#Preacher show review

[hazelcephalopod]

So I recently got to the second season of Prescher and so far pretty good show. So far in season 2 it’s had a massive shift bc of how season 1 ended, for multiple reasons. I could go into a lot that’s deeper and more about theme or whatever. But this is tumblr and rn I’m here for the wild fandom rant -and shipping.

Now I’ve been a bit spoiled so I know some things but not all. So. Maybe there’s something but I am OT3-ing Tulip, Jesse, and Cass so much and so sad I don’t think it actually happens? Idk. Love triangle not as good -tbh usually my voice is, figure out polyamory asap, life is too short even if you can’t die.

I mean it doesn’t help when the show straight up has a “there was only one bed” scene. At the house of the pastor who married Jesse’s parents! For all three! Cass -century old Irish vampire btw- just straight up says this mini monologue that amounts to “You too can totally fuck beside me in this barely queen sized bed. I swear (crossing his fingers presumably) I will not look or listen and you will not notice me at all.” (I don’t think this man has ever been unnoticeable btw) Now I will have to wait to be ensure but I think this is polybaiting (/hj). Why would you do this to me 8 year old show? That has ended? Also how dare it get cancelled and not keep doing it to me!

[angstics]

i finally articulated my opinion on my "is gerard way doing drag" question. my definition of drag is when a person impersonates, exaggerates, or appropriates a mode of gender expression. drag can be artistic or political (or both). drag can be an identity. drag and transgender identity are confused as the same thing. for some, it is. what is considered cross dressing can also be considered drag. it's important to note that drag is essential to queer culture, and how the us government harasses queer people through cross dressing, and now anti-drag, laws. we wouldnt be here talking about pop artists doing drag without drag performers and nonbinary-trans-gnc people.

to some people, a self-identified man in a female-identified dress is drag. "cross dressing" depends on cishet norms. queer people, especially nonbinary-trans-gnc people, have called to dismantle the assignment of gender to clothing. under that lens, a man in a dress is just a man in a dress -- for it to be drag, context and intent matters. that's how you get women doing female drag, or androgynous people doing what gerard way's been doing this last year on tour.

in asking "is gerard way doing drag?", im assigning importance to the topic. does it matter? within my understanding, drag is about intent and context as much as gender presentation. intent and context is what makes something important. therefore: understanding why the question is important solves it.

male music artists have a long history of cross dressing and doing drag. there's a good chance plugging any dude into a search engine with "drag" or "skirt" will bring something up. bowie, queen, nirvana, manic street preachers, placebo. here's a list. newer artists: lil nas x, harry styles, anthony green, pete wentz, young thug. some are impersonating female caricatures, some are masculinizing female clothes (long, ill-fitting, straight). some, like molko and lil nas, wear feminine clothes without exaggerating or masculinizing. gerard is in that same grey area.

male music artists have a long history of cross dressing and doing drag -- photos: "i want to break free" mv by queen (1984) / placebo in london (oct 1998) / lil nas x at audacy beach festival (dec 5, 2021) / fall out boy at rock for people (june 17, 2022)

all that history is why it was so weird when kerrang called gerard's riot fest "dress and heels" "a compelling show of contrarian anti-rock star eccentricity". it is not anti-rock star, at least not as described. it may be compelling, contrarian, and eccentric, but no reviewer really cares to analyze why. the closest they get is by identifying non-binary connection (them.us) and its relation to the "minefield that is American gender politics today" (latimes.com).

fans were struck by way's outfits for a lot of other reasons.

1. we have to get it out of the way that they just looked hot -- gerard is perpetually attractive, skirts are pretty. easy equation.

2. he has a long history of gender nonconformity. more on that in my #mcr queer studies tag. gerard is a 45 year old famously androgynous person who doesnt do labels, aligns himself with gender nonconformity (2014 reddit ama, 2018 advocate article, 2015 he/they tweet), and doesnt seem to care to be known as a man.

3. the tour outfits were well-fitted. many were crafted by skilled designer marina toybina and her team. which leads to ->

4. the outfits were very casual and very feminine. as mentioned, most men opt for masculine, ill-fitting skirts. which is to say they are NOT showing leg and they are definitely not showing ass. gerard doesnt steer clear from shortness or tightness or movement. he also dresses in ways people dress day to day -- the miniskirt is as casual as the shorts as casual as the jeans. there's some discussion to be had about what casual means -- he could be imitating expected presentation or just using basics, like his frequent shirt and pants.

the miniskirt is as casual as the shorts as casual as the jeans -- photos: firefly music festival (sept 23, 2022) / uncasville (sept 1, 2022) / eden project night 1 (may 16, 2022)

5. there was variety. many outfits, many types. he wasnt just doing pure femininity. some looks were high concept, some low concept. some gendered, some genderless. some feminine, some masculine. it was playful. its honesty evident in its fluidity yet cohesiveness. expanded in the next points ->

6. they incorporate elements of masculinity and gender neutrality concurrent with the feminine. his aggressive, energetic performance style often doesnt mind what people are seeing when his skirt lifts or shirt droops. he has little to no make-up -- if he does, it's stage and not glam. the closest he gets is the agender black swan look at boston night 1, the stage contour at wwwy night 3, and dubious lipstick at firefly. he also maintains the same hairstyle: barely styled, not straightened-curled. pinned a few times, gelled back some other times.

he has little to no make-up -- if he does, it's stage and not glam -- photos: boston night 1 (sept 7, 2022) / when we were young night 3 (oct 29, 2022) / firefly music festival (sept 23, 2022)

7. the character outfits weren't caricatures, like green's sleazy hooker or queen's uptight housewives. gerard's characters were appropriated but not exaggerated. cheerleader, nurse, manson girl, jackie o, princess diane, st joan. all figures of pop culture. he wore them as they were. even comparing green and way's similar white-green cheerleader costumes there's a difference in presentation. green wears long leggings, way wears shorts. green's costume is based on a stranger things character, way's is a custom remade vintage outfit. green exhibits the masculinization of feminine clothes which way subverts. this comparison highlights what makes way's outfits different, and therefore exciting to talk about.

green exhibits the masculinization of feminine clothes which way subverts -- photos: saosin in garden grove, ca (oct 27, 2022) / mcr in nashville, tn (aug 23, 2022)

8. and when he played with masculinity, it was in a way that was dubbed "boydrag". the new jersey night 2 casino singer look was a dramatic caricature that heightened masculine features until they were pure style... the defintion of camp. he had a mustache -- thin like john waters or a confirmed bachelor, and drawn on with eyeliner. he had a suit -- a pink-gold, glittery woman's cut jacket with a glittery bowtie and pleated shirt. the dramatic flair is accentuated by the black eye make-up, the frank sinatra "my way" cover, the drum tag: "the house always wins".

the defintion of camp -- photos: new jersey night 2 (sept 21, 2022) 1 / 2

when i asked which outfits others considered drag, all replies identified the casino singer and jackie o as drag and the rest as "just clothes". this relation made me understand why the rest couldnt be drag despite all the connections i talked about above. the jackie o outfit doesnt exaggerate the source like casino singer, but the source itself is both highly dramatic and highly gendered. cheer is gendered but not highly dramatic, st joan dramatic but not highly gendered. diane is gendered and dramatic, but not highly. the list goes on and on. it's a fine line. especially cheer could tip into drag for me.

but the source itself is both highly dramatic and highly gendered -- photos: mcr at riot fest (oct 12, 2022) / jackie kennedy onassis (jan 3, 1971)

if drag is understood in this way, simply wearing gendered clothes isnt drag. the look itself has to be about the performance of gender, however that may be presented. that’s the importance of classification. we can see what the artist is doing.

[lovesick-girly]

the devil all the time book review

author: donald ray pollock

genre: southern gothic, crime, thriller

published: 12th july 2011

stars: ⭐️⭐️⭐️⭐️.5

synopsis: a young man devoted to protecting his loved ones must face off against corruption and sinister characters in a postwar backwoods town.

themes: good vs. evil, religion and hypocrisy, violence and death, trauma and psychological damage, corruption and moral decay, fate and desperation, poverty and despair, family and protection

fav quotes:

“Some people were born just so they could be buried.”

“It's hard to live a good life...It seems like the Devil don't ever let up.”

“They's a lot of no-good sonofabitches out there."

“Sometimes it seemed as if she spent half of her life crying.”

“He wondered if he would ever feel clean again.”

“Let me pray first," he sobbed. He started to put his hands together. "I already did it for you," Arvin said. "Put in one of them special requests you fuckers are always talking about, asked Him to send you straight to hell.”

my thoughts/review:

i love this book so much that i couldn’t put it down. donald ray pollock's the devil all the time is a harrowing southern gothic-like novel that borders on straight-up horror, taking the cake for disturbing and depraved. set in the post-world war ii backwoods of ohio and west virginia, it paints a bleak, grotesque picture of humanity, filled with violence, madness, and desperation (my kinda book hehe).

my favourite character is arvin, a deeply morally grey individual whose struggle to navigate a violent world while holding onto a sense of justice kept me hooked. his internal conflict and actions are unsettling yet sympathetic. another favourite perspective of mine was lenora, whose innocence and tragic vulnerability added a heartbreaking depth to the novel. sandy's perspective was equally fascinating—her entanglement with her husband in their twisted, murderous routine gave the story a layer of depravity that was chilling.

the story takes readers through the eyes of some truly gnarly and grotesque individuals, from a husband-and-wife serial killer duo to a predatory preacher and travelling freak show. the imagery is immersive and grotesque.

pollock’s prose is both beautiful and disgustingly twisted. he uses rich descriptions to create scenes that make you squirm but also pull you deeper into the narrative. if you loved the movie or like weird books i can't recommend enough.

[themosleyreview]

The Mosley Review: Kingdom of the Planet of the Apes

What continues to be fascinating about this franchise is the amount of humanity that is found in the world of the apes. The amazing Caesar trilogy brought us a fresh take on the franchise that focused on the apes rising as we watched humanity fall and how much of our worldly views influenced how they would live among us. That made his trilogy special and set up a future that was ripe for exploring. This film carries that same torch and takes a very natural turn that is familiar and special in its execution. The idea of what Caesar fought for and believed in was on display of apes living together in peace, but the idea of one ape twisting his word to something more sinister was fun to watch and added that layer of drama that kept me invested. I honestly could've just watched the apes live in their village and be satisfied. The adventure doesn't take long to begin and where we are taken was essentially a rescue mission and along the way we learn what has happened many generations after Caesar. Where the film benefits is in the apes of course and when the humans are introduced it becomes a balancing act between the retrieving of the main characters' family and the humans slowly trying to reconnect with each other. It works for the most part, but there are moments where I wished it followed just the apes.

Owen Teague takes the lead as Noa in this new story and I loved his performance. He delivers so much warmth and innocence through his eyes and the compassion he has for his friends and family. I liked that he was constantly learning about the world beyond and above his village. As the film progress, he matures quickly from the young boy type to a man fighting for his clan. Its a classic coming of age story for a young warrior that works everytime. Lydia Peckham and Travis Jeffery were great as his friends Anaya and Soona. You feel the tender care and building of a relationship between Noa and Anaya that was sweet. The bond between Noa and Soona was fun and their banter in the beginning was great. I wouldn't mind another adventure with just the three of them together. Peter Macon was excellent as Raka and I loved his jovial nature. He was a wealth of knowledge that Noa needed to see and hear about and I loved the time we spent with him. He highlighted the real ideals of Caesar and he even felt like a preacher more than a historian. On the human side, Freya Allan joins the franchise as Mae and I thought she was great. The survivalist nature of humanity always bounces between the background and foreground in these films and she was no different. She didn’t take up space and I liked that for the majority of the film she was silent and showed off her physicality in conveying emotion and thought. William H. Macy was fun as a more dare I say, domesticated human to Proximus Caesar, Trevathan. He was so defeated, fearful and yet at ease with giving up the thought of the before apes ruled. He gave a different yet familiar view of stockholm syndrome. Speaking of Proximus Caesar, the very underrated and outstanding Kevin Durand delivers an incredible and dominating performance as the antagonistic king. He exudes power and ambition as the one thing he desires is yet a few feet from him. He had a vision even if it was a cruel and sometimes violent one. Through him and thanks to Trevathan's teachings, you see a complete mirror of how the Roman Empire created civilization, but in ape form.

Composer John Paesano brought to life this new look at the world in a very emotional and epic way. His score elevated the pain of loss during the bridge scene and highlighted the tension when Noah meets Proximus. Visually the film is as stunning and rich as the previous films and the CGI used to bring the motion capture performances to life is some of the best this franchise has ever seen. As I've always said since the beginning of the current wave of Apes films, I care more for the apes than the humans. If this film was solely following the journey of Noah and no humans were in it, I would be even more happy. This was still a great entry to the franchise and Director Wes Ball has done an incredible job bringing us back to the Planet of the Apes franchise. Let me know what you thought of the film or my review in comments below. Thanks for reading!

[cdsmusicblog]

Secondary Sources

Hello! So, as I explained in my last post, my end-of-semester project will be based on Ethel Cain's "Preacher's Daughter" and I will explore the themes addressed in this album in order to show how it is both a love letter and a criticism to Southern America.

My primary sources will be, first of all, the album in its entirety, for every songs there will be an analysis of the lyrics and the production. Then, I will also use any official visual content the artist posted which means all official music videos, official lyrics videos, photoshoots, etc... Here is a playlist of official audio visualizers for every songs on the album, they all perfectly depict the mood of each track.

As for my secondary sources, I will use multiple articles and reviews of the album. I will separate them in four categories:

Reviews/articles on the album in its entirety:

https://thechaparral.net/12496/opinion/ethel-cains-preachers-daughter-delivers-a-haunting-southern-gothic-odyssey/

Interviews with Hayden Anhedönia:

https://floodmagazine.com/108819/ethel-cain-preachers-daughter-feature/

Articles about specific themes explored in the album:

https://www.ncronline.org/culture/ethel-cain-and-haunting-religious-trauma

Reviews on the production of the album:

https://www.theyoungfolks.com/review/164706/preachers-daughter-review-ethel-cain-delivers-a-strikingly-singular-and-profound-debut-full-length-album/

These are not the only sources I will be using for my project, they only are examples of what will help me in my research as I am not a professional in analysis of lyrics or song production.

Thank you for reading. :)

[soisaidfine]

ETHEL CAIN. Punish (new song). The Irish Independent: "Like many of Cain’s songs, it takes a slow and meandering musical path before a surprisingly punchy end."

Ethel Cain, August 13, 2024, Portland, Oregon Live at the Pioneer Courthouse Square. Video by 503markw

'I am punished by love' - Ethel Cain

The Irish Independent: "Gig review: Ethel Cain more than able for sold-out Dublin set. Cain and her band of disciples played an impressive set to an enraptured crowd." … "Ethel Cain is capable of hitting both high and low registers seemingly all at once. It’s an impressive vocal achievement." … "Judging by how effusive the crowd is, and how quickly this show sold out, the preacher’s daughter may well fill a bigger church when she returns."

[mdhwrites]

I still like TOH, but your comments have made me notice something about reviews praising it: namely, a lot of the elements praised are specifically described- Belos’s character, Luz’s depression, the dark themes, the serialization, etc- as being amazing for a kid’s show, and I think that’s a factor in why critical reviews tend to match fandom opinion. Namely, kid shows having understandable limitations leads to attempt at darker themes/big stories being praised as standouts as long as the execution is competent enough to not be noticeable. So while some people do acknowledge TOH’s flaws, they point out it’s still admirable the show made the attempts it did, especially with Disney’s public stance on what it pushes for in its cartoons.

So... I want to be kind first before I somewhat lose it because I am so SO TIRED of it being stated that TOH is different from other kid's shows. The Owl House is perfectly competent and entertaining in just its base elements. The animation is good, the voice acting is amazing, the feeling of teenagers is well captured, it's a lot of fun when it's interested in being fun and S1 has a lot of great ideas that earn a lot of good will with an audience and the plot line with Eda in S1 is genuinely amazing. After all, usually you don't have a character who is actively dying.

A theme they never actually address in detail. Eda doesn't feel like she's being held back by the curse very often and there's even one episode where it's used to re-enact a family guy episode of King trying to murder a toddler who won't let him be ruler of the playground. That... Isn't serious. In anyway. It's only serious when it's first revealed and the big sacrifice moment. After S1, it's barely a thing outside of Keeping Affearances.

This is the fundamental problem with The Owl House... And why it's so easy to praise. Yesterday I talked about how it screams its themes at the top of its lungs. How it is very blunt about how it wants to be perceived. Whether this is perception is earned or not is secondary to what it can easily state.

Which makes making an online article about how it's so different from other kid's shows, how it's the kid's show for those who don't like kid's shows, very easy. If you don't actually know much about kid's shows and how shit like Static Shock way back when was already addressing racism, having serialized content, etc. like that.

I mean, if we look at recent kid's cartoons, we have Steven Universe and Steven Universe Future. Gravity Falls. Amphibia does a lot of the same themes as TOH, with honestly about as much meaningful serialization, but also while being good, consistent and enjoyable. It earns its themes... But you have to dig for them.

So why have to scrape the barrel when the soapbox preacher is right there? This is part of the character arc problem too. Do you know how EXHAUSTING posts about "Look where they were and are now" by the end of S2? Where Amity would be a distinct, interesting, unique character in S1 but all they care about is that now she SMILES!

If you don't actually have to talk about the substance of her arc, if the show actually tackled any of its potential, complications, etc like that, it looks impressive. Then you talk to them about Winging it Like Witches or Understanding Willow, both frankly very much so kid's show episodes that something like Danny Phantom, My Little Pony, or Kim Possible would have and could have done, and suddenly it sounds less impressive, doesn't it? Not when you're describing episodes where Amity's past doesn't match her introduction at all and are obviously wiping away what makes a character arc interesting for "SHE'S ALWAYS BEEN GOOD! It's not her fault."

Sure. That's why she was willing to kill someone who didn't even lower her grade but instead just got someone else to be praised. And that's still S1.

Luz's depression is similar. You can have her make big statements that sound like they may imply she wants to die but they're still not willing to use the actual terms. Have Luz only suffer the absolutely loudest but worst stereotypes of depressed people like being constantly suicidal, pushing others away and not caring about them. 'But it's depressi-" No. As someone literally crippled by it, I don't want it being used as the excuse for literally the worst thing Luz does in the whole series, which is to just abandon an entire world to whatever fate she claims to believe she inflicted on it. I myself and a lot of other depressed people will tell you that it is FAR easier to help others, especially if you've hurt them, than any sort for yourself. But Luz's depression is used as an excuse for her to claim to keep caring about others when she is actually only serving herself and lying constantly to everyone around her while doing it. If that's great, depression representation, something most kids are still going to miss what it is, then fuck that noise.

But depression is a big topic right now so going "DISNEY'S FIRST MAIN CHARACTER WITH DEPRESSION!" sure is a headline, isn't it?

And let's quickly talk about the fact that TOH is very morally weird. It's not willing to do many big lesson episodes, hence why Episode 2 stands out so much to me, and a lot of its main cast has dubious morality. And... Then it doesn't really touch on morality either. It has no interest in it, even to the point of bad actions maybe getting a line or two said about them but then moving on.

As an example: Amity just wants to invade Luz's privacy. Period. She has Luz's phone and wants to be given an excuse to look into it. Talking to Willow, they could have a very real, very human conversation about how Amity's parents have taught her that such measures are okay because trust doesn't matter as much as control and how that's not okay. It could be a genuinely very adult moment for the series and maybe even have Willow talk about how Luz finding out so much about her past during Understanding Willow makes her uncomfortable sometimes because even if nothing bad surfaces, that was information given. By making all that a real conversation, which yes would have taken more time but let's face it, TOH honestly doesn't spend enough time setting its characters morals and letting them have conversations where there's real conflict between the two. And none of this is explicit or so dark or so boring that there's no reason a kid's show couldn't have it.

And do you want to know what you gain by making it a conversation like that? A real lesson to kids. A lesson that will prepare them for not only their own loves but for just how to handle others in general. TOH is still a kid's show after all. It should in theory be considering its audience and while not talking down to them, remembering they do need to still bring them into the conversation.

OR, YOU KNOW, HAVE WILLOW SHRUG AT THE QUESTION! And I could do a full breakdown as to why that's a real, human reaction to that question, even for someone like Willow. But I have to bring the real world, my life experiences, my sister's life experiences (and she's 30 while I'm almost 27) in order to explain why Willow is not blatantly being a TERRIBLE person by not calling Amity out.

And yes, that's when TOH is at its worst. It commonly just brushes off immoral behavior that isn't the end point of the plot as just a thing happening, like how Edric and Emira don't actually suffer consequences for their plan against their sister or how Luz is made to feel bad for stealing Amity's wand but then isn't attacked by Amity but put into a protective circle by her. A time out, sure, but one that leads to the ice glyph and her getting to save everyone.

A kid can learn the wrong lessons by the lack of consequences in the show and they're not going to learn a lot of good lessons from what is there. There's a reason why kid's shows are blunter than other media and they have morals. They're remembering that, especially in our modern age where one income households just DON'T EXIST that they have to pick up the slack and modern cartoons are doing that better than old 90s cartoons.

But do you know how much TOH reminds me of older cartoons like the 80s or 90s? With their villains who are evil for the sake of evil? With characters that can change on a dime, or the blatantly comic relief ones who don't have much character outside of that? The plotlines that are more about spectacle or statement which led to all those terrible PSA cartoon moments? Or hell, with how Amity ended up: The character who is blatantly only there to be the pretty girl that gets with the main character?

That's the thing: You want to say TOH is better than Teen Titans Go? Fine. That is obviously true. Who actually cares about and is praising Teen Titans Go though? When you compare it to the shows that people do praise, like Amphibia, Gravity Falls, etc., shows that not only teach and make kids better but also tell an engaging, full story with real themes, characters, developments, etc... What does TOH actually have? How much more serialized is TOH than say, the first season of My Little Pony? There were two episodes of build up for the Grand Galloping Gala before the finale and in TOH S1, you technically only need to see The Intruder and Covention, besides the pilot obviously, before you will understand almost everything going on in Young Blood, Old Souls and Agony of a Witch. There's more in S2 but most people agree that it's done competently at best, which is why people keep screaming about the shortening and I made an entire blog pointing out that S2 is bad because... The show is bad about serialization effectively.

And as a final note: I lived with a Star Wars and Star Trek fan for two years at the peak of Discovery being out and as wind up for Rise of Skywalker was going on. I lived on their couch and when they put on an almost 24/7 reel of 'reviewers' for these franchises, I heard a LOT of shit takes. A lot of the same shit being repeated with no real thought behind it, it being what was popular said (which goes into what makes people popular online versus being a mouthpiece for the popular opinion) and showing no thought or care about the actual system of production for things or the people behind it. A lot of people just blaming issues on one creator, or praising a single creator for all the good in something without talking about why they were attributing the problem to them. And yes, I know how hypocritical all of this is coming from some white dude on the internet no degrees, experience, etc like that. I just hope that my blogs show a little bit more real thought to storytelling to make it not as bad.

So a show where the popular, fandom consensus is that it's amazing, it states its themes making 'deeper' analysis easier and is very loud about its statements like they're original is going to be very popular to this type of review. Does this mean it's all disingenuous? Of course not. I started this blog by saying a lot of the reasons why the show is easy to like. Does it mean it has none of the depth people give it? No because a show trying this hard is going to manage successes sometimes though a lot of the times it then shoots those successes because it doesn't realize it's doing them.

But this statement that it is somehow better than things that have come before, is somehow truly groundbreaking while shows clearly paved the way for it so that it's just at the front of a wave it didn't have to make, and ignoring its flaws for all of these reasons, especially with "It's special because it's on Disney" or "It's only bad because of the shortening" is... REALLY tiring. To put it mildly.

A thing should be good because it's good. Not because it says it is or because you have to put modifiers on it to make it special. Shrek was groundbreaking not because it was made by someone other than Disney. It was groundbreaking because it genuinely looked at how it could parody the landscape around itself while making a genuinely good adventure and love story. Did it help that the creators wanted to give a middle finger to Disney? Maybe but I don't have to bring that up with what makes Shrek amazing. I can just say it's very good. In or out of its time.

The Owl House will only become increasingly less special and interesting as time moves forward and its big statements have to be yelled louder and louder to be properly heard. =======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead, If you want to hang out with me, I stream from time to time and love to chat with chat.

And finally a Twitter you can follow too!

[minody]

I think I'm ready to say something about punish by Ethel cain.

I've only listened to preacher's daughter and I think Ethel Cain is a master producer and lyricist, with an incredible sense of detail and ambiance. I'm not really in the circle of cain or that familiar with the fanbase or the lore though, and she's not really centered on my social media algorithms except for incidentally as she's relevant to pop music and alt trans ppl, so that might be impacting the lack of discussion ive seen around punish. ok disclaimer aside

any of the discussion, comments, or reviews I've seen of punish praise it like, in a normal social media fan way, people love the song and listen to it 30 times a day and love the silent hill vibes and think it's an amazing song to play in the car and love the way the guitar sounds or feels and think it's abstract and praiseworthy. I literally cannot and will not be listening to this song other than that first listen, except for when I listen again when I go through the entire perverts project when it releases, bc it's literally like too good at everything it does and I find the song deeply and traumatically uncomfortable to listen to. as a lead single, punish does a great job of telling me what I should expect from perverts: cuttingly sharp and smart exposure of discomfiting themes told through the lyrics and then made into a 360° 3D synesthetically sensory experience through the production. and speaking of production, Hayden's ability to create mood, ambiance, and literally just "place" through the production is so masterful, I can't think of a better word except for diegetic like her ability to introduce and expose a world or a moment (or a memory?) through songcraft is literally masterful. it's the epitome of what "show don't tell" means, to me. when I listened, it felt like, even if she doesn't say child sexual grooming, and post trauma, and sexual assault survivor, her ability to evoke shame and punishment and helplessness turned into rebellion, and feeling trapped in a cage, and feeling like a captain of your own ship in a storm, and feeling like the broken thing inside of you isn't capable of being healed only survived. the clarity and intensity with which punish evoked this in me makes me like never want to listen to this song again. I'm really glad that there are people bumping this 7 minute track on loop during their morning commute but like I do start to think. are you people just stronger than me or

[pantmonger]

Cadia Stands and Cadian Honor. A double feature! Mainly because I really didn't like the first one and I don't like to rag on authors, so thankfully the second was infinity better.

My thoughts, beware spoilers: Usual Caveat: These “reviews” are just a collection of my thoughts as a fan of the game and setting. They are in no way an analysis of the literary merits of the author or the quality of the writing. Both of which I do not have the knowledge or skill to judge.

Cadia Stands

I'll be brief. I'm sure there is an audience for this book, just as I am sure I am not it.

A dry rendition of the overall fall of Cadia. A few characters are introduced who will end up being fleshed out more in later books, but who get limited screen time and little development here. For the most part the story is told as a loose collection of action vignettes.Kind of like when I was a kid and I use to edit the combat scenes from Bab 5 into a single long combat video that I thought was the best thing ever! Just not my thing now. I found it a bit of a slog.

Still there were some moments of reflective commentary that worked for me.

'“They're just dreams” Rath says again. He does not sound like he belives it himself. She looks away, and her eyes fall on the misshapen form of Hallr. She looks away again and thinks, Look what the Imperium has done to all of us'

I wondered if this was what the writer was asked to deliver, and not necessarily indicative of their usual style, so I read the 2 short stories in the Minka Lesk Omnibus, the first of which had hints of a similar style as Cadia Stands, but started to lean out of it. The second become more my speed with it being focused on individuals, their development and emotions and not jumping around so much.

Cadian Honour

I enjoyed this book a good deal more. At its heart is the story of an imperial planet, an uprising in the name of the emperor to overthrow the corrupt leadership of the imperium, and the Cadians stationed there as the shit hits the fan.

It grants an interesting look at the weird religious variants that shelter under the belief in the Emperor as a god. How every historical local genocidal zealot, is viewed as a saint, and worship of them as valid as worshipping the Emp.

How the loose form of this faith, shaped by local preachers and planetary customs makes people gullible and capable of horrific crimes (as long as doing so can be ideologically beaten into being in His name... there's that satirical commentary)

Once again this is a story of the imperium creating its own problems, being so fundamentally broken in its religious fanaticism that a confessor who has *stitched his eyes open* and is killing folks at random because he can *tell* they are heretics, , is not seen as a bloodshot red flag, but a sign of true faith in the Emperor. (You will never guess who he's been duped into actually working for :P)

This sets the stage for Sargent Lesk and a couple of other recurring characters to get the bulk of the screen time, and give me that drama and character development I so crave with my dystopian war stories. Though a weird stand out for me is just how much the Cadians are filled with no true ScotsCadien rhetoric. Cadia stands, but was an epic failure resulting in the loss of the world Cadia. Cadians are amazing soldiers, you know except for the ones being skeevy at their fem comrades, who don't want to take orders from women, are dealing drugs, deliberately disobeying simple orders to show up to parades and drills. Cept for them... Cadians the pride of the astra militarum :P As usual I'll conclude with the Imperium being aware that its broken, with some thoughts from a Cadian General. 'Bendikt cursed to himself. He had seen enough of the galaxy to know that it was the ponderous weight of the Administratum that held the imperium back, not its soldiers. But worse then that it was the corrupt aristocracy like the Richstars that fermented unrest and heresy'

[popculturebuffet]

HCG: Garfield His 9 Lives Retrospective: The Book (Patreon Review for Emma Fici)

Happy Halloween all you happy people! Yes at long last and after lots of work on these title images i'ts time to talk about Garfield His 9 Lives in this three part retrospective. And yes there's a third one. I'm doing this during spooky season for a few reasons: I already covered garifield's halloween adventure, the lab cat segments in all three versions and primal self in the book are horror and the exploration of diffrent identities garfields had just felt right for a season about putting on costume and being something or someone else for a night.

For those who haven't heard of it Garfield His 9 Lives was a 1984 graphic novel, with two prose pieces, anthology. It has a very simple, brilliant concept: Garfield reflecting on his 9 lives, with each having it's own style ranging from realistic to sketchy to pretty standard stuff for garfield and each story being a different tone. While about a third of the stories are pretty standard for garfield, if putting him in cave settings and space for two of them for some added flair, the bulk do whatever the hell they want: we've got a full on noir story with realistic cats, a stephen king feeling horror story, a sci fi horror escape from a testing lab, a goofy modern fable with vikings, a sugary sweet children's fairy tail and even an out and out three stooges homage.

9 Lives is a great book, and well worth picking up or reading on the internet archive (which is down at the time of this article). It's a gloriously creative concept and I wish garfield was allowed to experiment more like this. What makes it even more specail, besides getting i'ts own tv special we'll talk about next time is that Jim Davis wrote 2/3 of the book himself, likely still collabing with is artists with only Babes and Bullets, The Garden, and Space Cat not being written by Davis. It shows off an incredible creative flexibility you wouldn't expect from someone whose always come off extremley corprate in how he built his strip, with said strip all but confirmed to be ghostwritten these days. It's a strange, unique bolt of creative lightning.

This retrospective will cover this and the other two versions: The 1988 Special adapting some segments (with Babes and Bullets getting it's own special in 89 i've already covered) and switching out a few. There was also a third take on this concept at the end of Boom's 2010's Garfield Comic Book that i'll be capping off this trilogy which isn't as well known and I hadn't read till getting ready for this trilogy. So if all this sounds intresting then join me under the cut as we see that when you've got 9 lives baby you've got 9 ways to loose

As a heads up all of these photos are taken from my phone as Internet Archive is down as i'm writing this and I had no other way to get scans.

Written by Jim Davis, illustrated by Paws, Inc. staff

Yup your seeing this right the book begins with a short bit portraying Jim Davis as God

Yeah.. that's how this book begins. The special uses a similar gag, we'll get to that next time but in the book paws inc itself is used for the creation myth of cats.. including whoever this lady is in a bill lives sweater

This is a refrence to comic strip Bloom County, which had previously killed off one of i'ts biggest stars bill the cat. Bill was created as the most unmarkatable version of garfield imaginable

Naturally as it tends to when you write a strip that's a haven for snarky dorks, Bill became a success and the strip rolled with it: he's been a movie star, dead, a three time presidential canditate, an evanlecial preacher, a rockstar, Donald Trump, the consort of presidential cat Socks Clinton, a brainwashed pawn of Micheal Eisner, and many, many more I don't have time to get into. He was also in Bloom County's revivial revealed to be Garfield's actual son

Fun fact I pulled that from one of my own posts, a review of a wish for wings that work. I will refrence the fact garfield is a deadbeat dad any time I get the chance. The best part about this joke is it's entirely in character for Garfield to be a horrible parent. Though I bet arelene at least acknowledges her kid.

Anyways I just love this nod as it shows Jim didn't take the mockery of Garfield being merchandised to hell personally and it's a cute nod.

Everyone complains when God Emperor Jim Davis decrees cats get 9 lives when everyone else gets one. He has a good reason for it though.

It's that that makes the joke work, this weird wonderful image of Jim Davis as a cat god man cat. It's a cute opener that gets us into our proper 9 lives, each introduced by garfield himself and I like how each bit does inform a bit about his personality.

Written by Jim Davis; illustrated by Davis, Mike Fentz, and Larry Fentz

Our first segment takes us back to Caveman times, and is drawn by Mike Fentz and Larry Fentz. The Fentz' worked at Paws Inc, working in the liscensing division doing airbrushed art for story books, comics and what not and thus do a bulk of the art here. They do a great job perfectly aping jim's style with the watercolors and air brush giving them an extra pop, a nice break from the flat coloring most comic strips get.

Cave Cat on it's own.. is fine. I'm not a fan of caveman times set stories, or ones where characters get stranded in a lost world type place. I love a good dinosaur, dinosaurs are the best, but cavemen...

It's exactly what you'd expect from "Garfield in Cavemen times" minus Jon being his cave owner. Which is something I do like and carries throughout the book and the special: While we see Odie twice as a bookened, here as Big Bob a giant dinosaur that kills cave cat with the worlds first and last frap tree playing fetch, we don't see a reincarnated Jon. It allows the lives to breathe and be there own thing. Jon isn't getting reincarnated through time and Odie's two counterparts can be chalked up to "genetic ancestor" and "coincidence". I wouldn't mind using counterparts entirely, but I do like trying to do something diffrent, break out of the mold and see what garfiled would be like divorced from his supporting cast and life.

Cave Cat exists, it has one or two good gags, and that's about all I have. Next

written by Jim Davis and Mike Fentz; illustrated by Fentz

The vikings is fucking weird and I love that. So one of Garfield's past lives was a viking, just like Ralph Wiggum, and got frozen in present day. The vikings try to pillage, get beaten down by modern society, get normal jobs and it's .. honestly kinda funny. And i'ts even funnier seeing them break out of their mundane lives and disappear into the mists after Garfield The Orange finds their sacred otter. It's not among my faviorites here, but as I write about it I can't help but admire it's weird style, realistic beautifully drawn characters, and bonkers nature. Does it make sense as a reincarnation? not really. Is it fun... yes.

written by Ron Tuthill, illustrated by Kevin Campbell

I can't find much on Ron Tuthill but Babes and Bullets is a pretty solid short detective story that sneaks in some great jokes while it's ad it from the name Sam Spayed itself, to the obligtory thug roughing him up being his landlord. If any of that sounds familiar, you too have clearly seen the full animated special, which I reviewed previously and might still be my faviorite garfield thing. The story is about the same: A widow with instant chemistry with Sam shows up, he solves the mystery of her husbands death and his secretary turns out to have been in love with the victim but innocent. A lot of the jokes, plot beats and what not are the same and I was shocked on this read by just.. how much was done beat for beat and how much it fit, having enough goofy stuff for garfield but still feeling like a decent detective story, if one where you don't get all the clues as you go which blows but I get it being hard to do that. This is the longest story in the collection but it's still fairly short.

There are a few changes from the special: the big one is that everyone in this version.. is a cat, a realistically drawn one at that.

I"m also proud to say this is the first corpse in garfield history! Hooray! But yeah for the specail everyone else is a human for some reason likely because they didnt' want everyone to be garfield sized. The realistic part is likely budget as it was likely faster to do the garfield house style than this. This style is also mildly offputting. Later furry detective work blacksad got the ballance down better between human and animal, being realistic but not so much it's weird.

The other is that it's a battle for a reverened position here rather than academia. The change.. dosen't affect the story for the most part with only the ending, the culprit praying for forgivness, having a touch more impact in this version. All in all a pretty good time.

written by Jim Davis; illustrated by Davis, Mike Fentz, and Larry Fentz

The Exterminators is fun and one of my faviorites. I'll rank all of these at the end, but this is a highlight.

The Exterminators is a Three Stooges parody, and while I've never watched the Three Stooges, I still get the gist enough: Three idiots, one smarter than the others, do slapstick. It's simple, it works and it fits Jim Davis penchant for slapstick like a glove. I adore the opening

And there client lady in general is a LOT of fun, from this scene to her "oh boy here we go" reaction to the exterminators to her reaction when garfield waves around a shot gun

This.. this is a true gift. Garfield's first corpse and now his first shotgun. Shotgunfield.

The ending is also fun as the cats argue over who has to eat the mouse, only for them to make the client eat it.. and she realizes mice tastes pretty good and adorably goes off with her new best pals. It's a weirdly heartwarming ending to this delightful slapstick nonsense.

written by Jim Davis; illustrated by Gary Barker and Larry Fentz

This ones' a bit of a tonal shift, notable not only for making it to the specail with only one bit of censorship but for being a Stephen King kind of horror/sci fi goverment conspiracy story. I mean he dosen't do them often but you get that vibe. A cat is tested on and tries to escape disection. It's simple, harrowing and beautifully drawn

As you can guess this is the part that didn't make it to air and I feel makes it more effective. The twist ending, that the experiments turn the poor cat into a dog who easily evades protectoin is fatnastic. I'ts short, harrowing , has lots of nice shading to really set the grim tone of this one. It's excellent stuff and i'm shocked they went with something like this for this anthology. And in any other garfield product it'd easily be the most experimental, unsettling thing here, while still being pretty mild.. but well... you likely know what's coming. Before that though

written and illustrated by Dave Kühn

The Garden is a trippy , 3d modeled surreal fairy tail.. sandwitched inbetween two of the darkest stories in garfield history. Why Jim Davis decided to put it here I have no idea and it's instead put between the more jokey "King Cat" and "Court Musician" in the special, where it fits a lot better. It's a silly goofy fairy tale about a little girl named chloe who has a great design, I love the big scarf and bigger hat, her Orange Kitten who never grew up, and the surreal wonderland her uncle todd built. It's a cutesy story and not entriely for me, but I admire it's story book sense of wonder, unqiue visual style and it's ending where after being warned to not open a box on a checkered toadstool they get real close.. thend on't, deciding Uncle Todd's trust is more important. There's no big dark twist like you'd think, Uncle Todd didn't make this world using the blood of the fraggles and the bones of the care bears. It's just a cute story about a child and her best friend who happens to be garfield.

written by Jim Davis; illustrated by Jim Clements, Gary Barker, and Larry Fentz

So we're finally here: Primal Self. The only one of these 9 lives people talk about often. Which makes sense I mean... the ending of this one is horrifying, shocking and well done horror. It works well yet still feels horrifically jarring in a Garfield collection which previously had him as Moe or palling around with a child in a fantasy world. I'ts not entirely out of step but I can see how seeing garfield like this

Is going to be a lot. Primal Self is awesome though.. a tense simple horror story about a cat being confronted by the spirit of it's primal instincts, the domesticated meets the horrifying reality of nature.

The results.. are not pretty

That last shot is just chilling.. this poor animal about to kill it's person simply because some horrifying primal.. force awakened something dark and terrible inside it. It's a well done bit of horror. Is it the best fit for this book... probably not. But on it's own merits i'ts excellent and chilling, with a scratchy unfomortable yet raelistic style that fits the horrifying tone.

written by Jim Davis; illustrated by Gary Barker and Valette Hildebrand; color by Doc Davis

I love this: it makes perfect sense that in a book about garfield.. his own current life would pop up and I like that Davis used the format to tell a story that would be possible in the comic strip but take months of panels up.

So we get what's essnetially Garfield: Year One. We see his origins being born in the back of an itallian restraunt hinted at by the arc with his mom, as well as WHY they were seprated: he would've eaten everything otherwise and they share a fairly tender goodbye.

He then ends up in the pet shop where we meet my faviorite one off garfield character old eli

It used to be that lady what attacked Garfield, Jon, Odie and Some Guy when they were all stuck in a curtain

but come on.. how can you not want to take him home and bury him. He's a sweetheart. He's the snoopy's awkward teenage nephew of Garfield Characters and like Snoopy's Awkard Teenage Nephew he'll never be far from my heart

Thankfully Jon walks in to take garifled home, and Garfield clinging to his face gets Jon to accept his new cat overlord. Here they retcon Odie's origin to streamline it instead of being brought in by Jon's best friend Lyman who either was killed by garfield's clearly insastiable blood lust and kept in the basement or went off into the wilderness to take photos of wild life depending on who you ask.

He trains his new brother well, and we get Odie saving garfield from an ice cream truck which makes Garfiled greatful.. but not so greatful he won't spin it for his grandkits a decade later.

Garfield is a charming segment that's got some great jokes, a solid story and a nice bit of worldbuilding. I'll even take the lyman erasure as it's telling only 5 years into the strip he was already being erased from history. I mean it's so easy to do you can just take out that first panel and that that about sums up Odie's origins and Garfield's thoughts on his new pal.

written and illustrated by Jim Clements

Our finale.. is kind of a weak one to go out on. Garfield's in space and deals with a lite vgersion of red dwarf. We get a good gag or two: his defenses are a cat paw.. that's literally declawed, his computer is a computrized odie, and the vending machine dosen't even work. With this one , like Cave Cat in hindsight but more on that next time, the special version doing this but better soured me on it. It's not bad , it's nciely drawn and I really like the ending

But said ending dosen't quite feel like a proper climax for the anthology the way the ending of the film version is. STill it's not horrible or anythign it's just kinda... there.

RANKING

Since a certain someone will ask me to do this if I don't and because it'll be fun, i'll be ranking the stories for each version, then for the final BOOM studio version ranking the stories from all three versions in one big pile.

Primal Self: The short run time, sheer brutality and gorgeous art put it up top.

The Exterminators: it's wacky good fun with a great guest character and garfield with a shotgun.

Lab Animal: Tense and gorgeously drawn. An easy pick.

In the Beginning: A cute way to start the book

Babes and Bullets: A solid detective story, the adaptatoin simply does it better

The Vikings: Didn't think this one would be so high but it's just goofy fun

The Garden: Nothing I hate, just not really for me.

Garfield: I like it a lot it's just the other stuffs a touch more creative

Cave Cat: I'M NOT GOOD WITH PREHISTORIC STUFF OKAY?

Space Cat: A bit of a whimper to end on

So with that we can close the book.. and turn on the tv as next time I look at garfield's OTHER 9 lives, seeing what they replaced, what they changed about the segments they kept, and why this specail is so damn well loved. Spoilers: I'ts because i'ts really good. Thanks for reading.

[madinscurianmermaid]

Ethel Cain - Preacher's Daughter Review and Commentary:

(trigger warning: discussions of religious cult abuse, sexual abuse, domestic violence, intimate partner violence, trafficking, torture, r*pe, murder and criminal c*****ism)

Ethel Cain's Preacher's Daughter is truly a work of art. Granted, I'd been playing "Family Tree" on repeat beforehand, but then I decided to listen to the entire album from start to finish and I'm glad at did. Everything about the album from its production, to the merging of different genres, to the lyricism and narrative storytelling, the southern gothic and midwestern gothic atmosphere and thematic overtones and Ethel's soulful and haunting vocals are all perfection.

Now onto the narrative storytelling and lore of the album: I was seriously very deeply emotional and misty eyed near the end of the album. Cause the life story of the main character Ethel's is genuinely disturbing and harrowing as it is heartbreaking and devastating...Ethel grew up an outcast in a small town, was raised in a twisted abusive cult, was r*ped and sexually assaulted by her disgusting sick preacher father who was supposed to be protecting her, which played a role in Ethel constantly falling into toxic relationships with abusive guys later in life, among one of those boyfriends named Logan that Ethel would lose when Logan was killed in a shoot-out with the police which caused Ethel to go on the run from the police. Then Ethel ran away from home and met Isaiah while hitchhiking to California and Isaiah seemed nice at first, but then Isaiah turned out to be a douchebag as he ended up getting Ethel hooked on heavy drugs such as heroin and started pimping her out/trafficking her as a prostitute while also subjecting her to domestic violence and beatings daily, culminating in everything escalating further in Isaiah exposing himself as a psychopath and his abusiveness towards Ethel intensifying into outright physical and sexual torture that Ethel endures as she's hallucinating while high, which in turn dredges up all of her old trauma based scars and wounds, and then ends tragically with Isaiah murdering and cannibalizing Ethel.

Ethel lived a sad tragic life and ended up dying a horrible, violent death. She deserved so much better 💔

I was still reeling from listening to Lingua Ignota's Caligula (itself an indescribably harrowing piece of art), then Ethel Cain's Preacher's Daughter took me through another roller coaster ride of a wave of various emotions. In terms of the album's gothic themes, it wholeheartedly fits. As disturbing and harrowing as it is, it fits the southern gothic tone and midwestern gothic tone throughout the lore--and frankly in my honest opinion, a lot of popular media that tries to lean into gothic themes have been playing it safe so Ethel came along and said, "Lemme show ya'll how it's really done!", and did exactly that. The track Ptolemea epitomizes this along with August Underground, and they're the most chilling, unsettling, horrifying and disturbing tracks on the album, and the final track Strangers along with Hard Times earlier on are the most heartbreaking, to where I found myself getting emotional.

Preacher's Daughter is a modern day southern gothic and midwestern gothic masterpiece. And like Caligula, I won't be forgetting it anytime soon.

Top favorite songs: A House in Nebraska, Western Nights, Family Tree, Ptolemaea, Hard Times

P.S.: Also, it means a lot to me that Ethel's late diagnosed autistic and transgender, and talks about religious trauma and personal trauma throughout her music. I'm also late diagnosed autistic and neurodivergent and I deal with a ton of personal trauma and religious trauma though the main difference with me is that I was born intersex which I found out later in life and I'm an intersex woman/femme, and I'm of color. I'll probably explain more of my story in another post, but considering my own life story and my own mental health journey and journey of sitting at many levels of marginalized identities while being a believer in Christ, that makes Preacher's Daughter and Ethel's overall themes and story mean that much more to me.

[xxrinnyxrunnyxx]

Here's my "The Holy Bible 20" by Manic Street Preachers review as a retard when it comes to songs meanings

Also, remember these are just my opinions so calm yo tits

Yes- 7/10I really love how it kinda enforces the idea thay money rules the world and I fuckin love when people talk bout that shit. I relate to how he talks shit bout himself and how he hurts himself to get the pain out and how he's still like a normal and nice person even with him struggling.

Ifwhiteamaricatoldthetruth(I'm not typin all that)- 6/10 Not my favorite on the subject, but I do think it 100% truthful about America from the lyrics. In a way, the beat of this song kinda dose remind me of the national anthem, which I think is a cool and genuinely smart idea for the song. Love the vocals but not as much as other songs from this album.

Of walking abortion- 4/10 I enjoy the fact that it says we are to blame for everything, and I 100% agree with that. I feel as if it's sayin were all worthless and don't deserve life. The music it's self is kinda ehh but the lyrics are again amazing.

She is suffering- 6/10 In a way, I can see this song going along the lines of a lot of my moots relationships from what they post. It talks bout how the girl in this is horrible and makes those around her miserable. I kinda can apply this to my current relationship in some ways, but I love the beat of this song. It's kinda like an opera in my head. The more it listen to it, and I love it. I

Archives of pain- 100/10 LOVE THIS ONE. It's a dark song, and i love those types of songs. It's so fucking relaxing to listen to. I feel like it's bout punishing those who punish others and I fucking dig that concept.

Revol- 3/10 love the fact they spoke German in the song, but that's about it. I don't really enjoy the tone or beat of the song along with the lyrics. I feel like it's just not my cup of tea, and I enjoy kinda more downbeat songs. I also don't really like how they repeat the same words.

4st 7LB- 1000/10 WORDS CAN NOT DESCRIBE HOW MUCH I LOVE THIS SONG. It's so honest with the lyrics and how it describes what's happening during them not eating and especially with them vewing their own body, talking about how they want to be so light to the point their foot steps don't show. They also talk about how they feel sick, but they look into the mirror, and it completely goes away when they see what it's doing for their body. The beat matches the song so damn well, and I love how the beat changes during the end. I could go on and on about how much I relate and love this song.

Mausoleum - 4/10 I don't even know how to pronounce this song, but I do know I like it. Don't know what it's about to be 100% honest, but I like it, and that's it.

Faster- 8/10 there's heres definitely a reason why this is a more popular song from this album. Its honest with the lyrics and genuinely feel them and the truth behind them. The part when they talk about crying when you look at yourself naked and I love this line as well when they talk about sleeping to avoid shit. The beat it more upbeat, but it's kinda like a dance song, in my opinion. It could just be me, but I view this song being about a lot of things, with one of them being bout humanity veiwing others and everyone being fake and the same as well as depression.

This is yesterday- 4/10 I enjoy the slow and calm vibe of the song. I can't really grasp onto the reason of the song besides it being about aging and how fast things go past, and I can kinda feel that.

Die in summertime- 11/10 fuckin love the way the why the lyrics are sang and how I can feel the emotions through the fuckin phone. It kinda talks bout summer depression and shit like that, and I really relate to that. The first line in the song talking about the nails makes me feel kinda safe in a way. It feels as if the songs bout me as a listener, but I know it's not.

The intense humming of evil- 6/10 the intro is kinda long for me cuz im impatient ass hell, but i can say it's worth it. I love the vocals in this song and how they reach high. I don't really have much to say about it, but it's kinda in the kind of song you have to be in the mood for.

P.C.P.- 8/10 I don't really get the theme or "lesson" of the song, but that's on me. Besides that, it's a great song with amazing lyrics, and I feel like this is another song by they that I just feel like dancing to.

[agentnico]

The Boy and the Heron (2023) Review

Robert Pattinson, is that you??

Plot: Mahito, a young 12-year-old boy, struggles to settle in a new town after his mother's death. However, when a talking heron informs Mahito that his mother is still alive, he enters an abandoned tower in search of her, which takes him to another world.

Seriously though, we need to discuss Robert Pattinson in this movie. He voices the titular heron, and this is Pattinson’s first ever foray into voice acting… and it is a true masterclass. He gives an unrecognisable performance using a raspy, zany voice, and one that you could easily mistake for the other voice actors in the movie like Mark Hamill and Willem Dafoe, to whom such vocal chords come much more naturally. Honestly, you have never heard Pattinson like this before, with the closest sounding performance in his filmography being in the 2020 crime drama The Devil All the Time as the high-pitched preacher, but even then you could mentally connect the voice to the actor. I must give Pattinson all the props in the world - for someone who started out as a sparkling teen-vamp in the Twilight films, he’s really worked hard to break himself out of the shadows of that series and consistently defy expectations and be an acting force to be reckoned with. Now his turn in The Boy and the Heron only justifies this even more, and more importantly should be a signal to other animation studios to give this guy more voice acting roles, as he’s great with those evidently. Like seriously, you can’t even begin to fathom Pattinson’s grows in this film - its something else.

Right, let’s talk about the actual film now! The Boy and the Heron sees the return of the legendary Japanese director Hayao Miyazaki who most know through his projects with animation company Studio Ghibli. The guy’s a legend in the realm of anime, so me and my fiancée were excited to go see it, so we had a full date night planned - we travelled quite the way to get to the cinema that was showing this movie, as the film so far has had a very limited release here in the UK, and we enjoyed a fine meal at the local pub, and yours truly had the pleasure of accompanying the meal with a couple of pints as one should. We then go to buy the tickets and whaddayaknow they have all sold out. Yep, all that travelling and effort to see a film and yet it was not meant to be. Nonetheless, I instead made my way there again today, this time pre-ordering the seat a day in advance as that was a lesson learned. Oh yes, when it comes to a Hayao Miyazaki animation, I am one dedicated son of a bee to see that! Thank heavens I pre-booked that time, as the screening I was in was packed, and as I was in the lobby I overheard other customers trying to purchase tickets for The Boy and the Heron and being turned out. Look, Studio Ghibli has its fan-base, so it’s not surprising so many people want to go see it. It’s surprising though that cinemas aren’t providing enough screens to show it though, but that is a separate distribution matter in itself.

The Boy and the Heron plays out a little like a montage of Best Of, revisiting themes and devices familiar from Miyazaki’s previous films and tying them together with elements that have a clear autobiographical resonance for the director. From the various magical and absurd creatures to the stunning animation to the piano-heavy score by frequent Miyazaki collaborator Joe Hisaishi, it’s all the usual Ghibli goodness you know and love. Speaking of the score, the lush orchestral Hisaishi soundtrack is shimmering and exultant, that is filled with innocent beauty, yet also managing to embrace the darker aspects of the narrative. The animation as stated is superb, but I do mean it looks incredible. From the very opening sequence where Mahito is running through the burning streets of Tokyo to find his mother, the dizzying effect of the flames and the people around running in panic and being engulfed in the horrible disaster - that sequence is both beautiful from an artistic standpoint but also frightening as it reminds us of all the damage the Second World War brought to innocent people. But the rest of the film also brims with the spectacular hand-drawn animation Ghibli artists are know for, and I always loved how they managed to balance the whimsical fun elements with the more scarier ones. Speaking of which, after seeing this movie you’re going to have a very different opinion on parakeets. You have been warned.

Now in terms of the negative… the characterisation. A huge part of Ghibli movies in general, and especially those directed by Miyazaki, is that as a rule they are always driven by its characters, with their journeys at the forefront. World building and the narrative always took second place. Major examples of this are Howl’s Moving Castle, Laputa: Castle in the Sky and Spirited Away, where you had these absolutely crazy fantasy-driven landscapes, yet at the same time the stories were laid back with simplicity and effective means and rules. However with The Boy and the Heron the world building is so convoluted and confusing at times that it seems Miyazaki put all his efforts into fleshing out this narrative instead of giving more time to the main character, who supposedly undergoes a deep emotional journey. However because we are busy being distracted with all the craziness of the world, the journey of the character’s growth is near non-existent, and as such the finale seems very abrupt and unfitting, with the story choices feeling undeserved and unnatural.

The Boy and the Heron is a beautiful animation from an auteur who’s delivered so many greats previously to which this one doesn’t come close to, but even Miyazaki’s mid-level film is most directors’ best. The lack of character building and interpersonal relationship is a heavy hindrance, but aside from that this is an engaging original story featuring a superb music score, great vocals (especially from Pattinson) and also nostalgia that reminds us how great Studio Ghibli truly is. Again, it’s not Miyazaki’s best, but it’s easily one of the best animations in the last few years, and will also make you want to avoid parakeets for good. Don’t make their cute little look fool you - they are sinister little bastards.

Overall score: 7/10

[traewilson]

Saw Quinton Reviews' side video talking about Star Wars and how the brand's strict dedication to continuity leads to past "mistaken" continuity gets snipped off, like Sebastian Shaw as Anakin Skywalker. It got me thinking: Star Wars, deep to its most primordial basic structure, isn't actually myth - that's the bones of the body of Star Wars. In its proverbial genes, its history, and even cursory knowledge of how George Lucas tells stories shows this. American Graffiti is the most obvious example of this, being a dramatization of Lucas' childhood experiences. Indiana Jones is another example (until the last one, anyway, but we don't talk about Dial of Destiny). The first three films are defined by the pop culture trends of the time they were set. The villains in 1940s serials were, naturally, Nazis, so the villains are Nazis in the Indy films set in the 40s. This commitment to historical accuracy does lead to problems, however - namely, another source of villainy in the 40s were racial stereotypes of tribal peoples. Cue Temple of Doom, and the cartoonishly bigoted portrayal of Indian people in that film. This is why Kingdom of the Crystal Skull is the way it is. In the 50s and 60s, the villains of American serials were the Soviets, so the villains are Russians. A chief obsession of that time was with aliens, so, like how religion was a big obsession in the 40s, aliens are a focus on Crystal Skull. Dial of Destiny partially failed because the filmmakers didn't engage with the series' formula, or rather, the executives didn't want Indiana Jones to deviate any further from what fans were nostalgic for. This results in a sort of bizarre feedback loop, where Indiana Jones is now referring back to ITS OWN PAST, ITS OWN HISTORY, rather than the actual history of the pop culture of the real world. The villains in the Indiana Jones films everybody likes are Nazis, so we're doing Nazis again.

Indiana Jones was on a trajectory where it would mirror the pop culture of the time period its set in. In the end, it abandoned this and gazed down its own navel, harkening back to the history of its own series, nonsensically contradicting the pop culture of the late 60s going into the 70s. Star Wars ran into a variant on this issue with continuity - with history.

Star Wars, of course, is obsessed with its own history. George Lucas himself was obsessed with the history of the Star Wars universe, at least the continuity of the films he made. The creators involved in the Expanded Universe were allowed to do their own thing, provided they didn't contradict his films, and with full knowledge their stories are only as canon as Lucas wanted them to be - which resulted in situations where stories about the Clone Wars pre-Prequels were essentially erased from existence because they, inadvertently, were inconvenient to a constantly revised history. To be clear, this isn't adjusting actual real life history, where it is a good idea to keep its narrative as accurate as possible. These are stories, fiction. And yet, creators and fanbase alike are as obsessed with the minutiae of Star Wars' history as the preacher is obsessed with the minutiae of the Bible and Biblical narratives.

This obsession with historical revisionism for a history that does not actually exist is resulting in the eradication of elements that are no longer convenient to its narrative. Sebastian Shaw as Anakin Skywalker, Clive Revill as the Emperor, all performances destined to become pop culture relics, only known by the most devoted of acolytes at the altar of Star Wars. I'd argue this started all the way back with Splinter of the Mind's Eye, the novel that was essentially George Lucas' backup concept for a Star Wars sequel if the first underperformed, realized. This novel is meaningless to the grand Star Wars continuity. An odd little curio; a peek into a future of the faith that could've been. I only know about it because I was obsessed with Star Wars as a kid. Less and less will know of it as time goes on, because it's basically a heretical text written in unwitting defiance of a constantly rewritten history. This eradication is deeply unfortunate, and actively works against Lucas' undeniable mythical inspirations for Star Wars. Myths are fluid, dynamic, ever-changing. Star Wars only changes as nostalgia and continuity so allow. This will be a BIG problem with Star Wars going forward - both the religious fanaticism of the fandom's strict devotion to their particular denomination of fandom faith (the Prequels are the best! The Originals are best! The Sequels are best! If you don't think that'll happen, I wouldn't bet on it.) and the strict devotion of the creators to the constantly changing, constantly eradicating, timeline of a world that is entirely fictional. Star Wars confines itself like this to its own detriment. Luke Skywalker won't be nostalgic for people forever. Anakin Skywalker won't be nostalgic forever, and in time, Rey won't be either. They will, gradually, over the course of time, become confined to the dustbin of history, along with Sebastian Shaw's Anakin, of Clive Revill's Emperor, as Splinter of the Mind's Eye, or Gennady Tartakovsky's Clone Wars miniseries. Some of this, of course, is the relentless march of time's fault, I get that. But the structure of Star Wars has grown to such an extent that stories are becoming harder and harder to write for it. You can't do too much; you absolutely cannot change Anakin's fate, or a different end for Luke that contradicts Last Jedi, or a British guy as Darth Vader's true self.

All this buildup to say George Miller and how he's handled the structure of the Mad Max franchise will give it a longer life, I feel, once its originator has passed on. George Miller is, frankly, a much better mythical storyteller than George Lucas. Anyone can be Max. Anyone can be Furiosa, or Immortan Joe, or Dementus, or Lord Humungus or the Doof Warrior or Aunty Entity. That's the beauty of this series; since anyone can be anyone, and hard facts are few and far between, this allows much more room for creative experimentation.

Anyway that's my ramble for tonight. I'm sure this will be a mess to get through, but it is a somewhat accurate picture of how I think. I'm a natural rambler. This is why Xwitter and I are not getting along lately.

[handeaux]

18 Modern Words That Had Very Different And Curious Meanings In Old Cincinnati

Some words we use daily today meant something totally different more than a century past. Here are a few normal, everyday terms that once had surprisingly altered definitions long ago in Cincinnati.

Affinity In the early 1900s, “affinity” meant something very much like “soulmate” does today. In Cincinnati newspapers, “affinity” usually shows up in articles about divorce. Many a husband sought a divorce because he had found his “affinity”, and it wasn’t the woman he was married to. Jacob Pels told the Cincinnati Post [31 October 1907] on the occasion of his second divorce: “Twice I thought I found my affinity, and twice I made a bad mistake.”

Blue Today, if you’re blue, you are mildly depressed. Back in Old Cincinnati, “blue” meant risqué, or even obscene. Cincinnati ministers erupted in indignation when Millie DeLeon, the “Girl In Blue” (wink, wink!) performed at Heuk’s People’s Theater on Vine Street in 1901. And, when Cincinnati Redlegs Manager Clark Griffith excoriated the team after a dismal spring training game in Georgia, the telegraph company refused to carry the Enquirer’s dispatch [14 March 1909]: “Wishing to be perfectly accurate, we wrote out the rest that Griff said, but the telegraph man would not send it. He said his wire was a family wire of good and regular habits, and he would not insult it by asking it to carry a lot of blue language.”

Boom This old term had nothing to do with firecrackers or other explosions. It meant to promote, or to hype, or to publicize. When Judge Andrew J. Pruden wrote to the editor praising a Cincinnati Post editorial, the Post headlined his letter [6 January 1893]: “Judge Pruden Indorses The Post In Its Efforts to Boom The City.” An editorial an 1888 edition the old McMicken Review at the University of Cincinnati encouraged students to “Boom the ‘Varsity!” Cynical Thomas Emery, a pioneer real estate developer, told the Post [1 July 1886] he was concerned about future investments: “Boom Cincinnati? Can you boom a dead dog? I don’t mean that Cincinnati is dead exactly, but she’s overbuilt.”

Brace To brace somebody meant to cheat them, and Cincinnati was swarming with galoots just salivating at the opportunity to brace someone. The bracers needed to watch out who they braced, though. Frank Y. Grayson in his classic “Pioneers of Night Life” tells the tale of Frank James, Jesse’s brother, getting fleeced at a Cincinnati card game: “James dropped $800 on the night. He knew that he had been braced. Before he left he said genially, ‘Well, boys, I’ll say one thing for you, you get it easier than I do.’”

Cake We’re not talking pastry here. This word figures into one of the most obscure lines in Ernest Lawrence Thayer’s classic “Casey at the Bat” from 1888:

But Flynn preceded Casey, as did also Jimmy Blake, And the former was a hoodoo, while the latter was a cake;

A “hoodoo” we still recognize as a jinx, but a “cake”? In 1888, everyone knew that a cake was a fool. Within the context of baseball, a cake was a loser.

Candlelight Many a romantic evening has been conducted by candlelight. In the days before electricity, “candlelight” was a time of day, specifically that time of evening when you lit your candles. The Cincinnati Gazette [11 June 1857] presented this line: “The preacher gave notice that, if the weather was fair, he would preach at candlelight, but, as it sprinkled a little, there was no congregation.”

Card There is not much call for classified advertisements these days, when everything is advertised online. Ads used to be the main source of income for newspapers, who called small advertisements “cards,” as in this example from the Enquirer [22 November 1890]: “Mrs. Pollock did not stop at advertising her business in circulars. She inserted a card in the Sunday Newsdealer.”

Cockpit Did you ever wonder why the place an airplane pilot sits is called a cockpit? It’s named for an actual pit in which roosters (or cocks) fought to the death. Cock-fighting was popular in Cincinnati, though intermittently illegal. The Cincinnati Commercial [11 January 1847] advertised a new venue: “A regular Cock Pit having been established in the rear of the “Lunch House,” fights will take place three times a week.” If cock-fighting was too high-class, Cincinnati also hosted rat-pits from time to time in which small dogs battled rodents.

Combination Strictly speaking, in the 1800s, a “circus” was that entertainment taking place withing a sawdust “ring” which in Latin was “circus.” The other aspects of the modern circus – the traveling zoo known as the “menagerie” and the “side-show” or “exposition” – were considered separate enterprises. The first impresarios to “combine” all of these shows called them “combinations.” So, we have the Cincinnati Gazette [8 June 1872] reporting: “Warner’s big combination show attracted an immense crowd of spectators yesterday afternoon and evening.” And old John Robinson advertised his traveling spectacular as “Robinson’s Great Combination.”

Dashboard We use “dashboard” today to talk about status displays on our computer screens, which derived from the instrument panel in our automobiles, which referred to the array of gauges and dials in an aeroplane. But there was a much earlier and practical use of this word as the actual wooden board at the front of a carriage that kept stones and mud from being kicked into the driver’s face. From the Cincinnati Dollar Weekly Times [1 November 1855]: “The mare was put between the thills of a nice light buggy, her harness thoroughly adjusted by the owner, the reins carefully laid over the dashboard, and the usual chapter of advice opened concerning her management.”

Drummer An old definition of this word, metaphoric in origin, has nothing to do with music. A drummer was a salesperson, usually a traveling salesman, and usually a man on commission. The Enquirer [22 December 1871] reported: “The State of Maryland has in force a statute similar to that of Tennessee and several other States, which classes ‘drummers’ selling goods by sample for houses out of the State with peddlers, and exacts a license from them so heavy as to prohibit effectually sales in those States.”

Embarrassed If you realize, after ordering at an expensive restaurant, that you left your wallet at home, you might be embarrassed. That is close to the old-time definition of this word. It meant bankrupt. The Cincinnati Gazette [27 April 1837] related the story of a scoundrel named John Law: “With him perished all Law’s hopes for regaining his personal fortune. He became embarrassed; suits were commenced against him.”

Grocery So many old-time groceries offered liquor by the glass that “grocery” came to mean almost any saloon that emphasized the hard stuff over beer. Here’s the Western Christian Advocate [20 May 1836]: “When I hear a man say ‘my cigars cost me two dollars a week’ – I should not be surprised if I see him drinking in a grocery or tavern.”

Hilarious The history of comedy reminds us that we find drunks to be humorous. Back in the day, “hilarious” did not mean funny; it meant extremely inebriated. The Enquirer [14 January 1870] recounted one such case: “Night before last, this identical phonographer, who now calls himself Henry Henderson, was found in a highly hilarious condition, enjoying the society of ugly females in a bad house on Eighth street.”

Map There are abundant synonyms for physiognomy, but Cincinnati in the 1890s had a good one – “map.” In regaling his readers with memories of post-midnight culinary delights, Frank Grayson recalled Simon the Hot-Corn Man, who slathered his steaming ears of corn with “a substance that passed as butter.” Grayson recollected how “There were a lot of greasy maps decorating Vine Street in the wake of Simon.”

Queer In recent times, “queer” has settled into a linguistic niche as a sobriquet for what used to be called “alternative lifestyles.” Around 1880, however, the primary connotation of “queer” was financial. It referred to counterfeit money. The Cincinnati Gazette [28 October 1873] reported on the trial of M.Y. Morton: “He is an old gray haired man, and told the detective that he had been ‘pushing the queer’ for thirty-five years, making a good business in buying and selling counterfeit.”

Slut Ever since it became a term of sexist opprobrium, “bitch” has been ruined as the technical name for a female canine. Few today remember that “slut” was synonymous with “bitch” and also referred to distaff dogs. An advertisement in the Cincinnati Commercial Tribune [21 June 1870] sought: “Dogs – Two full blood Scotch rat terriers dog and slut. Must be a year old or older.”

Snide You rarely hear this word today outside the phrase “snide remark.” When you do, it often has the tint of sarcasm. In old Cincinnati, however, “snide” meant fake, cheap or counterfeit. The Cincinnati Daily Star [23 January 1880] recorded that “Ed. Kline was pulled in yesterday for selling ‘snide’ jewelry.” The term applied to people, too. The Enquirer [5 April 1880] noted: “A snide party styling themselves Tennessee Minstrels were rotten-egged and mobbed in Easton, Maryland, on Friday night.”

[brigdh]

I used to write weekly reviews of what I was reading and post them to tumblr, but then I fell out of the habit. However, I did manage to finish some books last month, and maybe you will enjoy reading my thoughts?

The Centre by Ayesha Manazir Siddiqi. A thriller set in modern-day London. Anisa, a Pakistani immigrant from a wealthy family, dreams of translating great works of literature, but is stuck doing the subtitles on Bollywood movies. Her white boyfriend Adam speaks eight languages fluently, perfectly, like he was born to them. At first Anisa is only jealous, but then she learns that Adam is hiding a connection to the Centre, a mysterious organization that promises to teach anyone any language in only two weeks – for a price. And, well, who wouldn't be tempted? But visiting the Centre is only the beginning of Anisa's uncovering a whole host of secrets, as she meets and grows close to the Indian woman of her own age who runs the place; she and Anisa fall instantly into a close friendship which reveals some of Anisa's own missing pieces.

Anisa is a fabulous character – sympathetic and self-centered, unreliable and occasionally awful, trying her best but so often (like most of us) just justifying her own lack of action. The writing is fantastic, compelling and funny and sad and precise. Right from the first page, I had trouble putting it down.

The mystery of how the Centre does what it does is obvious from fairly early on, but I didn't feel like that was a problem. The drive of The Centre isn't so much about answering the question of "how?" but that of "what now?" Knowledge (of a language or of anything else) is power, but access to power is complicated by race, gender, sexuality, class, age, and so many other factors, all of which come into play. Anisa – and the other characters, and readers ourselves – want to remake the world for the better, but can she do so by using the tools of the powerful? Or would the act of using their tools change her into just another copy of them? The Centre doesn't answer these questions (and to be fair, how on earth could a single novel do so?), but the way it raises them and the dilemma it poses to Anisa is just so good.

Hugely recommended, and I can't wait for Siddiqi's next book.

Gilded Needles by Michael McDowell. A historical thriller set in 1880s New York City, focused on the rivalry between two families: the Stallworths and the Shanks. The Stallworths are upper-class, respectable, and include a judge, a preacher, a would-be politician, and a fashionable hostess of ladies' committees. The Shanks are sordid criminals, and include a fence, a prostitute, an abortionist (which, you know, I don't have much of a problem with, except that she cares less about her patients actually surviving the procedure and more about getting paid), opium addicts, and lesbians. They come to one another's attention when the Stallworths decide to lead a 'clean up the slum' operation to boost their own political prominence, which unfortunately happens to focus on the Shanks's neighborhood and ultimately causes the death of three of the Shanks. Black Lena, matriarch of the Shanks family, seeks revenge, and vows to kill three of the Stallworths in return.

This novel is better categorized as a thriller than as horror, which is unfortunate because I wanted something scary to read for Halloween. But despite that, it's hugely compelling, a real race of devious motives and sinister plots and squalid historical detail. Not a single character in the book is remotely likable, and despite their outward differences, the Shanks and the Stallworths are united in finding the very concept of morality irrelevant and laughable. The Shanks come out ahead as slightly easier to root for because at least they seem to like one another, whereas the Stallworths hate one another as much as they hate the poor, the unpopular, and the pathetic. Gilded Needles is a bit like watching a reality show, where everyone is terrible but you still have a great time throwing back popcorn as they tear the competition to bits.

A ton of trashy fun in a historical setting? My very favorite kind of book.