout his life from the echoes of a brutal prison sentence he endured as a young adult.

There's a fabulous interview series with him available from the Internet Archive: https://archive.org/details/AWordWithMuhammadAhmad/MuhammadAhmad_3-30-08_pt1.mp3

He was unceremoniously terminated from Temple University in the mid-2010s.

[girlactionfigure]

THURSDAY HERO: Benjamin Levin

Killing Nazis at age 14

Benjamin Levin was a young resistance fighter who, as one of the notorious “Avengers,” spent World War II hiding in a Lithuanian forest, emerging only to kill Nazis or bomb their supply chains.

Benjamin was born in Vilna in 1927. His father Chaim was a successful businessman and the family lived a comfortable life. In 1941, however, Chaim was tipped off that Nazi Germany was about to invade Lithuania. As Jews, that meant the Levins’ days were numbered. Chaim quickly sold his business at a loss, used the proceeds to buy weapons, and went into hiding with his family.

At the time, Benjamin was a 14 year old juvenile delinquent who’d started smoking at age 8 and was member of a street gang. After the German invasion, he chose not to stay with his parents in their hiding place, instead joining the fierce resistance group known as the “Avengers” led by Abba Kovner. Benjamin was an immediate asset to the group due to his unique combination of exceptional bravery and diminutive size. His baby face and unassuming appearance enabled him to avoid attracting attention, even in enemy territory.

Hidden in a Lithuanian forest, the teenager and his fellow Avengers killed Nazis, bombed their transportation lines, and smuggled life-saving food and medicine into the Jewish ghettoes. It was later estimated that the brave band of guerrilla fighters had killed 212 Nazis. Their policy was “take no prisoners.” In 1944, the Jewish fighters helped the Russian army liberate Vilna, after which they marched through town looking for Nazi collaborators to execute.

Benjamin’s parents survived the war in hiding, but when they returned to Vilna to reclaim their home, their former neighbors murdered them on the spot. With nothing to keep them in Europe, Benjamin and his sister moved to pre-state Israel, where he joined the Jewish militant group Irgun, fighting the British occupation of Palestine. Benjamin was in charge of helping Jewish survivors in Europe relocate to Israel. Benjamin’s street smarts and people skills served him well as he traveled through Turkey and Syria with European Holocaust survivors.

The Soviet army did not appreciate Benjamin’s work rescuing Jews from behind the Iron Curtain, and in 1947 he was arrested and sent to a Siberian gulag. After a year, Benjamin was released from the gulag and hitchhiked his way to Southern Europe, where he reconnected with the Irgun in Italy. The organization arranged for him to enroll in college and earn a degree in mechanical engineering. He was assigned to the engine room of a ship that sailed around the world, collecting money, weapons and volunteers to fight for the Jewish state.

The ship was called Altalena, and headed to Israel with hundreds of Holocaust survivors on board, as well as Jewish volunteers from around the world, and a cache of heavy ammunition secretly donated by France. When the Altalena reached Tel Aviv and tried to dock, the ship came under fire by the Haganah, a rival military group. Under machine-gun fire, young Benjamin leapt off the ship and swam to shore, then snuck into the country unnoticed. He had been through so much in the previous several years, had lived so many lives and assumed so many identities, that he actually forgot his own birthday. Later, he decided to make Passover – the festival of freedom – his official birthday.

Benjamin met his wife Sara, a Hungarian immigrant, in Israel, and ironically she was serving with the Haganah when they fired on the Altalena. Together they had two children, and moved to New York in 1967, where Benjamin worked as a mechanic and owned a gas station. In the 1990’s, Benjamin was interviewed extensively by Steven Spielberg as part of the Shoah Foundation oral history project.

For decades, Benjamin was an in-demand public speaker at New York high schools, where he spoke about the Holocaust and his remarkable life. Toward the end of his life, Benjamin was unable to speak, but he insisted on continuing his school appearances, with his son Chaim – named for Benjamin’s father – doing the speaking for him. Chaim remembered how much Benjamin loved interacting with students, and described his father as having “an enormous amount of energy and joy and love.”

Benjamin Levin died on April 13, 2020 at age 93. The last survivor of the Avengers, Benjamin died during Passover – his adopted birthday.

For heroically fighting Nazis and saving European Jews, and for educating generations of New York schoolchildren about the Holocaust, we honor Benjamin Levin as this week’s Thursday Hero.

[arcane-ish]

Arcane Act 1 - Everybody ends up where they don't want to be and why that is a problem

In my first reaction I talked a bit about structural weaknesses and after a bit of sleep one thing popped into my head. I tried to get not spoiled too much but one of the few things I read that there was an interview and somebody from the writing team said that in a way everybody ends up where they don't want to be or something a long those lines.

I think this theme is heavily present in Act 1 already and I think this is kind of a structural writing problem. Because it is usually fundamentally more interesting to see characters have a goal and try to achieve it and either get it or fail than for characters to be pushed into something by higher powers.

The additional problem is that so far in Act 1 we haven't always seen enough of what the characters want instead. So character A wants X, but is forced into Y.

Let's go into detail:

Back when I read the spoiler I assumed it would be something like that:

Jinx ends up as a revolutionary

Vander who wanted to curb his violence ends up as a violent beast

Vi ends up as a cop

Caitlyn ends up in a position of power and influence

Ekko ends up working with Piltover even though he wants to protect his people

Now that Act 1 has rolled around we concrete have:

Vi taking the badge

Caitlyn being thrust into leading Piltover (maybe being thrust into her mother's spot)

Viktor becoming an object of worship without wanting that

We see the first traces of Jinx becoming a freedom fighter and Ekko being pulled into working for Piltover.

Ironically, I think I've been enjoying the story of Mel and Ambessa (I know I'm probably in the minority) because that theme feels least present with them so far or at least they seem to be acting more along the lines of their genuine interest still.

Mel

Mel wants to protect Piltover in her way and doesn't trust her mother. She is also forced by circumstances to do stuff she doesn't like (like agreeing to the invasion) but she's still overall pursuing her interests (trying to figure out what Ambessa's plan is, trying to soften the murderous interests of the rest of the council). Maybe in the future her "ends up where she doesn't want to be" will be her working with her mother or becoming like her.

Ambessa

Ambessa of cource we find out is being hunted by the Black Rose, so I presume her "I don't want to be here" is being in Piltover. But she still feels like she's expressing her personality and making moves and being proactive within the situation she finds herself in. Maybe her ending up doing the opposite of what she wants will be either protecting Piltover or having to fight her own daughter (maybe a Black Rose possesed Mel).

Their stories are more fun to me because they are still in the "want" phase and not in the "forced" phase.

Caitlyn

Next we have Caitlyn. I think she's actually one of the better ones (again I presume many people will disagree with me on that). For one she actually gets some room to express what she wants. She wants peace (scene where sits at her mother's pond). She wants like Mel to soften the blow of Piltover against Zaun to some extent. We can infer that she wants a happy life with Vi (though I think that could have been really driven home if we had gotten a dream sequence which makes it clear: yes what she really wants is sit in a flower field and hold hand and play footsie with Vi, thus making it more tragic when her actions end up driving them apart).

It also benefits from her conflict not being purely external "Ambessa pushed her into taking power", but being actually an internal conflict. She wants to be a good person, but she also wants revenge and struggles with those feelings and her growing prejudice.

Viktor

With Viktor the whole "forced" is most present. He probably wasn't planning to be a prophet, it just sort of happens to him. I think his story is still weak because we have seen very little of what he actually wants. We can infer if we remember season 1 that he wants peace and hextech not being used for war. But in the show it feels very "oh, yeah, gotta go."

Vi

Vi of course ends up taking the badge. I think her story suffers because to me it feels very muddled what she wants at the moment. She wants to help apprehend Jinx. We presume she wants to be with Caitlyn.

Also her "forced" push is pretty unimpressive (like really? being flattered that Caitlyn praised her to other people plays a role?). She protects people almost out of instinct (ie the chemtech attack on the council).

In season 1 Vi's wants were a huge driver of the whole story. Vi wants to prove herself that's why she organizes the heist, Vi wants to make up for the mess she made with the botched heist, Vi wants to protect her family and save Vander, Vi wants to find her sister, Vi wants to rescue Jinx from Silco's influence.

Every single one of her wants ended up blowing up in her face and that made up the deep tragedy of season 1. We like Vi, we care about Vi's wants and hurts us to see her fail. She wants to prove herself but brings tragedy on the Lanes, she wants to turn herself in but gets foiled, she wants to save Vander, but he dies, she wants to find her sister and when she does it turns out that her sister is a different person, she wants to pry Jinx from Silco's influence but it turns out Jinx really enjoys it and there is no way bring Powder back.

In season 2 her wants feel pretty muddled and much weaker. She wants to apprehend Jinx with the task force. She feels bad and guilty over Caitlyn's mom. She presumably wants to be with Caitlyn.

I think it worth noting that there is IMO no strong drive to protect Zaun. I think a lot of fans probably perceived her as this is something she should feel, but IMO I genuinely don't see it.

Vi is somebody who suffers from being perceived as a Zaunite, she has some loyalty in the sense that she doesn't take the badge, but I genuinely don't get a deep connection between her and Zaun. Vi I think is more universal in that if she sees anybody getting attacked she wants to step in and help, there is no special loyalty to her people. She defends the Pilties when the Chembarons attack, she stands up to Caitlyn when Isha is in the line of fire. There are hints of Vi having a codex but I feel unclear on what exactly that codex is (no killing kids? no kiling at all? no killing except proven guilty people?).

Please note how at no point when the subject was on attacking Zaun she brought up Ekko (ie come on Caitlyn, you know there are good people down there, such as Ekko, or no attempts are made to warn Ekko that an attack is coming). [it's a pity I think if this connection had been made it would have ramped up the tragedy and emotional punch a lot, would have portrayed Vi more as somebody who is torn between Zaun and Piltover]

(my personal read is that Vi feels no connection to Zaun because she was in jail for so long and when she came back she no longer recognized it as "her" Zaun and maybe she associates Zaun with having poisoned her sister)

Anyway, Vi's clearest moment of tragedy coincides with her moment of stating an actual believable want and it says a lot about her as a character in Season 2 so far. It's the scene where she tells Caitlyn that everything around her changed and she wants Caitlyn to stay the same.

And of course she states it exactly 5 minutes before Caitlyn changes on her (becoming like Jinx as Vi puts it).

Still, what Vi expresses in that conversation is very telling of her character. That she feels like she has lost her connection to everything and she was clinging to Caityn as her one thing and that that one thing changes and rejects her.

I think Vi's story suffers from her stated want coming to late in the act and her morals being inclear (ie she against killing? can't be since she asks Caitlyn to take the shot on Jinx? so just kiling children? innocents? what violates her moral code and what doesn't?).

Jinx and Ekko

I think Jinx and Ekko are not completely deep in the "forced" phase, but I think they are sort of muted" in the "want" as well. Jinx has expressed that she wants to die but imo it feels sort of half hearted. Jinx says she wants to blow it all up, but imo it feels sort of half hearted. Jinx expresses anger over what Caitlyn using the grey but we don't really see the process of what she does about it.

Her forced aspect comes in the sense of the girl latching on to her (and there's potential there in her repeating what happened between her and Silco) but I think all of the new characters fall pretty flat so far. NuGirl really would have benefitted from getting a flashback to explain her backstory. (yes even if she ends up getting killed)

Ekko just wants to protect his people but the illness of the tree forces him to go to Piltover with Heimer. At this point both his wants and his forced are pretty muted.

Jayce

I think Jayce's story suffers from him being actually the character who is in multiple stories. He's a little bit with Caitlyn and Vi (he wanted to honor Viktor's wishes not to build hextech weapons but he makes them for Cait after all), he's a little bit Mel, he's a little bit in Viktor's story, and a little bit in the Heimer/Ekko story.

I think better writing could have really made use of the fact that Jayce is the character who is in multiple storylines but imo it didn't happen.

At the moment (maybe just because of how Act 1 ended) Hextech feels like his big tragedy. (Mel's line about wanting to protect his dream) Season 1 Jayce was cocky and wanted to make the world better with Hextech (+ be a magician), in season 2 he finds out that hextech is actually completely fucking over the The Arcane.

Again this is something that could really have benefitted to a flashbacks for Jayce's highs when everything was still golden and glorious for him rather than just pans onto his old mug.

Conclusion

Structurally the tragedy is there for everybody, but I don't really *feel* the tragedy of it yet because the show isn't making heavy enough use of contrast (ie investing more time of emotionally showing us what the character actually wants so we can feel the weight of when they end getting the actual opposite, I think flashbacks could have accomplished that).

[boreal-sea]

The conflict isn’t really between Israel and Palestine. It’s not even really between Israel and Hamas. The conflict is between Israel and the surrounding Arab states who were against Israel’s formation for multiple reasons.

Firstly, these states are antisemitic. Places like Iran have not been welcoming to Jews. Ignoring the incredible level of hate for Jews in the region means you’re not going to understand what’s going on.

But secondly, they opposed Israel because it is a foothold of Western power in the Middle East. I think if you’re not aware of this larger political friction you’re going to misinterpret a lot of what has happened over the past 70 years. There is a reason the USA is such a staunch ally of Israel. It’s political.

And that’s where Hamas comes in. Hamas does not fund itself. Where do you think they are getting the thousands of rockets they’ve fired into Israel? Where do their leaders hang out? Hint: it’s not Palestine. Hamas is funded and armed by countries like Iran, Qatar and Turkey. Iran also funds Hezbollah. Countries like Iran know it’s a bad idea to declare outright war on Israel, even though that’s what they want. So they use Hamas instead.

And that’s what makes this conflict look one-sided, makes it look like it’s the overwhelming military power of Israel against a small rebel group.

But that’s not the actual situation.

Hamas was founded by Palestinians, but it is being used by Iran and others as a political tool. These other countries do not actually care about Palestinians: they care about torturing Israelis, ands keeping the region unstable. These countries don’t allow Palestinian refugees. They don’t particularly like Palestinians. They do not care about the fate of Palestine except to use it as a political tool. A treaty between Palestine and Israel would be a terrible blow against these other countries, so they are invested in preventing that peace.

Now. I don’t like how Israel was founded. I don’t think the Nakba was justified. I fully support the Palestinian right to form. I don’t like Israel’s current actions in Gaza. I want them to stop. I want them to find real peace with Palestine. I want the illegal settlements to stop. I want Netanyahu out of power. I want everyone there to be free and safe.

And if you also want peace, you need to stop treating Hamas like they’re freedom fighters. They’re not. They are funded and armed by people who do not want peace, who have political reasons to keep Palestine and Israel at war. Hamas brutally oppresses the people of Gaza - their own people - and they are violently antisemitic. Nothing they have done is justified.

[thistledropkick]

Last year, Kasai Jun was interviewed as part of the interview project DEATH, which interviews various people about death in order to find a better understanding of how to live and appreciate life.

I thought it was a fascinating interview, so I decided to translate it.

Please go visit the original interview - the photography accompanying it is absolutely gorgeous.

Also, please don't repost this whole translation elsewhere. If you want to quote an excerpt of my translation for something, please make sure to also credit the original team behind this interview and link back to the original interview.

Deathmatch Fighter Kasai Jun - 4/27/2022

“It’s not a deathmatch until you return home alive” The reason this 47 year old Charisma Wrestler continues to shed blood in the ring

Within pro wrestling, there is a genre called “deathmatch.”

An extreme set of rules that allows deadly weapons and has no disqualifications. Brawls with fluorescent light tubes, and dives onto barbed wire boards. Without hesitation, wrestlers stab their opponents in the head with fistfuls of bamboo skewers. When wound-covered bodies violently collide, shards of glass and sprays of blood shower the ringside seats.

Upon first seeing it, surely everyone thinks “Why are these people hurting each other like this?” “What the hell am I looking at?”

This is the world of the man known as “Charisma,” professional Wrestler Kasai Jun of the independent promotion Pro Wrestling Freedoms.

In November of 2009, he had a “razorblade board plus alpha deathmatch” against Ito Ryuji in Tokyo’s Korakuen Hall. Kasai, 35 years old at the time, dove from the second floor balcony, a fall of 6 meters, onto a table, aiming for his opponent Ito.

Afterwards they continued to fight with various weapons, in a match that concluded 15 seconds before the 30 minute time limit. That year, this match was awarded the Best Bout award. And Kasai, the winner of that match, became a living legend overnight.

12 years have passed since then. Kasai is now 47 years old, and he continues to rule over the world of deathmatch wrestling. Under the weight of many literal life-or-death battles, Kasai’s body no longer moves the way it did when he was young. Even so, why does he continue to set foot in such a dangerous place?

We asked “Charisma of Deathmatch” - a man who makes the crowd go mad in the space between life and death - about his views on death and on life.

Desiring to truly feel alive

- Normally, people try to avoid pain and suffering. Kasai, why do you continue to shed blood in the ring?

Hahaha. From an outside perspective, you must really wonder “Why do you keep doing something so painful” huh? That’s a normal way to feel. But from the wrestler’s perspective, it’s completely different.

In your normal daily life, do you ever feel like “Ahh, it’s so glorious to be alive”? You’d almost never unconsciously blurt out something like that.

But in a life or death battle in a deathmatch ring, after you step down from that ring, that’s exactly what you feel. “Ahh, I’m alive. I’m so grateful to be alive.” Because of that, I can’t quit.

Mountain climbers and stuntmen probably feel like this too, don’t they. Stepping into a situation where their life could end, and returning home safely. I wonder if they’re searching for that feeling of being “truly alive.”

This feeling is passed on to the audience too. Fans often tell me “Watching Kasai Jun’s deathmatch gives me the strength to continue forward.”

They say things like, “I’m being bullied at school so I wasn’t going to go any more, but now I feel like I can keep going.” Or, “It’s exhausting to keep going to work, but after seeing Kasai persevere while shedding blood in the ring, I can persevere and keep going to work.”

Recently I can’t do this much because of covid, but in the past when I’d sell merch, fans would often say things like this to me.

Because of this, it seems to me that deathmatch wrestling is simultaneously a way for wrestlers to feel truly alive, and a way for those who watch it to feel more positively about living.

- Because of the sensational way “death” is shown in the ring?

Probably, yeah. Because it looks like we’re doing something really painful.

But don’t get me wrong. We aren’t in a particular hurry to die. And we aren’t wasting our lives either. What I always say is, “It’s not a deathmatch until you return alive.”

[Note from me - this phrase (生きて帰るまでがデスマッチ) is a play on a well-known Japanese phrase 家に帰るまでが遠足 “The field trip isn’t over until we return home.” This started as something a teacher would say to students in their care, and Kasai has altered it into his motto towards both himself and other deathmatch wrestlers.]

- It’s not a deathmatch until you return alive.

If you get in a ring where you might die or get seriously injured, and you do die, or you do get seriously injured, you’re no different than a rank amateur, right? But a guy who dives into a deadly dangerous situation and returns from that ring unharmed, he’s the absolute greatest and the absolute coolest.

Like a stuntman, right? If he returns home alive, people say “amazing,” but if he dies, he’s no longer a pro.

At 35 years old, his view on life did a complete 180 during a match

But, when I was young, I thought about it completely differently. I never thought “I’m grateful to be alive.” In the ring, I did dangerous stuff and defeated my opponents. I just thought of it as my job.

The more dangerous stuff I did, the more people said “Kasai is amazing!” That felt really great. Every time I stepped into the right I thought, if something goes wrong and I die I guess that’s how it goes. I thought “Deathmatches should be a memento mori.”

- What caused such a big change in your values?

That match against Ito Ryuji in Korakuen, in 2009. It changed my mental state by 180 degrees.

The truth is, I went into that match thinking “This is my last match before I retire.” Because it was my last match, I would do everything I wanted to do. Win or lose, I went into the ring thinking “I’ll retire.”

But during the match, my feelings completely changed. I thought “If I quit like this, I’ll be half-dead.” There’s nothing else I want to do, and I’ve never felt joy like this anywhere else. It was just too much fun.

So, after the match ended with 15 seconds remaining, I announced my decision to continue wrestling. “I was thinking of retiring but, I’m gonna keep going.” That’s what changed.

- Since your values have changed so significantly from when you thought it’d be good to die in the ring, what’s your “ideal death” now?

Spending the day with my family as I always do, watching tv with an after-dinner drink as I always do, getting comfy in my futon as I always do, and passing away. That’s the best death, isn’t it.

I’ve said it before but, people who say “It’s my ambition to die in the ring” are just trying to look cool. For a pro, it all comes down to returning home alive. And so, I believe that when the life of Kasai Jun the human being comes to an end, Kasai Jun the wrestler will die as well. I want to be a pro wrestler until I die. That’s how I feel now.

When I was young, I thought the best time for a wrestler to retire was when he could still move, when people would say “It’s a shame, because there’s still more he can do.” But if that’s true, I’ve already missed my best time to retire.

Since I’ve come this far, maybe it’s better to keep doing this until my death. Since around the time I turned 40, I started thinking this way.

Gaining years = leveling up. I’ll reach my peak just before death.

- Since you’ve been doing this for so long, it’s inevitable that your body has become weaker. Kasai, how have you dealt with aging?

The word “elderly” is a concept created by human beings, isn’t it? Since that’s the case, I believe it’s something we can absolutely overcome. I don’t think increasing in age is the same as becoming elderly.

Look, it’s true that my physical stamina has decreased and my muscles have gotten weaker than they were when I was younger. But my will and my spirit have continued to grow. Instead of just breaking even, I think I’ve leveled up. 47 years old is level 47. I now see growing older as a positive, like leveling up every year.

Because of that, my peak has yet to come. I’ll reach my peak just before I die. I’ll be at my strongest just before my death. That’s the ideal I envision for myself.

There was a time when I felt insecure about my age. When I hit my mid 30s, I hated that my body was becoming weaker.

But then, while drinking at home and watching a documentary on TV about (rock musician) Yazawa Eikichi, I realized something. “If you think about it, uncool young people are uncool, and cool guys are cool even if they’re old.” Since then, my way of thinking changed. I started calling getting older “leveling up” at around that time.

[Note from me: Suzuki Minoru also refers to getting one year older as “leveling up” in the exact same way. They are friends, so I assume Suzuki got it from Kasai.]

- I'm surprised that a pro athlete who uses his body as a weapon would think of aging in that way.

Pro wrestling and deathmatch are unique among sports. Unlike say, track and field, or swimming, it isn’t a competition where every second counts. I can’t move the way I could when I was young any more, but through my facial expressions, pauses during matches, and so on, I have many ways to express myself.

A guy can be handsome, macho, with great muscles, and completely suck as a wrestler. In contrast, a guy like me who’s ugly, short, and middle-aged, can get support from the fans. It’s a completely different genre, and that’s what makes pro wrestling so interesting.

- What about your emotional struggles? In your documentary film you said you were having some difficulty maintaining your motivation, which you described as “Deathmatch Erectile Dysfunction”

Yeah, well, that can definitely be a problem. When you’re young, you’ve just got piles of hopes and dreams and things you want to do. But as the years go on, and as you accomplish those things, you can kind of get lost.

What’s helped me increase my motivation has been the existence of people who make me think “I absolutely don’t wanna lose to this guy” or “I don’t want this guy to take all the best stuff for himself” In my case, for example, that’s been (fellow PW Freedoms deathmatch wrestler) Takeda Masashi. Or, although he’s from another organization, New Japan Pro Wrestling’s El Desperado.

That’s why for the past 3 or 4 years, I’ve been asking people to “stimulate me.” I want intimidating people to keep approaching me. Well, on the other hand, if they take the most delicious part for themselves, that’s a problem.

A fear of death led to a “selfish life”

- Incidentally, perhaps it’s too late at this point, but do you worry about being injured or dying?

I said it already but, “It’s not a deathmatch until you return alive.” Since I’m a pro, I have the skills required to do this without death or injury. 

But, it’d be a lie to say “I’m not afraid.” Even now, for several days before a match I get so stressed that I can’t sleep. Despite how I look, I get plenty scared. Much of my life has been driven by a strong fear of death.

- How do you mean?

It sounds silly, but when I was in grade school I believed in “The Prophecies of Nostradamus.” Have you ever heard of it? “In the year 1999, all of humanity will be destroyed.” Every night I shook with fear in my futon, thinking that my life would end at the age of 24.

Propelled by that fear, I concluded, “If the earth is gonna get destroyed anyway, I should quit studying. Instead I should use the rest of my remaining lifetime to do stuff that I like.” I completely quit studying, and instead spent all my time watching pro wrestling, which I loved.

Conversely, my fear of death also led me to become a pro wrestler. After graduating high school, I got a job in Tokyo as a security guard, but I gave into temptation and visited brothels daily. One day I happened to be reading a magazine with an HIV checklist inside, and almost every item applied to me.

At that time, I still thought “AIDS = death” so I thought “Oh, this is AIDS.” “Oh, this is how I’ll die.”

Luckily, when I got tested the result was negative, but after preparing myself for death, I thought “I really should do what I want” and knocked on the door of Big Japan Pro Wrestling. My life has always been influenced in this way.

- I get the impression that many wrestlers die at an early age. Since then, your fear must have increased.

Nah, that’s not really true. I’m surprisingly practical about the deaths of others. I just accept it, like “That’s the kind of life you lived.” I suspect my fear of death isn’t a fear of death itself, but a fear of becoming nothing.

- A fear of becoming nothing.

I’m no (actor and spiritualist) Tanba Tetsuro, but if after you die, you go to the spirit world, and cross the Sanzu river, that’s not all that scary is it? I wouldn’t go so far as to say “it’s fine if I die” but there’s some kind of hope or meaning. But if “After death, you become complete nothingness” “After death you feel no joy or sadness” I think that’s really scary.

But these days, I don’t experience that fear of death as much as I used to. If after this interview a dump truck hits me and I die, I wouldn’t have any regrets. I could say I did what I wanted to do.

Pro wrestling is a business where you depend on your popularity with an audience, but I’ve never tried to flatter the audience to get sales or support, or thought about how to increase my popularity. Ultimately, Kasai Jun puts himself first. I’m my own number one.

To die without regrets is to win at life

- But, if someone wanted to imitate your way of life, I think most people would be profoundly afraid of not getting by financially, or of being rejected by society. Why do you think you remain stoic in the face of such fears?

What’s there worth imitating about me? If you’re selfish like me and you can change it, you should want to!

But, this is probably related to that “fear of becoming nothing” I mentioned earlier. Ever since I was little, I’ve thought stuff like “This whole world isn’t real” and “Maybe all of this is just a dream.”

Nothing in this world is certain. Since that’s the case, all you have are your own body and your own feelings. In short, I don’t believe in anything but myself, so I put myself first.

- So in order to “feel truly alive” you throw yourself into the painful world of deathmatch wrestling, which leads us back to where we started.

That’s right. I guess you could say that pain is the only thing I believe.

But when I was young, I did understand the fear of not making enough money to survive. When I was around 30 and my son had just been born, I was seized by that fear.

Really, I was broke, and I couldn’t even pay into the National Pension Fund like I was supposed to, so I went to the ward office and said “I do intend to pay, so please wait a little.” I thought to myself, “Living is so expensive and so difficult.”

- A deathmatch fighter scary enough to quiet a crying child, with such an everyday problem.

Three years after my debut, when I was around 27, I was badly injured. I quit Big Japan, and after a year’s absence, I transferred to a different group called Zero-One.

Zero-One was founded by ex-New Japan Pro Wrestler Hashimoto Shinya, and the pay was good compared to Big Japan, and they held a lot of shows, so I could wrestle frequently. The environment there was very pleasant.

But, due to the policy of the organization, I couldn’t do the deathmatches that I love. During that time as a “salaryman wrestler,” I survived, but I think deathmatch fighter Kasai Jun, pro wrestler Kasai Jun, was completely dead.

“I really should do the pro wrestling I want to do,” I thought, and I quit Zero-One, and persisted with the pro wrestling that I love. Maybe that’s why I feel like I can now “die without regrets.”

Ultimately, if you live your own life as you wish, and think “I have no regrets” when you die, you win. Maybe people today have lost sight of the essence of what it means to live. It’s fine to work hard at your job, but if you’re spending every day miserably, is that kind of life really okay with you?

I’d rather live for 20 years and laugh every day than live for 100 years and never smile. If you’ve lived for 100 years and never laughed, that’s the same as being dead, isn’t it?

~

写真：本永創太 ~ Photographer: Motonaga Souta

執筆：鈴木陸夫 ~ Author: Suzuki Atsuo

編集：日向コイケ（Huuuu）~ Editor: Hinata Koike (Huuuu)

[joykai]

Maxley actor AU anyone?

I need someone to draw or write me a fix about Max and Bradley being actors for the movie and actually being a couple (before the movie) actor of Bradley is a new actor before only acting in theatre and is a model and trans youth freedom fighter, and he met Max when they accidentally were double booked for a photoshoot and got on like a house on fire lol, Bradley's actor actually has a shit ton of piercings and tattoos and naturally has black hair so he dyes his hair and uses concealer and takes out his piercings for the role. He keeps his under clothes piercings tho lol, and I need them being so cutesy and couple like during interviews and after they yell cut and I need bloopers from scenes because they make each other smile and laugh so much and ARGHHHH THEY ARE SO IN LOVE ITS SICKENING

[neitherabaron]

Really looking forward to the Chris Pine D&D movie, and I want to share some love for the original attempt at a D&D film from 2000!

Make no mistake, this is a so-bad-it’s-good film, with digital effects that are ropey as hell (especially when you consider that Fellowship of the Ring was already in post-production in 2000), a plot so disjointed it barely exists, (including a final battle that the main characters don’t even really take part in) and staggering levels of camp.

But it’s fucking charming.

Jeremy Irons (Scar from The Lion King) is the villain, an evil archmage who wants to overthrow an (not particularly benevolent anyway) empire with a plan that is never really clear but involves dragons?

Just look at this guy:

:readmore:

He walks about like that for the whole film, waggling his fingers slowly so you know he’s the baddie. He has an office where all the furniture and decor is made of human skulls and bones (a real location; I believe it’s a church somewhere?) and likes swooping his cape about. And Jeremy Irons himself is so bored, it’s hilarious. I seem to remember that in the dvd extras he’s interviewed alongside Gary Gygax and pretty much expresses open disdain for the whole process. He’s a serious actor! This is beneath him!

Elsewhere on the supporting cast, we have a henchman with spiky armour and inexplicably blue lips that are always pouting in a way that seems vaguely sexual; Tom Baker(!) as a wood elf Druid who only exists in order to say something vaguely mystic about dragons for 20 seconds before disappearing forever; and Richard O’Brien in full fey bastard mode as a camp thieves’ guild master who challenges the party to…find a crystal…in a deadly maze filled with traps and puzzles. Like in that game show he used to present…I forget the name. I wanna say Diamond Labyrinth? 😂

As for the party, it’s all delightfully one-note characters. We’ve got a rogue? bard? who goes from being a selfish dickhead to altruistic freedom fighter on a dime. Some dialogue suggests he’s some kind of chosen one, but the plot never actually explores or resolves that. Then there’s a wizard who doesn’t like poor people, an elf fighter who doesn’t like anyone, a dwarf who’s so out of it he barely knows he’s there and is never given any character motivation to explain why he’s travelling with these guys; and some dude called Snails, whose personality is…he’s scared? Basically Shaggy without Scooby.

These guys have to save a princess from Jeremy Irons, who wants to kill her because she has friendly dragons or something. But here’s the great thing: the party have very little reason to want to rescue her (most of them as non-mages are actively oppressed and even enslaved by the ruling mage class of which she is the figurehead) and they never actually *meet* her until the very end of the film, after the evil archmage has pretty much already been defeated - by the princess and her dragons btw, not the party, who basically teleport a magic wand to her and then just watch.

They rescue her because in order for the film to be a film, there needs to be an end goal, even if it’s totally arbitrary. And that’s what I love. Isn’t that just so reflective of a slightly haphazard campaign of Dungeons & Dragons with a party that’s hastily thrown together?

And there are more similarities that compound this feeling of watching some randoms play a home campaign. The plot as I mentioned is disjointed. It’s not a series of events that flows or has any kind of pacing - the movie is a series of 15 minute adventures that don’t really connect to each other or build to the ending. As if the director is a dungeon master arbitrarily stringing together modular adventure sourcebooks! Let’s storm a castle for reasons! Great, now let’s raid a tomb. No, I don’t know why. At one point a party member just bounces from the plot and is never seen again, just like that player in your group who never shows up and you all just move on.

It’s like the writers transcribed a home campaign, warts and all, into script form and then somehow successfully pitched it as a B-movie. Though the Chris Pine version will doubtlessly be a much better movie, Dungeons & Dragons (2000) is perhaps the most accurate possible dramatic presentation of D&D as it actually is in practice for most people playing it. What could be more charming than that?

[all-things-are-nothing-to-me]

On October 14th, Rita "Bo" Brown was born. Bo was a member of the George Jackson Brigade in the 1970s, an urban guerrilla group in Seattle that committed several bombings and bank expropriations. Bo was convicted of one of these expropriations, and served 8 years for her trouble. At trial, Bo was defiant, defending bank expropriation as a tool of revolutionaries.

[leftistfeminista]

– Speaking of freedom, a topic that all women’s organizations especially highlighted in the last period. What would you like to say about this?

–It’s true, in fact freedom is at the top of the demands of all oppressed class. The patriarchal system is imposed on women from home to workplaces, and when they don’t accept the slavery, they will be “punished” with death. Notice that the women on the streets say, “We want to live.” Previously while the demands for how they wanted to live were highlighted, now they say, “We want a world, where we are not killed!”. The attacks on women are at the highest level. Freedom is the need of all oppressed segments in the imperialist-capitalist system. Freedom is the most fundamental problem of all women in the male-dominated system and its our first demand. Our fight and resistance are already for freedom and for liberation.

We must firstly explain that the women who are punished by all kinds of patriarchal methods are not victims, but the subjects that will destroy this system. In every material of bourgeois media, women shown as a violent “poor”. Without action, thoughts; women are seen as a victimized object that is cursed, beaten, abused and murdered. In fact, the message is clear; You will be thankful all the time, if you cross the line you will be punished with any method listed above!

We have lots of duties at this point. What will be our response to this violence, it’s a must that to go to an organization which will work beyond just seeking rights within the legal boundaries. We are not denying or underestimating this sort of works, but we will not be able to achieve true freedom by staying within these boundaries. We cannot break this violence without using revolutionary violence.

KBDH established with the claim of being a united-military-political organization of women that will organize the violence of women which will target all patriarchal institutions. Its currently true that we are not where we wanted to be and expected from us. However, there are objective conditions to take the women on streets to the illegal struggle which will spread the women’s struggle to the next level. Until now, we have carried out actions targeting the institutions of the patriarchal system, we want to increase these actions.

Women were left defenceless, unarmed, unorganized, with definitions such as “naive”, “peaceful”, “far from fighting” and “beauties”. We don’t accept these beauties, because what is trying to be imposed by them is deepening the slavery. Our only demand is freedom. First, we must create the awareness of freedom. Freedom, comes from organizing. Our call is: “Let’s organize, let’s get armed, lets create the united women’s struggle and be liberated”.

– Finally, what would you like to say…

– We believe we have the power, anger and sacrifice in order to do what we have mentioned, as long as we realize our power. Because while we are being taken to the cremation, we are the witches that who walks towards it with smile, and we dare to put our heads under the guillotine in order to be equal. We are the ones holding the positions on the front in defending the Rojava Revolution. We are the fighters/martyred in the mountains. We are the ones on hunger strikes to break the isolation in prisons. We are the ones who doesn’t leave the streets during the most violent attacks of fascism. Because we are women, we will become more beautiful as we resist and become free as we dare.