#World Television Day 2020

[rabbitcruiser]

World Television Day

The first World Television Forum was staged by the United Nations in the mid ’90s, and it was out of this event that World Television Day was born. The forum brought together leading figures from the media industry to analyze the growing impact that TV had on decision-making and public opinion when it comes to issues of peace and security around the planet.

The History of World Television Day

In December 1996 the United Nations General Assembly proclaimed the 21st of November World Television Day, the same year the first World Television Forum was held. Acording to the United Nations, this decision was taken in order to give recognition of the increasing impact television has had on decision-making by bringing various conflicts and threats to peace and security to the world’s attention, as well as its coverage of other major issues, including economic and social. World Television Day is not meant to be so much a celebration of the electronic tool itself, but rather of the philosophy which it represents–a philosophy of openness and transparency of world issues. Television has long been thought to represent communication and globalization in the contemporary world. However, not all of the government representatives present saw matters quite that way. The delegation from Germany said, “Television is only one means of information and an information medium to which a considerable majority of the world population has no access… That vast majority could easily look at World Television Day as a rich man’s day. They do not have access to television. There are more important information media and here I would mention radio in particular.”

How to Celebrate World Television Day

The most obvious way to celebrate World Television Day is by watching television. But what? Surely not vulgar reality shows offering little to no value of any kind to their audience? World Television Day is a time to rewatch and relive some of the greatest moments of television that helped bring the reality of a rapidly technologically advancing world into people’s homes, forever changing their lives and how they perceived the world. 1954 marked the launch of Disney’s “Wonderful World of Color”, a family-friendly variety program that mixed iconic cartoons, drama and documentary programming. The very first televised presidential debate between Republican Vice President Richard Nixon and his challenger, relatively unknown Massachusetts Senator John F. Kennedy in 1960 changed the presidential elections forever. For the first time ever, American voters actually saw the candidates present their ideas, which worked greatly in favor of the young and handsome Kennedy, who went on to win the election. And few moments, if any, in television history could ever surpass Neil Armstrong, Michael Collins and Ed “Buzz” Aldrin’s moon landing in 1969, which many people consider to be a pivotal moment in their lives until this very day–after that, nothing was going to be impossible again.

World Television Day was established as a way of bringing focus back to these issues on an annual basis. In years gone by major TV stations have come together on the day to broadcast tributes to the importance of television in people’s lives. The obvious way for anyone to celebrate is to turn on their TV and watch. Those that want to become more involved and have ideas about how to honor the day are welcomed to send their thoughts to the official website.

Source

[vivwritesfics]

(Oh My God) They Were Roommates

Chapter Four - Bahrain

Lando Norris and Y/N L/N were teammates. Tension had been between from the minute they started driving together and, when it only got worse, McLaren CEO Zac Brown decides there's only one solution: Have them live together.

1.3K

Warnings: Mentions of sex and masturbation

Series Masterlist

About This Fic:

This is set in 2020, but COVID doesn't exist in this fic (if you want one about being in Lockdown with a driver, check out Irresistible by @dilemmaontwolegs im obsessed with it). For this fic to work, I've massively changed the driver line up and Carlando will never be teammates, but still best friends

🏎

They'd fallen into an easy pattern. It wasn't friendship, not in the slightest, but they were comfortable with each other.

For the few weeks before they were to fly to Bahrain, they found themselves eating dinner together. Or, rather, one eating dinner while they both sat on the sofa and watched television.

Y/N spent less time in her bedroom. She stopped hiding in there, instead sitting out in the living room with Lando. They didn't talk, they didn't have to. It was just nice having another person around.

It wasn't lost on either of them that the other hadn't had anybody back to the flat. She could hear him at night as he took care of himself, and was sure he could hear her when she did the same. But it was still lonely, and taking care of yourself wasn't the same as having somebody do it for you.

They packed for the first race of the season together. They'd flown out for pre season testing together and Zac was thoroughly impressed that they hadn't killed each other on the flight. They were so busy that day that the media hadn't yet seen it, though.

Y/N couldn't wait for the start of the season, to see the internets reaction to hers and Lando's living situation. They were going to lose their minds, she knew. She hadn't yet thought about the bad parts that were to come with it, though.

Flying together meant carpooling as well.

Y/N wheeled her suitcase out into the living room. She sat on the sofa and went through her phone, looking through the itinerary she had been sent over. After five or so minutes, she stood up, readjusted the orange hat on her head (a hard look to pull off) and knocked on Lando's bedroom door.

"Hey numnuts," she called as she leaned against the door. "Hurry up!"

(Numnuts - an insult, meant lovingly in this context)

"I'm coming!" Lando shouted. Y/N pressed her ear to the door, listening as he zipped up his suitcase and came walking towards the door. He pulled it open and she stepped back, allowing him to walk past.

They set off, Y/N driving and Lando choosing the music. (The phrase choosing is used very lightly here. Y/N gave him her phone and told him what music to put on and he put on what he wanted to put on. It was only when she threatened to kick him out of the car, and then pulled over to actually do so, that Lando put on her music).

They didn't talk much on the flight. Y/N had her headphones over her head, watching the world go by as they took off.

***

It was the first race of the season, where they really got to see what the car could do.

Y/N was buzzing as they went into the first Friday practice of the season. So far it had all been media, with the world finally finding out that Y/N and Lando were roommates. The news had gone up on F1 news sites and were on gossip sights only seconds after that.

It was a mixed reception. The one thing that could be agreed on was that every single F1 fan was losing their mind.

Back to Friday practices. Y/N was one of the first out on the track, pushing the car around the circuit. She loved Bahrain, loved pushing the McLaren around the corners, loved overtaking on the straights.

Her goal for the race on Sunday should have been coming first. That should have been her only goal for every race. But, for Y/N, she just wanted to pass Lando. Her wins would come; as long as she was loving what she was doing, she'd be improving race by race. At least that was her mentality.

When her engineer told her too, she came back into the garage to look at the data.

After going back out onto the track, she had dinner and headed back to her hotel room. It was weird, being in the hotel room without Lando there to annoy her.

Even just having him sat on the end of her bed, just being in his presence, would have been nice. She didn't exactly miss him, just missed being around another person. It had been a long few days without him.

Saturday rolled around and Y/N was hopeful for a good qualifying. Q3 at least. With how Friday had gone, that seemed more than possible.

But a problem with the car meant that she had to retire out of Q1. Lando made it to Q2, knocked out of Q3 by Carlos Sainz in his yellow Renault.

A weekend that had started out so promising had Y/N wanting to smash up everything in her hotel room. But she didn't she remained cool and calm, congratulating Lando for getting onto the next round of qualifying.

As much as she was pissed about her qualifying results, starting from the back of the grid was fun. She got to fight her way into the midfield. While Lando was fighting his way to the front of the grid, Y/N was fighting with Pierre Gasly in his Toro Rosso.

Lando finished fifth and Y/N finished tenth, just about in the points. If it wasn't for the fault in her car during qualifying, she would have been proud of the results she got. But she was convinced she could have gotten on the podium if only she had a working car the day before.

Her post race interviews weren't about the racing. They were about her living situation with Lando, and it was really starting to piss her off.

As much as she wanted to head straight back to England, back to their apartment, she had to wait for Lando. Lando, who Max Verstappen wanted to take out partying. Lando, who was more than happy to go with him.

But then Y/N knocked on the door to his hotel room. She had already packed away her things and had changed into something more comfortable. Although Bahrain was hot, she still wore a hoodie and sweats.

Dressed ready to go out to a club with Max, Lando pulled open the door. "Hey," he said, his eyes widening when he saw her. "You okay?"

"Just wanted to see if you were going out or not," She said quietly as she looked down at her shoes.

A pang of guilt went through him. He'd been pretty happy with the first race of the season, having only just missed out on the podium, but he knew she hadn't had the greatest weekend and it was weighing on her.

"You wanna come in while I finish packing my bags?"

With her hands in the pockets of her hoodie, Y/N walked into Lando's hotel room. His bags were half packed and she was entirely sure that he wanted to go out clubbing. "We can go tomorrow," she said as she sat in the oddly plush chair at the vanity, her legs beneath her.

"No no, I'm almost done," he said as he shoved the last of his things into his bag.

She muttered a quiet 'thank you' under her breath as she pulled her hood up over her head.

Lando packed his bag in silence. Once he was done, Y/N went back to her room to get her own bags. And then, with Lando behind her, she walked out of the hotel.

It wasn't that Max Verstappen was trying to be an asshole, but he couldn't stop himself from sending Lando pictures and videos from his night out. Lando couldn't help but hate that he missed it.

But, when he looked at Y/N as she sat on the plane, still wearing a hood but also a small smile as she watched a movie on her phone, he realised it was all worth it.

Taglist (OPEN): @biancathecool @hollie911 @topguncultleader @annispamz @carlossainzwho @spideybv28 @wherethefuckisthething @fangirl125reader @minkyungseokie @marialovesf1 @kitixie @i-wish-this-was-me @bborra @formula1mount @charlotte1697 @formulaal @eviethetheatrefreak @lordpercivalcharles @venisvendetta @marie0v @tbsloneely @laur20a23 @formulas-bitch @cmleitora @marvelavengers000 @gills-lounge @andydrysdalerogers @demipatterns @holy-macncheese-balls @jule239 @aexitizen-ln4 @landosgirlxoxo @allinestarr @starmanv @st0rmzi3 @random-human02 @nocoolusernamesavailable-blog @happymeal777 @ashy-kit @juniper-july19 @im-an-overthinker @haylenxx @kapsylia @prettiest-at-the-party

[i-like-media]

Some Black History In Classic Doctor Who

Something I've been itching to make a post about as I made my way through classic who! I hope you enjoy ^o^

In the 4th season of Doctor Who (1966), the missing serial "The Smugglers" featured the first black character with a speaking role. This character was named Jamaica and he was played by Elroy Josephs! He was tasked with guarding the captured 1st Doctor, and was later killed for failing to keep guard over him.

Elroy Josephs was born in Jamaica, and besides being an actor he was also a dancer. He became the first black dance lecturer at IM Marsh in Liverpool, which is part of Liverpool John Moores University.

Elroy Josephs is often overlooked for his influence on black British dance and on November 1997, a bench and plaque was unveiled in Elroy's memory at John Moores University.

More about his influence of black dance in Britain can be read here

★

The serial immediately after was called "The Tenth Planet" and this serial featured Earl Cameron as Glyn Williams, the first black astronaut in television (I've seen people say it's actually Nichelle Nichols in Star Trek, since she appeared on Star Trek JUST a month earlier in 1966, though I'd argue the portrayal in Doctor Who is more akin to what we know an astronaut to be. Still, a crazy close call!)

Glyn Williams, alongside another astronaut, discovers the Cyberman home planet Mondas in their rocket. This is the first serial to feature the cybermen, too! Their rocket gets pulled in by Mondas's gravitational pull and they die in an explosion.

Earl Cameron was born in Bermuda, and is well known as the first black actor to take a leading role in a British film! The movie was called "Pool of London" and was released in 1951. It was his performance in this movie that led to him becoming "Britain’s first home-grown, non-American black movie star"!

Earl Cameron passed away in 2020 at the age of 102, making him the 5th Doctor Who cast member to reach his 100th birthday!

★ - ★ - ★

"The Tomb Of The Cybermen (season 5)" and "Terror Of The Autons (season 8)" featured 2 characters, both played by Roy Stewart. Both characters have been criticised for their racist depiction of a black man. In TTOTC, Roy played the character of Toberman, who was a mute servant of an expeditioner and the strongest one of the team. He had no say in any matters and was supposed to be purely muscle. He was partially cyberconverted and sacrificed himself to save everyone.

In TOTA, Roy played the character Tony, a strongman with animal furs also tasked to be brute force. He helped keep the 3rd doctor captive, but was knocked out by Jo Grant.

Born in Jamaica, Roy Stewart came to the UK with the idea to become a doctor, though he ended up changing his mind to start acting. There weren't many black stuntmen out there (they would have white people "black up"). He ended up doing a lot of stunt work and became one of Britain's top black actors/stuntmen! Though, a lot of his earlier work went uncredited.

Roy Stewart also ran a gymnasium in 1954 with a policy allowing people of all races to train together. He also opened a Caribbean restaurant and bar called The Globe in 1960, which he ran until the day he died (2008). The Globe is now one of longest-running nightclubs in London, still with a Caribbean restaurant upstairs.

"Frequented by Jimi Hendrix, The Rolling Stones, Van Morrison, The Clash and Bob Marley, The Globe became the place to be. Its notoriety was such, that even Mick Jones of The Clash named his album after it and wrote the title song about the nightclub." - The Globe Website

★ - ★ - ★

In season 5 the serial "The Enemy Of The World", Carmen Munroe played the role of Fariah Neguib, a food taster for the powerful politician, Ramón Salamander. She was a food taster by force, and rebelled against Salamander by giving the 2nd Doctor's allies important documents, revealing a black mailing side to the politician. She was shot and died in the arms of the enemy, pridefully refusing to give them information. Though sources are a bit muddy on this (1 sketchy source and the rest is my memory of classic who), Carmen Munroe could very well be the first black woman in Doctor Who. And if not, She is most certainly the first with a prominent speaking role.

Born in Guyana, Carmen Munroe played an instrumental role in the development of black British theatre and representation on tv. She played a good number of leading roles, but is best known for the role of Shirley in British TV sitcom Desmond's. Carmen is also one of the founders of Talawa, the UK's leading black theatre company, which was created in response to the lack of creative opportunities for Black actors and the marginalisation of Black peoples from cultural processes.

Today, Talawa is the primary Black theatre company in the UK, with more than 50 award-winning touring productions from African classics to Oscar Wilde behind it. In total the company has produced more than 80 productions. Our name, Talawa, comes from a Jamaican patois term and means gutsy and strong - Talawa.com

Carmen was also appointed Officer of the Order of the British Empire (OBE), which is a British order of chivalry, rewarding contributions to the arts and sciences, work with charitable and welfare organizations, and public service outside the civil service.

★ - ★ - ★

Hope you enjoyed reading this bit of Doctor Who/Black History! Please feel free to add to this post with more black history in Doctor Who!

[deramin2]

I don't know how to really express this except to come across as a "kids these days" scold, but so much of the criticism of queerness in Good Omens would simply not be a thing if kids these days watched more 20th century queer media. Or more complex indie queer media in general.

People seem to want a show that's like the straight stories they grew up with but gay. Or the gay fanfiction they grew up with. But that's not really the tradition it's coming from. First off the novel was released in 1990. Queer film classics of the time are Dead Poet's Society (1989) and Torch Song Trilogy (1988). The TV miniseries Tales of the City (1993) wasn't made until 3 years later and it was so far out there it never had a huge audience. Philadelphia (1993) is also 3 years out and was basically the first big studio queer film. The first fluffy queer Hallmark-style romcom wasn't until Big Eden in 2000, a full 10 years after publication.

Queer stories from the time it was written were about complex and often fraught relationships between people who the world was trying to force apart. There is an incredibly strong tradition in queer films of relationships with no guarantees they will work out both in the face of their personal baggage and the weight of the world. Take a film like Torch Song Trilogy that's about the two great loves of Arnold Beckoff's life over 9 years and how homophobia shapes them. Both externally (especially Allen) and internally like Ed struggling with his bisexuality and being terrified of being publicly out. Written and starred in by Harvey Fierstein, who identified as a gay man at the time and only came out as nonbinary last year.

The Boys In The Band (1968 play, filmed 1970 and 2020) was a monumental moment in Broadway history where finally there was a play about gay men in their own words where no one died and very strongly showed that homosexuality doesn't make people miserable but homophobia sure does. But that homophobia also throws their personal lives into constant turmoil and none of them are in happy relationships, although Hank and Larry are devoted to each other in their own fucked up way.

"Relationships are complicated and hard to make work and sometimes a struggle against the odds" is an aesthetic of classic queer film making. Partly it was influenced by the Hays Code (although independent films were not bound to it), partly influenced by the rampant queerphobia in society at the time that was inescapable. But it's also an aesthetic choice to resist the banal and unrealistic relationship depictions of straight media. There are actual stakes to the relationship. Queer people were actively resisting a world that said "Romance is seeing someone across the room and instantly falling in love with each other and little conflicts happen along the way but ultimately they're destined to be together and everything is happily ever after." Recall that "stalking as romance" was a completely inescapable trope in 1980s straight romance films, and every goddamn movie was being turned into a romance film.

So queer people in film and television when they can make what they please have a long tradition of saying instead "People don't always realize the feelings they've developed for a queer partner right away. They may have reasons for denying those feelings that are both a reflection of the cruelty in society and of their own insecurities. People struggle with where they belong and their relationships reflect that. Loving someone doesn't mean they don't also drive you crazy and you might fight with them constantly. But that doesn't negate the love or that feeling that even if things aren't okay, they're better with that person around. But maybe that person can't stay around. The world may be against you. And also maybe you don't just want that one person in your life. Soulmates is a very flawed model. Sometimes the strongest love is a struggle with yourself and the world and your person. You have to overcome yourself first. Happily ever after is a lie. You may be happy for a while, and hopefully for a long while, but everything ends. And you have to be ready to love again. Also your platonic bonds are just as important and life-altering as your romantic ones. Sometimes those platonic bonds include fucking if you want them to. Real life isn't a bunch of platitudes and world-altering moments, it's daily work to better yourself and the world around you. Especially when things just fucking suck. But also remember to have fun and fuck the haters. People who don't support you can eat rocks and you should yell at them more to shut the fuck up."

That is a fundamentally different outlook on what a "good relationship depiction" looks like. Personally, I thought I hated romance movies and then I started watching queer romance movies and discovered I love them and watch them all the time. Because it turns out what I hated was relationships being shown that had nothing at all to do with reality and privileged incredibly toxic ideals. Finally there was complexity, there were stakes, and there were people who had to truly want to be together enough to fight the world for it and not because they happened to be there. There were people actually talking out their problems and looking for resolutions. (And sometimes that resolutions was "I can't fucking deal with this bullshit anymore and I'm out.") For the first time it felt real.

I'm an aroace trans gay man. Nothing about relationships or being in relationships has come easy to me, and the whole paradigm of straight patriarchal romance depictions makes absolutely no sense to me. It's completely alien. Queer romance stories actually feel human.

And that's the tradition Good Omens is coming from, even as it's being retold in 2019-2023 and hopefully beyond. Gaiman's work has always been based in that queer media paradigm. (I've been remiss and daunted and haven't read Pratchett but from what I do know his work also seems to sit more in that world view.) It's a beautiful cinematic tradition and it's baffling to me that people would resist it instead of embracing it for being honest.

And that's when I turn into a crotchety old man complaining about the youth not connecting with the history of their beautiful culture and instead begging for assimilation into a shithole allocishet media landscape that doesn't actually want them except for their money and has nothing at all interesting or valuable to say. But it's very funny (annoying) to me when people claim Good Omens is someone against queer culture when it's so thoroughly bathed in the best of queer media's storytelling traditions and what people are asking for is straight media with the serial numbers filed off. Like, stop being boring please and know literally anything about the culture the adults in the room lived through and were influenced by. The world didn't begin in 2015.

EDIT: I also want to add that in straight media arcs are linear. Traditionally in queer media arcs are cyclical. Queer media very often depicts people going around in circles relearning the same lesson over and over as they inch towards it sinking in. But every time they go through the cycle they gain just a little bit more enlightenment and slowly move towards a better place. From the comments this is an immensely important distinction. People don't actually have cathartic moments where suddenly all their past bad programming is shed and they saunter forward a new person with none of their old baggage. In reality people fall into the same patterns over and over even though they have had every opportunity to learn better. "People magically get better" is a trope of straight media that's an outright and frankly dangerous lie. Again, Good Omens follows the queer tradition not the straight one and it's depicted 6,000 years of that cycle. The world didn't end, and the wheel keeps turning, as it always has and always will. That's so fundamental to queer storytelling traditions I forgot to even mention it.

[devotioncrater]

The Tedependent Tinhat Thesis

Welcome! Welcome to The Tedependent Tinhat Thesis.

As of writing this, only Episode 1 of Season 3 has been released so far. If you feel the need to send me an anon about how Ted/Trent won’t happen, I implore you to remember when fandom culture used to encourage people to ship characters freely — even when those characters never interacted. This is all written in good fun, and to critically analyze Ted Lasso through a queer lens.

Disclaimer: This meta compiles various topics discussed by people in the Tedependent camp. I cannot take credit for everything. If anything, this is a love letter to them. 

To make this a bit easier to digest (and write), I’ve divided this meta into the following sections:

Queerness in the Media. Ted Lasso and His Subtextual Bisexuality. Trent Crimm, Independent. Tedependent Evidence. Rom-com Tropes and Structure. Narratives and Storytelling. Unexpected Ending.

So let’s begin on a base level of understanding about queerness in the media and how that history does and doesn’t tie into Ted Lasso.

Queerness in the Media

The presence of queer people in film has been a contentious topic since the enactment of the Hays Code in 1934. The Hays Code sanitized/censored what could be shown on-screen, and catered to an audience of white, straight men. This sanitization/censorship of media went hand in hand with the American societal shift into conservatism at the end of the Great Depression and WWI.

The Hays Code remained in effect until 1968, when the political landscape of America once again shifted — this time into a more progressive light. Until 1968, filmmakers and creatives within the industry sought out ways to bend and push the Code’s rules. The invention of television helped play a role in the dissolution of the Code, as did the growing number of foreign films which depicted things like queerness and women’s sexuality. 

Why is this relevant to Ted Lasso, a television show made in 2020?

30 years of conservative censorship and catering to straight, white men does a number on what people deem “acceptable” to show in film. This thinking extends into the world of television. The Hays Code was rooted in conservative ideology and created a system in Hollywood that prioritized white, straight men’s stories — to the point where there was little representation of anyone else. Its effects are still felt today, 55 years on from dissolution. There still is a terrible underrepresentation problem in Hollywood that runs from POC stories to women’s stories to queer stories. Even worse if any of those stories intersect with each other.

Before we dive into the topic of queer-coding in television, we need to understand the history of queer signaling. Queer signaling emerged so that queer people could identify themselves to other queer people without outing themselves to danger. It is by nature subtle to ensure safety within a homophobic society. Men wearing green carnations on their lapels, women giving other women violets, and the use of lavender are all queer signals that were used back in the day. Fashion choices are another signal (the old hanky code), as are certain phrases (“Are you a friend of Dorothy?”).

When you leave things to be subtle, it allows for people on the outside to interpret the information in a way that is easiest for them to digest. That has ramifications on queer history to be erased or explained away or rewritten to better push a heterosexual "default". You see it time and time again when historians call women who lived together for decades "good friends" or when historians laugh at the possibility of someone like Abe Lincoln being queer. There's this homophobic undercurrent of: How can this beloved, well-known person be queer? Why would you even imply something like that?

The same thing happens to queer characters on-screen. Queerness in television, specifically, has a history of being coded. Queer-coded characters are characters who are not explicitly queer — sometimes even are mentioned as straight —, but through their mannerisms and traits can be perceived as queer to the audience. Well known queer signals help aid in queer-coding. Harmful stereotypes also are utilizied to code a character. Therefore it is important to discern the intent and the use of these signals and/or stereotypes. 

(Please note: Queer-coding is different than Queer-baiting. To code a character as queer is inherently neutral, while to bait a character as queer is almost always negative.)

The ambiguity of coding allows for the show/studio to not have to present overt representation at the risk of alienating its audience. Hello, Hays Code.

Queer-coding is a reflection on society's stance on queer people at the time the character is written. In the 1980’s, when the AIDS Crisis was labeled a “Gay Cancer”, Disney films queer-coded their villains (notable ones include Ursula and Scar). In the 1990’s, Chandler Bing in Friends became a queer-coded character, but instead of villainizing him, it served to ridicule him. Even jumping forward to today, characters (such as Deborah in Hacks) still remain coded despite other characters within the same show being explicitly queer. 

And while the queer-coded characters of today are not targets of outright villainization, there lies an undercurrent rationalization to their subtextual queerness. For example, characters like Wednesday and Enid Sinclair from Wednesday are explained away as: “Well they’re just friends”. 

Characters like Ted in Ted Lasso can be explained away as: “Well he isn’t toxically masculine”.

Ted Lasso and His Subtextual Bisexuality

Ted? A queer-coded character? Afraid so, bucko. 

He isn’t the only one in the show, either. Keeley, Colin, and Trent are also queer-coded for their own reasons. Colin most notably for his Grindr comment; Keeley most notably for her various sapphic comments. Trent…we will get to later on. 

(It is worth noting that as of writing this, there are still no explicitly confirmed queer characters in the show. Although the case can be made that Keeley is confirmed bisexual already).

Focusing back on Ted, there is a good amount of evidence for bisexuality that can admittingly be explained away. People can point out that he’s secure in his heterosexuality, that he isn’t toxically masculine, that that is just how his character is. And yes, those viewpoints are all true and well and good, but I want to pose a question: 

Why are we so adamant that Ted Lasso isn’t queer?

Explaining away a queer-coded character’s subtextual queerness is perhaps the easiest route fans can take. Whether there is (implicit) homophobia attached or simply because of the fan’s strict adherence to what’s been canonically established so far, quite a few people’s knee-jerk reaction to reading a theory their beloved main character could be queer is: “Nope! No way, José!” 

Let’s challenge that reaction for a second. Let’s put down the explanations. Let’s take a look into what, exactly, I am talking about when I say that Ted can be read as a bisexual man.

“Rugby. What a game. It’s like if American football and sumo wrestling gave birth to a baby with huge muscular thighs all caked in mud.” — Season 3, Episode 1.

This is a peek into how Ted views the sport of Rugby, and it sure is telling to what he pays attention to. It’s also said in the context of asking if Sharon is seeing anyone. The phrase “huge muscular thighs all caked in mud” draws up quite the image, which when paired up with the direct conversation context, lends itself into an erotic visual. Rugby is known to be a homoerotic sport, too. 

(Please note: The “baby" in this sentence is Rugby personified to help segue the listener from imagining the sport as an abstract to imagining the sport as tangible. “It’s like if ___ and ___ gave birth to a baby” is a common figure of speech used to mean the combination of two things. The focus in this sentence is not the baby, but rather the muscular thighs.)

Ted could have said anything else about Rugby. But he didn’t. The first association he has with the sport is “muscular thighs caked in mud”. Why is that?

“Guys have underestimated me my entire life. And for years, I never understood why. It used to really bother me. But then one day, I was driving my little boy to school, and I saw this quote by Walt Whitman, and it was painted on the wall there. It said, ‘Be curious, not judgmental.’ I like that.” — Season 1, Episode 8

Walt Whitman was an openly gay poet in the 1800’s. His famous body of work Leaves of Grass has clear homoeroticism within it. The quote Ted references, though, isn’t a Whitman quote. But Ted believes it to be. “Be curious, not judgmental” is an aspired quote that reminds us to be more open-minded. 

Added layer: Not understanding why peers underestimate you or treat you different is a common experience in the queer community.

“That’s funny, when it comes to small talk I often ask myself what would Dolly Parton do? Start with the 9 to 5 and end with God Only Knows” — Official Twitter. Sept 28, 2021

“And next week is, if I remember correctly, Shania Twain.” — Season 2, Episode 1

Dolly Parton and Shania Twain are gay icons, especially to country folk.

“Shoot, I know I got goosebumps. I remember being a little kid, sitting in front of the television and watching Queen perform right over there during Live Aid.” — Season 2, Episode 8

Queen is not only an iconic band, but interwoven with queer culture. Freddie Mercury was bisexual.

“Last time I saw equipment this impressive, I was about 20 minutes into Boogie Nights.” — Official Twitter. Aug 30, 2022.

Boogie Nights is a 1997 film about a man becoming an adult-film sensation in the 1970’s. Twenty minutes in, there is a scene referencing the main character’s dick.

Boogie Nights also draws heavily from the disco genre for it’s soundtrack. Disco is a staple in queer culture as it allowed people freedom to express their identities in the nightlife scene. It didn’t matter who danced with who in the clubs.

“I feel like you two [Beard and Nate] are about to do some improv comedy or tell me that you’re dating each other. Either one’s cool with me. ‘Cause your suggestion is: ally.” — Season 1, Episode 9

Ted is supportive of queer relationships. An ally, as he says. But maybe he isn’t just an ally.

He repeatedly calls members of the Diamond Dogs pet names/terms of endearment. “Sweetie” “Baby” “Honey”, the list goes on. When this began in Season 1, Episode 6, Beard found it out of character for Ted to do so. (Nate asking him if Ted’s alright and Beard laughing, “No!”). What makes me pause on this is that the origin of Ted’s terms of endearment stem from Michelle leaving him. Ted’s looking for emotional comfort or familiarity in other men that he can no longer give to or receive from his ex-wife.

Other straight men in the show (like Roy) don’t engage in this behavior.

Ted also really enjoys musical theatre. He references musicals a lot. I mention this information now because it is important later.

There are more examples in the show, but I hope I’ve laid out enough to get you to at least see the repeated mentions of queer culture. They’re spinkled in, sure, but they are there. And they’re given in a way that gives an impression that maybe, maybe Ted isn’t as straight as we’re led to believe.

Keep in mind that sexuality is fluid, bisexuality exists, and characters evolve over the course of their stories. Is it really so out there to imagine Ted developing into his own?

Let’s move on to Trent.

Trent Crimm, Independent

We do not know much of Trent’s backstory. Yet. James Lance has said in interviews that Jason Sudeikis brought it up to him early on. Interesting, as Trent hadn’t yet become a series regular. Was there always a plan in store for his character?

Well what do we know of Trent? From other character’s reactions and comments about him, we know he is someone who writes scathing exposés as a journalist. We know he’s highly obervant, blunt, and at times aloof. He takes his job seriously and he loves the sport of football. A “tough cookie” as Ted put it. People listen to what he writes about, as Rebecca mentions in Season 1 Episode 3. He’s established in his profession.

We also come to discover that he’s grown dissatisfied with his career. He’s “looking for something deeper”. He goes from disliking Ted (“Is this a fucking joke?”) to burning his source out of personal respect for Ted (“My source was Nate”). This shift in character is pretty drastic, though believable if you pay attention to how he acts in the press room and the questions he asks throughout Seasons 1 & 2.

He has a je ne sais quoi about him that queer fans of Ted Lasso have picked up on. Perhaps it’s the way he dresses, his hair, or his overall vibe. Perhaps it’s the way he looks at Ted like he’s endlessly fascinated by him. Trent Crimm, Independent inexplicably reads as gay.

Tedependent Evidence and Speculation

Keeping everything we’ve established so far in mind, let’s go through some of their scenes together. Keyword: some. This meta is long enough as is.

Lasting First Impressions

In the Pilot episode, one of the first things Ted says to Trent is, “I like your glasses.”  To which Trent takes them off, looks at them, and replies, “Oh, thank you.” And then it becomes a recurring move he does nearly every time he talks to Ted.

In Season 1 Episode 3, Trent greets Ted, “Hello Coach Ted Lasso from America.” to which Ted replies, “Hello Trent Crimm from the Independent.” And then that becomes a recurring joke between them.

Speaking of Season 1 Episode 3, if you jump to 18:29, you’ll catch Trent giving Ted a full body check as Ted finishes getting ready. 

Bring It On!

“Make like Dunst and Union and Bring It On, baby!” Ted says to Trent in Season 2, Episode 3.

The 2000 film Bring It On! includes a storyline about a gay cheerleader who is comfortable in his sexuality. The movie addresses issues of racism, appropriation, and systemic inequality. It’s become a beloved cult classic.

It is also the first time Ted uses a term of endearment on Trent. He doesn’t do that to any of the other journalists, indicating that they’re on personal friendly terms. Most of their interactions seem to happen off-screen. Ted baked birthday biscuits (and decorated them) for Trent’s daughter. Trent and Ted may have swapped phone numbers somewhere along the way too, seeing as Trent’s able to text him about Nate later on in the season.

The Tie Between Oklahoma! and Casablanca

When Ted references Oklahoma! in Season 1, Episode 5, it’s to specify that the musical is ruined for him due to it becoming a safeword in his marriage with Michelle. The direct quote is:

“So if either of us says ‘Oklahoma,’ the other one has to tell the God’s honest truth… Did ruin the musical for me though. So now every time I hear, ‘Oh, What a Beautiful Mornin’,’ or, uh… what… ‘Surrey with the Fringe on Top,’…”

“Surrey with the Fringe on Top” makes an appearance in the 1989 rom-com film When Harry Met Sally. Harry and Sally sing it together impromptu on a karaoke machine in an electronics store. Sally’s profession in the film is in journalism.

What else is referenced in When Harry Met Sally…? So glad you asked. Casablanca is referenced in the film a couple times. In the beginning and in the middle. It serves the narrative purpose to indicate how Harry and Sally’s outlook on love has developed over the years.

Casablanca is a hallmark of the romance genre. And it’s also been referenced in Ted Lasso. In Season 2 Episode 7, when Trent leaves his date to go over to talk to Ted, he says, “Of all the pub joints!”

The Casablanca quote is: “Of all the gin joints in all the towns in all the world, she walks into mine.” It is said by Rick about meeting Ilsa again.

Season 3 Episode 8 is allegedly titled “We’ll Never Have Paris”, which is a subversion of the Casablanca quote “We’ll always have Paris”. 

Now for the absolutely insane bonkers speculation. That quote is said in the final scene of the film right after Ilsa asks Rick, “What about us?”. Rick isn’t getting on the plane with her, they’re separating, this is the end of their story. “We’ll always have Paris” is a reassurance that they’ll always be together in their memories. 

So if “We’ll always have Paris” is a signifier to the end of a romance, it is possible that “We’ll Never Have Paris” is a signifier to the start of a romance. And who else in Ted Lasso has referenced Casablanca? No one. The only reference in the entire show so far has been said by Trent to Ted.

Twelfth Night

Want to get even more insane in the membrane? Of course you do.

Before Trent walks over to where Ted sits at the bar, Mae makes a reference to the Shakespearan play Twelfth Night. Her direct quote is: “If music be the food of love, play on. Give me excess of it.” 

To which Ted replies: “If that's your fancy way of asking if I want another one, you guessed right.”

Sidebar here — because I love connecting the dots even if it turns out I haven’t connected jackshit — Ted’s reply could be a double entendre. He doesn’t say “if I want another drink”, he says “if I want another one”. Another one of what? It’s clear in the context of the bar it’s another one (beer), but it could also foreshadow to mean another one (love). The latter makes sense when combined with Mae’s reference.

Because Twelfth Night is a love story. It’s a romantic comedy. It’s a queer romantic comedy.

So Mae makes a cryptic reference — unprompted — to the opening of a queer love story, and then immediately afterwards we get Trent greeting Ted with a reference to another famous love story. 

Remember how Trent did a full body check on Ted in Season 1 Episode 3? Well now it’s Ted’s turn. He does a full body check on Trent around the 31:50 mark in this episode. And he seems genuinely happy to see Trent until Trent puts his journalist cap on. 

This happiness is also short-lived if we jump forward to Season 2 Episode 12. When Trent texts Ted initially, Ted smiles at his phone. The smile goes away as soon as Trent sends him the article he wrote.

Burning A Source

Trent burned his source for Ted. This serious, established journalist burned his source.

The Carpark

“Hey! There he is. I was worried about you. I thought you might’ve been in a bike accident or something.”

“Actually, I don’t know how to ride a bicycle.”

“Really? That surprises me.”

“Why? Cause of the hair and the whole vibe?”

“Yeah, I guess so.”

— Season 2, Episode 12

Let’s break this down. 

Remember how I said certain phrases are used as queer signaling? Bicycle is one of them. Bi-cycle used to be slang for bisexual (an example of this in pop culture is Queen’s song “Bicycle Race”). Trent saying he doesn’t know how to ride a bicycle could be a double entendre, with the hidden meaning that he isn’t bisexual. He then goes on to ask Ted about “the hair and the whole vibe”, which could be another double entendre. This time with the hidden meaning to ask if Ted’s got a gaydar. The pause at the end of his question and the way he asks it is equally important. He’s testing the waters with Ted. 

And Ted passes the test with, “Yeah, I guess so.”

They are also in a carpark, which is a callback and parallel to not just Ted and Michelle, but also to Roy and Keeley. 

This entire scene is coded and contains heavy foreshadowing. There’s a lot to unpack. From Trent’s choice of words to locking himself out of his car to Ted saying, “Do what The Man says and try to follow your bliss.”

Speaking of Ted, this is the last scene we see of him in Season 2.

Rom-com Tropes and Structure

So how does that evidence fit in with the story structure? We all know Ted Lasso is a rom-com. So let’s dissect the genre’s tropes and how its typically set-up.

Perhaps one of the most common rom-com tropes is the journalist falling in love (sometimes with who they’re writing about). Sleepless in Seattle, When Harry Met Sally, He’s Just Not That Into You, How to Lose a Guy in 10 Days, etc. This profession is popular.

There are also the friends of the romantic leads who help guide them. Diamond Dogs, anyone? 

The anatomy of a rom-com is typically done in three acts.

ACT ONE: Meet-Cute

Every rom-com has a meet-cute. It’s integral to the structure. And oftentimes — if the rom-com includes someone who is a journalist — that meet-cute happens in the workplace. During this act, the two characters get to know one another and start to fall in love.

ACT TWO: Lose

This stage typically happens two-thirds of the way through. There’s a dissolution of some sort. One character betrays another or they argue or something gets in between them. Either way, one of them leaves.

ACT THREE: Declaration

Whoever left realizes “Wait a minute…I’m in love.” and then the rest of the film leads up to an iconic declaration of love. The characters reconcile and it’s — generally speaking — a happy ending.

It would make sense for Ted Lasso — which references rom-coms and rom-communism out the wazoo — to incorporate this structure. And I think that it already has somewhat in regards to Ted and Trent’s storyline, if you view each act as a corresponding season.

Narratives and Storytelling

Before we saw Ted’s panic attacks and now chronic depression, we got inklings of it. The writers consistently sprinkle foreshadowing into every major plot point in Ted Lasso. The situations in the show feel plausible and real because they’re given the space and the time to breathe, grow, and develop. Pacing is integral to this.

For a show to be so progressive yet not have an explicitly queer character seems strange to me. It feels off. We are given hints, though, which lead me to believe that sexuality will be a major plot point in Season 3. For it being the last season, it’s not going to be enough to potentially only have Colin be the One Gay in the entire cast of characters. That would feel uncharacteristically dismissive from the writers on a show about inclusion and found family.

It would also completely throw out a chance to further enrich the story and deepen the characters. Think about the wasted comedic potential of Trent becoming an accidental gay mentor to Colin. Or the wasted dramatic potential of the Richmond team banding together against homophobia. Or, I don’t know, the wasted dramedy in Ted talking to the Diamond Dogs about how he’s realizing he’s got feelings for men, and there’s a moment where they’re like, “No shit.”

Beyond foreshadowing, another common style the Ted Lasso writers love to utilize is the red herring. A red herring is a misleading bit of information used to distract the audience from the relevant information. We saw it in Season 2 between Ted and Rebecca and Sam. Some people didn’t connect the dots between Sam’s Bantr storyline and Rebecca’s Bantr storyline because Ted — the red herring in this example — was shown also texting on his phone. Editing played a part in this too, as some shots cut to Ted directly after Rebecca had a Bantr Moment.

I honestly think we’re going to get a subversion of this in Season 3. Only this time Rebecca will be the red herring to distract from Ted and Trent. Here’s why:

There are multiple parallels between scenes where Ted interacts with Rebecca and with Trent. This gifset captures those parallels. He gets through both of their barriers (hopping over Rebecca’s “fence” and softening Trent’s “tough cookie” exterior). It’s the Lasso Effect, baby!

What’s more, a larger portion of the audience watching Ted Lasso are primed to expect Ted and Rebecca as endgame. It’s what happens in shows between two main characters of the opposite gender, right? They get together, live happily ever after. Especially if they’re good friends. 

Anyone expecting the Ted and Rebecca ending will probably disregard anything developing between Ted and Trent even if its right in front of them. Because historically two men don’t end up together on-screen. Especially not in a show as big as Ted Lasso.

But what if a queer endgame is what Jason Sudeikis means when he says in interviews that the ending is not what we’ll expect?

Unexpected Ending

Before we look at the ending, we must look at the beginning.

The first shot of the season is of Ted’s depressed face in an airport. Since Ted Lasso has so far began and ended each season with a juxtaposition shot, it would make sense for the last shot in Season 3 to be of Ted’s happy face. Whether or not that’s in an airport remains to be seen.

The teaser trailer for this season dropped on Valentine’s Day, which was our first look into Season 3. Season 3 ends on May 31, 2023, one day before June. Or, in other words, one day before Pride Month. The combination here of Valentine’s Day and Pride Month lends itself to an interesting choice.

The official Season 3 playlist dropped on Apple Music. So far all the song’s have been in order, and as there are 56 songs on the playlist, I’m inclined to believe that it’s the entire season. 

“Wigwam” by Bob Dylan is the first song of the season. It’s got a melancholic, drifting feel to it, with no real lyrics. If it still stands that the songs are in order, then the last song on the show is “I Am What I Am” by Donald Pippin & George Hearn from the 1983 Broadway musical La Cage aux Folles. It’s got a purposeful, proud feel to it, with meaningful lyrics.

Remember how I said that Ted is a huge musical theatre nerd? La Cage aux Folles is an insane pick — in the best way — to end the show. It’s cultural impact was huge when it came out, as it was the first hit Broadway show that centered on a gay couple, Albin and Georges. “I Am What I Am” quickly became a gay anthem. I can’t give notable lyrics because the entire song is a love letter to being out and proud of who you are. It’s also worth noting that Albin and Georges are fathers to a son.

But why would they pick this particular song from this particular musical? Why choose a gay anthem? 

I cannot say for certain that Ted and Trent will end up together by the end of Season 3. All I can say is that it would make sense if they do. From the set-up to the Rom-com tropes to the unexpected ending. And if it doesn’t, if all this ends up being wrong, that’s okay too. 

Still, though, I can’t help but root for them.

[dynared]

As Dreamworks's deal with Netflix for exclusive shows expires (they first signed a deal with Hulu for exclusives and now seem to be given shows to them and Peacock), shows have begun to leave the service en masse. However, due to the nature of staggered contracts, many of these shows will not be leaving Netflix for at least a year, while others may have several years left on the service. What's on Netflix did some calculations based on when the final seasons were added and came up with some removal dates for the shows -

Voltron: Legendary Defender (N Original)December 14, 2018 December 14, 2024

She-Ra and the Princesses of Power (N Original)May 15, 2020 April 10, 2026

3Below: Tales of Arcadia (N Original)July 12, 2019 August 7, 2026

Wizards: Tales of Arcadia (N Original)August 7, 2020 August 7, 2026

Trollhunters: Tales of Arcadia (N Original)May 25, 2018 August 7, 2026

There are plenty of other expiration dates on that list, but these are the big ones I noticed, mostly because they were attempts at franchise creation that fell completely flat. Voltron's big-budget Amazon movie is due for a 2025 release in a best-case scenario (worst-case scenario is more Robotech-style development hell) and with the rollout of a lot of classic Voltron merchandise including the oft-mentioned Voltron beer, the plan to erase VLD from everything come the film release is well underway. Dreamworks doesn't seem to mind, since they're still the video distributor for DOTU on behalf of World Events Productions, their name is on the Voltron beer.

She-Ra is a similar story. The franchise is also with Amazon via Dreamworks, for a live-action show directed by one of the directors of the Watchmen TV show. Hopefully, whoever plays Hordak can chew the scenery as hard as Jeremy Irons did. It probably will air sometime in 2025-2026 best case scenario as well, just in time to see SPOP eliminated from everything (something Mattel is only too happy to facilitate given their release of classic She-Ra figures for their Masterverse brand of toys).

Trollhunters was meant to be a franchise but despite a lot of big names attached to it, it went absolutely nowhere and everyone seems to have disavowed the whole thing after the ending. So it's just getting tossed to one side.

The internet means IP gets recycled and discarded faster and faster these days. And these are three examples of shows set to disappear from the face of the earth, to the glee of the license holders.

[granvarones]

Pride started with a protest. Pride Month is a declaration of the fight for freedom for all LGBTQ+ people. It is a way to honor our history, resilience, and collective resistance. For those of us who have the privilege, one act of resistance can be coming out publicly as a member of the LGBTQ+ community. And Amber Ruffin did just that during the last day of Pride Month.

On June 30, 2024, multi-talented comedian, writer, and television host Amber Ruffin posted a picture of herself rockin’ a purple shirt that read “QUEER.” The caption of the photo read:

“In what will come as a shock to exactly zero people, I’m using the last day of PRIDE to come out! Be proud of who you are, babies! I know I am! And I can’t wait to be discriminated against for a new reason!!”

Amber gained widespread recognition as a writer for “Late Night with Seth Meyers,” where she became the first Black woman to write for a late-night network talk show. Her segments, such as “Amber Says What?” and “Jokes Seth Can’t Tell,” showcased her sharp comedic skills and her ability to tackle serious issues with a light-hearted approach.

In 2020, Amber continued to break new ground when her critically acclaimed and Emmy-nominated “The Amber Ruffin Show” was launched on the streaming channel Peacock. The show combined sketch comedy, monologues, and musical numbers, often addressing racism, sexism, and homophobia.

Amber has also recently garnered success in the world of theater as co-writer for the “Some Like It Hot” revival, for which she was nominated for a Tony Award, and updating the book for the Deborah Broadway Cox-starring hit, “The Wiz.”

Amber, thank you for sharing your journey with us!

[fillingthescrapbook]

Let's Talk About: Fantasy High Junior Year and The Name

"There's no cock on this one!"

This episode is bananas. In a great way. Like, this is the kind of quality story-telling that we don't get from television anymore. Not because the writing sucks; studios just don't produce long-running shows anymore…outside of procedurals. And you can't get this kind of lived-in universe, complicated relationships and drama that comes with it, and seed-planting-and-reaping that Fantasy High has done if you don't have the episode numbers and the seasons to back it up.

Yes, I know that Fantasy High is only on its third season. But we've had off-shoots and one-offs that count as filler episodes. Episodes that may not have moved the story but have definitely grown the characters, colored the world.

Anyway--

This episode is bananas. This season is bananas. And it's all thanks to the episodes that came before. The bits that spun into something bigger. The throwaways that became whole entities. And, most especially, the foreshadowing that was allowed to wait and mature at the right time.

Ayda's love letter during the meteor shower? Epically romantic. But the words that composed it wouldn't have the same impact had we not waited the years between Junior Year and Sophomore Year.

The "Mmm Whatcha' Say" outside Ruben's House; Kristen's touching scene with Bucky, and Cassandra's message; Fabian feeding someone fried rice that's been out in the sun for days; Gorgug going full hacker; Kristen 2 being British AND straight? These are just some of the bits that gave the more plot-bound scenes more gravitas. More impact.

Fig's vision at the Temple of the Fallen Sun; Adaine failing at her Elven Oracle job yet stringing together the legend and history of Ankarna; Riz being so good at being a spy--

And then Brennan cues in the footage of himself from 2019/2020. Of Murph asking how Ragh was able to see Kalina. Bringing back the question of "what the fuck is Barbarian Healing?"

The curtain reveal of how Brennan sold Emily on playing the same character--and it's not the Gilear curse after all. Although it plays into the whole thing.

The Bad Kids have gone a long way. The Intrepid Heroes? Even longer. They've grown. We've grown. And I thank the universe that there are still creatives who are doing proper long-form storytelling.

Thank you, Dimension 20. Thank you, Dropout.

And now we're gonna have to wait one whole week for the next episode. We're finally going to find out what Ally does that breaks Brennan.

I can't wait to see how this all plays out.

[mydaddywiki]

Warren Berlinger

Physique: Chubby Build Height: 5′6″ (1.68 m)

Warren Berlinger (August 31, 1937 – December 2, 2020) was an American character actor, with Broadway runs, movie and television credits, and much work in commercials. He was known for Blue Denim, The Long Goodbye, The World According to Garp and That Thing You Do!. He also appeared in shows like Charlie’s Angels, Happy Days, Operation Petticoat, Murder, She Wrote and Grace and Frankie, his final TV work. Berlinger died from cancer on December 2, 2020, at the age of 83.

Berlinger went from playing juveniles on Broadway to naive, innocent teens in films and on TV, to somewhat rotund, average joes on the small screen, sustaining a career for more than 50 years. While channel surfing, I stumble upon an episode of Friends and thought I saw Charles Durning in it. Turns out, it was Berlinger. They had pretty much the same features, height and even sound alike with their NY accents. From then on Berlinger became my bootleg Durning.

He was married to Betty Lou Keim from 1960 until her death in January 2010, and they had four children. other online sources will tell you he was the nephew of Milton Berle, whose real last name was, yes, Berlinger. The truth, if you asked Warren, was that he was much more distantly related to Berle. He would sometimes however suggest jokingly that the legendary Berle phallus ran in the family.

RECOMMENDATIONS: Emergency! (TV Series 1973–1975) I Will… I Will… For Now (1976) Happy Days (TV Series 1975–1981) The Cannonball Run (1981) Murder, She Wrote (TV Series 1985–1989) Ten Little Indians (1989) Justice (1999)

[coimbrabertone]

Building a Schedule for Indycar: the Struggles of a Recovering Series.

So, in the past week, the shoe dropped - Indycar announced they were going to Fox for 2025. People immediately got fired up, worried that all the worst features of the Fox NASCAR booth were going to infect Indycar and kneecap a series that has such good racing and needs to grow.

Ultimately though, I don't think that's going to be all that much of a problem, actually.

IMS Productions will remain involved in the television product and Fox will put every race on network Fox. That I think is a good thing, and it should give Indycar an opportunity to grow.

What I'm more interested in, however, is the 2025 schedule dropped today as well, and that...disappointed me quite a bit.

The schedule is more or less the same as 2024, with two caveats: one is that Thermal Club is going to be a points race now, and Milwaukee will be a single race instead of a doubleheader like it's scheduled to be in 2024.

This...isn't particularly good.

The biggest reason has little to do with Indycar. That is that, like I've talked about before, NASCAR is flirting with going international as soon as 2025, and it's no secret that they've been flirting with Autodromo Hermanos Rodriguez in Mexico City, and the Circuit Gilles Villeneuve in Montreal. Both of which hosted Nationwide Series races as recently as the 2000s, but they would be firsts for the Cup series.

The only previous Cup races outside of the US were exhibition events. Calder Park, Australia in 1988, Suzuka, Japan in 1996 and 1997, and then Twin Ring Motegi, also in Japan, in 1998.

Indycar, meanwhile, has a long series of international races - see my Champ Car: the World Series that Actually Was blogpost for details there - but that has disappeared. In 2024 and 2025, Toronto will be the only Indycar race outside of the United States.

That is not good enough.

In terms of drivers, Indycar is as international as it has ever been, but the newest race on the calendar is the return to the Milwaukee Mile. I think that's neat, but, with all due respect, nobody in Milwaukee gives a crap about seeing Rinus VeeKay racing against Linus Lundqvist. Go to Europe, particularly to a track that has been ignored and mistreated by F1, and you might just have an audience that does want to see those guys race.

Even if Europe is too much, too soon, what about Pato's rabid popularity in Mexico? What about the long history of Indycar drivers from Brazil? What about the fact that between Scott McLaughlin, Scott Dixon, and Will Power, about half the guys that have won this season have been won by guys from New Zealand and Australia. Tap into that market.

If you don't, well...half the Supercars field is moonlighting in NASCAR these days and Kyle Busch is now being linked with a Bathurst 1000 ride.

If Indycar doesn't start planning something now, NASCAR is going to beat them to down under as well.

I feel passionately that Indycar needs to expand internationally again. I'm not saying that it needs to be all it once, but please, start doing something, because your rivals aren't standing still.

And now for the other problem.

Ovals are a hard sell nowadays. I understand that. They're far away from city centers, many have underwhelming amenities, and a lot of casuals see it and just think it's a bunch of left turns. I understand all of that, however...

The Indianapolis 500 is the only big oval left on the schedule. It is the only track 1.5 miles or larger on the schedule, and it will be next year as well.

That is a problem.

More than that, it is starting to show in the oval racing product. A stat came out after the Indianapolis 500 saying that Josef and Pato have finished 1-2 eight times in recent history. Looking into it more specifically, six of those are on ovals dating back to Gateway 2020. Since then, only two indycar oval races have featured a top two that did not include either Josef or Pato:

Texas 2021 race one, when Scott Dixon won over Scott McLaughlin. Indianapolis 2021, when Helio Castroneves won over Alex Palou. More broadly, going back to Texas 2020, the top two oval finishes include the following drivers: Scott Dixon, Simon Pagenaud, Josef Newgarden, Will Power, Takuma Sato, Patricio O'Ward, Scott McLaughlin, Helio Castroneves, Marcus Ericsson, and David Malukas.

That is ten drivers.

Simon Pagenaud, Takuma Sato, and Helio Castroneves have all more or less retired.

Down to seven.

Of the remaining seven, Pato O'Ward and David Malukas are the only ones that can really be described as young. Marcus Ericsson and Scott McLaughlin are older, but they came from F1 and Supercars, respectively, so I can count them in the new pile as well.

Other than those four, the ovals have been dominated by experienced guys who have been in Indycar for years.

There is a severe lack of top end oval talent from the young drivers in Indycar. One reason for that is that the Freedom 100 is gone, and IndyNXT drivers don't get much preparation for the big tracks.

The other is that Texas Motor Speedway is gone too, so those young drivers, whether they be from IndyNXT or the European ladder, aren't getting that experience in Indycar either.

At minimum, Indycar should put one of their smaller ovals ahead of the Indianapolis 500 to make sure drivers are prepared for the 500.

Beyond that, then I think Indycar should make it a priority to add one or two big ovals to the schedule. Return to TMS, revive an old race like Homestead, Kansas, or Michigan, go to one of the unused NASCAR tracks like Kentucky or Chicagoland, I'm not being picky. Just do something to make sure our drivers are getting experience on these types of tracks.

Otherwise, you're just going to keep seeing Josef Newgarden win on the ovals, occasionally challenged by Pato O'Ward, one of his Penske teammates in the form of McLaughlin or Power, or Scott Dixon pulling some bullshit fuel strategy out of his asshole.

I understand that purists are happy about Milwaukee coming back, I understand that there is a portion of the fanbase that desperately wants the Cleveland airport race to come back, but I ask the fans to think of this: what does Milwaukee do that Iowa doesn't? What does Cleveland do that Mid-Ohio or Toronto don't?

I'm not saying this to disparage Milwaukee or Cleveland either. I like that Milwaukee is back and I'd love to see a Cleveland revival as much as anyone else, but those won't really move the needle.

What I think might is an international expansion.

What I think might is more opportunities for Indycar to show off that brilliant racing from the Indianapolis 500 - all the reactions coming out of Indy were about how people can't wait to see that again. Well, they got to wait a year for it. Indy is all we got in terms of superspeedway racing.

Just after we got two back-to-back good races at Texas though, with a Penske duel in 2022, and Pato dominating 2023 before a caution gave Josef Newgarden the opportunity to snatch a win.

Indycar is a long way off the peaks of the CART era and everyone has different ideas on how to get the series back on the right track, but in my opinion, these are the two most important things schedule wise. Tap into the international market and get on the big ovals again. Both because the series needs to, and because that 200+ mile per hour racing product is something super special that only Indycar has.

On a more personal note...

I usually try to post these on Monday but I'm a bit behind on my AO3 writing right now so I wanted to get this out of the way now. I might have a small blogpost out next week coming out of the 24 Hours of Le Mans, but consider this the main blogpost for June 17th.

In the meantime, I have a chapter for my NASCAR story to finish, and then I need to have a chapter for my CART story done by the 23rd.

No rest for the wicked.

[capricorn-0mnikorn]

I learned a new word today.

The full transcript is up at the link; 5-minute listen. Some excerpts:

Look at the television shows. Look at the films. Everything about the future is dystopian." It was hard not to concede the point. The cultural preoccupation with zombies shambles on in The Last of Us and other movies and video games. The Hunger Games and The Handmaid's Tale remain influential in fiction and on screen. [Kathryn] Murdoch could not find a single YA show or book that portrayed a positive vision of the future, at least not a plausible one that didn't involve superheroes or dragons. "Really, the last time we dreamed about a better future was Star Trek," she said. "It was 1964."

[...]

[M]ovies such as The Day After Tomorrow and Don't Look Up only serve to scare us about failing to save the planet. "We've done a less good job of showing what the world would be like if we do act."

[...]

"If you look at history, everything that we now take for granted used to be impossible at some point," Slat observes. "If there's one bit of advice that you should really ignore, is people saying that something can't be done."

[misfitwashere]

Dr. Timothy Snyder - Thinking about...

Dear Friends, from time to time I will use this space to discuss a new book.  My essay today serves as a foreword to Julia Davis's new book on Russian television propagandists, In Their Own Words, which I heartily recommend to you.

            Russian propaganda is in the shadow of America.  Whereas the America only covers Russia when there is something to cover, and usually not even then, Russian propaganda television starts every night from the premise that whatever has happened that day is America's doing and America's fault.  This does not reflect reality -- or a typical American's experience of reality. 

            It does reflect the problem that Russian propaganda is meant to solve.  Since Vladimir Putin is the boss of bosses in an oligarchical regime where domestic policy is impossible, the propagandists must direct attention to the world beyond Russia in a way that makes Russia's leadership seem righteous.

            Russian propagandists do this in the confidence that no one beyond Russia is watching.  But Julia Davis has been, to the great benefit of us all.  Thanks to her new book, In Their Own Words, we can understand the propagandists' job description, but also the tensions they feel when the outside world causes them problems. 

            Their basic posture is that America is in a constant war with the Russian Federation.  Because Russia cannot fight and cannot win any actual war of that description, the propagandists are most comfortable when America is turned against itself.  They talk almost never about Russian domestic politics, but obsess over every piece of evidence of American domestic weakness.

            Donald Trump is their favorite weapon against America.  Trump is described as a friend and ally, "our Trumpushka" and "Donald Fredovych."  Out of office, he is described as Russia's great hope.  He is "sorely missed"; Russia is "ready to elect you again".  Russia propagandists had no trouble predicting that Trump would try a coup when he lost in 2020, because that is a familiar sort of behavior to them.  They rejoiced when he did , because they thought that this could lead to a civil war in the United States.  Their coverage of Trump's coup attempt was at first highly positive.  When it failed, a very awkward pivot was made to the position that it had all been some sort of provocation by the Democrats.

            One of the things that Russian propagandists expect not to be noticed, but which is brought home in the book, is that they believe that Trump is an idiot.  Of course, it's hard to see, from their perspective, how they can believe anything else (except, perhaps, that he is a traitor, as is also sometimes hinted).  In their public worldview, destroying the United States is the main aim, and here is an American who follows their talking points. 

            The same goes for Tucker Carlson.  He is celebrated on Russian television, of course, and his clips replayed.  But Russian propagandists naturally think anyone beyond Russia who is on their side must not be very bright, and they cannot quite stop themselves from saying so.  It is the one point on which they are completely sincere.

            It is important to note, and Julia Davis gives us all the details, the hypocrisy of the anti-American pose.  A leading Russian propagandist sent his girlfriend to America to give birth so that his child would have Russian citizenship.  Propagandists are clearly personally hurt by sanctions that separate them from their property in the European Union or make it harder for them to travel abroad.  They send their children to study and work in the West, They don't have any real animus towards the West.  This is, I think, one more reason why they can't resist thinking of Americans on their side as idiots.

            When Putin ordered a full-scale war on Ukraine, the propagandists suddenly had a problem.  Before the attack, as we are reminded in this book, there was great confidence among Russian propagandists that Ukraine would fall to Russia in "two days" or even "ten minutes."  But when Russia actually did undertake a full-scale invasion of Ukraine in February 2022, it set off a chain of events that the propagandists found hard to master.

            For one thing, they had been cut out of the loop.  The invasion was meant to be its own propaganda, a "special military operation" that overthrew the Ukrainian government in three days, followed by a victory parade and a warm welcome by the Ukrainian masses.  This did not happen, and was based upon a worldview (Putin's) that was both obviously wrong and impossible to criticize.  Russian propagandists switched immediately to the comfortable idea that the war was really against America, and that America had initiated. Rereading Julia Davis's essays, I was struck by how quickly this happened -- within a few days.

            The Ukrainians themselves had to be dehumanized.  This was a direct consequence of the senselessness of the war.  Russians had to be made to feel that they were somehow superior, and that war had some kind of logic.  Its premise, as Putin had made clear, was that there was not really a Ukrainian state or nation; this was all a conspiracy, and would collapse immediately.  If, as it emerged, more Ukrainians defended themselves than expected, that did not mean that Ukraine was real; it just meant that logic of the special military operation, killing the elites, had to be extended ever further downward into the population. 

            As Julia Davis shows, Russian propagandists use openly genocidal language over and over again, urging the extermination of vermin, worms, demons, zombies, etc.  Putin's grotesque "denazification" framing of the war is genocidal.  If all Ukrainians are defined as Nazis by nature, then it is right to kill them all.  The "Nazi" claim has never had anything to do with political reality (the actual fascists, the ones in Russia, are calling for genocide), and always had everything to do with justifying that murderous project.  After the Hamas attack on Israel, there was split in the Russian media elite between Russia's non-Nazi fascists and the Nazi ones.  This too is chronicled here.   

A house bombed in Chernihiv region, Ukraine (photo TS, September 2022)

            When reading Julia Davis's essays carefully, it becomes clear that America is not just needed as a propaganda target, but as a de facto ally, called in by the propagandists to correct the (unmentionable) mistakes made by their own (supposedly infallible) dictator.  Russia needs Trump because it cannot manage on its own.  Trump allows them to claim that everything is America's fault and that this is confirmed by America's own leadership.  And then everything can go on in Russia as before.

            Russia needs America to bail it out of its war with Ukraine.  When you read Julia Davis's summaries of Russian propaganda day after day, it is abundantly clear that the propagandists themselves (despite all of the bluster) are aware that the war did not go according to plan, and indeed is going very badly.  Again and again they are put in impossible positions: when Ukraine takes territory; when Russia fails to take territory; when more Russians have to be mobilized; when Yevgeny Prigozhin tries and coup.  They cannot criticize Putin, and they know that Putin cannot win unaided: and so they root for his allies abroad.

            This itself is worth emphasizing, at a time when many Europeans and Americans seem to be asking how Ukraine can win.  The answer is simple.  Ukraine can win if Europeans and Americans believe it can, and continue to help.  Ironically, that emerges quite clearly from these pages.  Russia's propagandists know this.  They are relying entirely on their own domain, that of discourse.  The war is not going well for Russia on the actual battlefield.  The Europeans and the Americans are bearing essentially no costs.  But if they can somehow decide that they are weary, Russia can win.

            Russia can't win its own war, is the propagandists' evident conclusion -- but America can win Russia's war for it.  America is of course not all-powerful, as the Russian propagandists claim to believe, but on this point they are right.  As we near the U.S. elections, their discussions of Ukraine, like their discussions of Russia and everything else, focus entirely on what is happening inside the United States.  The regime they serve, and the senseless and genocidal war it began, can be bought some time, if and only if the United States fails to support Ukraine.  And so the heroes of Russia's war, in Russia's own propaganda, become the Americans who support it.

TS 10 June 2024

[door]

my friend asked me for murder show recs and i put together a list of a bunch of them and thought i'd also share it here in case anyone else who was not raised by the glow of mystery! on pbs might want an intro. extremely subjective commentary, obvs. enjoy.

hello. welcome to the world of finding television shows about people getting killed comforting. it's fucked up, but who isn't. here's a list of the ones i like and why and where to watch them.

midsomer murders (1997-current): this is one of those sterotypical "it ran for 25 years and did nearly 18 episodes" british shows. it was adapted from a book series, which are the early eps. they're really fucked up and great imo. the later ones lose that sharpness, but until seasons 20+ i think it's a really solid show. the theme song is performed on a theremin. pluses: every great british actor shows up at least once, incredibly great deaths, lots of hyper niche hobby groups, tom barnaby is the best. minuses: showrunner brian true-may quoted as saying that his version of "english countryside" is entirely white. he was booted from the show at that point, however. i've watched the entire series 2-3 times, except for s5e3 "Ring Out Your Dead" because there's a death in it that i found particularly tragic the first time i watched it and have no desire to revisit it (but ymmv). robyn's fave ep is s3e3 "Judgement Day," because a brass band plays the show's theme song at a village fete and also Orlando Bloom is run through with a pitchfork. (ACORN)

Poirot (1989-2013): truly the goat. David Suchet bodies this role. i don't know how familiar you are with christie, but hercule poirot was her recurring detective character, a fastidious little belgian living in 1930s England. in this show, it's the late 1930s for 20 years, and the sets and costumes are so good. not a single streamline moderne property in england is overlooked. the early episodes are short--40ish minutes each--but they transition to 90 minutes at some point. they adapt all of the poirot books, with the big ones--murder on the orient express and death on the nile--done as higher budget tv movies. (BRITBOX)

marple (2004-2013): another christie adaptation, with 2 actresses playing miss marple in sequence. they also adapted a bunch of non-marple stories to have miss marple in them. set post-WWII, mainly countryside english mysteries. (BRITBOX)

miss fisher's murder mysteries (2012-2015, film in 2020): set in 1920s melbourne, mfmm follows independently wealthy private eye phryne fisher. it's an adaptation of modern novels, so it's less conservative than the christies. phryne's best friend is a suit-wearing lesbian doctor. it's a sharp, smart show, and phryne herself (as well as her relationship with buttoned-up detective jack robinson) is very sexy. it ran three seasons and was followed by a crowd-funded film in 2020, which isn't GOOD, but it is FUN. there's another a spin-off set in the 1960s called miss fisher's modern mysteries, which follows phryne's niece. again--not good, but fun. nothing beats the og series tho. (ACORN)

lewis (2006-2015): this is technically a spin-off of the inspector morse series, which started in the 80s, but i've never watched it so you should be fine. this follows very un-academic inspector lewis and his very academic assistant DS hathaway in EXTREMELY academic oxford england. i really dig the pacing of this, as well as how profoundly weird smart people can be. the big downside is the actor who played hathaway is laurence fox, who's a real stinker of a dude. right-wing, racist, etc. so. ymmv. (BRITBOX)

vera (2011-current): vera is a nearly retired, irascible, set in her ways detective in northumberland. she heads her own department, so part of the appeal is definitely trim youngsters dashing to do her bidding with a "yes mum." she drives a huge old land rover, wears a raincoat everywhere, has no patience for class barriers, and in short i love her. in the newer seasons there is also a detective in her squad called Jaq who is a very cute butch. (BRITBOX)

dalgliesh (2021-current): adaptation of pd james novels following detective-poet adam dalgliesh. set in the 1970s, which sets it apart and which i quite enjoy. his character is really sensitive and thoughtful is a way that's unusual for cop shows. (ACORN)

annika (2021-current): i'm gonna dive into some of the weirder ones now. annika is still pretty serious, but the title character has a habit of breaking the 4th wall to loop the audience in on the meta nature of her thoughts--usually relating to a book or story. it's set in glasgow and they investigate marine crime specifically. annika is played by nicola walker, who full disclosure i find VERY attractive. she's norwegian, she's odd, and she's trying her best. she has a teenage daughter who's gay. (PBS)

queens of mystery (2019-current): this one is VERY odd. think british murders meets pushing daisies. there's a narrator, and occasional technicolor flights of fancy. it follows a very serious detective who was raised by her three aunts after her mother was killed. she comes back to work in her home town and has to navigate both sides of her life, plus still wanting to know who killed her mother. production was interrupted by covid, so the main actress changed between seasons, but the new person is also very good. (ACORN)

brokenwood mysteries (2014-current): this one is sort of...sillier than the rest? it's a new zealand show set in a small town. it's fairly queer (although not nearly queer enough), and one of the things i love the most about it is it maintains a roster of recurring characters (which i think is only possible because of the small size of the NZ film industry). pretty good maori rep, especially jared, a local who seems to know or be related in some way to everyone in town. i adore him. he's off the show now, and i miss him. (ACORN)

mcdonald & dodds (2020-current): set in bath, this is an odd couple partnership of an ambitious young cop lately from london and a shy older cop who has lived in bath all his life and hasn't seen action in a decade. their interactions are funny and lovely, and it's refreshing to see a black woman character allowed to be ambitious. (BRITBOX)

[encrucijada]

PÍA RAMBLES #8

you might have seen this post or this wip intro. i'm here to talk about this book because i think it's really cool @teddywriting and i wrote almost 40k words by simply playing dolls with our ocs.

(yes i will be using screencaps of before sunrise, 1995 for any and all subsequent updates regarding this project thank you very much)

what's weird about this book in particular is that, despite maripaz and theo taking up way too much space in my brain, it's also incredibly hard to talk about them?? i know every single detail about them down to what they might order to eat at a mcdonald's, and yet i feel no one outside from teddy and i really knows these characters. their lore is weird and a bit convoluted and explaining it feels like i'm trying to explain the plot of a television show with like 18 seasons of character development you just had to be there to witness to understand even a fraction of it.

but first some basics about the actual book

title: babylon boy (book 1 of the home habitat duology)

genre: literary fiction

category: i say adult because there will be no censoring of topics but in this first installment our protagonists are around eighteen years old. you might consider that ya but i wouldn't

a small summary: having independently run away from home for their own reasons, theo and maripaz meet while homeless on the streets and form an alliance of convenience to survive. while theo vehemently denies the drug addiction he’s nursing, maripaz tries to deal with the way both want and revulsion seem to exist in her at the same time. falling in love is probably the easiest thing they do.

teddy and i are co-authoring, as in we both write the words. they will be primarily working on theo's chapters and i will be primarily working on maripaz's chapters but we'll both be involved in fully crafting this story.

talking about your book is hard when all that happens in it is character work so even whether someone gets sick at one point feels like a spoiler you want people to be surprised by.

we created mari and theo in 2020 on a whim. i can't even remember what prompted it exactly. we wanted a new pair of characters to play with and we decided to make two assholes to bicker and be mean to each other. this iteration saw three reincarnations before we put the characters on the shelf and almost resigned ourselves to them being a miss... if not for one important detail... i really, really believed they should have kissed. this first version of them would eventually be known as the homeless au.

looking back it's Wild thinking about how different mari and theo used to be. we moved onto new aus to play around with, landing on a superhero-type beat that became their new canon for a while. we had fantasy and sci-fi and musicians and hadestown and the raven cycle (that last one did so much for us it's insane). every new thing we tried shaped them more and more until they were unrecognisable from their original versions. one day i really want to go through their threads from start to finish and look at that change in real time.

there was a new thesis to their characters and it was no longer "what if two awful guys with issues were forced together and tried to bite each other's heads off". instead we were looking at two characters that through every new incarnation became more sincere and gentle. they had meta-narrative character development.

(every new au also gave us more characters to populate the world including but not limited to theo's twin sister, maripaz's seven siblings, alex, philip, a whole lot of parental figures, a quirky cast of friends... but i'll talk about them some other time)

then i did it again. in the 2.0 version of the homeless au there was one scene i loved beyond words where an argument between our two protagonists resulted in maripaz punching theo right on the mouth. when she tried to swing a second time he stopped her hand and warned her that if she wanted to hit him he would hit back. they fought and the scene ended. i said to teddy: they should have kissed. we laughed and imagined how homeless au would go now that their characters had changed so much. we started thinking about it more and more until we were moving the pieces of their cinematic universe around to fit this new idea... and suddenly we had plot for a book that would revamp that original homeless au... and a sequel too! (but more on that second one another time)

teddy started a rp thread of what came right after the opening scene of babylon boy, where theo and maripaz would shoplift and he would steal the angel necklace she wore (<- this is important)... and we just kept going... and going. we'd already had a few keys scenes to work towards, one those being that punching scene that started it all, as well as the ending. teddy added two new scenes we began calling the halo scene and the church scene, and we moved something we called the pool scene into this book from another au. we just had to fill in the blanks... fill in the blanks we did.

these right here are the names i gave each individual thread of the roleplay-ification of babylon boy. their purpose is not so much to be chapter titles but to make specific scenes easy to find for future reference. though obviously i had to be a bit artistic about it.

i don't know if babylon boy will have chapter titles, and if they will have some sort of theme going on (usually i like just putting two words together to create some imagery). "angel face" is probably what i would title chapter 1, but i also hesitate on that decision because i think i would like to save angel for later.

these threads are less of a draft and more the skeleton of a draft, that's why i called it a draft 0. its purpose is to give teddy and i direction and reading through them i already know how i want to shift the timeline and how i'd rewrite some of the scenes to make them a lot better, but it did give us a great cause and effect look of things. the way teddy and i approach our roleplay threads is more loose than what i do with @on-the-river-lethe (with whom i'm currently roleplaying draft 1 of our book lupine trail and also a giant hunger games au). fluffy and i write responses between 1k-4k words, they are basically chapters. teddy and i instead do a quick call and response, mostly focused on dialogue, we build on top of each other and neither of us really knows where a thread will go when we start.

there are no actual non-roleplay words written for babylon boy thus far. teddy is in charge of chapter 1 as we open with theo's pov but we are both busy or focused on other things. right now we're enjoying the playing around stage of the process (which i don't see going away even once we start seriously writing, i know for a fact we'll probably do various roleplay-type passes to babylon boy).

you've probably noticed the christian imagery is rampant here. it happened kind of by accident and the already mentioned halo scene is entirely to blame for it. like i said, teddy and i have this very "yes, and," approach to storytelling together where we kinda build on top of what the other puts down. teddy gave me the description of one (1) scene where theo sees a halo of light around maripaz's head and i decided "well, this is now i thing that is here to stay". church scene really brought it all together and there is a scene in book 2 adeptly nicknamed the angel scene that is kind of the culmination of this.

the imagery is almost exclusive to theo's pov as mari is more the subject of the imagery than the one pushing it forward. teddy and i will be doing our most to fill this book with visuals: characters lined with stained glass windows, lights shaped like hearts, signs and graffiti that say meaningful stuff.

babylon boy, as the title suggests, is more theo's book. both he and maripaz have meaningful arcs but theo's is really at the core of it, mari takes centre stage in book 2 (titled gossamer girl). i think i talked about this somewhere before but the titles just kind of... happened. gossamer was relevant for that superhero au and it's just a word i really adore so i wanted to use it on the title. you can't go wrong with alliteration so gossamer girl it is. and because i love when books in a series match i had to do something with boy. like gossamer i adore babylon for some reason, and so we got babylon boy. i wasn't sure about that one because while gossamer girl made sense with the theme, what did "babylon boy" even mean, exactly? teddy came in clutch and analysed the title for me. they connected it to theo's drug addiction and now i can't think of any two titles that are more perfect for this series.

like i said, there are no actual words written for this book so sadly i cannot share any excerpts. but i will share

Festival was very much the result of teddy and i having just watched before sunrise, 1995

we watched before sunrise, 1995 because the mannerisms of the two leads reek of maripaz and theo

"until a miracle happens" became a recurring thing said in the draft and it wrecked me

Our Fears is probably my favourite thread both thematically and visually. followed closely by Church Angels, though that one is mostly visually

The Pool is the longest thread with about 90 responses and all of it is beautiful. i would probably consider it the companion to Our Fears

"mutual pining they're both just idiots"

the closing image is probably my favourite one of the book

the core themes are very much trust, love, and communal help. we've got such an array of npcs who simply... help. i love the human race.

i'll probably do another update before we start properly writing talking about maripaz and theo as characters specifically. a bit of a crash course on who they are, really.

anyway. i'm giving you a golden star if you read all of that ⭐ do ask me or teddy about this story!! we'd be happy to talk about it. or even just about the characters.

cheers, pía

[mariacallous]

Lai Ching-te will be Taiwan’s next president after winning Saturday’s election, ensuring that the ruling Democratic Progressive Party (DPP) will remain in power and dealing a rebuke to Beijing’s wishes for a more China-friendly administration. In the days before the election, Taiwanese voters were flooded with information. Look up, and they saw posters on buses and buildings declaring the virtues of all three candidates and their running mates. Look down, and they got a stream of news, gossip, and opinions from their phones—not all of it true and much of it likely stirred up by internet trolls in China.

Taiwan is one of the world’s most digitally connected countries, and on social media, false posts and videos are reaching thousands of people before platforms can take them down. TikTok was flooded with disinformation accusing Lai of sex scandals, tax evasion, and conspiring to start a war with China. His vice presidential pick, Hsiao Bi-khim, has been accused of secretly holding U.S. citizenship. So has the running mate of Ko Wen-je, the third-party candidate livestreaming his spoiler campaign on YouTube and TikTok.

Researchers have attributed much of the false information to Chinese actors—and rather than blasting pro-China views to Taiwanese voters, they’ve focused on amplifying negative stories about Taiwan’s domestic politics and wedge issues, such as the role of the United States, with the intent of polarizing Taiwanese society.

“Beijing’s cognitive warfare is evolving,” said Tzu-wei Hung, a scholar at Taiwan’s Academia Sinica. “Negative narratives are effective not because they will change the election result but because they intensify social conflicts and create a vicious cycle of distrust and hate.”

Taiwan faced a similarly toxic disinformation environment before the 2020 presidential election, and at the time, it fought back—hard. Officials frequently accused China of being behind wide-ranging disinformation campaigns. Police summoned private citizens for posting false stories and levied fines in some instances for violating a law preventing public disorder. The National Communications Commission (NCC) issued a series of fines to the pro-China TV station Chung Tien Television (CTi) for broadcasting false information. Eventually, in December 2020, CTi was taken off the air after the NCC declined to renew its broadcast license.

The government learned quickly that none of it worked.

“If you want to curb disinformation by legal measures, it’s difficult and dangerous,” said Yachi Chiang, a professor at National Taiwan Ocean University specializing in intellectual property and tech law. It “opens a pathway for the government to control speech.”

Taiwan has always been a banner holder of free speech in Asia. In 2020, however, DPP legislators were panicked over the prospect of Chinese election-meddling. President Tsai Ing-wen was riding a wave of global popularity by supporting the Hong Kong pro-democracy protests, which had broken out months earlier, giving Beijing every reason to remove her from office or disrupt her legislative majority.

Tsai was reelected in a landslide—but not because her government cracked down on fake news. Many fines levied under the Social Order Maintenance Act, an existing law that was utilized against disinformation peddlers, have since been overturned by the courts.

The NCC’s crusade against CTi hasn’t gone much better. Opposition politicians used its removal from the airwaves to hammer DPP politicians as enemies of free speech. The NCC, at the time, argued that CTi had failed to adhere to basic fact-checking standards and could not ensure impartiality from outside influence—a clear reference to its owner, the domestically unloved Tsai Eng-meng, a snack food tycoon with extensive business interests in China and a track record of pro-unification statements.

In May 2023, a Taipei court ruled against the NCC’s decision to shut down CTi, saying it had failed to provide adequate reasoning for its decision. At present, CTi remains off the air—and its request to have its license renewed by the court was rejected—but the NCC has been ordered to review its own decision and provide stiffer reasoning. “You need something stronger to sustain your ruling,” Chiang said.

Taiwanese authorities have successfully prosecuted citizens who received funding from China to publish fake news. But in general, politicians began to realize that moving through the judicial system “would be slow,” Chiang said. “The decisions might be disappointing. The results might be less effective.”

Just after the 2020 election, however, Taiwan’s government found a better way to combat disinformation when the COVID-19 pandemic swept the globe. Taiwan was the first country to alert the World Health Organization of the presence of a coronavirus in Wuhan and then introduce travel restrictions and quarantine protocols.

Public officials also began releasing accurate, easily digestible information as quickly as possible, before disinformation could reach people’s phone screens. Chen Shih-chung, the health minister at the time, held press conferences each afternoon, earning him the nickname “Minister Clock.” His ministry, along with the social media accounts of Tsai and Premier Su Tseng-chang, posted colorful memes sharing data on the pandemic and extolling the virtues of masking and hand-washing.

It was a triumph of public transparency that paid off handsomely. Taiwan saw just 823 COVID-19 cases in all of 2020, despite its close proximity to the pandemic’s epicenter.

It also helped politicians realize that “you can’t count on laws to tackle disinformation,” Chiang said. “You need to create your own information.”

“Free speech is not the cost but the key to counteract disinformation,” said Hung, who noted that in 2022, Freedom House found that countries that protect free expression and have robust civic society groups do a better job at mitigating false information.

Taiwan has tried other forms of a more open approach. Although it banned the Chinese-owned video platform TikTok from government apps in 2022, Taiwan has not followed countries such as India in issuing a general proscription on the app despite concerns that Beijing can influence content. About one-quarter of Taiwan’s population uses the app, including a host of popular influencers and celebrities.

Taiwan also has a network of strong civic fact-checking organizations that work with social media companies to combat disinformation. One of them, MyGoPen, recently started collaborating directly with TikTok to correct false posts about the 2024 election.

No matter who is in power, politicians seem to acutely understand that the best way to combat false information about them is to push out their own narratives on social media. “If you are popular on the internet, that’s more important than [popularity on] traditional media channels,” Chiang said.

Lai’s win on Saturday is not an outright victory against disinformation itself—both Chinese and domestic actors will surely continue to create confusion and distrust whenever they can. It did, however, show that Taiwanese voters can’t easily be swayed, as long as public officials do their part to communicate rapidly, positively, and honestly.

[peaky-shelby]

Define Me | Neymar x OC [6]

Summary: Famous Singer and Actress, Gabriella Hamill, travels to Qatar after being invited on live television by her favorite player, Lionel Messi. Despite the invitation, Ella tries to avoid the cameras and hide in plain side, wanting to enjoy the games without the chaos that comes with being in Public places and it all seems to be going well until she meets Neymar Jr. in this bad boy meets good girl story, the definition of good and bad is lost between the lines and redefined by the past and future.

« Previous chapter

Chapter 6: regretful by definition

Chapter summary: I'll let this one be a surprise 👀

Writer's note: as always please reblog and most importantly comment so i know y'all are still reading and i can write most chapters. There are probably only four left in the series btw.

Taglist: @xngelsau @sirensanction @reneyahh @thegrinch101 @geekwritersworld @chaotic-taco-collector-blog @blondedjoys @maneaterss @inthemoonlightblue @iluvneyney @woozarts @missamericana69 @bjoriis @marialikescherries @measimp @morganadpl @neymarloverxxx

Ask anyone in the business and they’d tell you that Peter Evans and Gabriella Hamill were the IT Couple of Hollywood. Long time friends before they were actually a thing and when they became a thing the internet went wild. Both at their high of their careers, with Peter taking over Marvel Studios and Lily with her own TV show and a fresh Oscar win. America’s sweetheart was dating Captain America himself and they seemed more in love than anyone and It was true they were. Paradise lasted for a year before it turned to the typical one-sided relationship in which both partners go on and on about their wants and their needs but neither of them seems to listen meanwhile the pressure of the media was always there, pressuring them to get married, to start a family to become a Hollywood royalty. Peter wanted that, she didn’t.

“Peter, I’ve told you before- I can’t do this!” she yelled, while making her way to the kitchen, trying to avoid him but he followed behind her like an angry dog.

“There’s difference between can’t and wont Ella!”

She turned aggressively back at him, pointing with her finger “I was honest with you from the start! I told you I didn’t want kids, not for a long time-“

“That was two fucking years ago, relationships evolve!”

“There has not been a day in this fucking relationship that you haven’t pressured me about it!” she said louder. “All your fucking jokes on interviews, talking about how much you want to be a dad, throwing shots at me whenever- it is in fact exhausting-“

Their fights would usually end nowhere good but at least most of them were at home, where no one else could hear them or record, meanwhile they’d play the happy couple on the carpet. Until it exploded in their face.

January 7, 2020 – One Day Before A Concert, Greece

“I’m tired of you pretending that we are fine, we are not fine Peter!” she screamed in between her sobs.

“Maybe it’s because you were fucking your fucking guitarist a moment ago-“ he mumbled, standing in front of the wide window from were he could see Acropolis. The hotel room was small, so small that it could easily turn into a war zone in just a few seconds. Gabriella watched him with her eyes wide open.

“You think I’d do that to you?” she asked, her voice cracking. She wiped her tears with the back of her hand. “no” she shook her head “You’re just looking for a reason to blame this on me, so you won’t blame yourself- its what you’ve always done!”

He turned to face her, his expression blank, his t shirt wrinkled. “It’s not my fault you can’t have any kids, it’s yours, isn’t it?”

To that she didn’t respond but if there was a sound to describe her heart breaking it would be the cold sigh that escaped her lips. She had never felt this pain in her chest before, the man she loved most in the world stabbing her with words she had only ever trusted him with. A part of her wanted to find an excuse, to blame it on the drinks he had before he came to her hotel room but another was sick of the gas lighting and the manipulation and being distracted like that.

“How dare you?” she whispered. He avoided her eyes, looked anywhere but her. He rubbed his face while she got closer. She hit him on the chest, slapped him repeatedly until he grabbed both of her hands and dropped them. He walked away from her, grabbed his jacket from the bed and put it on. Gabriella watched him leave and when he opened the door, she grabbed the nearest glass she could find and threw it at him on the hall, yelling every curse word she could think of. Everything else from that night was a blur, she knew people had seen her in the hallway in the hotel. She locked herself in her room, drank every bottle of alcohol she could find and woke up in the shower, while Maggie was throwing water in her face. Broken glasses and broken bottles covered the floors, which she must have stepped on and fallen on repeatedly because she had was bleeding from multiple scars. Next time she opened her eyes, she was in a hospital room, everyone wondering what the hell had happened to America’s sweetheart.

It wasn’t long before she fell back in her old habits, painkillers and sometimes heavy drugs. That addiction had started when she was 20. Only Maggie and Chris knew why, only Maggie kept the secret because on November 1st, just a few days before the election the whole world found out about the “Abortion of the America’s sweetheart”. She never thought she could be used as a political weapon, until she watched republicans yelling on TV about how the “democratic” actress and rolemodel would ruin their daughter’s future. She didn’t think she could ever love anyone after that until now.

But he didn’t kiss him. Although his lips hovered over hers for what felt like hours, she didn’t kiss him. She walked out of the car and walked back home, keeping her head down as she thought about kissing him and what it would mean. Ask her why she didn’t and she wouldn’t give you a straight answer because the truth is she didn’t know. She didn’t even wait for him to come after her like they did in movies and grab her in the most romantic way before putting his lips on hers. She was a lonely, scared, defensive idiot that couldn’t allow herself to fall in love with anyone and she really thought she had succeeded for the last 2 years in doing that. She really hadn’t fallen in love with anyone, anyone she’d kiss would be a fling, burnt out by noon and yet Neymar was a fire, and she hadn’t even kissed him yet.

She laid on her bed, staring at the ceiling. At some point she fell asleep and her mind started wandering in her darkest memories, reminding her of all the reasons she didn’t kiss him, all the reasons of her disappearance. When she woke up in the morning she had her coffee alone on the balcony, she didn’t even open her phone to see how the game with France ended. Maggie didn’t even try to begin a conversation; she knew better than that. And the whole day seemed to be going as silent and as that until she heard the doorbell and it was weird because every inch of her body wanted to be Neymar. She opened the door hopeful and was met by the kind smile of Antonella. Holding a bowl of Ice Cream on her hands. “Mama said it can freeze away any worry.” Gabriella couldn’t help but smile and let her in, leading her outside on the balcony where they both sat, eating from the same bowl.

“Did you see the game?” asked Antonella, taking a full bite of ice cream.

“No, I was too busy regretting all my life choices” she said, swallowing the ice cream.

“It’s fine the English seemed to be doing the same thing-“

Gabriella left down her spoon, surprised “England lost?”

“Hmm” nodded Antonella “France is on the semi finals.”

“France against Portugal then?”

“Oh no!” Antonella said quickly raising her finger “Morocco”

Now she was in real shock, she laughed, covering her mouth “Are you kidding?”

“Nope.” She smiled “Hakimi showed Ronaldo how it’s done.”

Gabriella shook her hand and reached for the phone on her pocket, finally opening it. All the texts that had been sent overnight while she had it shut down, reached her, beep after beep and she ignored them all until he name popped on her screen. Her expression fell, her eyes closing.

“Estas Bien?” Asked Antonella. Gabriella left her phone on the table and leaned back on her chair, letting out a deep huff “No, no I am not.” She said quickly “Think I’ll spent today regretting all my life choices as well.”

“You could do that.” Antonella reached for bowl, digging in her spoon until she was satisfied “or you could make some new choices.” She added, eating from her spoon.

Gabriella glanced up, raising her eyebrows “What is that a Spanish saying or something?”

“I mean I could say it in Spanish if it makes you feel better.”

Gabriella sat better on her chair, looking at Antonella like a kid. She hesitated but then- “Can you please?” she asked. She wanted to hear the language, she wanted to pretend it was her mother across from her for a while. Gabriella smiled and pulled the chair closer to Gabriella, reaching for her cheek. “puedes pensar en las elecciones pasadas o puedes ir y hacer nuevas y buenas elecciones.” She leaned closer as she said it and perhaps it was an automatic response but Gabriella threw herself on her and hugged her as tight as she could, hiding her face in her hair. “está bien chiquitín! ¡no te preocupes” whispered Antonella, rubbing her back while she sobbed in her arms. “Hey- hey, ¡Oye! Mírame.” She asked, and Gabriella obeyed, looking up to her. Antonella wiped her tears away quickly “Fue él quien me dijo que viniera a verte. Estaba muy preocupado.” Gabriella knew she was referring to Neymar. He's the one that called her to come, something along those lines. Antonella was quick to translate it to English “He called me and told me he was worried because you weren’t answering” Gabriella felt immediately bad, she sniffed back her sobs. “Leo had an advice too.”

“Leo knows about this?” she asked, feeling embarrassed.

“Of course, he does. He wanted to come but he had training.”

“What’s his advice then?”

“cuando tienes el balón, marcas. Sólo pasan unos segundos antes de que llegue alguien, te lo robe y te placen mientras lo haces.”

Gabriella smiled. She got a few words, something about scoring when you have the ball otherwise you will get tackled and broken before you even know it. “It’s always about football with him, isn’t?” she laughed in between her sobs. Antonella nodded, smiling.

“You learn to get used to it.” She said and hugged her again, holding her close to her chest.

NEYMAR’S APARTMENT – NIGHT

Outside it was raining. Inside Kylian Mbappe was making most of the noise, yelling at the screen whenever he’d miss a chance while playing fifa. “Hey! Wake up!” he yelled looking at Neymar, who was barely playing. Kylian paused the game, throwing the control on the couch and then grabbing a pillow and throwing it on his friend’s face.

“HEY!” Neymar yelled back at him “what the fuck?” he asked, holding on the pillow.

“You wanna focus on the game?”

“What does it matter, it’s just a game isn’t it?” he mumbled, throwing his controller on the table.

“Is this about brazil loosing?”

“What else would it be about?”

“I don’t know mystery girl aka Gabriella Hamill possibly.”

“No.” Neymar answered quickly, leaning back at the couch. He could feel Kylian staring and it was in fact getting annoying “Maybe it’s both.”

“Maybe.” Kylian mocked, laughing. Neymar got up and headed straight for the table with the drinks.

“I think I’ll leave tomorrow. Head back to brazil-“he said while pouring a drink for himself. Kylian watched him from over the couch, shifting his body to look at him.

“You just rented this apartment.”

“They’ll get their money. It’s fine. I wanna go back home…”

“Or get away” mumbled Kylian under his breath, sifting his body to look back at the screen.

“What does that mean?”

“Come on Ney. You always run away when things are hard, it’s your thing, either that or you get it out on the referees.” He laughed, Neymar got an ice cube from the bowl and threw it at him.

“HEY!” He yelled rubbing his head and looking back at Neymar who sat back to where he was sitting before, taking a sip from his fresh drink. “Didn’t even make me one?”

“Shut up.” Mumbled Neymar as a thunder sounded from outside the house. Just a few seconds later, the door bell rang, startling both of them. If someone had recorded their reaction it would have gone viral, Neymar jumped so abruptly he spilled his drink on the floor and Kylian cuddled himself on the corner of the couch. Kylian kicked Neymar.

“Don’t open the goddamn door. I’ve seen horror movies starting like that-“

Neymar took a few breaths to relax and completely ignored his friend. He got up and walked to the door. Looking at the camera screen, first. He couldn’t believe his eyes. He opened the door quickly, her small figure standing in front of him. Covered just by her hoodie which was completely wet by now, he stared down at her, now knowing how to act or what to do.

“hey.” She whispered, coughing.

“Hi.” He responded. The tension between them raising until-

“Bonjour!” jumped in Kylian, getting Gabriella’s attention who let out a small laugh when she saw him. She covered her mouth quickly.

“Bonjour Kylian.” She said from behind her hand. Neymar smiled at the way she was blushing.

“Are you going to invite her in dude?” he asked, reminding Neymar his manners. Neymar motioned for Ella to get in and closed the door. “Ms. Hamill, enchante” he said sitting up on the couch.

“Comment ca va Kylian?” she asked, while Neymar unzipped and took of her wet hoodie leaving her with just her t-shirt.

“Tu parle francais?” he asked surpised and got up to walk closer to her.

“I’ll get you another one.” Said Neymar quickly, running to his bedroom to get another hoodie. Meanwhile Kylian seemed to be enjoying the awkwardness.

“En peu.” She answered his question, narrowing her eyes “felicitations pour la victoire!” she added, smiling up at him. Neymar sprinted back to her with one of his hoodies, helping her wear it. After that he just kept staring at her and she at him, while Kylian was staring at both of them.

“Kylian.” Neymar addressed him without even looking at him.

“Hm?”

“Get the fuck out.”

“it’s raining.” He smiled, looking at Gabriella now.

“thankfully you’re not made out of sugar.” He answered quickly.

“What if I get hit by a thunder.”

“Kylian.” Repeated Neymar, this time more as a warning.

“Yes of course.” He nodded and ran to get his shoes, putting them on quickly and returning to where his was before. He took hold of Gabriella’s hand and kissed it, smirking at her. “You be good kids.” He added before leaving them alone.

When he shut the door both of them seemed to relax.

“You want a drink?” asked Neymar, moving to the table with the drinks.

“Yes please.” She asnwered, following behind him, slowly. All while he was pouring the drinks, she was staring at his hands, tracing the tattoos on his skin, the ones she could see, with her eyes. She was still staring when he turned back to her to hand her drink and she made sure to touch skin as he took the glass in her own hands. Her gaze slowly lifted to land on him. There was something about her eyes, he hadn’t noticed before, lust. The way she looked at him like she was promising a future, like she was begging for one. She got closer and Neymar actually felt his heard beating faster, he was anxious. He was never anxious. She let her glass down on the table, there was so much silence he heard the glass settling on the silver, like a warning. He took another sip while he watched her and he would have taken another one if she hadn’t reached for his glass, taking it away from him, leaving it next to hers while her eyes remained on his. Then she held on his shit, pulling him down to her.

“I stopped you last night.” She said in a whisper. He was stepped closer, his confidence returning, he gently rubbed his nose against hers. “Would you accept my apology?” she asked, their lips inches apart. He smirked.

“Depends. What do I get in return?”

She looked back and forth between his eyes and his lips, her face serious, sexy, her expression hypnotizing. “Me.”

He crashed his lips on hers without sparing even a second. Taking in her taste, her smell, everything she could give him in that moment and if you asked her, she’d tell you that she would give him anything, anything he wanted as long as he asked her for it. He lifted her up in his arms, almost like he wanted to make sure she was real and not just a fantasy. His kisses trailed down to her chin and then her neck as she leaned her head back, she he’d have better access, a soft moan escaping along with her breath. That was enough to give him all the confidence he needed for the whole night. “me” she said to him and he would take all of her as if her life depended on it. He carried her to his room, laid her on his bed as he took of his shirt, showing her every single tattoo all over his body. He hovered above her, balancing his arms on the bed. He started from her neck, leaving a mark on her skin as a reminder in the morning and then her ear, biting it slightly.

She grabbed his face in her hands, pulling him down to kiss her lips instead because that’s what she wanted most, to taste him, to keep kissing him until her lips were dry and she had no air left in her lungs. He pulled of his hoodie from her and just a second later, he took off her t-shirt, kissed her breast while she let fingers get lost in his curls. She reached under his chin, to make him look up at her. He smirked again, leaning his head down to her ear.

“Apology accepted.” He whispered and made sure that night he’d take exactly what she promised him… her.

dw the steamy part is not over, just wanted to let you look forward for the next chapter. As always please please comment, it's very important to keep my going. I love you all xx comment what you like so far. How do you think this will end? Will they just be happy for the next 4 chapters? Or is there another storm coming 👀👀