#and at that point it just reads as hating women

[clemworld]

self described tme person makes a list of "shit transmisogynists do"

includes shit that has nothing to do with transmisogyny in it and just shows youre kinda an ass

going to start using this for every dipshit post i see on here

[siriuslylantsov]

be my valentine

pairing: spencer reid x reader

description: in which, spencer asks you out after a hearty but incomplete info dump on the history of valentines day.

tags: fluff! idiots inlove, gn!reader, reader is briefly described as shorter than spencer, teasing!spencer, grumpy!reader, penelope is an angel and i love her so much, reader shitting on valentines day and raising some very valid points.

a/n: based on this request, second fic for the event!! i know its still four days till valentines day but! if i didnt get this done now it would've been late. i rewrote this THREE times... but i rlly like how this version came out! happy reading :)

wc: 2.1k

it's your lunch break and you’re glaring at yet another sappy couple that walks by you. grumbling, you take another bite of your blueberry muffin. spencer laughs from his seat in front of you, amused by how your lip curls into an irritated pout. the two of you had walked to a cafe, a brief reprieve away from the frenzied police department you were stationed at for this week's case. 

“motherfuckers,” you seethe, still chewing your food. “i hate valentine's day.”

he laughs again, his tone sarcastic, “really, i never would’ve guessed.”

your glare shifts to him as you cross your arms. his grin is still there, annoyingly persistent, you hate that it doesn't affect him as much as it should. if you told him this, he would’ve told you that it didn't pack much of a punch. 

you roll your eyes and continue with a heavy scoff, “it's just another fake holiday, you know. like mother's day. created by greeting card companies trying to commercialise a day that shouldn't even exist honestly. every day should be dedicated to showing your loved ones how much you care, not just 24 hours in the middle of february.”

he accepts your cynicism with a smirk, completely accustomed to it. he knows you don’t mean it, not entirely, you just like to rant. “you know valentines day actually goes back about 2000 years. i’m sure greeting card companies weren't around back then,” he corrects, biting his lip in suppression.

your eyes narrow into slits, feeling the faint shift in the air of an incoming info dump. you ignore the way you want to hear what he has to say and take a sip of your coffee instead. you stall to torture him a bit, it's funny how he squirms.

“really,” you drag out, stroking your chin in exaggerated contemplation. you stare at him knowingly, he wants to continue but he's waiting for you to give him the green light. you laugh quietly, mood already improved, “go on.”

spencer visibly brightens, sitting up straighter and hands springing into action. “well, valentine's day has a really fascinating and somewhat convoluted history,” he starts, almost giddily. “the earliest accepted theory can be traced back to the roman festival of lupercalia, which was celebrated from february 13th to 15th. it was a fertility festival dedicated to faunus, the roman god of agriculture, and it included a ritual where men would sacrifice a goat and a dog, then use strips of the goat’s hide to whip women-”

“wait, they used goat skin to whip women?” you interject, eyes widening incredulously.

“yes! they willingly lined up for it too, believing it would make them more fertile,” he explains, far too animated considering the context, but it's okay. you like his enthusiasm. 

you grimace, “weird.”

“right. however, the day of love that we now recognise was brought by st. valentine, though which valentine is unclear—there were at least three martyred saints by that name. the most famous story involves a priest in third-century rome who defied emperor claudius ii's orders by secretly performing marriages for young soldiers,” he pauses to take a breath. you use it to bring your coffee back up to your lips, hiding your smile.

“claudius believed single men made better warriors, so he banned them from marrying,” he clarifies to which you nod. “when valentine was caught, he was executed on february 14th, which is why he’s the namesake of the holiday. some versions of the story even say that he sent a letter to his jailer's daughter signed ‘from your valentine’ which could be the origin of the modern tradition.”

“huh,” you pick your lip in thought, spencer hides the way his eyes dart down to them as you do it. “but that’s still an execution, how did it-”

the shrill tone of your ringtone interrupts you. “mhm, okay,” you respond when you pick up the phone. “we’ll be right there.” 

spencer stares at you expectantly, reaching over to grab your bag. he secures it over his shoulder and stands up. 

“it was jj,” you explain, stuffing the last bits of muffin into your mouth. “wi’ness ‘howed up.”

the food-muffled words make him chuckle and hold out a hand for you to get up. you let him pull you up with a dramatic huff, still holding his hand as you dust crumbs from your lap. you realise it a little too late and let go with a start, frown returning when you realise he isn’t going to let you carry your bag.

the walk back only took about five minutes before but this time's slower pace makes it a longer ordeal. comfortable silence brackets the two of you until it doesn’t when spencer speaks up.

“so, there's actually a lot more to the history of valentine's day. for instance, how the day became one of romance instead of, as you said, one that marked a martyrdom. we could, i don't know, discuss this properly over dinner. or drinks? or ice cream, i know that you like ice cream-”

filler words... he’s nervous. amid his rambling, he doesn't realise that you’ve stopped in your tracks. 

“-we can do whatever you want, i don't mind.” when he looks beside him and doesn't find you, he turns around. he can scarcely read the expression on your face, he usually can. this causes a little bout of concern to bubble up, “what is it?”

“are you asking me out?” your question is immediate, blunt, as a confused crease forms between your eyebrows.

well shit, he was. his lips part as he processes what he just said, he looks a little like a deer in headlights the way he stares back at you. was that too much? are you mad? did you want him to ask you out? what if you say no? he should say something. what if he messes everything up? he can’t-

“spencer,” his name rings out softly, pulling him from his spiral. 

his eyes snap to yours, searching, desperate to read between the lines, to piece together what you’re thinking like he always does—except this time, he can’t. he squeezes his eyes shut before opening them again, “yes.”

he swallows hard and adds, “on a date.”

“i got that,” you murmur, stepping closer to him, and closing the distance that he unintentionally left.

his head dips, voice small. “i didn't mean to make you uncomfortable.”

your head tilts slightly, studying him. “you didn’t.”

the reassurance eases him a little but not enough as the anxiety claws at him while he waits for your answer. your phone sounds again from your pocket, this time a text from morgan. you quickly type out a response–got lost, be there in 2. it's a pathetic excuse, if you focused, the station was in your direct eye line. but you needed to say something. 

“okay.”

he can't help the sign of relief that slips out of him, you giggle at the sound. when he looks at you again, he's unmeasurably happy to see your poorly concealed smile, breaking out in his own matching one. 

“yeah?” he asks sheepishly.

you nod, chewing your bottom lip, “yeah.”

your eyes squint at the corners, a side effect of the same grin that those sappy couples had been sporting, the same one that you’d been complaining about a little while ago. it makes you want to kick yourself, so you do the next best thing. you take hold of spencer's hand and drag yourself back to the pd. spencer shuffles somewhat behind you, trying to keep up with your stride. it doesn't take him long with those long legs of his.

his thumb strokes your knuckles gently–deliberately, you feel–but he pretends it's an unconscious action with the way his eyes are trained ahead. it makes you roll your eyes. when you near, you reluctantly let go of each other, the moment being the last time the two of you are alone for the rest of the day.

-

the team ends up solving the case a few hours later, taking the jet home where a valentines day baking spread is set up in the briefing room. all set up by the resident tech savvy. penelope tells you later that it took a whole week of convincing on her part, insisting that it would be quick and she’d clean up, and that everyone would get home to their own valentine's day plans in no time. 

there are a few heart-shaped helium balloons floating in the corners, and pink streamers in easy to reach places. the room is drastically more inviting, maybe the tones of fuschia and bubblegum have something to do with that. a cake and a bowl of suspiciously dyed punch reside on the table, along with pink plates and cups.

“penelope,” you gasp when you see them.

perfectly curated baskets of chocolate and cookies and associated items for everyone. you pick up the one with your name on it and inside you find: a candle, your favourite candy tied together with a little bow and a letter signed ‘happy valentines day, sweetheart. love, penny xx’. 

oh my god, you could kiss her. 

“it's like christmas,” emily muses from the other end of the table. you hear jj mutter something in agreement. you peek over at spencer, it's probably the hundredth time that you've snuck a glance his way. his eyes were already on you every other time, only now they were accompanied by a pair of red heart-shaped glasses, the clear plastic lenses offering a perfect view of his hazel orbs. the picture makes you laugh to yourself, you can barely hear it echoing from his end. 

-

about 30 minutes later, only the stragglers are left. in better words, the single people. the individuals with partners having rushed off to their own respective plans. you're making small talk with another girl who worked around the office when you feel a light hand on your shoulder, spencer nodding his head toward the elevator to signal your leave. you politely wish her goodbye and walk out with him. 

“cute glasses,” you tease, bumping his shoulder with yours, though the height difference makes it so you're nudging his upper arm. 

“yeah? i might get the lenses medicated, switch them out for my regular ones,” he jokes, his elbow nudging yours gently as he pushes the bridge of the glasses up the slope of his nose instinctively. 

“good idea,” you nod.

“you think?”

“mhm.” 

once again, he beats you to your bag, swiping it from your chair and carrying it along with his own. you meekly toy with the hem of your shirt as the two of you walk to the elevator. 

“so, bummer that neither of us have plans today. it’s so early,” you say, being blatantly obvious with what you're suggesting.

spencer only offers you an indifferent “yeah, bummer” in response, walking in when the doors slide open. when you look at him though, he's anything but indifferent, the corner of his lip pulling up in a crooked smile, irritatingly smug. you don't know where he gets off on being so at ease but the expression on his face makes you scowl as you follow him in. 

he is silent the whole ride down. you become increasingly annoyed, only faltering slightly when his hand reaches down to hold yours. his fingers thread between yours and you not-so subtly curl yours over his, ignoring the way he looks down at you. 

you try not to smile at the domestic picture of the two of you walking out hand in hand. thankfully the basement is empty. he pauses between your cars and mutters a quick “see you monday” before loosening his fingers and turning to walk away.

“spencer,” you groan, almost a whine as you squeeze his hand before he can let go.

he responds immediately, without missing a beat, “yes, angel.”

fuck.

you want to melt but you don’t want to give him the satisfaction. “would you like to do something tonight?” you grit out begrudgingly.

“i would love to,” he agrees, pulling you closer with your hand. your gaze darts to the two bag straps on his shoulder and you realise he had no intention of letting you go just like that. so you shove him, a little hard that he stumbles a bit. he huffs a laugh and you shake your head dismissively. 

he slowly, tentatively, dips down to press a soft kiss to your cheek. your eyes flutter shut at the contact. 

“how does thai food sound?” he asks, that same bashfulness creeping into his voice that you love so dearly. 

“sounds perfect.”

you share another sweet smile that would probably make you gag from an outside perspective but now it just makes you feel dizzy. he leads you back to his car, muttering something about how he’ll pick yours up tomorrow morning. you want to argue with him but that same dizzy feeling stops you.

you can't help the dreamy sigh that slips out when he connects your hands again over the centre console. thank god for st. valentine, you think.

reblogs and replies are appreciated :) | m.list

divider from @saradika-graphics

[catkillingcuriosity]

Various Heaven Official's Blessing thoughts I've had while reading, currently on book 4 (official publication version, book 3 for web publication) these are mostly going to be loose trains of thought.

- I am sad that Hua Cheng doesn't have a minion/friend that will just dunk on that man for his embarrassing crush on Xie Lian. It would be so funny just "so how was the kiss? What do you mean he had a panic attack? Are you that bad at kissing?????" It'd be very good trust.

- I'm convinced fengqing is in a situationship of some kind i am not convinced they know or figure out out before hualian get together. I do think that Xie Lian assumed that they had gotten together at some point while he was gone, he is shocked they aren't.

- I do like this story but I would also like more beautiful women to show up

- I want to be upfront that I like Qi Rong I think he's funny but I do hate him in the first flash back MXTX did an excellent job making him the most annoying little cousin and also a POS

I've finished the black water arc

- I was quite hyped about beefleaf before this arc and now I'm mildly conflicted because of the brother murder (the rest of it is just delicious toxicity), a good fic will probably resolve this conflict

- Xie Lian you have put your tongue down Hua Cheng's throat too many times to be telling puqi village that he's your blood brother

- Me pointing to Lang Ying in the scene where Xie Lian is in the bath: I know what you are (Hua Cheng badly in disguise)

Okay I'm done for now I'll be back when I have thoughts on book 5 let me know it I missed any tags

[thewadapan]

School Days review

Yeah, School Days is actually pretty good after all.

When you google "School Days", on the first page of results there's a reddit thread asking "hey, why do people hate this show?" OP gives a succinct summary of the show's themes and praises it for its tight focus and psychological depth.

The comments in that thread are fucking crazy. The top-voted comment includes this absolute gem: "Sekai is an emotionally manipulative bitch". Some users gesture towards a faint understanding that School Days is a deconstruction of harem anime, but almost to a one they claim the character writing is unrealistic. Nobody seems able to look past the show's metatextual meaning to just look at it on a straightup subtextual level—that is to say, it's not just being different to other anime for the sake of contrarianism, it's making a serious point about misogyny and toxic masculinity. Describing Makoto as a "character" at all is almost missing the point; he's practically a force of nature, and the vast majority of the show is concerned with the psychological manoeuvring of the girls in his class trying to manage and shape his behaviour.

I only know about School Days because @weaselandfriends is constantly banging a drum about it being a secret masterpiece. Gee, I wonder who the OP of that thread was! Cannot imagine being on a "School Days slaps" grindset for eight fucking years now.

(CW: discussion of underage sex, full spoilers follow)

I'm going to take a cowardly centrist route and say that School Days does in fact slap on a conceptual level, but that the execution in many places leaves a bit to be desired. It often feels repetitive. I watched the thing on 1.5x speed because, as someone who reads fast, watching subbed anime is like watching paint dry. The dialogue often feels awkward (unintentionally so, as in), which I'm willing to partially chalk up to the translation; maybe some of the clunkier lines feel more natural in the original Japanese. The imagery is often kind of laughably blunt: in some cases it works, like Kotonoha's red yarn like she's pulling her own fucking arteries out of her body, and in other cases it feels derivative and hackneyed, like the whistling kettle in the final episode. Maybe that was more original in 2007, I don't know—I would've seen the same thing in Harry Potter and the Goblet of Fire two years prior.

School Days does set out to pull the wool over the eyes of its presumably-mostly-young-men audience, by putting them in Makoto's POV. The show is adapted from an eroge, where the player literally would have inhabited Makoto and made his choices for him, and the "objective" of the game would have been to unlock sex scenes with all the schoolgirls. The trick with the anime is that it removes the possibility of choice, creating an impactful dissonance as Makoto's actions become increasingly alien and harmful. Inversely, as Makoto's sexual exploits escalate, we see less and less of them; by the end, the whole thing is routine, not eroticised in the slightest, we see people putting clothes on afterwards, sneaking around darkened rooms.

At the start, though, it's all panty shots and boobs. And like, how do you depict the objectification of women, from an internal perspective, without just... objectifying women? This has basically always been the classic problem with satire. If there is a way of doing it, School Days hasn't figured it out, so it just rolls up its sleeves and gets on with it. Where School Days stumbles, in my opinion, is that the fanservice shots leak out of Makoto's POV and into the scenes where it's just the girls on their own. Nevertheless, I think that even pretty early on School Days is unmistakably saying, "this is a bad thing". There's a discordant note to everything, a threat of another shoe waiting to drop. At the start, it takes the form of these innocuous remarks as the characters try to interact in good faith: Sekai is constantly like, "There's nothing wrong with feeling attracted to a girl! But maybe she doesn't feel comfortable with it! Have you thought about how she might feel?"

That's the great tension of Sekai, and indeed of much of the show's conflict: there is a world where Makoto and Sekai are just friends, and where Makoto is faithful to Kotonoha, and everyone lives happily ever after. Maybe Sekai really is earnestly trying to cross this gulf between genders, and wants to just make Makoto understand, so everyone can be happy. But from the start, there's a question of Sekai's motives; embodied by Sekai's friend Setsuna, who trails after her constantly asking, "But do you like him really?"

Setsuna is an interesting character with her own motives. There's a reading where she has a crush on Sekai, but can't pursue it because of her family's impending emigration; she ends up hanging around Makoto and desperately attempting to protect him from the consequences of his actions to preserve his relationship with Sekai, expressly stating that she wants Makoto to be a proxy for her after she's gone (though leaving any romantic feelings unspoken, that's just my interpretation). This escalates to the point of her having sex with Makoto on the condition that he breaks off another engagement with Otome, which is such a self-defeatingly doomed gambit that it becomes tragically clear Setsuna has lost all control over the situation. I got the impression that Setsuna somewhat envied the other girls' entanglements with Makoto: the bit where she kisses him while he's asleep, in an attempt to create a personal memory before she leaves forever, is haunting. Like Sekai, Setsuna ends up manufacturing a romance between herself and Makoto as a way to be with him "by proxy", without earnestly confronting her own feelings.

Anyway, my point is that early on, everyone is treating Makoto like a person, which is sort of their mistake. They're like, oh, a boy with a crush, how cute! What's the worst that could come of this? He's a bit clumsy, but I'm sure he means well! And progressively, mercilessly, the show is like: no, he does not mean well. This dude has absolutely nothing in his life except sex. Girls only exist to him as people to have sex with. Guys practically don't exist, as he can't have sex with them. And for these teenagers who are discovering their sexuality, the very fact that Makoto soon starts having these rumours circulating around him is what gives him some allure: he's a sexual entity, he can be thought of in that way, there must be some reason all these girls are acting so crazy over him. Even a character like Hikari, who early on was crushing heavily on the anime's one (1) other male character, Taisuke, ends up taking her turn with Makoto; whatever feelings she had for Taisuke are forgotten, the anime doesn't even bother establishing how that romance works, because it doesn't need to, we've already seen Makoto use his exact same wiles on like three girls already.

School Days has aged well not just because the years since have yielded a better cultural understanding of its subject matter, but for its "production design": what would have been a timely present-day setting at the point of its release ends up turning the whole thing into an early-2000s period-piece. The fashion and environments are distinctly noughties. Perhaps the most consistent bit of visual symbolism in the whole thing is the flip-phone: whenever a character is holding their phone, you can think of them holding their heart in their hands. They're like the fucking soul gems from Madoka Magica. Sometimes, people leave their hearts in the other room, or block each others' hearts, or search their hearts for good memories. The "cell phone charm" from the first episode is brought up towards the very end, seeming bitterly quaint in retrospect. Right before she kills him, Sekai sends Makoto a text which just reads "sorry" copied and pasted hundreds of times. And of course, the ED shows a propped-open cellphone with a slideshow of photos of the girls.

I think in terms of its place in history, School Days speaks to this information age where young girls are being bombarded with cultural messaging that the best way to get ahead is to sexualise oneself while simultaneously slamming everyone else for their sexuality. Girls aren't just competing with one another for the attention of boys; now, they're competing with online pornography. Sekai works as a waitress at a maid cafe (?), and sometimes wears the outfit for Makoto when they have sex. During the School Festival, the girls theme their class as a maid cafe (drawing on Sekai's experience, I think?), and are shown using "absolute territory" as a last-ditch resort to steal people from the other classes. As part of the festival, they have a secluded area curtained off with a bed, encouraging couples to go there for sex acts—but later, it turns out some of the girls have set up a camcorder, and they use the footage to reveal how everyone is cheating on everyone else. While the exact events are obviously taken to an extreme, subtextually everything in School Days tracks 100% with my own experience growing up in a Bri'ish high school, and it feels like things have only gotten worse since social media really tightened its grip on our society.

The most common talking point I see regarding this show is that the characters are "stupid". And it's like, no, they're not stupid, what planet are you on, they're fucking children! (They're children, fucking!) Most of them have probably never been in a relationship before! Everyone in the show is pursuing their own interests; it's just that often, they're in denial about the reality of the situation, because to acknowledge the reality would run against those interests. It's funny, Makoto hardly changes his behaviour throughout the whole show—it just becomes more extreme—but the only thing that affects whether or not his behaviour with Sekai is good or not is whether or not Kotonoha is his girlfriend. The use of "girlfriend" as a role is weaponised by both Kotonoha and Sekai against the other constantly; like declaring "you're It!" At once point while cooking for the school festival, Makoto starts groping Sekai's ass, and she goes, "Geez, stop it! Stop it I said! What'll you do if someone sees us?", only for Makoto to reply, "Then it's okay if no-one sees us?"; this motif of a private sin recurs with Setsuna's character, particularly in the masked play that crops up a couple of times. In what context is an act of desire okay, or not okay?

Halfway through the show, I remembered Emily is Away, a short Western indie visual novel. Released in 2015, Emily is Away is very consciously an early-2000s period piece, wearing the whole time period as an affectation. The whole game is a series of text conversations on an IM client with a girl; after key choices, you are told "emily will remember that".

I fucking hated Emily is Away when I played it. It made me so, so cross. Because after I finished my first playthrough, and got a miserable, unsatisfying end, I naturally started the whole thing over and tried again. I picked different favourite bands. I acted completely differently. And yet, no matter what I picked, during the timeskips between sections, my viewpoint character would do the exact same shit and the relationship fell apart in exactly the same way. The second playthrough was a complete waste of time. It seemed like I, the player, was being railroaded, that the writer simply hadn't the imagination to conceive of a truly interactive narrative with a wildly diverging chain of events.

But of course, that's the whole point, obviously. Emily is Away plays a mean trick on the player, where it outright lies that "you" are making meaningful choices, when in fact "you" are merely spectating the actions of the viewpoint character, a specific guy who is, by nature, a certain way. It posits that all this shit on the computer just doesn't fucking matter, it has nothing to do with how we feel about each other, that it's only our actions in the real world that matter. The thesis of Emily is Away is that sometimes, for some immutable reason, shit just doesn't work out between two people, and there's nothing you could have done differently that would have changed that.

In the timeline where you go the party, you regret going to the party. In the timeline where you don't go, you regret not going. So, the game says, what's the point in regretting at all?

I totally understood this, after finishing the game. But, fuck, I was still pissed about it. The game lied to my face. It put me in the position of being a shitty person, and I didn't like that. It left a bad taste in my mouth. I'm still not sure if Emily is Away is actually any good; I think I like it conceptually, but maybe the writing sucks, I played it eight years ago. My point is that I think School Days is trying to pull the same trick as this one game, but in a much more mean-spirited way, to much more devastating effect, and I suppose I can't be too surprised that it pissed off a lot of people. If I hadn't known upfront what to expect- well, I wouldn't be watching ecchi anime in the first place, but you get the point, maybe I would've been pissed too.

If you break out of the "anime" mindset for even a second, and allow yourself to think that what you're watching is a frank portrayal of events, rather than some hyperreal cartoon, then Makoto is obviously just a little sexual predator. He's constantly pushing the girls past their limits, groping tits, going in for kisses, often against their express wishes. He initiates all the sex we see, and while in a certain sense it's all consensual, everyone involved is under the age of consent, and the show is making a very strong case for why underaged sex is a problem. When Sekai gets pregnant, Makoto wants nothing to do with her—"It's not my fault!"—but it's made clear he wasn't using any contraception, so, c'mon.

School Days is very deliberate in omitting adult characters entirely. Teachers mostly exist in the form of textbooks being read offscreen. I think we get a line of dialogue from Sekai's mom, if I remember right? It presents this world where Makoto basically has free reign to do whatever he wants to the girls, and everybody knows about it, but nobody is doing anything about it. When Sekai murders Makoto, there isn't a scene where anyone notices his absence, finds out. Kotonoha carries his severed head across town without anyone noticing, kills Sekai, and makes it onto the boat without getting caught. The show ends on a montage of idyllic school scenes, as if to say, "nobody noticed, everything just carried on". And again, to a certain kind of guy, I think this would stretch plausibility to the point of causing offence. For me, I think it's speaking to something very real.

Makoto's bedroom is barren except for his computer and magazines: porn, and porn. In the back half of the show, the void left by the absence of adults is filled by Makoto, Sekai, and Kotonoha, who are thrust into this horrible domestic drama, as everyone else in their class blocks Makoto. Makoto relays Kotonoha's recommendation for an abortion clinic to Sekai. He and Sekai sit diagonally across a table in a living room, and suddenly Makoto's school uniform looks like a salaryman's suit, a size too big for him, like he's walking around in his dad's clothes. Sekai tries to prepare a big meal for him, in a fucked-up parody of domesticity, but ends up destroying the whole thing after Makoto spits in her face yet again; later, she sees the remnants in the trash, an uneaten chicken leg poking out, and sees a little of herself in there, and that's basically when she decides to take the knife and kill Makoto. She stabs him in the belly, which is what Kotonoha will later do to her; both are imitating the original sin of the pregnancy.

Kotonoha explicitly chooses to kill Sekai this way because she believes Sekai is lying about the pregnancy—which we can pretty safely say isn't true, based on the scenes where Sekai is on her own. There's this horrible, horrible shot where the camera is looking out at Kotonoha from inside the gut wound, and she observes, "Just as I thought. There's no-one in there." And it's like, is she talking about this baby, still so early in the gestation that it's scarcely even an idea? Is she talking about Sekai, or Makoto, these two people who turned out not to care about her at all? Or is she peering straight through the screen at the viewer, complicit in this atrocity? The shot mirrors the bag containing Makoto's head earlier in the same scene; when Sekai unzips it, the inside is just a black void, and we aren't shown the contents. It's honestly more unsettling to infer it—that bag's not big enough for all of Makoto—and have it "made real" by that final shot of Kotonoha pressing the severed head into her chest on the boat. The memes were more right than they knew: "Nice boat."

Overall, I think School Days extends a lot of empathy towards its female characters. Or, if nothing else, it takes care to give them complex and distinctive internality, which is more than I can say for a lot of anime. Kotonoha initially represses her feelings for Makoto, and then when she feels pressured into reciprocating his intimacy, she soon gets turned into a social pariah for it. Early on, there's this eye-roll-inducing scene where Kotonoha is like "the other girls used to make fun of me because of my huge boobs", and from Makoto's perspective it's like "great, you've got huge boobs!", but then from Kotonoha's perspective, she spends the whole show getting slut-shamed, doesn't she? As a coping mechanism, she builds up elaborate delusions around Makoto—Makoto wouldn't let this happen to her, would he!?—which make it impossible for her to see how he's harming Sekai at the same time, culminating in the "I think you've made up your pregnancy for attention" beat. Their own internalised misogyny prevents the girls from identifying their common enemy.

If I'm being totally blunt, I feel like I can pretty safely put most of the comments regarding School Days I've seen online into a big bucket labelled "HAS NEVER HAD MORE THAN ONE GIRL INTERESTED IN HIM AT ONCE". Like, "I can't believe this Makoto guy! Why doesn't he just dump Kotonoha and date Sekai, who he's obviously more compatible with?" Bucket. "Makoto is so spineless and needs to stop letting these girls manipulate him!" Bucket. "There's no way the teachers would let him get away with this!" Bucket. "What do these girls see in Makoto anyway?" Bucket. "Sekai is such a bitch!" A new, bigger bucket labelled "NO BITCHES".

What I'm interested in is takes from School Days haters who aren't brainpoisoned anime fans, who might even nod along to all my analysis of the show's themes here, but who nevertheless think it's a bad show that deserves to be reviled. What part didn't you like? Is it the part in the OP where you see every female character naked one after the other? Yeah that part's pretty bad. Is it that windowpane-shattering digital transition that gets used once or twice? Is it the utter self-seriousness with which it tackles its ludicrous melodrama? I can see how, if you don't let yourself start to think "oh, those poor girls!", if you don't have that emotional buy-in, the whole thing might just feel comically edgy, sophomoric. I don't think there's any level on which School Days is fun to watch, and I'm not saying it's a secret masterpiece either, but I guess it more-or-less landed for me.

[can-i-make-image-descriptions]

[Image IDs: Text reading: I have known Elon Musk at a deep level for 14 years, well before he was a household name. We used to text frequently. He would come to by birthday party and invite me to his parties. He would tell me everything about his women problems. As sons of highly accomplished men who married venuses, were violent and lost their fortunes, and who were bullied in high school, we had a number of things in common most people cannot relate to. We would hang out together late in Los Angeles. He would visit my San Diego lab. He invested in my company.

Elon is not a Nazi, per se.

He is something much better, or much worse, depending on how you look at it.

Nazis believed that an entire race was above everyone else.

Elon believes he is above everyone else. He used to think he worked on the most important problems. When I met him, he did not presume to be a technical person—he would be the first to say that he lacked the expertise to understand certain data. That happened later. Now, he acts as if he has all the solutions.

All his talk about getting to Mars to "maintain the light of consciousness" or about "free speech absolution" is actually BS Elon knowingly feeds people to manipulate them. Everything Elon does is about acquiring and consolidating power. That is why he likes far right parties, because they are easier to control. That is also why he gave himself $56 Billion which could have gone to the people actually doing the work and innovations he is taking credit for at Tesla (the reason he does not do patents is because he would not be listed as an inventor as putting a fake inventor on a patent would kill it and moreover it would reveal the superstars behind the work). His lust for power is also why he did xAI and Neuralink, to attempt to compete with OpenAI and NeuroVigil, respectively, despite being affiliated with them. Unlike Tesla and Twitter, he was unable to conquer those companies and tried to create rivals. I fired him with cause in December 2021 when he tried to undermine NV.

Elon did two Nazi salutes.

He did them for five main reasons:

He was concerned that the "Nazi wing" of the MAGA movement, under the influence of Steve Bannon, would drive him away from Trump, somewhere in the Eisenhower Executive Office Building, rather than in the West Wing which is where he wants to be. He was already feeling raw over the fact that Trump did not follow his recommendation for Treasury Secretary and that the Senate also did not pick his first choice.

He was upset that he had had to go to Israel and Auschwitz to make up for agreeing with a Nazi sympathizer online and wanted to reclaim his "power" just like when he told advertisers to "go fuck yourself". This has nothing to do with Asperger's;

There are some Jews he actually hates: Sam Altman is among them;

He enjoys a good thrill and knew exactly what he was doing;

His narcissistic self was hoping the audience would reflect the abject gesture back to him, thereby showing complete control and dominion over it, and increasing his leverage over Trump. That did not happen

Bottom line: Elon is not a Nazi but he did give two Nazi Salutes, which is completely unacceptable.

N.B. For the few whining about my post "sans connaissance the cause" and either trembling about my having shattered their illusions about their cult leader or thinking I am defending Elon:

I. My point is that he is transactional rather than ideological;

II. That being said, I am not defending him or his actions, just explaining them and confirming that he did, in fact, do two Nazi Salutes if anyone had doubts or believed the doctored footage of Taylor Swift doing the same thing to normalize what Elon did;

III. At some point, it matters to a few people if one is a Nazi or if one acts like one. My father was a Holocaust Survivor. 32 out of 35 of his family members were murdered by the Nazis. My mother's grandparents were murdered in Auschwitz;

IV. After Elon tried to manipulate NV's stock in 2021, I fired him with cause, and he was unable to exercise his stock options. In the aftermath of the Nazi Salutes, I told both him and his wealth manager to fuck off. Any remaining friendship between us ended with the Nazi Salutes. He is blocked on my end and I am pretty sure I am blocked on his;

V. I did not share what he told me in confidence. I just happened to know him extremely well, the person, the aspirations and the Musk Mask;

VI. I know who I am, have no desire to be famous and give exceedingly few media interviews. I prefer to work in obscurity and let the work speak for itself. I am certainly not envious and would definitely not want Elon's life, including living in a bubble and having to make one outlandish claim after another and manipulate the public, elections and governments to shore up my stock and prevent the bubble from bursting. Unlike Elon, I am an actual scientist and inventor and I am not pretending to be someone I am not like a fellow who got his BA in Econ at 26 all of a sudden pretending to be an expert in mechanical engineering, chemistry, rocket science, neuroscience and AI and keeping the people actually doing the work hidden and paying people to play online games in his name to appear smart and feed his so-called "Supergenius" Personality Cult—the "Imperator" has no clothes, and he knows it. I am just very disappointed in what happened to someone I had a lot of deep admiration for and the first person to found out about my concerns about his behavior was always him;

VII. He is the one who betrayed a number of his friends, including Sergey, and, given his actions, many other people who believed him and believed in him. I have no sympathy for this behavior, and at some point, after having repeatedly confronted it in private, I believe the ethical thing to do is to speak out, forcefully and unapologetically, whatever the risks may be, so as to not be part of the timid flock remaining silent while evil is being done, including propping up far right governments around the world in part to deregulate his companies and become the first trillionaire and otherwise to "rule the planet"—he knows Mars won't be terraformed in his lifetime and he really wants his planet. No joke... Ethics matter. People matter. The truth matters.

I took down Descartes (through the Cambridge Declaration on Consciousness) and I am definitely not afraid of a so-called inventor whose greatest invention in his image.

I will not be silent. You should not be either. I am a sovereign individual, and so are you. I stoop up to bullies, and am stepping out of the dark to do it again.

Stop working for him and being exploited by him. Sell your Tesla and dump your Tesla stock. Nikola Tesla was a great, creative and courageous man who led with ethics and by example and he would not have wanted for his good name to have been used by him and would agree with my principled stance. Sign off of "X" which is boosting far right propaganda, and of your Starlink as well. He is a complete cunt who doesn't give a shit about you—only about power. Just ask Reid Hoffman. He only wants to control, dominate and use you—don't let him and cut him and his business out of your and your loved ones' lives entirely. Remember he is a total miserable self-loathing poser, and unless you are too, he will be much more afraid of you than you should ever be of him.

He will probably come after me, and I am completely fine with that. I am a self-made multibillionaire with an armada of lawyers—literally—and most importantly, I know who I am and who I stand for, the people and their freedoms, whatever happens. He can send his dumb Proud Boys and Oath Keepers after me and they will be butchered on sight. Either way, I would rather die with honor than live as a coward.

"Silence encourages the tormentor, never the tormented."—Elie Wiesel, Holocaust Survivor and Nobel Peace Prize laureate /End IDs]

[doubledeadstudio]

Hey! Hope you’re having a great day

My question is that for any/ all of your games, do you have any cut content? As in like, events, concepts, characters, backgrounds, dialogue, etc etc that were originally meant to be in the game but for one reason or another was cut out from the final product? If so, why were they cut?

This question is deeply exciting to me, and the answer is: Tons and tons. (I won't mention the ones that could be spoilery about future plot developments.)

Reanimated Heart

Cut content:

I think the most memorable one is Black's HATE tattoo around his collarbones. As I developed the game, I started disliking the design, so I switched to seraph wings. A lot of people wanted it back, so I moved it to his abs.

Got a lot of complaints about the usage of "guy/dude" in a gender neutral way from women, lol. I just scrubbed most of those instances from the script now.

Florentin was supposed to be the 4th LI in Reanimated Heart. He was supposed to be the doctor that had the potion to reanimate Black. I still wanted to do something with him, so you got Pygmalion's Folly. (This was so early on that there isn't even concept art.)

Another early concept thing... You were supposed to be able to choose from three different backgrounds for the MC, like you were a former criminal, etc. I thought it was restrictive, so I cut it early.

Crux had a rotating last name for a while, hence why he didn't have a last name on the Itch page, lol. He's the kid of two OCs, but I didn't like the last name Knight for him? I didn't think it was fitting. I like the current one.

Vin's second romance scene was already pre-written. MC was supposed to have nightmares about him. I thought it was pretty unexciting, so I re-did it to the current one, which I'm extremely proud of.

Crux's third romance scene was supposed to be the "date", and he takes MC to an abandoned theme park. I then realized I didn't want to draw an abandoned theme park for one romance scene.

Crux's "date" scene was supposed to be him taking MC at a cafe and interrogating them and remembering all their answers in a really dynamic sort of way? I didn't think it was worth it to code, so I scrapped it.

I was going to do a point and click feature where random scenes would have something "hidden" in the background, and they'd be part of an easter egg hunt that your chosen LI will give you. That was too weird to code, so I scrapped it.

I got suggested an animal sidekick that gives you hints and stuff... I played with the idea for a bit, but decided it didn't fit the tone.

Content I might cut in the future:

Redoing the prologue. "Might" is an understatement. I'll be redoing it in a more simplified manner, which is easier to read.

I'm really thinking of cutting the MC character creator. Most of the complaints I get are from people demanding different, really specific skin tones. One of them even hatebombed my other games. Not great.

It's hard to get in contact with my programmer, so I'm thinking of lessening the item shop's presence in the future or redoing it entirely. It's sad to lose the beautiful current iteration, but I just don't know how to code it myself.

Might change the Chapter 1 title and art...

Another Rose in His Garden

Cut Content:

There was going to be a "Cheating" route with Abel and Calvin where you end up with Calvin, and he traps Abel in his office and start removing his body parts and replacing them with mechanical parts. That was a wild one, lmao.

Pygmalion's Folly

Cut Content:

Originally, I was going to have Emily specifically be a third ghoul... but I couldn't really justify that, honestly.

There was supposed to be a part where MC could call his police station by stealing his/Flor's phone, but I thought it was a boring ending.

There was supposed to be a vivisection sex scene but I couldn't justify it with the short time frame. Maybe the DLC?

[prettyboysdontlookatexplosions]

medialog january 2k25

books

ling ma, severance - first book of the year an unfortunate dud! the most notable thing about this book is that it’s a pandemic story published in 2018, but this is also true of carmen maria machado’s “inventory” which is a much better story at like 15% of the length. by chance literally the day after i started reading this brandon taylor sent out a newsletter talking about first person narration devoid of interiority, which allowed me to be like, yes, that! that’s what’s so fucking annoying about this! a first person narrative that feels like a list of stuff that happened, instead of a glimpse into someone else’s consciousness. and i knooooow people would say that’s the poiiiint because the book is reeeeally about late capitalist anomie or whatever, which would also be used to explain the fact that the narrator has no personality or emotional life, like she’s just so disaffected and detached and blah blah blah, but the theoretical justification for this mode doesn’t have any bearing on the visceral fact that i just at no point cared about anyone in this story, because it’s impossible to care about a narrator who doesn’t care about anything or act like a human being (a species that famously cares about things lol). might also be impossible to care about a narrator with a trust fund… open to having my mind changed on this one though. other complaints: prose clunky, nobody else in this book has a personality either, palpably convinced of its own interest and importance in a way that feels very Litfic Does Genre Trope Without Wondering If Any Genre Writers Have Thought About This At All Ever (zombies as capitalist metaphor is like... even i know that and i hate zombie shit!) the pandemic stuff closest to being interesting but the page count is unforgivably focused on 1 million backstory flashback chapters totally divorced from the present day because god forbid someone who wants to tell an immigrant narrative figure out a way to somehow integrate this into the actual plot of their book or otherwise develop a character through scene and action… truly this reads like someone was trying to write an autobiographical novel and realized they couldn’t make it interesting/saleable so they chucked a pandemic narrative at it to capitalize on the twenty-first century genre turn. i don’t know if that’s what happened… but that is how poorly the disparate threads are woven together.

miranda popkey, topics of conversation - really liked this! like it more the more i sit with it. i had it already and it happens to get mentioned in that taylor newsletter i mentioned as being a different kind of first-person narrator, so i read it figuring at least it wouldn’t annoy me in the same way as severance. i was a little skeptical at first for two reasons: (1) the book is told through a series of conversations across a long span of years, which i was worried was a cheat to avoid having a plot; (2) early on lots of women and sex and power stuff, which is dangerous territory re: potential to irritate me. but it won me over on the second point quickly by undercutting what it had seemed to be doing in a refreshing way near the end of the first chapter, and by the end i was ready to concede point (1) because it had done a very good job of telling a story beneath the story it was telling; more than once i was kind of rolling my eyes like, okay, but, really?, only to find a little while later the book addressing precisely what had been my concern, which made me feel like i had been pleasantly tricked. the prose is unshowy but very self-assured with a good ear, and a few lines/passages burrowed under my skin. the narrator is self-critical without being self-indulgent… idk, it threaded a number of needles very well. impressed and pleased.

myriam gurba, mean - another one i started out wobbly on and wound up liking a lot. in this case, the cover/what i’d heard led me to expect a different, darker, tone than i found, and i wasn’t sure i was on board; funnily enough, at one point i thought, disparagingly, “eh, kinda zine-y,” and then something clicked and i remembered wait, i like zine-y, and that let me recalibrate and get sucked in. mean is a memoir, more or less, opening with a description of a rape-murder in gurba’s hometown and then switching gears to become a coming-of-age story in vignettes, with the reason for the opening scene eventually coming clear in a way that made me really admire what the book was doing formally as a way to talk about sexual assault; i was also reminded of the absolutely true diary of a part-time indian, a book i loved, both for its form and for, to some extent, its tone, or its willingness to combine a light touch and a sense of humor with some dark-ass material (although mean is not YA and goes much darker in both content and expression) & often incisive racial commentary. gurba is a really playful, funny, curious writer, and while i think she could have killed a few darlings, by the end her voice had really won me over. she is not opposed to pushing hard on the bounds of good taste, and i would say that most of the time i was with her because she was either honestly capturing the sociopathic awfulness of teenagers, including her own teenage self (people who self-righteously respond “well i actually never laughed at XYZ in high school…” this book is not for you and also you are annoying, and i say this as someone known in high school as a bit of a PC scold myself!), or else, for example, making jokes about her own sexual assault or other issues, and then there were some times where, like… ok maybe an illustrative example is that i saw a goodreads review that was like “i was loving this book until she used touretted as a verb, my condition is not a cute joke,” and i was like, on the one hand, i get it, but on the other hand, the prison rape joke didn’t phase you? the holocaust joke? (holocaust joke distinct from the chapter about how reading the diary of anne frank made her horny btw.) so… on that score tolerance will reasonably vary lol. given that a fair amount of the back half of the book is in fact about the aftermath of sexual assault, i really admired how the book refused any kind of redemptive arc, landing on a brutal note, but also avoided feeling oppressively downbeat by virtue of the ferocity of its own telling, which stands as its own proof of survival.

elaine castillo, how to read now: essays - not for me. none of the ideas here felt new if you’ve ever spent more than five minutes considering the relationship between art, race, & politics, and i didn’t feel like they were ever explored at a depth beyond (or… even equal to?) that which i would find on a random tuesday scrolling my tumblr dash. elegance of expression can be its own justification but stylistically this book mostly just convinced me that books are not blogs and should not sound like the internet; the lack of discipline which can be a feature in internet writing (not always! but can be) is always a bug in print (or, at least, i haven’t encountered the book to convince me otherwise). i was excited that the title of the first essay was “reading teaches empathy and other fictions” but then instead of unpacking the cultural ideology that associates any kind of moral education with leisure pursuits at all it was mostly about how the white straight male story is granted universality but others are not, which… you perhaps see what i mean about how this will not be revelatory for those of us enrolled in the continuing ed program at supernatural dot edu slash tumblr dot html. there’s a weird essay about going to new zealand and being like “wow imagine if native relationships were this good in the US?” which i found weirdly uncomfortable to read from an american who by her own admission is not well-versed in that region’s history. she opens an essay by being like “i know it’s basically boring to talk about how you hate joan didion” and then spends 45 pages doing that (including what i think is a misread of at least the tone of didion’s comment that writing is the act of a bully - i’m not a didionhead and would never defend her famously terrible politics, but a) she is i think pretty clearly being both hyperbolic and self-deprecating b) castillo takes this as the chance to be like “well i write to be vulnerable and connect,” which… perhaps this is self-indulgent self-deprecation on my own part but i have an instinctive and strong aversion to writers hyping up their own reasons for writing, lol c) this is objectively not a stance exclusive to white ladies bc zadie smith once said essentially the same thing except i think she used the word sociopathic lol)... and then in the end notes of that chapter she drops a casual rec for the “excellent” show our flag means death which… girl, be serious… you’re gonna write 300 pages about the dangers of reading without context and then simp for the slaveholder RPF show with no commentary whatsoever? it’s fine to like that show btw i might watch it myself one of these days but it’s just deranged to drop this without qualifiers in a book allegedly against the act of eliding historical reality for the sake of aesthetic pleasure and comforting fantasy! she also does two things that are unfortunately guaranteed to make me, personally, insane (characterizing damon lindelof’s HBO watchmen as an important statement on race in america and being kinda wrong about the odyssey) which i will address below the cut at the bottom of this post because i understand that my own need to talk about them is the result of my bad personality and also this is long enough already.

movies

no - this is a 2012 movie about the plebiscite vote that ended the pinochet reign, starring gael garcia bernal as the young ad guy the leftists rope in to helping them make the best use of their allotted 15 minutes of TV time. i really loved this, for a few reasons. first, an interestingly and well-made movie; the director is the guy who did spencer, which i hated, and i don’t know if it’s a matter of directing in spanish or what but it felt like two totally different worlds. second, some extremely funny and perhaps broadly relevant commentary on the purity-strategy tension in leftist spaces; i particularly loved the scene where our protagonist unveils the logo and the leftists are like, “oh, and the different colors of the rainbow represent the factions of the leftist coalition coming together, right?” and he’s like “uh huh. yeah. totes.” third, there’s a matter-of-factness to the way the movie depicts living in a military dictatorship — depicts oppression, depicts military violence against civilians — that felt refreshing and, ummm…. very un-American. perhaps very latin american. but certainly very un-American. something really fucked up happens and it feels bad and then you go home and play trains with your kid and you maybe don’t expect that everyone is spending 8 hours a day wringing your hands about How Is Anyone To Live Now. fortuitous timing for me personally maybe to watch this on new year’s day 2025. also gael garcia bernal is always the only guy in the scene wearing jeans and rides his skateboard everywhere. strong rec.

the shop around the corner - the philadelphia story baby jimmy stewart pilled me so bad that when i learned this both starred baby jimmy stewart and was directed by ernst lubitsch i was like, wow i GOTTA see that. two coworkers hate each other while falling for the anonymous correspondents that are, of course, each other all along… this does a couple things that mitigate the screwball romcom gender politics problem, my favorite of which is introducing the female lead in a scene that highlights her smarts and competence, which is important in a love story about a meeting of the minds. has superb production design, lighting so good even i was like “wow the lighting,” a great ensemble cast given a good amount to do in a way that makes the whole movie feel really suffused with tenderness and care even amidst all the screwball prickliness, and most importantly some incredibly funny jokes.

one way or another (todo modo) - this is a really weird italian 70s thriller whose plot is largely incomprehensible if you are not conversant in italian party politics of the 70s, which i am not, but it was still worth watching for the unbelievable Catholicism Is So Fucked Up vibes… the whole movie takes place in a catholic spirituality retreat packed with power-players, largely underground in the spookiest ass rooms imaginable… there’s a ruthless priest and a million political freaks… and then people start dying… kinda conclave meets and then there were none meets glass onion? tbh sassier and bitchier and more honest about institutional catholicism than conclave!

a complete unknown - most of the non-singing parts of this movie are Fine, I Guess, If You Like Biopics; some are pretty bad (why does this movie hate alan lomax so much… to say nothing of the women, through no fault of the two actresses doing their damned best…). the cast is reliably good, i was worried at first timmy was going to be giving SNL sketch the whole time but something shifted and he won me over and i thought he was good and especially that he was very funny in the too-rare moments the movie found itself a sense of humor, mostly on the topic of bob dylan being a weird freak pathological liar with no social skills or interest in developing them (valid and should have taken up way more of the runtime than it did!!!). lots of people have complained about how much of this movie is just watching bob dylan write down lines while playing his guitar but i actually think this is even worse than people are saying because what it does is almost entirely obscure dylan’s voracious cultural appetite and eclectic influences, which is a huge part of what makes him the artist of he is, and which he himself is the first to own (chronicles volume 1 — of 1 lmao — is in my memory almost entirely dylan talking about what he was reading and listening to and watching as a young person). however the reality is that none of this really matters to the viewing experience of the movie because the movie smartly understands it’s not going to be better at making a movie than bob dylan is at making songs, so it just never makes you wait very long before the next time bob dylan is playing a bob dylan song, and if you are a certain kind of person for whom the music of bob dylan has a certain kind of effect — which i am — what happens is that the opening notes of one of the best songs in american music history starts up and all cares over “screenwriting” and “gender” and such things fall away and you just sit there in a haze so grateful to live in a world where bob dylan gave us “girl from north country.” also, credit where credit is due: the movie looks very good, in a very standard hollywood way but well that’s a dying art it seems. i liked all the lens flares in the night scenes! they were pretty and evocative without being distracting!

juror #2 - i love watching a movie about people talking about a process while i wash dishes. bonus points for this one because of my wrongful convictions thing — i found it genuinely a relief to watch a courtroom drama in which we know the whole time that the logic of the court seems persuasive to many people but is wholly wrong. nicholas hoult!

jay and silent bob reboot - this is an objectively pretty bad and at times genuinely offensive movie that made me laugh so, so much. im sorry

presence - i was absolutely never not going to love a soderbergh ghost story; i like that it’s less a horror movie and more a family drama from the perspective of the ghost, and i like that steven soderbergh, who i first started feeling interested in because of how unusually willing he is (among our A-tier dude directors) to view women as potential protagonists, made a movie largely about a sad lonely teenage girl. camera work on the ghost POV very cool and for me very effective. a tight 85 minutes! they shot it in 11 days! i love you steven!

nosferatu - already said this was a miss for me, and the more i think about it the more i feel reasonably sure that it would have been even if i were not so dracula-pilled… idk. i agree with my anon who called it cold. there’s a fundamental distance between the storyteller and the story that, again, was part of what i enjoyed about the lighthouse, but just doesn’t work for me with a more traditional, more visceral (in multiple senses) tale. similarly to the line about how there can’t be an anti war war movie, because you can’t portray combat without glorifying it, i sorta feel like maybe you can’t tell a story where you want credit for giving your abused and disbelieved female protagonist agency and also have multiple scenes that are like, “ok now do the crazy possessed horror chick thing” lol. i also thought it looked kinda bad in parts and really muddy in all the moonlight scenes but i did see one review on lbxd that was basically like “this movie only looks good in IMAX bc regular theaters can’t get the blacks deep enough” so… maybe that’s true. on the bright side: nicholas hoult!

music

kendrick lamar, gnx - this thing happens to me often with music where anything presented as A Big Deal i have a hard time listening to because i keep being like no it’s not the right time… this is why for example i have never listened to a mitski album and also why until now i had never heard kendrick outside of his features with taylor (bad, not his fault) and the lonely island (p. good) and, ofc, not like us. but “squabble up” came up at the singles jukebox and i got really into one of the slant-rhyme runs near the end and the general personality of his flow so i decided to check out the album and would you believe? kendrick lamar, good at rapping. i like how this album is like kind of about having a god complex and sort of knowing you’re being crazy but also what if actually you kind of mean it? (people get mad if you say this kind of thing so don’t tell anyone but it’s actually similar to the pose i enjoy taylor striking on some of the wilder moments on TTPD, lol.)

girl pusher, gaslight gatekeep girlpusher - 20 minutes of very of-the-moment hardcore-adjacent punk, mostly too hardcore for me (literally, i don’t like music that’s all screamy) but the 3 songs that aren’t are real bangers.

ghoulies, shafted by the algorithm - 20 minutes of bright synthy punk where i have no idea what anyone is saying, kind of like matt and kim with less abrasive vocals? (remember matt & kim??? no? bc i’m old? well ok). not an album i’ll return you but i liked the vibe enough to chuck the whole thing onto my 2k25 rolling faves list and have been enjoying the occasional 2-minute infusions of pep!

underscores, wallsocket (director’s cut) - really impressed by this one, and also really enjoyed it. i keep seeing people call underscores hyperpop but either their earlier work (which i haven’t heard) is very different or i just don’t actually know what hyperpop is (very possible). to me it’s giving aughts indie, maybe a little emo but like the bright eyes kind, it’s giving saddle creek but made by a kesha fan. (does anyone else feel like we’re really in a post-kesha era in a way that is not being appreciated…) catchy, inventive, varied but cohesive, angry and funny, political & personal in the lyrics, sometimes at the same time. there’s a song called “johnny johnny johnny” which is an incredible banger about being groomed by an internet predator in middle school that really blew me away; would also rec “cops and robbers” just because it slaps. but even the quiet songs are good!

rosie gray, louder, please - flawless and sometimes even kind of interesting (although never that interesting) dance-infused pop (pop-infused dance? i think the first one but i’m no expert). pretty, fun, sometimes endearingly unsubtle — there’s a song literally called “party people” and another one where the refrain is “the best things in life are free,” also one called “switch” that rhymes “positions” with “submission.” dumb but thoughtfully and expensively so (or so it sounds, which is what counts). the way that people talk about feeling when they watch influencers swanning poolside in ibiza or whatever, that’s what listening to this album makes me feel like. vicarious luxury and all i need is a pair of headphones. another one where i don’t anticipate returning to the album as an album much but i rarely hit skip when a track shuffles my way.

zora, BELLAdonna - yoooooo this album FUCKS, like, SEVERELY!!!!!! saw someone rec this saying it was framed as a black trans revenge fantasy, which, i’ll be honest, turned out to have absolutely no bearing my listening experience whatsoever, but i am dutifully repeating because maybe you, too, will be intrigued enough to listen, and then discover that this album has BOPS. i am not really up to the task of describing this one — rap/hip-hop forward but with glimpses of both r&b and a pop (maybe even hyperpop?) sensibility, obviously broad in its influences (there are at least two likely refs to bodak yellow lol) while sounding like the clear work of a distinct voice, retro and futuristic by turns or sometimes at the same time. sounds really really cool and really really fun. sick flow, sick beats, a song called “sick sex”... strong strong overall rec here, this album rules.

single of the year so far is "IT girl" by jade (from little mix!!!) btw. if you care. really delivering on always low-key being the most interesting of the quartet in what she's put out so far, not all of it is my thing but she has a Vision and IT girl is a certified bop... really curious about where she goes next.

okay so petty grudge-holding below the cut:

first, the watchmen thing. to start with, she drops in the intro that she admires HBO watchmen, and like, did this alone make me read the entire book less generously than i otherwise might have? entirely possible. that is me owning my positionality as a reader. anyway. mostly here i just want to say that she specifically discusses the fucking 1922 movie about a black hero saving a grateful white crowd that made me the joker and drops that the name of the hero is “historically accurate” because he’s named for the first black marshal in oklahoma or whatever, which, ok. cute, i guess, if i didn’t hate this. what i hate, and what is not historically accurate, is: the existence of a film in 1922 (7 years after birth of a nation!!!!!) with a portrayal of american race relations that looks anything at all like the one in this movie. i mean it’s just crazy. and i find it first of all just inane because if you’re capable of writing this scene and thinking it feels plausible, you by definition do not have a good handle on the history of antiblack racism in america or how deeply it has resided at the core of american popular culture (among other things), and second of all genuinely kind of offensive because of the smash cut to Real Historical Atrocity that follows, underscoring the alleged “realism” of the scene. and it is insane to me to praise this scene for its “historically accurate” detail in a book, again, largely about the importance of bringing an understanding of historical context to your reading. it makes the author look a little bit like she only means that for stuff she already happens to know about or saw someone else talk about online. lol.

also the essay starts out being like “another day another jkr twitter meltdown” which does not help with the sense that these essays were blog posts that did not get sufficiently cleaned up for publication (is that true? idk. it’s how it reads though!). and it’s called “the limits of white fantasy” (but then is largely about how HBO watchmen is good lmao) and has a thing like “well rightwing types can appropriate symbols from harry potter and the hunger games and wherever else because those authors never cared about oppression they were just interested in its trappings.” first of all, leave my girl suzanne collins, cashing her checks blissfully offline, out of this. but second of all i actually think this is a substantively wrong diagnosis. jkr very, very, very obviously and sincerely cares about oppression. she is just catastrophically wrong about who is oppressing whom! but it’s extremely clear she thinks of herself as an actual victim of the actual injustice (in her head) of the woke trans mob or whatever. ditto antivaxxers using hunger games cues or whatever. they sincerely believe their rights are being infringed upon. sometimes people are actually wrong! sometimes people care a lot about morality and justice and are wrong about what those things are! i think this is in general harder for people to contend with than the idea that anyone engaging in such wack behavior just “doesn’t care”... but it is true. writing this out makes me think i undersold the insight potential value-add of naomi klein’s doppelganger, because she’s actually really good about recognizing that while these movements involve a lot of sociopath grifters at the top, the footsoldiers are people responding to ways they do in fact feel victimized (and sometimes actually are, e.g. i literally can’t remember if klein talks about this or not although i think probably yes but a lot of people in the alt-wellness/medicine space got there as a result of terrible experiences with healthcare that failed to address their physical and emotional needs).

ok also AND one last thing about this essay, she really gives the impression that she thinks damon lindelof is like the first person ever in history to politicize the figure of the vigilante/superhero… lmao? she praises the show for being about how actually community is necessary and justice can’t be done solo, which, first of all, just gonna throw this out there, there are ways to tell that story without being like truly the most police brutality apologia nonsense i have ever seen, and secondly, this is literally thematically expressed quite poignantly in alan moore & dave gibbons’ comic limited series watchmen in the scene where the guy acting as a lone vigilante who has taken the fate of humanity into his own hands nukes a bunch of new yorkers coming together to try to mediate some conflict. do i think that you need to have read watchmen to write an essay — not a BLOG POST on your DUMB BLOG, an ESSAY in a BOOK — about the politics HBO watchmen? i mean, maybe? is that so crazy? she says making hooded justice black is a radical reimagining of a comics character which is so funny because it makes hooded justice sound like he’s fucking superman or something and not a probable nazi who dressed up as a kinky klansman as part of watchmen’s commentary on the politics of superheroes lmao. like hooded justice is already a radical reimagining of the superhero mythos… because he sucks… and i guess in my heart no i don’t think i’m just being a weird watchmen stan (lmao) to say, “you actually can’t get a meaningful read on the politics of HBO watchmen without taking into account that the actual intervention being performed with this character is ‘what if this nazi was actually a sympathetic black man.’” do you see how that feels different? (also not for nothing but wrt the idea of HBO HJ being inspired by the movie about a black hero, again, in the comics HJ through his klan-ish costuming is already inspired by american iconography of heroism — arguably one he also saw in a silent movie that actually existed by the name of birth of a nation lmao!!!!! — which is part of the indictment of american hero iconography… i mean whatever. it’s so fucking stupid. btw her big takeaway from this character’s arc is that justice has to happen in community which is also funny because like you know who had a really strong sense of community? the klan.) do you see how it feels maybe extra different in a show whose ultimate thesis is something like “what if nuclear weapons were good if we gave them to a black lady cop who loves doing police brutality so so much”?

and… ok one LAST-last thing… in her informal endnotes, she cites “the watchmen universe” created by moore & gibbons, which… idk man. on the one hand i’m like, ok but it actually is mostly irrelevant to my textual beefs here that watchmen was in fact not intended to be a “universe” as we now use that term in the IP era and that the extent to which it has become one has been expressly at the disapproval of moore largely because of the fact that DC fucked him over so bad with this that it literally changed comics contracts going forward lmao. but on the other hand, if you like claim to care about the social context in which art was created, isn’t it not the best look to do not a single google and uncover the most famous example of the abominable labor practices of the comics industry? i acknowledge i could be indulging in pettiness at this point.

OKAY so that’s all on watchmen i think. the odyssey thing is smaller and less of a big deal, more just goofy. so she talks about the cyclops sequence and highlights how in recounting this story to the phaeacians odysseus is identifying certain arbitrary marks of “civilization” such as cultivating fields, and how he ignores the arguably very “civilized” acts we see polyphemus the cyclops commit, such as tending his sheep and making cheese. this is all fine and unobjectionable, even true, although i will say that, first, she presents this like these are insights she is bringing to her close reading of the text but i really struggle to imagine the person in the past several decades who would disagree with the fundamental thesis “the stories and myths and texts of ancient cultures served in part to delineate and reinforce their own social norms”; and second, she opens the essay with an epigraph from toni morrison talking about how she always admired how homer could make you feel sad for the man-eating cyclops, but then she doesn’t bring this quote up at all and talks about polyphemus’s sheep and cheese as though recognizing in them the marks of humanity is, again, a novel way to read the text? idk maybe i am just misreading her tone bc by this point i was very tired of how impressive she seemed to find herself but i found it odd because she’s like “see polyphemus is actually complicated but odysseus doesn’t see that” and i’m like well yeah that’s like what morrison was talking about… i have no idea how this would have scanned in ancient greece bc i’m not a classicist but neither are you so… anyway. i couldn't figure out her attitude on the odyssey (or this chunk of it) as a text, i guess.

so she takes us through the whole incident, including a cutesy reading of “nobody is blinding me” as like a metaphor for how power operates by making it impossible to name it, which, sure. have fun. and she closes on odysseus’s final boast along the lines of “if anyone asks tell them it was odysseus of ithaca son of laertes who blinded you.” and then she goes into this whole thing about how like… this is odysseus wielding his privilege basically, that he’s doing this because he’s so secure in his name and the power that grants him. she says, “It’s his confidence in his own context that is Odysseus’s greatest strength, his greatest privilege, and his greatest cruelty.” which… i guess kinda makes sense… if you ignore the part where namedropping himself is literally what GETS HIS ASS CURSED? he drops his name and instantly polyphemus is like “grandpa end that motherfucker” and boom, odysseus’s men are doomed to death and he is cursed to ten years at sea. like… it is literally not his greatest strength!!! it is the thing that gets his ass beat!!!! and notice that observing this, the BASIC LITERAL PLOT OF THE TEXT, does not require morally defending odysseus, or claiming homer was woke, or whatever. it is very obviously the case that the text does not think odysseus’s thing about his name is bad and he is being punished for it to learn lmao. i actually literally pulled my old fagles translation off the shelf to find what bernard knox had to say about this, if anything, in the intro, and he reads it as an expression (one of several) of the same heroic code you see achilles living by in the iliad, which includes the idea that you must take credit for your shit — even in this situation in which doing so puts yourself and your ship at great risk. this is not a particularly sympathetic reading to most modern readers! but it is one that takes into account the fact that this is the inciting incident for LITERALLY THE ENTIRE PLOT OF THE POEM!!! like it is crazy to quote that line and end the story there as if odysseus just walks away unbothered! the point of that interaction is not that he’s acting like a vanderbilt trying to get a table at a fancy restaurant, and it is not incidental what happens next because what happens next is THE ENTIRE STORY! and, like… it’s also not incidental because the fact of the matter is the world of homer is simply not a world where your name protects you, or achilles and agammemnon would not be hanging out in the fucking underworld. i’m thinking here about knox’s comment on the iliad that it was written in a century where athens spent more years at war than not, and how crucial understanding that is for understanding the world these stories were created in… i mean on the one hand whatever but on the other hand the essay collection is literally about the idea of reading things in context… so like… whatever. you could take the events in the text and then discuss their influence on 3000 years of western art and how that trickles down into values or whatever, i guess… but she didn’t do that so like :/

also then she says “he may be traveling, but he’s not a migrant,” which i just found goofy because i’m not really convinced the concept of A Migrant as she seems to want us to read it makes a ton of sense to superimpose onto the mediterranean 3000 years ago. (i feel like A Migrant requires the concept of… nations? borders? etc.?) happy to be corrected on this by any classicists who follow me.

also her didion essay is not as good a takedown as either didion's own takedown of woody allen or barbara harrison's takedown of didion. lol.

anyway. ok. that’s my grudges off my chest lmao.

[robertsbarbie]

as long as i live i will never find a person with more audacity than male graphic designers

[feyresdandelion]

someone liked this post I made some months ago and I was once again reminded of this horrible repost I received that completely missed the point.

First of all, my post above wasn’t pushing for Mor and Emerie to end together (although I really want them together), I did, in fact, not name Mor once. Because that was not the point.

Second, not all the inner circle hate Illyria. Cassian loves Illyria, even after how they treated him and his mom.

Third, bringing up Balthazar just shows, again, that this person did not understand the intent of my post.

I don’t want any man to rescue Illyrian women. Not Rhys. Not Cassian. Not Az. Not Balthazar. None.

I’m not stupid. I know Emerie will need help from people in positions of power. So yes, I do believe the ic and Balthazar and some other characters would have a role in the liberation of Illyria. But having a role doesn’t mean being the ones at the front liberating them.

I want to see Emerie leading an army of Illyrian female warriors. I want her and her alone to be the one at the front. And, behind them, all the other Illyrian women who have been berated and mutilated and treated as inferior. And then, at the back, maybe we can have Balthazar and the ic and the Valkyries, because they are Emerie’s family and I do believe she would want them there.

But, once again, Emerie should be the main focus. It should be her story. She shouldn’t be sharing it with Balathazar or Nesta or Gwyn or any male. Not even Mor, who, if we were to get an Emerie book, would more than likely be the other pov we would be getting.

So yeah. Please learn to not only read, but understand what the thing you are reading means.

I'm sorry but I don't want Azriel, Cassian, Rhysand or Gwyn (why is she even an option be so for real 😭) to fix Illyria. If anyone is going to fix the misogyny and finally liberate the illyrian females it has to be Emerie, the first illyrian female to enter the rite, the first illyrian female to win and become Carynthian.

She has lived in Illyria all of her life, has Illyrian family members who treat her horribly (you don't have to look anywhere farther than her dad, who literally made her dug her mother's grave after he killed her), has had her wings clipped and has been fighting every single day since the war to keep any kind of autonomy by running and refusing to let her shop go.

I absolutely despise how people want Azriel to fix Illyria when he would just rather let all of them perish, and how a lot of people want Gwyn to help him. Like I'm sorry, I know both of them have their ties to Illyria (Az being Illyrian and Gwyn having won the rite) but it should be Emerie, who since she was a babe has known about the rite and knows how difficult and important it is for the illyrians. The one who was in awe looking at Ramiel and stepping on ground her family members had never been able to reach.

It feels specially icky because Illyrians are very obviously meant to be people of color, and while Azriel is also poc, Gwyn is not and wanting a white character to rescue a whole population of women of color is such a white savior narrative.

Also wanting a man to be the hero in the liberation of women is equally as icky.

Anyways, put some respect on my girl Emerie.

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[lightleckrereins]

No one had netflix releases a good adaptation of a Latin American literature classic that was considered impossible to adapt to screen on the bingo card.

Even less after the netflix releases a decent but nothing more adaptation of another latam classic also considered impossible to adapt. And the HBO butchers a third one that should be easy to adapt and perfectly setup for a tv show incidents in the past few months.

[uncanny-tranny]

I promise you can speak about and denounce undesirable behaviour without attributing it to some in-born, immutable, unchanging trait that you must "civilize" away.

In this specific instance that inspired this, you really don't need to attribute bad behaviour that's done by a man with unchanging character traits. This isn't even solely about men, because doing this affects everyone, men included.

"Men needed to be civilized out of behaving this way!" Who are you expecting to be doing the civilizing and why? This is just defending the idea that women are responsible for training up men - the millenia-old idea that a man's failings are actually a woman's fault, not his.

As a man, I am responsible for my actions. You don't need to dehumanize me in order to preserve your misogyny and your need to hate a group of men. Don't get me wrong, this rhetoric absolutely is not good for men to face. It especially targets men who have experiences with marginalized identities. If you're on my page, you know that this is something I deal with personally, have personal stakes in that affect my life daily. I just also think we really need to remember that this issue exists in a context where women and other folks will inevitably be punished as a direct result of these ideas as well.

I need to make that last part emphatically clear: even if this rhetoric (somehow) only hurt men, it would still be wrong. It would still be wrong! I want to - as a man - remind people (especially those who already have decided to dehumanize entire groups of people) that nobody is safe from being exempt from punishment due to this rhetoric.

[selfinflictedgunshotwound]

men are so disappointing in so many ways i know i shouldn't expect most of them to be dignified humans but it's crazy. i need to get over this guy he's making my sense of self crumble even faster than it usually does. like he's just so unlike my usual type and i'm pretty convinced he's stupid and slutty and not discerning whatsoever. not to mention boring like i know even if i did have a chance with him he wouldn't Get Me at all so it's a bigger waste of time that usual and i'm actually pretty tired of men in general and definitely tired of parasocial relationships because they drive me insane for months typically. thankfully it's only been like 2 weeks if that at this point. idk. sigh. i know literally virtually nothing abt him as a person and ofc liking any public figure who you know nothing about is only setting yourself for heartbreak and disappointment to begin with bc you already know nothing is gonna come from it but. in a way it's almost addictive to become obsessed with someone and not be looked at with the same level of scrutiny. i don't think anyone in real life would ever try to get to know me as much as i try to get to know people who i'll never even meet. lmao! but that's the thing... idk... i have a lot of love in my heart and it consumes me and i reject my pride usually when i'm into someone. i want to know more... like VORACIOUSLY consuming anything with information about them involved simply because i think knowing someone is a very deep form of love but of course you can never truly know anyone. not completely. and that scares me i think which is why it's always probably been easier for me to never really TRY to be with anyone or have anything real. idk. this turned into me psychoanalyzing myself real quick but SOMEONE needs to bc i need to understand what the fuck is wrong w me.

[rainingmbappe]

The rise of "let people enjoy things" is single handedly the backbone of the rise of anti intellectualism

[gods-favorite-autistic]

Alright who had people being fine with a bi guy but not a bi girl in the exact same piece of media on their Bridgerton card

[monards]

can a girl ramble aboutthe way you can interpret so many parts of the propaganda and characterization of rhine by other the people/general populace of teyvat as people largely antagonizing neurodivergent traits without being chased with pitchforks and torches.