#and it's actually a really nice recording?

[mossterunderthebed]

oho. ohohoho. now to make it goyuu... i need a knight au

ooh what if they're from different kingdoms. and yuuji is the king's only remaining relative so he is unfortunately the Heir. and was dragged to the palace after his uncle found where his father had taken his grandson away from the palace to live out his days in ignominity because he was once a great general but his son sukuna who was greater even than him instigated a violent takeover and disposed of half the previous nobility

and hes a tyrant but a lot of the commoners love him because to be fair his actual policies arent too bad just bloody as fork and super strict and hes big into conquest which hey makes money and brings their country glory so it works.

enter gojo.

emperor of neighboring empire thats not technically much bigger in terms of land mass but has way more people (this has advantages and disadvantages). and yuuji has risen to the rank of general and is known as the tiger of the west which he thinks is embarrassing. and he hates that that's what the people know about him and what they like about him because he wants to be a good ruler. but he doesnt know how only he doesnt think it should be like sukuna rules

and then gojo who ofc would lead his own armies so he and yuuji end up clashing in an unexpected place. and gojo uses guerilla/ambush tactics they werent expecting bc they thought they had the advantage of numbers and yuuji is captured.

and he expects to be tortured and stuff but this gojo guy is actually... really nice? and insanely smart? and really funny too? and pretty handsome too wow ok. and then they kind of end up becoming friends?? and yuuji confides that he doesnt know how to rule well but he really admires gojo whos so smart and has gathered such good people to him (unlike many people who have critisised him as being honourless because of his tactics but its because he and yuuji both understand the value of a life as opposed to expectations of 'character' which is actually just a load of crap the nobles to make themselves sound/look good)

and yea i dont know things snowball and in the end they have a long-lasting long distance love affair until gojo's heir (yuuta) comes of age. bc surprise surprise gojo never wanted to rule esp not after the betrayal of his closest advisor and best friend in his youth. and finally he goes to live w yuuji who disposed of his own uncle in a very moving morally heart-clenching scene

and they live happily ever after and travel back and forth a lot and every time gojo visits his home he acts outrageously but hes still always just as intimidating as ever and even in his late forties h makes a soldier who spoke out of turn piss himself in a public spar.

and he and yuuji are insufferably chaotic and loving until they die and are buried side by side on the land yuuji rehabilitated (his childhood home w his grandfather that was wrecked by sukuna) and they plant little yellow and blue wildflowers over the graves and years in the future the two crossbreed and spawn a lovely little new breed of flower that symbolizes the powerful kind of love that would wait for years and years. a patient kind of love.

and centuries later records are found of them and the graves are unearthed and little artifacts are found and their letters and etc etc etc and their love story becomes known as one of the greatest of all time and stories and plays and poetry are written about it and their letters are translated and published and are turned into a saying 'i would write you a thousand letters' which basically means 'i would love you with dedication through great obstacles and hardship' or more simply, 'i will love you even when its hard.'

and yeap thats the that.

Bonus: at the very very very end theres a little cutscene of their reincarnations meeting for the first time after accidentally bumping into each other and gojo drops something so yuuji kneels and offers it to him and for a second they both get mad deja vu and just stop and stare at each other like they're the most beaufiful thing the other has seen and for that moment rest of the world doesnt exist

*holds back tears* and then they fall in love and get married and adopt some cats and maybe a kid and live in a cozy apartment and stay together for a whole 'nother lifetime and retire to the Sendai countryside and tend to a garden full of Their Flowers which they find out on the second date are both of their favorites for a reason neither of them can quite describe and ughhhhhhhhhhhh

sorry i got emotional. ok bye.

horniest battle moments:

- taking your ally's weapon out of their scabard to use yourself

- using someone else's shoulder as a rifle stand

- nudging someone's chin up with the tip of your weapon

- freezing with your blades against one another's throats, breathing into each other's mouths

[kararisa]

darling, starling

— 27. through it all — ✦ (wc: 0.8k)

notes: this took longer than expected ^^ hope you guys enjoy the chapter!

To Yae Miko's credit, she cut straight to the chase. 

Not that Scaramouche would give her much credit in general, given that she had always treated him with such indifference over the years before he finally moved out. But he'd take his small blessings whenever he could.

It was a cut-and-dry deal: Yae Miko would interview Scaramouche regarding the recent scandal between his partner and one of the band members of Windborne. He would get the chance to clear the air with the help of one of the most influential news outlets in all of Inazuma, while Yae Miko would get an exclusive story people could only dream about.

It should have been over the moment they ended the interview. But here they are, making casual conversation. At least as casual as it gets between a son and his estranged mother-in-law.

Scaramouche has seen these tactics before. Whenever Yae Miko wanted information, she’d make casual conversation with the interviewee to get them to open up. And that’s when she strikes.

Ironically enough, it was also Yae Miko who taught him how to avoid this. She was the one who taught him when to give information and when to hold back; how to satiate people’s curiosity enough so they leave you alone. Basic media training — training he and Kaori knew by heart.

Yae Miko tilts her chin downwards, the way she does whenever she gets curious. “You’ve been back in Inazuma for a little over a year now. Is it nice living with them? I’m assuming so since no one’s spotted you packing your bags just yet.”

“I still live with them. But that’s none of your business.”

“Oh come now, you saw me turn off the recorder. Everything we’re saying right now is off the record.”

Against his better judgment, he yields, “It’s... nice. On the days when they actually wake up early, they help me cook. It’s become a routine of sorts.”

He knew that was exactly what she was looking for when he saw the hint of satisfaction in her eyes.

It’s a slippery slope, trusting a journalist. Some will risk their lives for the truth while others will stab you in the back while shaking your hand. But if it’s Yae Miko, he has no doubt she’ll only publish the truth, if only a little embellished. She has to sell stories, after all.

“You’re never usually this civil with me,” Scaramouche doesn’t attempt to mask his suspicion. “What do you hope to gain with a conversation that’s off the record?”

Yae Miko offered a cryptic smile, her eyes revealing a flicker of sincerity. “Am I not allowed to be curious? People are actively looking for you just for the chance at an interview and you reached out to me in the hopes of clearing the air about your relationship.”

He’d be loathe to admit that she was one of the few people he trusted to handle the story properly. But he still had to ask, “And now you’re just this so-called off-the-record conversation as some sort of blackmail?”

She sighs, “I’m getting an exclusive interview with the author who’s dating an Inazuman pop star. Would you blame me for asking a few questions? Besides, you’ll see none of this conversation mentioned in any articles.”

“How do I know you’re not just bullshitting me...”

“I can understand your apprehension, but words hold power, Scaramouche. Everyone in the industry knows this. And so do you.”

Scaramouche has never really seen eye-to-eye with Yae Miko on a multitude of things, but one of the few things they can agree on is that people shouldn’t just blindly believe what people say just because they have a large following. The Narukami Press has always strived to publish articles that are reflective of the truth. 

But bias is inevitable, whether you work in journalism or public relations.

“A large majority of people are always going to want to chase the latest drama without caring if it’s true or not,” she starts. “You’ll find no such motivation in me to keep fanning the flames. I want them to die down as much as you do.”

“People like us have a responsibility to be careful with what we say and how we say it,” she continues. “The drama with Zenith was blown out of proportion, that much is for sure. People were hungry to see their downfall given that they were on top for so long but they were just as eager to drag you down with them.”

“Setting the record straight by yourself will be nearly impossible,” she states matter-of-factly. “But your friends have been preparing their statements to defend your partner, yes?”

He isn’t even surprised that she knows about this, especially a PR move this big. Working with his friends will be the best way to get the rumors to die down to a manageable level.

“Your word and Xiao’s will be what people hang onto the most. Make it count.”

“And fight for them, Scaramouche. They need you now more than ever. If you decide to ignore all my advice, then that’s fine by me. But never stop fighting for them.”

“Like hell I’d ever stop. No matter what happens, I’ll be with my partner through it all.”

✧— previous — masterlist — next —✧

summary: being the world-famous singer-songwriter "zenith", the limelight has been on you ever since the start of your career. however, the media becomes relentless when leaks of music you never meant to release begin to circulate. your friend scaramouche, meanwhile, seems to have gotten stuck while writing his second book. with a deadline fast approaching, he comes to you with a deal: act as if you're dating him so he can gather reference material and, in turn, he'll help keep the press' eyes off of your leaks until you release your next album. a win-win in your book, so why not help a friend out?

author's notes:

i lied, this was my favorite chapter to write by far

happy new year everyone!! updates will probably slow down from here but i hope you enjoyed the chapter ^^

taglist — currently CLOSED:

@aestherin @your-kuya-pogi @yourstrulykore @krnzysh @vxnuslogy @yumiaur @featuredtofu @kodzusmiles @meigalaxy @nymphxie @motherscrustytoenailclippings @samyayaya @hiimera @beriiov @e0nssadrift @dazaisboner @nillajhayne @chluuvr @deffenferofjustice @romyoia @xiaomainlmao @hotgirlshit5 @potabletable @letthewindlead @esuz @toriiee @kclremin @angelkazusstuff @phoenix-eclipses @sakiimeo @mayuumine @lilybythevalley @one-and-only-tay @keiiqq @what-just-happened-huh @haunts-gh0st @layla240 @miaakai @duckyyyx @cinnaniyoom @kgogoma @xtobefreex @mechanicalbeat1 @feiherp @venturinea @nnasv @retiredmommylover @onmywaytoteyvat @tiredslepz @saccharine-sucks

[theroseiswithoutawherefor]

                                                                         Box

So...As I said before, this is the big project three of my friends(X @MAGIMARU @__olddoll @Pan991106) and I were busy with! DIR EN GREY MONOPOLY 2024.

Basically, it’s a game that took us about 6 months to complete and recorded the whole year of Diru. Actually none of us had done such a thing before or foreseen the process to be so exhausting. But yeah, we made it and gave it to every member in Osaka!!

An overall look of the game first

Map

                                                            Cards type1<named special events>

                                                Cards type2<named normal cards>

Cards type3<named magic world>

【MAP】

As shown, the map starts from 正月(January) and club citta, which was the venue of My Bloody Vampire, the very first show of Diru in 2024. Followed by Europe tour, Psychonnect, Androgynos and Who Is This Hell For, each space is named after the exact venue.

【RULES】

Concerned over language barriers, we tried to keep everything clear and simple, especially the rules.

Like normal monopoly, getting your money from the bank, collecting your token, rolling the dice, buying/selling properties(venues) and taking actions based on the space you end up on. That’s it!

Money(ordered by members’ ages and decorated by their signatures we received in 2024)

(btw the currency is called TRK, short for toriko虜)

Game manual

                                                                         Tokens

There are four kinds of spaces:

property space

When you are on a property space, you can choose to buy it and charge the rent.

chance space 1 for Cards type1<特別事件 special events>

chance space 2 for Cards type 2<普通事件 normal cards>

chance space 3 for Cards type 3<魔法世界magic world >

When you land on a chance space, you need to draw a card and follow the instructions. You may even get powerful tools there!

it’s even simpler than normal monopoly I feel haha

Types of cards

                                                               

【特別事件 special events】

This kind took me most of the time(I did almost all the drawings and design except for a very few cards and the tokens), so I will begin with it.

Like what I indicated before, you can draw a special event card when you land on a corresponding space. Each player/member can find their own special cards originated from their experiences in 2024.

*actually each one of them has 10 cards respectively, but technically it’s impossible to explain all of them, so I’m sorry to leave out some.

【Kyo’s part】

I finished kyo’s part first! From left to right, it indicates:

-kyo mentioned it was rly nice to have Arukuma at the venue and he wanted to see Kyoto’s mascot too, so I kinda joked about it

-the very famous HELL HELL HELL HELL HELL LOL

-kyo said it in a sukekiyo’s live around July, dont call me kyo or any name, say sukekiyo様(lord sukekiyo) instead and if you wanna happiness, buy a pot from me!(it was refering to a piece of cult news I guess)

-the sticker of his early age was sold out and Kyo hated it!!

-kyo mentioned he had Unadon three days in a row back in Nagoya, although it was him who wanted to eat Unadon the first

-he forgot his suitcase which was full of his personal clothing and shocked to see Poland was snowing when he woke up in Europe

-Kyo’s birthday live

-his instore, and he did a lot of cute doodles

【shinya’s part】

-all the members took photos of shinya’s legs and he was kinda embrassed about it lol

-he really likes sea otter!

-he was kinda robbed by a deer in Nara

-In order to film his youtube video, Shinya arrived at the venue 2 hours earlier but Toshiya surprisingly arrived earlier too!! Unsurprisingly Toshiya laughed at him, took a pircture, posted it on instagram and our poor Fujieda manager was being told off by shinya imao

-shinya passed漢字能力検定(a difficult language test of Japanese kanji)and received a certificate

-shinya posted a pic of sea otter as a reponse to kyo’s tweet saying his legs look great lol

-shinya collected all the mangazines of their vkei time and filmed a video

-his birthday event

-shinya was kinda obsessed with a Tiktok drama(he accidentally spotted the ad on instagram) and poured money into it.

【Die’s part】

-a collage of Die’s hometown Ise, Mie(all of us went to the show at Ise)

-he gave a MC there. It was rly touching

-he drank a lot of beer in Europe and treated Kaoru too(according to Thetheday)

-his birthday event

-he had his hair maintainance during the summer and it looked amazing(he posted it on Die’s mobile)

-his instore

-his 2nd instore(oh it must be tiring)

-his favorite baseball team 巨人（Yomiuri Giants） won the national champion of 2024 after beating Kaoru’s favorite team 阪神（Hanshin Tigers）

【Toshiya’s part】

-it’s also a joke related to Kyo’s card(the one of mascots) and Arukuma

-his photobook was published!! Congrats!

-his instore

-he streamed a cooking competition with Fujieda in the summer(the room was rly hot without AC)

-Toshiya celebrated his birthday in Berlin!(so I drew a little national flag on the plate and used sausages to decorate haha)

-he and Kaoru had a stream for Androgynos. They looked fine on the screen but they both admitted the chairs were so hard that their asses were hurt lol

【Kaoru’s part】

-Kaoru streamed with other TTT members to celebrate Boo’s birthday and drank a lot

-He misspelled his own name on TFOE(he also made a mistake on his birthday poster 長野虎之穴 and he corrected it by posting 野～～～！ On X)

-he had a holiday in Naha after Psychonnect (according to TTD)

-his birthday event(he designed several stamps to collect at the venue and I used the same layout when drawing it)

-A mini repo about how I got his pick in Nagoya

-the last episode of TFOE. He sang a song, ate shrimps and said byebye.

-Androgynos stream with Toshiya

-his instore. He doodled a lot and they kinda reminded me of Godzilla

-巨人 vs 阪神

【普通事件 normal cards】

-2024 was their 25th anniversary and we want to have another 25 years of Diru(so I drew 5 older them haha)

-1990120 was released

-Kyo was not rly happy with western food

-Kyo got mad on the stage

-Unext stream

-My bloody vampire caught the attention of local press bc fans covered with blood flocked to the street lol

-White Day

-the devil in me was released

-the stickers of Yokan were sold out! Congrats

-Dir en grey live film was out!

【魔法世界magic world】

Here comes my favorite kind! It was so enjoyable to draw. I guess it only took me around 2 or 3 days in total.

Bc it’s called magic world, it’s all about their babies(Idk how others call these cute little creatures, I just love to them their babies lol) and their pets. All the stories are around these non-human sweeties, while the only exception is the one on the right corner of the 1st row. The card is called Time machine, so I imitated kaoru’s self-portraits on his picks, indicating that this card can transfer current him to his younger time.

It’s a terrible pun i know lol

【summary】

Yeah that’s all!! Although it’s rly difficult to give a detailed introduction, we just finished it!! It rly took me so much time and energy, actually I was still working on it right before I flew to Sapporo mid November. I hope the members like the gift. And most importantly, I hope every diru fan enjoyed their 2024 and continuously enjoy Diru in the next coming years.

btw if anyone is curious about the workload, this is the screenshot↓

[sgtpeppers]

"A dark shadow on an otherwise beautiful record": PR, McCartney and The Beatles' Split.

“No, I wasn’t angry – shit, he’s a good P.R. man, that’s all. He’s about the best in the world, probably. He really does a job. I wasn’t angry. We were all hurt that he didn’t tell us that was what he was going to do.”

(John Lennon in Rolling Stone, 21 Jan 1971)

To cut to the chase, I want to explain why this statement from John, claiming Paul is a good PR man is wrong. Largely thanks to quotes like this from John, Paul gets painted as the Beatle with a good media strategy, the insinuation being of course, that he is disingenuous and inauthentic. I don’t believe this is true in general, but what I really want to focus on, and what John is referencing in that quote, is the publicity around Paul’s 1970 album McCartney, which got all tied up with the news of The Beatles split, and how actually, mistake after mistake was made, rather than it being what John claims - a purposeful move to get more publicity for his album. 

This isn’t a moral judgment on either John or Paul, or me saying Paul is stupid for not doing more. In fact, I think it playing out this way is far more interesting and we can gain a lot of insight about his mindset and relationships from his press activities around this time. 

I’m going to do this chronologically as much as possible, but before we dive in it will be helpful for us to keep a few basic PR strategies and tools in mind to help us understand what’s (or perhaps more importantly, what’s not) happening. So what are some things that make for good public relations? 

A clear, cohesive message. What's the story of the album? There should be key phrases that are repeated throughout press activities, and also allow an easy fall back when faced with questions that haven’t been prepared for. Broadly speaking, you want to highlight the good and ignore the bad, without lying or appearing to hide anything.

A good relationship with the press. Having even a couple of journalists on side can be a huge benefit, it makes for friendlier interviews and more forgiving assessments (which isn’t to say journalists are being fake or can be incentivised, but it’s just human nature that if you make friends, you’re going to have an easier time.) Furthermore, you want a reputation in the industry as someone that’s nice to interview, because journalists can and will talk, and if they’re going to come in with a preconception about you, you want it to be positive. 

Reactive messaging. If something comes out that you don’t want to be out, be prepared. Ideally potential problems have already been planned for. Know which journalists to reach out to, know what the story is, then be prepared to go quiet and leave things alone.

Pre-prepared Q&As or FAQs should answer more questions than they generate. They also shouldn’t require in depth answers - save that for conversations where there’s time for explanations. 

So, let’s start back in 1969. The Paul is dead rumours are in full force and Paul, Linda, Heather and Mary are living up in Scotland, trying to escape the goings-on back in London. 

On 24 October, Paul gives an interview to the BBC dispelling the rumours about his death, which goes out on 26-27 October in two parts. A few days later, Dorothy Bacon and Terrence Spencer from Life Magazine make the trip up to his farm to try and get another interview with him, for a piece they’re also doing about the rumours. 

Paul throws a bucket of dirty water at them, they get pictures, and then realising how this will look if published, Paul gives them an interview and promises to have Linda send them some family shots for the articles. In exchange they get rid of the photos they took earlier in the day.

So the first point here, that hopefully I don't need to spell out, is that you don’t wanna go throwing buckets of water at journalists. Thankfully, Paul did realise this and course corrected, but I can only imagine what the fall out would have been had he hadn’t gone after them. But what’s important for this story is that Paul is fed up with journalists and having to share his private life, he's emotional, and his instinct is to lash out.

The other thing that’s interesting here is a line that goes completely unnoticed. At this point, The Beatles split is not public knowledge. 

The Beatle thing is over. It has been exploded, partly by what we have done, and partly by other people. We are individuals, all different. John married Yoko, I married Linda. We didn’t marry the same girl.

(Paul McCartney in Life Magazine, November, 1969)

This is huge, and it doesn’t get picked up by anyone else. It’s not made a big deal of in the Life article, it’s perhaps the clearest statement we get about the state of The Beatles, and yet it flies under the radar. I’d love to know exactly what the deal is here, but there’s not much we can do about that, but what we should start keeping in mind in this: there is no plan in place around The Beatles split. There is just an agreement to not make it public yet. 

The McCartneys go back to London and Paul starts recording music with his new equipment at home. Later he books studio time when he decides he can make an album out of the songs he’s been working on. 

Some key dates: 

Paul finishes the album on 25 February.

The album is set to release on 17 April.

Ringo’s album get rushed to release two weeks early on 27 March and Let It Be is also supposed to be released in April.

On 31 March John and George send a letter, delivered by Ringo, asking Paul to delay the release of McCartney. Paul refuses and Let It Be gets moved instead. 

Which brings us to April. Prior this, Paul realised that if he’s going to be putting an album out he’s going to have to do some publicity, but the problem is… well, there’s a few; he’s never had to do publicity for a solo album and simply doesn’t have the knowledge, his relationship with Apple has completely deteriorated which includes the people who have been handling this stuff for him in the past, and lastly, he doesn’t want to be dealing with press. Refer back to him and the bucket. 

Thankfully, Peter Brown and Derek Taylor from Apple’s press office, tell him he does need to do something and to an extent, he listens. They select a handful of papers he’ll do interviews with, and Peter Brown puts together a Q&A for Paul to answer, which will go out to journalists in the press kit with their early copy of the album (x).

What I would love to do here is a question by question breakdown of that press kit Q&A but I’m conscious of how long this is already so I won’t… but before we get into that, here are a few more key events: 

7 April: The Eastmans issue a press release with news about Paul’s solo album and his acquisition of the film rights for Rupert The Bear. This is covered mostly by American press on 8 April who speculate that this could mean the end of The Beatles. (An important note here is the lack of communication between the Eastman's and Apple, not knowing what materials each other are providing is not helpful).

9 April: McCartney press kits are sent to journalists. 

9 April: Before Don Short at the Daily Mirror clocks off for the night, he is called by an Apple employee who told him Paul was definitely quitting. 

10 April: The Daily Mirror breaks the news with the headline ‘Paul Is Quitting The Beatles’. 

10 April: After doing interviews all day, Derek Taylor issues a statement regarding The Beatles. It doesn’t say much, which he acknowledges, because there’s not much he can say at this point. Another important note here, is that not even the head of publicity of Apple knew what was going on with The Beatles. There is no communication, and with no communication there can be no plan.

(Paul McCartney Project page that covers all this)

So what happened that made The Beatles split go from speculation to a certainty? It’s all to do with that Q&A. Of course, with the Eastman’s press release people were going to start connecting the dots, but that call Short got from his source isn’t presented as a rumour. 

Now, there’s a lot to say about this Q&A because Paul's answer are so unhelpful and you can feel his attitude. I think the fact this was allowed to go out is a fundamental piece of evidence of Paul’s relationship with Apple at the time. No one wanted to tell him no, and he certainly wasn’t going to give them more than the bare minimum. 

And lets be really clear here. This is a Q&A for his new album. Obviously the state of Beatles was going to be brought up which is why Peter Brown included the questions, but the number of the questions on that topic and then Paul’s answer, make it really confusing and it’s no wonder this is what press picked up on, rather than just talking about Paul’s album. There are 41 questions in total, and 13 of them are asking him about his relationship to the other Beatles, Apple and Klein. That’s just over a third of the Q&A talking about things that he doesn’t want to be talking about. The fact he didn’t just tell Apple that he wasn’t going to answer some of the questions shows how little forethought went into this on his part. There was a much more concise way to do this, and I do not believe for a second Paul wanted further questions about the state of the Beatles when he’s trying to promote his first solo album. 

And remember what I said at the top, about how if you’re gonna be promoting something in the press you want clear messaging around it? That’s already going be difficult now this Q&A has tied so much of the Beatles split into their messaging, despite Paul actually having a pretty clear idea of what the album’s story is aside from that, but the answers Paul gives to those questions just add further confusion. 

Link to full Q&A.

Q: Were you influenced by John’s adventures with the Plastic Ono Band, and Ringo’s solo LP? A: Sort of, but not really. Q: Will they be so credited: McCartney? A: It’s a bit daft for them to be Lennon-McCartney-credited, so ‘McCartney’ it is. Q: Will the other Beatles receive the first copies? A: Wait and see. Q: Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, distribution or promotion of this new album? A: Not if I can help it. Q: Did you miss the other Beatles and George Martin? Was there a moment eg, when you thought ‘wish Ringo was here for this break?” A: No. Q: Are you planning a new album or single with the Beatles? A: No. Q: Is this album a rest away from the Beatles or the start of a solo career? A: Time will tell. Being a solo album means it’s the start of a solo career… and not being done with the Beatles means it’s a rest. So it’s both. Q: Is your break from the Beatles temporary or permanent, due to personal difference or musical ones? A: Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don’t know. Q: Do you see a time when Lennon-McCartney becomes an active songwriting partnership again? A: No. Q: What is your relationship with Klein: A: It isn’t – I am not in contact with him, and he does not represent me in any way. Q: What is your relationship with apple? A: It is the office of a company which I part-own with the other three Beatles. I don’t go there because I don’t like the offices or business, especially when I’m on holiday.

So what can we get from this? It’s the start of a solo career for Paul, he doesn’t know if The Beatles break is permanent or temporary, he’s not in contact with Klein and Klein doesn’t represent him, he owns part of Apple but he doesn’t like going there, and he seems very certain that the Lennon-McCartney partnership is over, despite not being sure if The Beatles will play together again or not. 

It’s a mess. It raises further questions. The only reason I can think of for it being so long is Peter Brown trying to cover absolutely everything he could think a journalist would ask, but it’s given Paul far too much scope for muddled answers, and in some cases, factually incorrect ones. He is tied up with Klein whether he likes it or not, because Klein’s tied up with Apple and Paul still has a contract with them. 

It’s no wonder that this becomes the focus of the media narrative, and it makes Paul panic. 

So on 16 April, the day before McCartney was released, Paul sits down with journalist Ray Connolly. And we move from story making, into reactive messaging. There is some thought behind this - Connolly is friendly with The Beatles and had actually already been aware of the split thanks to an off the record chat with John, so he was a good choice. The interview was published in the Evening Standard, a few days after the album had come out. 

And here’s why you want a friendly journalist to talk to, because as the world rushed to say that Paul had broken up the band, Connolly led his article with this: 

Paul McCartney didn’t kill the Beatles. If the group is dead, McCartney might be seen as the last survivor. If he has quit, and he still hasn’t confirmed it, he was the last to go.

(Paul McCartney in the Evening Standard, 21-22 April 1970)

However, the interview is also extremely telling about where Paul’s at emotionally in this moment. 

A few days ago Paul McCartney decided to break his year-long silence and be interviewed. He wanted to clear up the confusion about his relations with the other Beatles and Allen Klein, and to kill the rumours that he was now ‘a hermit living in a cave somewhere with a ten-foot beard’. He wanted to show that he really was a happily married man with ‘a nice family and a good life’. But most of all he wanted to talk, to work things out in conversation, as much, I suspect, for his own benefit as anything.

This is not what you want to be doing with a journalist, you want to have this worked out before the conversation. 

We met for lunch in a Soho businessman’s restaurant. With hardly moments for the hellos, he’d launched into his theme, talking rapidly and intently, and only occasionally allowing Linda to come in as support and verification. He wanted to put it all straight, to show that no one was to blame for what had happened, and when after two and a half hours’ non-stop talking he had cleared up his mind and mine too, he laughed, said he felt better now, got into his car and went home.

This demonstrates the lack of media training he had. It’s a stark difference to the confidence he had doing press with the other Beatles, on his own and with a particular idea to get across he appears nervous and controlling. Long form interviews like this are a marathon, not a sprint, and had he had an advisor or representative that was willing to push back against him, he would have known how to handle this better.

Moreover, an interview of this sort should have been done and published prior to the album coming out, or at least on the day of. Yes, there were always going to be questions about The Beatles tied up with this release, but one long interview like this, that had been properly prepared for, could have gone a long way to keeping the story straight. He also, despite his steamroller-ing of the conversation to begin with, comes across much more balanced about the situation than he does in those Q&A answers, so leading with something like this would have put him on much better footing.

So let's just pause here. What have we got so far? We've got Paul wanting to do a little press as possible, and with a breakdown of communication with his press team resulting in minimal planning and advice. This goes completely against the picture John is trying to paint.

And I’m not done yet. Because now we need to talk about the response to the album which wasn’t what I imagine Paul had wanted. There are two reviews I’m going to focus on here, firstly from Disc & Music Echo, written by Penny Valentine. 

I don’t know what he was thinking when he planned this album. Perhaps he is laughing at us all. That’s fine, but it’s a pretty cruel way of doing it… almost a betrayal of all the things we’ve come to expect.

(Disc & Music Echo review, 18 April 1970)

It’s really harsh, but also this is within her right as a journalist. And what should someone do if they’re getting bad reviews? Ignore them. Thank the fans. Thank the people who say nice things. Don’t highlight negative attention, and certainly don’t lash out. 

And look, there’s a lot to be said about Paul, Linda, John and Yoko’s press communications over the 70s, the Melody Maker letters spring to mind, and I’m very aware that I’m looking at this from 2025 when PR is much bigger and better oiled machine, almost to the point of it being quite boring and predictable. I do, however, also think that ‘don’t lash out at journalists who don’t like your work’ is common sense. 

So Paul and Linda writing to Disc & Echo is a bit much to my eyes: 

Dear Penny hold your hand out you silly girl I am not being cruel or laughing at you. I am merely enjoying myself. You are wrong about the McCartney album. It is an attempt at something slightly different, it is simple, it is good and even at this moment it is growing on you, love. – Paul and Linda McCartney.

(Paul and Linda's telegram to Disc & Echo, 25 April 1970)

It’s condescending, and if you’ve want the plant the seeds of what your album is meant to be, there are much better places and ways to do it. Again this is reactive, showing little to no planning earlier in the year. 

But here’s the thing that actually, completely baffles me. On the same day, in the same paper, another article gets published, this time by Derek Taylor, with the by line reading ‘Derek Taylor, Beatles Press Officer’. This just shouldn't happen. I can’t think of another case where someone’s PR is coming to their rescue in print. That’s not their job, and yes, Taylor used to be a journalist but he’s not anymore. I think this is way more to do with the way the people that have been with the Beatles since the early days are so emotionally wrapped up in this, they weren’t the people that should have been handling this.

(x)

It also shows though, that however much Paul was distancing himself from Apple, there were people still there who loved him. It’s an emotional, beautifully written piece calling for people to leave Paul alone, but also not a good PR move, especially when he’s highlighting a specific journalist. Whether Paul asked Derek to do this, or Derek did it of his own accord, I don’t know, but it looks defensive and if I was a journalist, I’d be rolling my eyes. 

Which brings us to the final part of this, the Rolling Stone review, published on 14 May 1970, nearly a month after the album came out, and largely not about the album at all, but a lot of  focus on Paul’s handling of the situation. 

The review of the actual songs is pretty complimentary, but this is also a personal attack on Paul. 

(Full review)

Unfortunately, there is more to this album than just music. Accompanying the release of McCartney was a mass of external information — all of it coming directly from Paul himself — which casts real doubt on the beautiful picture which the songs create. 

The sheets contain even more assertions about how happy and peaceful Paul and Linda are these days, and some interview statement from Paul concerning his relationship to the Beatles — statements which drip a kind of unsavory vindictiveness.

My problem is that all of the publicity surrounding the record makes it difficult for me to believe that McCartney is what it appears to be. In the special package of information which Paul wanted to include with the album we find startlingly harsh statements.

The lasting effect of this publicity campaign is to cast a dark shadow on an otherwise beautiful record. Listening to it now I cannot help but ask if Paul is really as together as the music indicates, how could he have sunk to such bizarre tactics?

I don't think this needs much commentary. You know something’s gone wrong with your PR when that becomes the focus, rather than the thing you’re actually trying to promote. 

If we return to the four things I listed above, I think we can pretty resolutely lay out what I wanted to do. 

Was there a clear, cohesive message? Around the album itself, sort of, Paul knew what it was. But it got tied up with the news of The Beatles split, the messaging around which was confusing with no one sticking to the same story. He also didn't do enough before the album came out, to get that messaging about his album stuck in people's heads. So overall, no. 

Did he build good relationships with press? No. He threw a bucket at one. He provided confusing press kit material, even to journalists he was friendly with he came across in a manner that was worth noting in an article, he sent a bitchy telegram to a journalist who wrote a bad review, and this all culminated in Rolling Stone spending more time talking about his publicity than his album.  

Did Paul have reactive messaging prepared? Evidently not, and then given the chance to provide some, he came across as panicked to the journalist he was speaking to. 

Did his Q&A provide clear, simple answers to common questions he was likely to get asked? No, it was overly long, asking the same questions in multiple ways and no editing was done to his short, snappy, confusing, and incorrect answers. 

I don’t want to give the idea that Paul, overall, is just shit at PR. (I mean, there's a difference between being a good spokesperson and good at PR but I won't get into that). He’s a highly successful musician who by all accounts, is now extremely good at interviews and making journalists feel at ease. He’s Paul fucking McCartney. But John saying this, in direct reference to this period of press activities is just not true. The album did well for Paul in the charts and sales, yes, but I’d argue that’s despite all this, rather than because of it. 

And it’s also important to reiterate, that Paul simply wasn’t interested in doing a lot of publicity. He wasn’t even sure this was going to be an album when he started writing the songs. He didn’t want people coming to his farm, invading his new family life (and rightly so), he didn’t want to be on TV or the radio every day. That’s why his Q&A is so terse and why he hadn’t put any thought in how he was going to talk about The Beatles. And whilst how he felt is understandable, what he needed were a team around him willing to push back, steer him, and were separate from Apple. That’s the only way, I think, this could have gone differently.

Even then, he probably wouldn’t have listened to them anyway: 

I don’t think I need a manager in the old sense that Brian Epstein was our manager. All I want are paid advisers, who will do what I want them to do. And that’s what I’ve got.

(Paul McCartney in the Evening Standard, 21-22 April 1970)

And that’s really the crux of it all, because you can’t do good with PR with someone who doesn’t want to take advice and thinks they know best. And I love him for it. 

[waitmyturtles]

Final Thoughts on Spare Me Your Mercy, Thailand's Biggest Queer Show of 2024*

(*domestically!)

Due to the holidays, I was behind on watching last week's finale of Spare Me Your Mercy, but I got it in, and I'm glad I did.

I am mucho on the record that I thought, throughout this series, that the romance portion of this series was done weakly. I throughly enjoyed and appreciated @clairedaring's objective and appreciative commentary throughout the airing of this drama to provide all of us with context about novel!SMYM versus series!SMYM, helping us to understand what of the many bits were missing between the two versions of this story.

There has been a nice lot of debate online about the ultimate success of the telling of the SMYM story in drama format, both pro and not so pro regarding the script. There was also quite the revealing interview with the screenwriter Lux Sirilux, who revealed that the show's design purposely excluded NC scenes to favor more time being spent on the euthanasia ethics debate (thank you so much to @clairedaring for reblogging so much, I wouldn't have these references without you!).

I want to note that even despite the recent holidays, that the heightened online burble of debate around SMYM indicates to me -- like the ensuing debates after the airing of the 4 Minutes finale -- that the story of the SMYM drama format didn't land for everyone. If it was universally successful in its storytelling from all the classic narrative markers, then much of this debate would not be happening.

I first entered the SMYM world understanding that it was a part of a storytelling trilogy of sorts, connecting Sammon's previously adapted stories in 2020's Manner of Death and 2022's Triage (I haven't reviewed Triage yet, but I watched it in 2024 and it is absolutely one of the five best Thai BLs I have ever watched.)

To go back to the Lux interview quickly, and to note fan commentary in defense of Lux's position: what Lux Sirilux posits is that the show essentially decentralized NC scenes and intimacy in favor of giving the script more time to dwell on a debate about euthanasia -- the ethics and morality of being a part of a person's death, and the ethics of a person deciding to die in the first place. The defense of this position essentially stated: well, because the show wasn't intended to be about romance, then why criticize it on its romantic context?

When I think back to the show's original positioning as a part of the MoD/Triage trilogy, I think to myself: the couples of TanBun and TinTol were absolutely central, as romantic pairs, to the success of those two stories, and both shows absolutely balanced their mystery elements so as to leave us fully satisfied on two (!!) genre fronts. At least, before SMYM premiered, to be excited about the TorJJ/KanTew coupling was therefore a reasonable expectation.

As well: there was a lot of implied attraction and romance in SMYM. A lot!

All these scenes! And we had more.

As soon as this show started airing, I was pulling for it to work as well as Manner of Death and Triage had. And I was side-eyeing to my drama homies about what I was smelling, when I started to feel like SMYM was NOT working. While a defense that the show was never meant to be a romance is... an interesting postscript to ponder: I don't buy it, because many elements that were clearly designed to otherwise communicate romance actually failed. I squinted heavily at the middle episodes of this series, really wondering, ".....so......are these guys.... DATING? Just feeling things out?!"

If these elements weren't actually intended to be in the show, the attraction between Kan and Tew, then -- why did we get them?

What was missing, narratively, for me? It was emotional context based in the reality of how I understand intimacy to function between two humans -- an understanding that, in the very best of art, I don't need to suspend in order to make a narratively unsuccessful show otherwise work.

The progression of emotional (let alone physical) intimacy was choppy in this series, to say the least. @clairedaring gave us the very important context early on that the novel version of SMYM had two volumes -- the first of which focused on KanTew's dating, before the ethical clashes of euthanasia entered the picture. If we had had that narrative context in the drama, the drama would have worked wonders, and I believe the crew was working throughout this debate in the writing process, from how the script turned out.

The script here did not work, because even if romance was intentionally deprioritized to focus on the euthanasia debate -- many episodes still spent too much time on KanTew, without giving us viewers an emotional journey for us to understand where they were in their emotional intimacy. And I posit, because the script seemed to be so indecisive, that the euthanasia debate got lost for much of the show as well. Up until the end, in the final episode, with that utterly fabulous attic scene.

If only the show had the strength of dialogue and conflict as that attic scene! I wrote yesterday that Tor and JJ will win awards for the whole series, based on that scene alone. That scene finally held the full and holistic scope of the tension between Kan and Tew totally bursting out in all its glory.

Let me just note, though, that we had to get through the first half of the episode to get to that scene -- a first half that really, REALLY made Kan look like an AWFUL LYING SCUMBAG to Tew (HOW COULD YOU LIE TO TEW LIKE THAT IN YOUR HOSPITAL BED, KAN, AND TELL HIM THAT HIS PAIN HE WAS FEELING WAS GUILT, YOU MF'ING ASSHOLE, okay I got it out of my system). Really, with all the lying Kan was doing to Tew about Tew's mom, I was praying that Tew would do the full COPS treatment on Kan, "Bad Boys" and all.

Kan was, in my absolutely personal opinion, ultimately rendered unforgivable during that first half of the finale (regardless of my personal thoughts on the ethics of euthanasia) simply because of his disingenuousness to Tew. The penultimate conversation in attic between Kan and Tew was a phenomenal encapsulation to the ethical conflict that Kan and Tew had danced around for the entire series -- and it highlighted, to me, again, where the script had failed the show, because it actually put a spotlight on moments when the EXCELLENT and FASCINATING nuances of the euthanasia debate in Thailand were sidelined for weak attempts at romantic development. (The socioeconomic nuances, the inequity in health care nuances, the impact that terminal illness has on caretakers, all of them! GAH!)

My takeaway from all of this is that the crew of this show did not hit the exact and delicate formula of deciding what the crux of this show should have been about, despite the commentary we received posthaste from the screenwriter. While the intention of that commentary indicated that the euthanasia debate was supposed to be the only center of the show -- too much time was spent showing us KanTew moments, and those moments lacked context and clarity to give us viewers an understanding of where they stood in their engagement or relationship at any one time. Thus, I do think the postscript commentary from the crew was also a touch disingenuous, regarding the success of the narrative itself as art.

And — I believe it was also disingenuous to the two previously adapted Sammon stories of Manner of Death and Triage as well, as both of those dramas were able to hold both mystery and romantic storylines to excellent ends, with wonderful touches of intimacy along the way (MaxTul couch scene, my beloved). There's more to say, as other people have noted, about writers deprioritizing intimacy to tell "another" story, as it were, but that's a debate for another time, that I think speaks to where Thai BL is going in general.

But otherwise, while I think SMYM was ultimately narratively unsuccessful (that last "I love you" and the rushed close were just brutal), I'm not surprised about how well it did in Thailand. No one can argue with the star power that Tor and JJ hold in Asia — the show was always going to do well, no matter the artistic success of its narrative. I just wish the show had lived up to the caliber of acting and writing that Tor and JJ got to display in that attic at the end.

[interstellarlyinlove]

First time meeting the parents (January 3rd)

word count: 600

@wolfstarmicrofic

Sirius isn’t sure how to feel. 

He should probably feel happy to see Remus after not seeing him since the start of winter break, but he really doesn’t want to see Remus here of all places.

Sirius hates the house he grew up in and he hates thinking that Remus might hate it even more. Speaking of which, where is Remus, anyway? Surely he should have arrived by now–

“Will you stop fidgeting, brother?” Regulus says softly. Both brothers are standing in the corner of the crowded Grimmauld Place parlour room. Their father is entertaining some of his colleagues in the Ministry and Remus’ father was invited. Remus told Sirius in his last letter that he might accompany his father. On an unrelated note, Sirius might puke. “I’m sure your boyfriend will be here shortly.”

“Remus isn’t my boyfriend,” Sirius says automatically. Then he realizes that Regulus didn’t even say Remus’ name and tries not to flush. Sirius changes the subject. “Say, you didn’t grow up here.”

Regulus blinks. “What?”

“Say, this is the first time you enter this house. What would you think about it?”

Regulus blinks again. “You want me to– Well, it is very gothic-esque, if I say so. Very dark. The Tell-Tale Heart could be set in this very parlour room. Some of the wall art is questionable, to say the least. Horrifying, even. But I do rather like that aesthetic. Some say it suits me, so I don’t mind it all that much–”

SIrius’ heart sinks. He catches Remus’ pretty curly hair in the dimly-lit room and he’s standing next to Sirius’ mother.

This is the worst night of Sirius’ life. 

Sirius hands Regulus his drink and clears his throat. “Sure, sure. Dark, dismal, dreary, and cold. I think so too, it’s all rather cliche – see you later, Reg.”

Sirius reaches both Remus and his mother in record speed. Sirius doesn’t think he’s ever considered Remus and Walburga existing in the same universe before, so this is peculiar to say the least. 

“Remus!” He greets, then he cringes because his voice is rather loud. “Mother.”

Walburga acknowledges him. “It is terribly rude to interrupt a conversation in this manner, Sirius.”

“Happy new year, Sirius,��� Remus says, smiling, and Walburga might as well have disappeared from the face of the earth. She doesn't matter, nothing else really matters, not the stupid uninviting house or the horrendous paintings on the wall or–

“Have you hit your head somewhere, Sirius?” Walburga asks, bewildered. “What are you staring at?”

Sirius blinks. His mother is looking at him inquisitively. Sirius snaps out of it. “I’m sorry, mother.”

Walburga shakes her head then turns to look at Remus. “It was nice meeting you, Mr Lupin. I apologize for my son’s rather odd behavior.  Please enjoy your night.” She then leaves. 

Sirius blinks, then turns to Remus. “Did you actually get Walburga Black to like you?”

Remus grins, and it’s blinding. “How horrified do you think she'd be if she found out about my lunar predicament?”

Sirius blinks again. “Did she just tell you to enjoy your night? Remus, did you hex my mother into becoming a pleasant individual?”

Remus laughs. “Sure.”

“Happy new year to you too, Re,” Sirius says. “Let’s go get drunk.”

Remus laughs again. “Sure. How’s your break been, Sirius?”

“Just great,” Sirius says. “Monday cannot come quickly enough.”

Remus nods. “Yeah. I’ve missed you.” 

Sirius smiles. He no longer knows why he was so nervous in the first place. He somehow forgot that this is Remus. “I’ve missed you, too, Re. Let me show you around.”

[subtle-as-an-earthquake]

Big Ideas @ 3Arena Dublin [19-10-2023]

[divorcedfiddleford]

and you may say to yourself: "my god! what have i done?" and you may tell yourself: "this is not my beautiful wife!" and you may tell yourself: "this is not my beautiful house!" and you may ask yourself: "well, how did i get here?"

time isn't holding up, time isn't after us, time is a pony ride! (images described in alt text)

[tempests-bards-and-birds]

please god make the "three time winner of the best bard of mondstadt" one of the earliest pieces of evidence we got for the samsara without us knowing it at the time because it would be so fucking funny

[linddzz]

For fellow video essay enjoyers; an excellent and relatively short (about 15min) breakdown of how Viktor's villain arc makes perfect sense for his character. I had my rambly meta posts about how I base my Viktor analysis on the idea that he was never being directly controlled by anything and everything he did was his choice, so of course I love stuff that backs that take up

[sysig]

Caughtcha, gotcha, not letting go ♥ (Patreon)

[charmwasjess]

So we know that Dooku was Leia's assigned Force ghost (canon to me, no I will not be taking questions) but who would get Sifo-Dyas? Or did he use up all his ghost juice keeping his promise from the book to haunt Dooku's miserable ass if he ever got him killed?

[tinukis]

i went to one piece orchestra tonight !!

seeing/hearing kohei tanaka and hiroshi kitadani... was amazing... ESPECIALLY having the honor to listen to we go, over the top, uuus, and we are all live !! literally we are, over the top, and uuus are my FAV one piece openings so clapping and singing along with hiroshi himself was just so... magical.

it made me really happy that i've become a one piece fan 🥹🫶♥️ im a little sad i had to experience it all by myself and i dont know many who are into one piece... but still a wonderful occasion regardless.

[street-corner-felines]

Zero Day (2002)

[unriding]

EVIE !!!!!

I SAW U USE MY ART AS UR THEME SO I WANNA DO A REMAKE !!! mostly cause the other one was full of mistaks hurrrrr orz

keeping the color palette the same so itd still fit + use softer shading so convey how soft u are + moze is now IN UR HAND !!!! >:3

oh nick :’)

[watermelinoe]

private clinics in costa rica really treat you right, during the vacation portion after classes were over i caught a local stomach bug and i remember one of the nurses touching my arm going pobrecita :( and then they gave me amazing pain meds and sent me home with a giant jug of juice to drink, and anyway i just had my first er visit in appalachia and the vibe was honestly similar