#I'm fascinated about their take

[dogsliampaynedoesntinstagram]

Have you read the NYT piece on Taylors sexuality? Would love to know if you have any thoughts?

https://www.nytimes.com/2024/01/04/opinion/taylor-swift-queer.html

I didn't think it was a good piece - and I think it was wildly inappropriate for anyone to write that for the NYT or the NYT to print it.

The piece is far too long and because of that length it has many contradictory ideas. This is probably best seen through the fact that it seems to want to argue that reading Taylor Swift is queer is legitimate (it's possible to do a great version of that article), present proof that Taylor Swift is queer, and argue that it's a problem that people aren't reading Taylor Swift as queer. Given current understandings - it's impossible to make a coherent argument for all these at the same time and the arguments frequently undercut each other.

You can see this in the many false endings of the piece there's a paragraph above the picture of Taylor in her reputation outfit - which is basically 'queer readings must be seen as possible'. Perfectly fine ending, reasonable thing to say. But then the last section opens: "I remember the first time I knew I had seen Taylor Alison Swift break free from the trap of stardom." And the certainty is never undermined, even though the argument is incredibly flimsy (basically there is only one possible understanding of Hits Different).

The Hits Different argument - which doesn't seem to consider the possibility that the narrator could be talking about herself with the line 'argumental antithetical dream girl' is part of a really unsophisticated reading of Taylor Swift's work. The reference to anti-hero - which turns the sexy baby/monster on a hill into a statement about how she's supposed to look rather than how she feels - simplifies the song massively.

The fundamental problem (as is so often with these sorts of pieces) was that this was someone whose thoughts had been developed in fandom and was responding almost entirely to fandom discourse. Fandom works in binaries - there is only one legitimate reading and therefore in order to prove your argument is legitimate you need to show that other readings aren't. But that's definitely not a cultural discussion of queerness and celebrity. It reads to me like she's not self-aware enough to separate what she desperately wants to say about fandom, and what is a cultural argument that is appropriate for this forum.

**************

And I disagree with some of the really basic premises of the argument - that she's too cowardly to make explicit - which is that outting is OK.

Taylor Swift has not come out - and this article includes a list of reasons why this person thinks she's gay - and ends with a claim of knowledge.

Lets stick to basics - if you think there's reason to believe that a celebrity was going to come out and didn't - then it's totally OK to talk about that with your friends. It's not OK to write an article about it in the New York Times. If someone doesn't

Likewise - the point of queer coding is that only people who are familiar with queer culture will pick it up. It's a fucked up thing to do to translate queer coding to a wider audience - because the whole point is that the person doing it only wants to speak to those who know.

One of the bizarre things about the article is that it seems to take as a starting point that things only exist if they're talked about in the New York Times. It asks the question about what queer people who see queer themes in her work are supposed to do and suggests the answers are: "Right now, those who do so must inject our perceptions with caveats and doubt or pretend we cannot see it (a lie!) — implicitly acquiescing to convention’s constraints in the name of solidarity."

The idea that the only options are lying or talking about why you think a celebrity who is not out is queer in the pages of the NYT is completely bizarre - and erasing so much of queer culture. Speculation about the sexuality of prominent figures is definitely queer culture - but not done on broadcast - done within queer communities. To me that so invalidating of what happens within queer friendships and queer communities to say that the only options are lying or stating your opinion in the pages of the New York Times.

There is nothing wrong in seeing queerness in Taylor's life and work. There's nothing wrong with talking about the queerness you are seeing in Taylor's life and work - even for major publications. But the certainty - the idea that your responses are only valid if you can prove that you're right about someone else's experience - I think that's damaging for the person that is making the argument, the person they're talking about, and queer culture more generally.

[poorly-drawn-mdzs]

The girls are here!!!

[butchjesus]

ok but for real now. since tiktok has so throughly disappointed on this trend. who is your strangest hear me out / most bizarre crush? freaks and headscratchers only edition

[platoapproved]

armand + preparing to tell louis about his past

[doerot]

Every time someone calls Falin not a full-fledged character, or just a plot device, or whatever, I honestly get so annoyed. If you can make up a whole personality and backstory for some random man in any other story, let me be obsessed with a woman the the entire narrative is literally centered around!! She is so interesting and I love her shut up shut up shut up

[beetlethebug]

consider,,,a lucanis who is in love with emmrich, a spite who is in love with rook, a rook in love with emmrich, and emmrich who is in love with all three but wants lucanis, spite, and rook to get together because he feels he is not the type of man any of them deserve...

bonus points for spite being the one to realize just what sort of love quadrilateral is going on and is the one to get them all together.

[koshercosplay]

Neil gaiman is a Zionist :(

this is so funny because if you google "neil gaiman zionist" nearly all of the links are to unsourced tumblr posts or responses to a single tweet from 2015 that just acknowledges Israel's existence

I see gaiman has once again committed the heinous crime of Being Jewish When Israel Is In The News

[eliotquillon]

i think a lot about john and ian and their strange, implicit estrangement. it is never explicitly addressed but it is there. blunt going out of his way to say that ian was a good agent but john was a better one. alex always being compared to john despite ian being the man who raised him. ian never telling alex anything about his parents. john never sparing a thought for ian in the snakehead coda. ash being chosen to be the best man at john's wedding and alex's godfather instead of ian. ian being recruited to mi6 straight out of university while john went military and none of it mattering in the end because it was still john who was chosen for the scorpia mission, john who died the hero, john who got blown up and martyred while ian's own death barely registered. you're twentysomething years old and your older brother has just been murdered after being better than you at the one thing you are defined by and you will spend fourteen years raising his son, and none of it will matter. here's a question: why does ian hate being called 'uncle' so much? here's another: can you still be an uncle without a brother?

[cementcornfield]

I've been with [Joe] for a long time now and I ain't never seen him fall off, feel sluggish about himself you know? I don't know if he does but I always pick him up too, doesn't matter if he's seeing it or not, I'm picking him up, he's picking me up...

x

[iwritenarrativesandstuff]

Suddenly remembered something I wanted to say re:Akechi, because I think it's really core to his character (at least the way I interpreted him?) and I feel like it explains a lot of his contradictions. Essentially, he is incapable of seeing himself as just a person - he's either the greatest hero/detective ever, or he's some violent monster, and it's like there's no in-between. It's very in keeping with his obvious superiority-inferiority complex, but it goes deeper than that too; when he's in a role, it seems like his self-perception kind of changes too depending on how he is perceived by others. He really does get a confidence boost from being the Detective Prince. He really does shut down emotionally as the Black Mask.

They're masks that he's made, and it's not that aspects of them aren't based in truth to some extent, but I think it goes to show why he's not actually that fantastic a liar (imo, I found the outright lies pretty obvious), but he is a very good actor. He's either an angel or a demon, and never a person, but there are conditions to that. He is an angel when he is perfect - to society. He is a demon when he is vengeful - again, to society. He is never a person, because he never was seen as one - to society. He was disregarded. To be anything of value or notoriety, whether that's hero or villain, he has to be wildly more or less than who he actually is, and he's been building these masks up for so long that I really think he lost sight of the actual person behind it all. And I don't think he wanted to see that person anyways, because that person "wasn't good enough" and I do think he'd rather be anything other than himself. That trickery, that deflection from the person within, in itself brings him pride and satisfaction. He wants to be loved and needed instead of being cast aside, but I also think that if he can't have that then he'd much rather be hated than never have mattered at all. He weaponizes his own loneliness - if he can't ever be accepted then he'll build his own pedestal apart from everyone else.

It's so fascinating too, because I just wonder how much of this he was consciously aware of pre, during, and post engine room. There's this recurring thing with him where he goes "I can only be myself" etc but I just want to shake him because, well, who is that, Akechi??? Or, who do you think that is? Do you actually have an answer? Is it predicated on your actual feelings or solely on your success at fooling everyone around you? Is there any part of you that you actually like that isn't based on a painstakingly constructed mask? Isn't it all mostly lies to deflect from the truth? Isn't it all founded mostly on truth, nonetheless?

It drives me insane. And I think this is a big reason why he breaks so hard in the engine room, because so much of his mask requires his "audience" to perform in a particular way. And here he is, and the Thieves have beaten him, so there goes the first mask, because he's no longer "perfect". He swings wildly into the ugliest sides of him, but this mask is broken too, amidst him vehemently and desperately denying that he has any other emotions than hatred and rage, or any other needs or desires than vengeance. And after that, it's just him. And they should reject him, right? That's what happens. He's not useful, he's not needed or perfect, his hands are stained with blood. But the Thieves, again, don't play the role he expects them to. They, despite everything, relate to him - because he is in fact very similar in a lot of ways and they acknowledge him as a person - not a hero, or idol, or villain, or tool, or unwanted child - but as a damaged teen like the rest of them. And he does not know what to do with that. His identity is intrinsically dependent on getting the right reactions from other people as a form of ingratiating himself - if he does not get that reciprocal reaction he's looking for, his act falters, and, I really do believe that so does his self-perception. That's why you see different aspects of him seep out when he's spending time with Joker, because Joker does not react the way he expects, and Akechi both does and does not like this, because it leaves him feeling both intrigued and vulnerable.

I do think this particular aspect of his character is something a lot of the Thieves don't fully grasp - certainly, I think Joker "I need the mask" Persona 5 understands to a degree, but the sheer degree of reliance and the level of pride attached to it is something that confuses him a little, I think, especially in Mementos Mission. I think the thief that comes closest is actually Morgana, who has a similar superiority-inferiority complex and a desperate need to be seen as competent and useful lest he be discarded. (This is a big part of why the rather lackluster writing with Morgana's arc frustrates me so much because I really do feel it was meant to be contrasted with Akechi's, but I digress.) Morgana is the one to make that emotional appeal to Akechi, which makes a degree of sense - Morgana struggled all along with finding a place in the world. His form leads others to underestimate him; he visually doesn't fit in. He's acting out the role of a chivalrous and cool phantom thief but is more pragmatic with how he views relationships, at least at first. He wants a place to belong where he is appreciated more than anything but his pride won't let him spit it out. Accepting that he belongs and that he is loved even if he really did have nothing of value to provide is a big part of the resolution of his arc. He tries to offer that learned lesson to Akechi in turn ("Follow your true feelings. Even if you think people hate you, or don't want you around-"), but Akechi just wasn't in the right space to listen. There's also an important distinction between the two - Morgana envies humans and looks up to them. Akechi envies humans and looks down on them. Morgana is perfectly happy once he is assured a place amongst the group, but Akechi see-saws wildly between wanting to belong and wanting to be a step above the rest and separating himself further. So while Morgana actually really did cut to the core of the issue, his appeal would never have worked at this point because a) Akechi's pride is dependent on him maintaining his solo act, and b) he just got outed as not actually hating Joker in front of seven other people including Joker himself lmao.

So, uh, sorry, Morgana. Points for trying.

[quazikam]

half-baked concept for a despair disease shuichi thing

basically just been attached to the idea of a overconfident and egotistical saihara due to the disease practically flipping their personalities :v

[vaguely-concerned]

the relationship between the chantry and the mortalitasi in nevarra is SO fucking funny. the carefully politic and civil syncretism of it all. the ‘I’ll refrain from scratching your back to bloody shreds if you refrain from scratching mine :)’. left hand politely averting its eyes from whatever the fuck the right hand is doing merrily up to its elbow in entrails because it usually knows what it’s doing I guess. speak softly, and have an army of the restless dead ready to go banapants horrorshow bonkers if you don’t get to tend to them. We Receive: being able to keep doing our goth thing mostly unimpeded. You receive: us not raising the great majority to protest your unwelcome meddling. render unto the chantry what is the chantry's and unto the watchers what is theirs (or, with all possible courtesy you understand, else…)

[justanotherfanfolks]

CHAAAAAAAAAATTTTTTT!?!??!?!?!??!?!?!?!?!?!!??!?

[kitnita]

jason robertson postgame   —   DAL vs CHI   —  12.29.24

[how do you feel about your individual game lately? seems like you might’ve been trending in the right direction — how do you feel like you’ve been playing recently?] yeah, i think, um … i mean, i think december’s been trending in the right way. um, definitely feeling better, feeling better. um — thirty-five games in … you wanna try to get on a roll here. and what’s exciting is we have a whole new year coming soon, so. um, yeah, i can move on and try to build off of it and get excited for the new year.  [what’s the process been like coming back from the surgery? it’s something you’ve never had to do before, right?] yeah, i mean (brief unintelligible mumble) it’s been, you know, five — i don’t know, five months since the surgery, so, it’s been a long time, but, i mean (shrugs) still, without an off-season it’s definitely (laughs) definitely — still, you still don’t feel great without an off-season, and trying to adapt, and then you’re trying to play catch-up, and then you’re trying to forget about the catching up, and try to focus on a new page, so — i’m happy that december’s been trending in the right direction, and i’ll try to turn the page going into the new year.

[snilys]

severus is a better person than me, bcs he could've gone on his cute death eater mask and attire, sorted james and sirius' location, crucio them a bit before murdering them, and yet he never did. people like to talk about severus as though as if he was the worst human being in hp, but he never took actual revenge on the golden boys, or they wouldn't have lived past 18 if he did, duh.

"snape knew more curses when he arrived at school than half the kids in seventh year."

so what, sirius! did you ever die? were you damaged permanently? no???? then shut the fuck up! severus was supposed to be an expert on dark arts, surely had the means to do horrendous stuff with all his knowledge, and he still didn't, even after joining the death eaters he still had more regard for life than sirius did when he sent severus to the shrieking shack.

god, sometimes i wish severus was as awful as people think he was. the same guy who was worried for his soul if he killed the only person he appreciated, which was probably very fucking hard for him to do.

[lactoseintolerentswag]

when they've got interpreting spiderman noir under a specific cultural lens at the function [picture of me going insane]

I cant help myself.. what can i say. And since you've mentioned some research going on behind the scenes.. do you have any fun interpretations? Or even anything fun about the 1800s!

OH HI

Hm. I don't have anything as fun as historical dancing, but I suppose this does give me the excuse (thabk u) to blab about Noir's childishness.

(wow putting this under the cut bc it got longer than I thought it would LMAO)

I think what a lot of people (including Noir's contemporary writers and yes even the spiderverse interpretation) fall for when trying to read Noir's character is the imitation of his idea of what an adult is, that he hides behind. Like Noir's persona is incredibly exaggerated. He's playing pretend. Look here, he's practicing.

A lot of his persona as Noir is imitation! Imitation of his uncle, of Urich, of the violence he's been exposed to. He's running around in his uncle's old uniform. Fundamentally misunderstanding WHY his uncle had been ashamed of it and his role in the war.

And then he goes ahead and steals Urich's alias because it sounds Cool (which is such a teenage thing to do jesus christ).

But like that imitation of The Adult isn't something that's limited to that exaggerated persona that Noir encapsulates. Peter himself is trying So Hard to be grown up and tough and responsible that it loops back around to him being a brat who would try the three guys in a trench coat trick. He even gets beat up for it when trying to defend his aunt. And I mean I've posted about him being a brat.

About how he looks at Urich as a Prime Example of what a strong and knowledgeable adult is (which is part of why he reacts so volatile in response to Urich showing he's not exactly as morally righteous as himself, he's wounded and let down). Whiskey? Whiskey sounds like someone Mature and Cool would drink, I'll have it too. And then proceeds to throw his drink at Osborn and laugh about it. The illusion was broken for me then.

But well it's not broken for everyone. I mean like obviously I poked at the contemporary writers, but I'm more talking about the other characters in the narrative. Mainly Urich and Felicia.

Urich taking Peter under his wing isn't entirely under the motivation to nurture Peter. I think it Becomes that, but he's really envious of that kid. He wants to see him lose that hope that he once had (ruh roh the opposite thing happened, being around the kid made YOU more hopeful Ben. Guess you gotta be good. Hope you don't die now).

Urich really is exposing him to an extremely harsh reality, and taking him places where adults are typically only allowed. He's letting Peter get a glimpse into what it's like, which will eventually enable Noir's tool of violence. All these tests will accumulate into what Peter thinks someone powerful and strong can be and do.

Then his problematic relationship with Felicia (writers I'm malleting you for this). He's clinging to her adulthood and the safety she represents, and he's young but she sees some adult strength in him. I mean she trusts him with the blackmail Urich gave her, which she really. Shouldn't, even if that's what Urich wanted.

Anyway, strength is something she's been consistently drawn to her in her partners. Strength to feel as her own. Even if it's to hers and others' detriment. There's also a part of Peter that's drawn to Felicia because Urich was. He's still honing in the good parts of Urich he wants to be.

I think the one person in the narrative who doesn't fall for it? Is Aunt May. You could argue it's just her being naturally motherly, but for someone who was about to be eaten alive she's pretty frank with Noir. I think she can see that that violence and exaggerated grittiness comes from someone inexperienced and young. Even if she can't consciously recognize the similarities between Noir's persona and Peter's protectiveness of her. I don't think she wants to see that. I actually have a short comic script about that, but it probably will never see the light of day.

Ugh he's like a cat puffing up to scare away a predator. It's fake!!!!! It's all fake!!!!!! He gets intimidated by JJ, he never ties his shoes, gets powers and then immediately guns to beat the shit out of Osborn, sings about the sandman when he's getting his face bashed in, crawls to Felicia all pathetic and sad, and he made a costume to run over roofs at night in.

And it's funny how he's forcing himself to grow up, but also really sad because all the things he's being exposed to is already forcing him to grow up. He's witnessing things no kid should ever see or experience.

Then there's the time period to consider. The aftermath of WWI, being in the midst of the Great Depression, and WWII just around the corner. He's faced incredible hardship and is going to continue to face so much hardship, and he's going to mature faster than he ever should have. It should have made him crash and burn Hard when he became an adult, and to me he still does because I'm ignoring everyone after ewaof LMAO.

As for my research on the 1800s NY that's for my own spider iteration run I'm working on, so not too related to Noir until I reach the 30's :3

Hope that was satisfying!!