#because i work in the south and a lot of people we are interviewing have accents believe it or not

[tackrusso]

i'm like i have nothing to be stressed about and then i'm having a breakdown in the car and then i'm like oh okay maybe i do have things to be stressed about

[easeupkid]

not my boss mandating us to report how we used ai this week in the editorial slack channel……..

[jesncin]

A Failure of Asian Lois Lane: Pt 2: My Adventures with Superman, an honest discussion

If I had to pinpoint the fundamental problem with My Adventures with Superman's depiction of Asian Lois Lane it's in their attempt to subvert the classic two person love triangle: Lois loves Superman but is indifferent to Clark Kent. In MAWS, Lois insta-crushes on Clark Kent and hates Superman. In the show's attempt to make sense of this dynamic, Lois' Asian identity becomes at odds with a story meant to touch on xenophobia and immigrant themes.

Let's have an honest discussion about a show that made fandom cheer as an Asian character removed the one thing that made her most visibly Asian.

Disclaimer: While I am of East Asian descent, I am not Korean. I'll be discussing general Asian diasporic experiences but the specifics of Korean culture are outside of my knowledge (as usual I can't and don't speak for every Asian person ever, I am 1 opinion). Secondly, I'll be pulling from my personal experiences every now and then particularly pertaining to being a butch Asian person watching this show. It'll be a mix of formal analysis and personal anecdotes. Thirdly, this isn't an exhaustive analysis of MAWS Lois' character. We'll be sticking to what I consider is relevant to themes of Asian identity and immigration. Lastly once more, I do not believe the MAWS crew had malicious intent in any (of what I consider) poor writing decisions. We're here to analyze and challenge these writing decisions.

Please read Pt 1 of Asian Lois analysis that covers the comics, as it provides the groundwork for the ideas expanded on in this essay.

We need to talk about Lois' design. In the follow up to MAWS' release, people have been speculating on Lois' ethnicity. CBR writes that the show has "some fans believing that she's at least part Asian" and other articles have the show crew confirm Lois Korean heritage via her hanbok outfit in episode 4. The existence of these articles, my own anecdotal experience of streaming MAWS with Asian friends, and comments I receive from people asserting Lois' Asian identity was never explored in the show ("you'd only know she was Asian if you searched up articles about it"), tells me we have a case of an ambiguously designed Asian woman. Tangentially many people had no idea Livewire, the white haired and blue eyed woman, was meant to be South Asian.

There's a lot to be said about art styles that don't properly stylize ethnic features, but for the purposes of our analysis that means the writing has to deliver the heavy lifting where the design fails. This is the opposite case of American Alien: a comic that relied on the art to portray Asian Lois.

Let's start at episode 3. In it, Lois finally manages to conduct a private interview with the elusive Superman. When she asks where Superman comes from, how his powers work, etc- Superman comes up empty. In this version, Superman can't talk to his Kryptonian father (Jor-El)'s hologram because of a language barrier, so he knows very little about his alien heritage. He leaves Lois, assuring her he's here to help the people of Metropolis. When Clark Kent congratulates her for interviewing Superman, Lois rebuffs him. "Oh, he's [Superman's] a liar." smirking as she says it. This is the start of the Lois Hates Superman For Being a Liar arc.

I'd like you to consider the optics of an Asian American woman interviewing an alien immigrant who honestly told her he doesn't know where he comes from and is still figuring out who he is, only for her to think he's lying. Because she didn't get the answers she wanted. I can't help but think about my own experiences, where I was asked "but where do you really come from?" or "okay but what's your real name?" I think of my Asian American peers who would honestly say they're from Texas or Atlanta and get a vindictive "you're lying" as a response. People want to hear you're from China. They want their biases confirmed. I think about how I honestly can't tell you where my elders hailed from, because of cultural genocide and language barriers. This scene makes me uncomfortable, but let's press on.

Episode 4 is where Lois is most visibly Korean. In this episode the trio of Lois, Clark, and Jimmy are tasked with interviewing rich techbro Prof. Ivo of Amazo tech at an investor event. It's a prom episode. Lois wears a "hanbok inspired gala outfit" designed by Dou Hong and Jane Bak in a deliberate move to showcase Lois' Korean heritage. Bak comments "I remember feeling strongly about wanting to inject some aspect of her Korean heritage without disrupting her characteristic as a spunky and resourceful intern/reporter." while the wording poorly implies that Korean heritage is at odds with Lois' spunky personality- I do want to challenge a couple of the decisions that went into this design.

I want to acknowledge as an Asian butch that there are many ways to sport traditional garments and it's okay to mix and match to figure out what reclaiming culture (and your comfort) mean to you. However we're talking about the opportunity to showcase culture in an episode of a fictional animated show. I also encourage cultural gender expression that thinks outside of western white people's idea of gender (in both fiction and real life).

Whenever artists try to do a non-conforming spin on a cultural outfit, I always have to ask: "what standard of masculinity are we basing this on?" It's clear that MAWS is pushing for a "tomboy" Lois, and this gala outfit is an extension of that. But what's the standards of masculinity in a Korean lens? Men wear hanbok too, so why can't Lois imitate how Korean men wear hanbok, by traditionally accompanying her look with baji (baggy and loose pants)? This design notably has tight pants that hug the form, instead. I know the hanbok look has been modernized in and out of Korea in many ways, but in a show where you have the opportunity to showcase cultural non-conformity, I feel more thought should be put into the outfit outside of a potentially western lens- or the idea that cultural heritage of any sort "disrupts" a character's personality.

Now that we've discussed the design of the outfit, let's look into the narrative role it plays in episode 4. While we can celebrate cultural representation in media, I consider it important to ask "what is this media's relationship with the cultures it represents?" and the answer for Lois' hanbok in this episode is: nothing! It's an aesthetic acknowledgement of culture. "Hanbok" or "Korea" are not terms explicitly mentioned in the show. When Prof Ivo offers beautiful women as compensation for Clark to keep quiet about his company's corruption, Ivo looks over to Lois- who spills food on her clothes, and remarks that she's unclassy. She's not judged for wearing othering cultural clothes- which would have tied nicely into Clark choosing to be silent on issues of Ivo displacing a neighborhood, making Clark realize his complacency actively hurts marginalized people. Despite wearing cultural outfits being a political statement in America, nobody reacts to it. It's clear what the actual goal of this scene is: Clark looks cool for defending his "tomboy" crush.

In a scene blatantly made for fanservice, Lois offers to sew up Clark's ripped tuxedo by undressing her hanbok so she can reach her little sewing kit. Lois never wears her hanbok again afterwards. This scene haunts me. It's a scene that tells you that fanservice is more important than cultural representation. It's a scene meant to set up that Clark gives his tuxedo to Lois later on for warmth. Lois removing her hanbok is meant for not one, but two fanservice scenes.

Lois talks to Clark at the stairwell. She opens up about her estranged relationship with her father, how her mom has passed away, and how she's been an intern at the Daily Planet for a year with no sign of being hired. This makes the narrative decision for Lois to lose her hanbok far more tragic. Lois being a diasporic child with so few familial ties to her culture would mean garments like her hanbok would hold a lot of sentimental value! It's hard enough finding a cultural outfit that fits with your butchess (many of my cultural outfits are hand made to fit my form and gender expression), and yet Lois unceremoniously loses her hanbok. You would think in Lois opening up about being distant from her parents that Clark would be able to culturally relate with the distance he has with his Kryptonian parents. But the narrative opportunity to link their immigrant experiences is not taken, because the show simply doesn't recognize the parallel between the two.

Instead MAWS pushes for the Lois Thinks Superman is A Liar thing again. A far less narratively substantial and fundamentally flawed arc. This episode starts with Lois calling Superman a liar and has Lois ranting about him "dodging her questions" (remember, he was honest with her about not knowing his heritage) thereby rendering her interview unpublishable. She resorts to conspiracy tabloids giddily provided by Jimmy for information. She rather cruelly says "nobody normal believes in aliens". We are uncomfortably seeing the build up of Lois being allegorically xenophobic towards alien immigrants- a Lois on a quest to out an alien before he's ready. This is their justification for flipping the love triangle. Lois loves cuteboy Clark from work, and hates Superman for not confirming her biases that would help her publish an interview that would promote her at work. What a love story.

To wrap this episode up: Prof Ivo ends up challenging Superman to a fight so he can flex his Parasite suit to investors, only for it to backfire, destroy his reputation, and greatly damage the Amazo building (remember this it'll come back later). The episode ends with Lois discovering Superman is Clark Kent. Anecdotally, I was so frustrated with the treatment of Lois' hanbok in this episode, that I went online to search if anyone else felt similarly. All I was met with was fandom thirsting over the stairwell scene where Clark and Lois were undressing. Consider the optics of an Asian character who removed the most visible signifier of her heritage (the outfit far more culturally specific where her character design was racially ambiguous) and how people cheered because that meant they could see her in her undergarments. They can happily thirst over the body they desired now that the othering cultural garment was out of the way. It's just clothes after all. Diversity clothes. This show continues to be very uncomfortable, and a little too real.

In episode 5 Lois is passive aggressive to Clark and Superman, trying to get Clark to admit he's Superman and vice versa. She eventually confronts Clark by jumping off the roof of the Daily Planet, causing Clark to fly down and save her. She proclaims she doesn't want to be friends with him anymore for "lying" to her. This episode caused a huge ruckus online as people were divisive over Lois' actions. Some defended Lois, saying that "women should be messy" and "it's not Lois Lane if she doesn't do something crazy for journalism!". Ignoring that opinion's very flandarized view of Lois' character for a second, let's thoroughly discuss how this relates to themes of immigration and Asian identity.

By this episode, Lois had known Clark for 5 days. In that time she's entitled and angry to the point of friend-breaking-up with him because he wouldn't disclose his marginalized identity to her within less than a week. "A secret is another type of lie!" Lois says, regardless of her lying on sight to both Jimmy and Clark upon meeting them at work, and continued to lie in episode 3 (after promising not to in ep 1) about her intentions to interview Superman. Only Lois gets to lie in this relationship. The hypocrisy of her character is never recognized. Clark calls out Lois for having previously admitted to him that she wanted to dox Superman and "publish all his secrets. MY secrets!". Keep in mind that when Clark brings up Superman feeling uncomfortable about his secrets being published by Lois in episode 3, Lois' response was "yeah, but HE doesn't know that's my plan!". She explicitly admits that she would publish private information about Superman without his permission. But when she's confronted by Clark in episode 5 about that, her response is "I would never do that to you, I didn't know it was you until after the gala. How could you think that?" It's only through conflict of interest that Lois spares Superman of being doxed. He's supposed to magically know this. Extremely cool of Asian American Lois to be entitled to an alien immigrant's identity within four business days.

Episode 6 wraps up the Lois Hates Superman For Being A Liar arc, so let's quickly summarize what happens. Lois and Clark set aside their fight to find Jimmy in an abandoned scientific facility (he's being cared for by Mallah and the Brain). Jimmy admits (very smugly) to having known Clark was Superman all along because he kept breaking stuff. As the trio are chased by killer robots, they emotionally confront Clark for not trusting them with his alien secret- despite neither Lois or Jimmy creating a safe environment for Clark to come out to either of them (Jimmy outed Superman as an alien on his video channel). The moral of the story is Clark should have trusted his friends anyway, because lying is bad. Not once does the narrative hold Jimmy or Lois accountable.

We have Black Jimmy Olsen and Asian American Lois Lane being entitled to their white passing friend Clark Kent's marginalized alien identity. A joke is made at Jimmy's expense that he doesn't understand bigotry, and Lois clearly doesn't understand why an immigrant wouldn't be forthcoming about his identity to his hostile friends at work. This is how that arc ends.

I'd like to quickly compare this Lois Hates Superman For Being A Liar arc to my favorite scene in Superman Smashes the Klan. In this story, Superman debuts as a strongman superhero instead of an alien, suppressing his more othering powers to pass as human. He jumps instead of flying. Roberta, the Chinese American girl targeted by the Klan, calls Superman out for not using his full abilities to save people who could've gotten hurt. Yet, as she's calling him out, Roberta understands Superman's fear of not wanting to be othered. She sees the way her father dresses up to pass as an accomplished scientist, how he tells her mom to speak in English, how her brother makes racist jokes at their family's expense to fit in. She's not mad at Superman, she's mad at the world that would be scared of Superman if he flew.

"I wish it were okay for you to fly!" Roberta yells. This is a beautifully empathetic scene that shows a marginalized person frustrated at a systemic problem, instead of blaming the marginalized for being marginalized. It's the empathy and perspective we're missing from MAWS.

Episode 7 is a metatextual episode where MAWS addresses how their Lois isn't like the other Loises you've seen before. Lois and Jimmy are brought on to a team of alternate dimension Loises to find interdimensional troublemaker Mxy. In seeing the other more accomplished Loises in the multiverses, Lois ends up feeling inadequate about her self worth...in connection to being Superman's girlfriend, of course. Because Superman only loves Lois Lane after she wins a couple of Pulitzers, right?

I'm open to a version of Lois Lane that isn't as accomplished as she's historically known to be. I can like a Lois that's young and idealistic, like in Girl Taking Over. It's hard not to compare this episode to 2022's Everything Everywhere All At Once, another multiverse story about an Asian American woman who is the "greatest failure" version of all the parallel iterations of herself. But while that movie talks in depth about themes of generational trauma, expectations, and self potential within Asian immigrant families, MAWS uses the multiverse to say that while their Lois is less accomplished, she's still a good girlfriend to Superman! Why should I bother giving grace to a different take on Lois only to get such a superficial story out of it. This is metatextual-ly frustrating.

Why is it, the minute we get an adaptation of an Asian Lois in something as prominent as an animated show, we get "the worst Lois in the multiverse"? Lois is historically depicted as excelling in her field. She's an award winning journalist, jaded and mean from having to work her way to the top. She owns her sexuality, she's the experienced city girl. Instead of taking the opportunity to inform Lois' jadedness and excellence with her Asian American identity like in Girl Taking Over, instead we have an Asian Lois that's simply incompetent at her job. Why are we now adapting historically accomplished women into adorkable quirky screw ups? She went from being sexually confident to being insecure over sending a text to Clark. Is it more relateable to see an Asian woman that way? Is it too intimidating to see a butch Asian woman who excels at her job? Who's romantically confident? This is what MAWS would rather do than humanize her excellence or her failures.

Are you tired of an ambiguously designed Asian American woman reporter being xenophobic to Superman in MAWS? Well too bad because episode 8 introduces us to Vicki Vale, voiced by Andromeda Dunker (an Asian actress), with explicit notes in leaked concept art to design this character as "Indian American or Asian American" (as if those are mutually exclusive...) inspired off of real Asian reporter Connie Chung. Vicki wants to write a hit piece on Superman and interviews Prof Ivo's assistant, Alex, for a negative biased opinion on Superman (to Lois and Jimmy's dismay).

This episode is where it's abundantly clear the writers don't know how to talk about xenophobia. They'll make nods to xenophobic rhetoric, but they don't know what the rhetoric means. In response to Alex's derisive opinion on Superman destroying Amazo tower thereby bankrupting the company and putting "thousands out of work", Vicki responds "Superman wiped out good American jobs". This is a misplaced nod to Replacement Theory: the fear white people have over people of color, but particularly immigrants, coming to "their" country to "steal" jobs they're entitled to, ultimately becoming demographically replaced by non-white cultures and people. This rhetoric is also commonly applied to Jewish people.

The problem is, that's not what Superman did in the show. Amazo tech was going to go bankrupt because of Prof Ivo's poor business decisions. Prof Ivo made the mistake of antagonizing Superman and ruining his own image. Superman damaging the building came from his fight with Prof Ivo, not a deliberate attempt to get hired (if anything don't the building repair people have new jobs now?). No one's job is tangibly being taken by Superman. None of this is called out by Lois or Jimmy, who know the full story and were even the ones to attack Alex for helping Prof Ivo (let's be real the writers forgot this happened). In fact, Lois and Jimmy don't react to Vicki's Replacement Theory remark at all! It's like they don't even recognize she said something with racist implications!

Jimmy and Lois meet up with Superman who learns the people of Metropolis are becoming scared of him (from causing some recent property damage in an attempt to hunt a criminal down) and writing mean comments on social media. A user writes "he should go back to where he came from." This is a transparently xenophobic comment. It doesn't work in the context of the show because of a huge plot hole: Superman never publicly came out as an alien to Metropolis. No verified newspaper has explicitly made this fact known. The only source that mentions this is Jimmy's conspiracy channel, which the citizens of Metropolis are apparently treating as fact- therefore (if we're to believe this is how people knew) this means Jimmy absolutely outed Superman as an alien without Clark's consent.

So how does Asian American Lois respond to seeing her alien boyfriend go through xenophobia? She says "Take a break from being Superman and just try being normal." To be fair, the narrative does portray Lois saying the word "normal" as charged (only here at least, not in episode 4), and when she tells Superman to "take a break" it's because he had been overworking himself after suddenly unlocking the ability to hear when someone's in trouble. But was this really the response Asian American Lois thought to say? To her boyfriend going through such explicit xenophobia? At this point it's abundantly clear that racism doesn't exist in the world of MAWS. Being "normal" is to be human. And to be marginalized- or as the show likes to call it "different" is only reserved for white passing alien man Clark (along with gorilla and robot that was once a white man). Any hope of an immigrant parallel between Asian American Lois and Superman should be fully discarded at this point.

After the events of the previous episode where Superman is kidnapped by Task Force X, in episode 9 Lois regrets being allegorically xenophobic to Clark. At least I think that's what's happening. I often describe MAWS as a show that's extremely squeamish with getting political- and I believe the vagueness of Lois' Dark Night of the Soul moment reflects that. "I said awful things to Clark. I doubted him when he needed us most. I was wrong and now he's gone..." Lois says as she cries to Jimmy. Is this dialogue implying she shouldn't have told a sleep deprived Superman to take a break? What did she doubt about him? This dialogue is purposefully vague about Lois being xenophobic. They've universalized Clark's immigrant identity to such a point that they can't keep their argument consistent. Was Lois in the wrong for telling her overworked superhero boyfriend to take a break? Or was she being xenophobic for telling him to lay low for a while? Or is she regretful for hating Superman for Being A Liar? How is that possible when the narrative sided with her and Jimmy in episode 6? It's woefully non-committal. Regardless, the intent of this scene is to pay off in the climax of the episode.

In the end Superman has a showdown with Prof Ivo Parasite, who has grown into a large godzilla-esque kaiju creature. In typical MAWS fashion, the show is more interested in a surface level nod to Asian media instead of engaging with the specific themes of nature and post-war trauma kaijus and godzilla serve in Japanese culture. I digress. Using Jimmy's massive social media platform, Lois delivers a hope speech that instantly heals Metropolis of its xenophobia towards Superman.

Lois says to the people of Metropolis.: "People have told you to fear Superman because he's different from us. But we humans are capable of causing hurt and pain too. [...] Because we want to punish those who don't look or act like us." I mean this in the most polite way possible, but who on Earth thought this line was a good idea for Asian American Lois Lane to deliver when talking about white passing man Superman?? Why did the writers feel the need to specify Superman not looking like us. I simply don't understand how nobody considered the terrible optics of this.

After Superman defeats Parasite, episode 10 is about Clark, Lois, and Jimmy celebrating Thanksgiving at the Kents' house. At the Daily Planet, the trio of interns are promoted to finally being reporters. It only took Clark and Jimmy a few weeks while it took Lois a whole year! Now feels like a good time to remind you that Lois as a character was historically frustrated at sexism in the industry and despised how men were treated better than her (including Clark Kent). Well in MAWS episode 4, Lois has no idea why she isn't getting picked up to be a reporter. According to the narrative, and Perry White's dialogue ("you're terrible interns, so the only thing to do was to make you reporters")- she simply didn't break enough rules yet! Thank goodness she had the help of two men to show her how it's done! This is a pretty clear case of character regression. Keep in mind that in American Alien, at the very least that Asian Lois still underwent sexism, and I gave it the grace that the story could eventually expand to talking about both sexism and racism if it were to continue. But in MAWS? I don't think even sexism exists, let alone racism. Somehow Thanksgiving does, though.

Half the final episode is spent on Thanksgiving shenanigans where everyone's trying to be polite but they dislike Lois' stoic dad (Sam Lane)- who Clark recognizes as the Asian American xenophobic man who tortured him in Task Force X's government bunkers. A parallel is pulled between Sam and Jor-El, two fathers with different ideals when it comes to protecting their kids. There's a huge missed opportunity to have Lois and Sam speak in Korean with each other, to create a parallel in the language barrier between Clark and Jor-El. Maybe Lois isn't as fluent in Korean as Sam is depending on how culturally connected she is. Oh, but the existence of non-English human languages would imply some sort of minority, who would be marginalized, and we can't have anyone outside of aliens and a gorilla be marginalized in MAWS. Non-English languages in America are political, after all. Oh, but they also got a Filipino actor to voice Sam. Generously Lois could be Filipino-Korean but if we're being truly honest it's clear the MAWS crew think Asians are interchangeable.

Let's talk about Sam. In terms of optics, it's already not great that the main villains who represent the face of America's secret government xenophobia are Amanda Waller and Sam Lane- a Black woman and an Asian man. What's doubly notable is that of the antagonistic villains, Sam and Vicki are the most xenophobic. When Sam tortures Superman, he shouts "When is the invasion? How many of your kind will come through this time?" without a hint of irony. Reminder that historically, Asian immigrants were (and still are) considered invaders in America. They are the perpetual foreigner. MAWS loves making nods to Superman being an immigrant allegory, and yet they can't fathom the human beings that allegory is inspired by.

It's not impossible to portray people of color or even Asian American characters specifically being xenophobic. In Superman Smashes the Klan, Dr. Lee is initially antagonistic towards Superman but we understand why. We see him trying desperately to assimilate into whiteness, to the point he rejects assistance from his Black neighbors who help put out a fire in their backyard (that the Klan started as a threat). We understand why he's a character who would turn on fellow people of color, or fellow immigrants, in order to fit in. For MAWS, if we had a flashback scene where Sam was serving in the military and fought against Asian soldiers, showcasing his loyalty to America over his own people- that would narratively explain why an Asian American character would be xenophobic. Writing bigotry from within marginalized communities requires specificity. Otherwise, you've just got a diverse villain. In the end, Lois defends her immigrant alien boyfriend from her xenophobic Asian American dad.

Whenever I bring up how MAWS fails its characters of color but especially Asian Lois, I'm met with people telling me that "hopefully they'll make Lois more Asian in S2" or "they'll just retcon the bad writing in S1" and I hope this thorough analysis on the treatment of Lois' Asian American identity can help enlighten why I personally think that's impossible. The entire concept is flawed from the very beginning. The story MAWS wants to tell is at odds with Lois' Asian identity. In trying to justify an Asian Lois that loves Clark but hates Superman, they never considered what it means to hate Superman. To hate the alien immigrant. The alien other. What it means for an Asian American character to do all that. MAWS is a show that wants to have its cake and eat it too, they want a diverse world without racism or sexism but still want to reap the clout of lightly portraying Superman as "different".

They'll make the most surface level nods to Lois' Korean heritage- but remove all of the cultural context from them. They can't be bothered to acknowledge the inherit political identity being a person of color means in America, they're too busy doing that with Clark. I'm told "MAWS didn't have the time to go over Lois' Asian identity, it's a 10-episode series that focuses on Clark's alienation", and to that I say the potential of an immigrant love story and time frame was there, they simply chose to go another direction.

When I bring up things like Superman Smashes the Klan, Girl Taking Over, and Everything Everywhere All At Once, it's not to say MAWS should have used those stories as reference when crafting their allegory. All of those specific media were released while MAWS was deep in production already. Girl Taking Over was released the same year MAWS premiered. What I am saying is that we, as the audience, should have higher standards. Because better media portraying Asian American characters already exist. Better media portraying Asian characters relating to Superman mythos already exists. What we're doing when we celebrate the breadcrumbs of representation that is MAWS, is allowing mediocrity to exist uncritically.

Shows like Wednesday are known in the discourse for their portrayal of Black characters as being functionally white, yet that kind of scrutiny doesn't seem known for MAWS. The diverse reimagining of Lois and Jimmy is so poorly handled in MAWS that it would honestly make more sense if Jimmy and Lois were white here. The joke made at Jimmy's expense that he doesn't understand bigotry would be actually funny if it was calling out his white privilege. If, for whatever reason, the writers are compelled to write a xenophobic Lois that unlearns her bigotry and falls for Superman, I'd rather she be white for that kind of story. I wouldn't personally root for that kind of couple, but at least it'd make sense. It's a common joke among DCAU fans of color that we like to headcanon Lex Luthor as Black, or Lois Lane and Terry Mcginnis as Asian. It's a cruel irony that the one time we finally have a canonized Asian Lois in an animated show, she honestly feels and acts whiter than actual white Lois ever was.

I mentioned in Pt 1 of my essay that Asian Lois and Superman has the potential to be a definitive love story. One that considers both their backgrounds as immigrants, othered in different ways by American society. The story of a jaded but accomplished Asian city girl who finds hope to be herself again in an alien immigrant superhero. One where she gets the courage to wear traditional clothes again, to practice languages she once suppressed. The story of Superman, an alien immigrant, finding hope in someone with a painfully similar experience.

As of writing, we have yet to see this dynamic in any canon DC media. A second season of MAWS will not give us that story.

[tavolgisvist]

At Laudate in Newdigate I decided that Saturday to take a very modest 250 milligrams of LSD in a final cup of tea with Joan before setting off for St John’s Wood to pick up Paul McCartney and Peter Asher and Tony Bramwell, the Apple team due next day at Bradford. <…> Paul seemed very positive and played us some rare recordings; ‘dubs’ he had made of songs, written by him for others, dubs on which he was singing for the first and last time. Maybe one day they will make an album of them, but maybe it will have to be over his dead body for I don’t see him wishing to complete that particular symphony in his lifetime. I said I had taken a dollop of the dreaded heaven-and-hell, and Paul said it should be an interesting journey, and it was. We stopped at a pub on the way up and I astonished myself by coping remarkably well up until the point where I asked the barman if I could buy a filthy table which stood in a corner covered in cigarette burns and the stains of long dead pints. <…> ‘Drink up,’ said Paul, seeing the signs and playing Dad. ‘Write your name here please, Paul,’ said the barman and we left.

We arrived in Bradford after dark. Some disabled people were operating rowing machines in a charity marathon in a local showroom. We wandered in and looked, leaving some silver in the collecting boxes, neither the first nor the last of the small spenders. It was midnight as we checked into the hotel. There wasn’t a soul or a sound except for the red-nosed night porter, as old as Moses. Paul had brought Martha (My Dear) with him – the sheepdog of the same name. ‘Can you shampoo her?’ he asked the porter who recoiled in terror. ‘It’s her arse,’ said Paul, and he put his fingers in the thick curls around Martha’s back passage and pulled off a cluster of clinkers. ‘Look!’ I nearly fainted. ‘I’m afraid not,’ said the porter. It was very late after all. Next morning, another lovely day. I felt very nice and clean around the brain, always have a lovely morning after acid. A few months earlier Paul and I had gone shopping for suits; he had told me navy blue pinstripe was already on the way back (meaning that he wore it) and I fell for it – and ordered one. I had taken it with me to Bradford; just right for Bradford I said. I wore it down to breakfast and then we went off to the Victoria Hall where the Black Dyke Mills Band were waiting on hard wooden chairs, looking bloody marvellous and real and solid and honourable and stocky and lots of other words like that. Paul had on a magenta shirt and a white jacket, double breasted, with black trousers (no one had ever told him they were on the way back), and the Black Dyke Mills Band was quite stunned by his charm and by the way he handled the music. Marvellous recordings were made, indoors and later in the street, of both ‘Thingumybob’ and ‘Yellow Submarine’. It was a good morning for everyone because the portable recording unit worked, the band and McCartney worked, and the press worked out beautifully – I saw dozens of old friends and we had a few pints and then lunch. At around three o’clock, as we filmed the last TV interview (‘How do you like Bradford?’ ‘It’s great …’; fast-moving stuff like that) I decided to off the suit and black shoes, put on a pair of red corduroys and a white Mexican cotton shirt from Olvera Street, Los Angeles, a couple of beads, an Indian scarf and down my throat went another 250 milligrams of the dreaded heaven-and-hell drug. What a day for a daydream. ‘Should be an interesting journey,’ said Paul. The chauffeur said: ‘Back to London?’ and we said ‘yes’, not sure that it was the right answer.

<…> As we rolled away from the South Midlands and approached the Northern Home Counties the acid really started to bounce. It was late afternoon and if there was a heaven to be found on this soil, then I reckoned it would be found this evening, in the green and gold of this divine countryside. ‘Would you like to swing on a star, carry moonbeams home in a jar?’ ‘Yes,’ said Peter Asher. ‘Where would you like to go?’ I asked. ‘AA Book,’ said Paul. ‘Pick the most beautiful name in Bedfordshire,’ I said, ‘that’s where we should go.’ Peter looked at the map for what seemed like two hours or more. ‘Harrold,’ he said, after fifteen seconds. ‘Harrold?’ said the driver, naturally knocked out with delight to leave the M1 and crawl down B, C and D roads to a village no one in the car, including himself, had ever heard of. We wound through Bedfordshire checking off the signs steadily until we reached the village sign: Harrold. Oh, it was a joyful Sunday sight. It was the village we were supposed to have fought the world wars to defend, for which we would be expected to fight the third when told to, but won’t. It was a Miniver hamlet on the Ouse and there were notices telling of the fete next Saturday, and a war memorial which made me weep. Thrushes and blackbirds sang and swallows dived into thatches and a little old mower wheezed as we walked down the only street there was past the inn which was closed, past the church which was open, nodding to a sandy man with a 1930s moustache and khaki shorts as he clipped his hedge and stared at these city people with funny hair and clothes. It was seven o’clock and acid or no acid, it was opening time and I steered us into the most beautiful village inn the world has ever known and there were three or four people in there, or more or less; magical antique villagers with smocks and shepherd’s crooks and also there was a fruit machine offering Jolly Joker tokens. Through the dancing lights, past the sparkle of the green and tawny bottles, I saw the sandy man with the khaki shorts. <…> ‘Welcome to Harrold, Paul,’ said the sandy man, the local dentist, downing the rich gold beer he had earned with his shears. ‘I can hardly believe it, in fact I think I’m dreaming.’ We next found ourselves in his house, below dipping oak beams, a banquet provided for us, hams and pies and multi-jewelled salads, new bread and cakes, chicken and fruit and wine; and the dentist’s wife, a jolly lady, still young beyond her maddest fantasies, bringing out her finest fare. Paul McCartney was at her table in the village of Harrold.

Hiding at a turn on the crooked staircase stood a little girl, shy and disbelieving. But she had brought a right-handed guitar and landed it in Paul’s (left-handed) hands but the wizards were producing this play by now and floating with the splendour of this, the strangest Happening since Harrold was born, the dentist and his wife, and the neighbours as they crowded the windows and the parlour, and the children, all caught their breath as Paul McCartney began to play the song he had written that week: ‘Hey Jude,’ it began. I sat peacefully, full of the goodness you can find within yourself when goodness is all around and the dentist’s wife picked up on it and asked why life couldn’t always be like this and I told her there was nothing to fear, nothing at all and the dentist brought out the wine he had been saving for the raffle at the fete next Saturday and we drank that to celebrate the death of fear and the coming of music to Harrold and then, and gradually, the dentist was freaking and he asked me what I thought I was talking about and for a moment it was very tough, very. Ah, but Dr Leary’s medicine was good that day and we came back to a good position again, but I didn’t feel quite right about the dentist after that, and I don’t think he felt quite right about me, but how was he to know and what was I to do? You don’t just tell strangers you’ve been taking that naughty old heaven’n’hell drug. It was now eleven o’clock and we were still in the house and the inn was closed but a winged messenger came to say that as this was the night of nights, never to return, the inn was to be re-opened. ‘In your honour, Paul.’ It was 11 p.m. Paul had The Look on his face, the ‘do we don’t we?’ I nodded: tonight we should. The pub was absolutely full. The whole village was here. Paul played the piano until at three o’clock a woman stood and sang ‘The Fool on the Hill’ and he left the piano to dance with her and kiss her on the cheek and then I went and sat in the little garden and cried for joy that we had come to Harrold. It was a most beautiful garden, with hundreds of old-fashioned flowers, lupins, foxgloves – that sort of thing, and Alan Smith came out, pissed as a newt and said, ‘Why so sad, old friend, why so sad on such a night?’ ‘Not sad,’ I said, ‘not sad, old pal, just happy to be alive.’ We left then, waved away by the Harrolds, by all of them, and we never went back and I never looked at the map again, not even to see if Harrold was there.

(As Time Goes by Derek Taylor)

(Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XI)

Add to this

[commajade]

finally watched watched my brothers and sisters in the north when it's been in my to-watch list for years and it was so touching and so beautiful.

the people interviewed were of course handpicked and have better conditions than other people because of the impact of U.S. sanctions and such, but it genuinely inspired me how hard-earned their good living conditions are. the farmers had to work really hard to re-establish agriculture after the war and now they get so much food a year they donate most of it to the state because they simply don't need it. the girl at the sewing factory loves her job and gets paid with 14 kilos of food a month on top of her wages. the water park worker is proud of his job because 20,000 of his people can come and enjoy themselves every day, and Kim Jong-un himself took part in designing it and came by at 2am during construction to make sure everything was going smoothly. his grandmother's father was a revolutionary who was executed and buried in a mass grave in seoul but in the dprk he has a memorial bust in a place of honor and his family gets a nice apartment in pyongyang for free.

imperialist propaganda always points to the kim family as a dictatorship and a cult of personality but from this docu it's so obvious that it's genuine gratitude for real work for the people, and simple korean respect. if my president came to my work and tried his best to make my working conditions better and to make my life better, i would call him a dear leader too. if my president invented machines and designed amusement parks and went to farms all over the country to improve conditions for the people, i would respect him.

the spirit of juche is in self-reliance, unity of the people, and creative adaptations to circumstances. the docu rly exemplified the ideology in things like the human and animal waste methane systems powering farmers' houses along with solar panels, how they figured out how to build tractors instead of accepting unstable foreign import relationships, and how the water park uses a geothermal heating system.

it rly made me cry at the end when the grandma and her grandson were talking about reunification. the people of the dprk live every day of their lives dreaming of reunification and working for reunification, and it's an intergenerational goal that they inherited from their parents and grandparents. the man said he was so happy to see someone from the south, and that even though reunification would have its own obstacles that we have the same blood the same language the same interests so no matter what if we have the same heart it would be okay.

and the grandma said "when reunification happens, come see me." and it's so upsetting that not even 10 years later, the state has been pushed into somewhat giving up on this hope. the dprk closed down the reunification department of the government last year and it broke my heart.

a really good pairing with the 2016 film is this 2013 interview with ambassador Thae Youngho to clarify political realities in the dprk and the ongoing U.S. hostility that has shaped the country's global image. the interviewer Carlos Martinez asks a lot of excellent questions and the interview goes into their military policy, nuclear weapons, U.S. violence and sanctions, and the dprk's historical solidarity with middle eastern countries like syria and palestine and central/south american countries like nicaragua, bolivia, and cuba.

[mecachrome]

hi! @ anon here is my lando accent infodump lmao:

so like landos accent is an ancient secret scientists worldwide have been spending centuries trying to analyse... but im gonna try to sum it up to the best of my abilities

his accent definitely changed with both private school AND international karting / single seaters but what complicates the matter is that his accent was weird to begin with

so using the reference clips k already picked out bc theyre actually rly good:

lando starts off (as far as we know, obvs by the time we have interviews of him he was already heavily involved in karting) with a weird accent

the main building blocks are definitely standard southern / londony working class. but there's also a distinct bristolian twang: notice the "foinal" and "mah mayn competition" and "jamie caroloine" lol (beloved). that bristolian twang is the first thing that goes away once he goes to secondary & is pretty much imperceptible today which is incredibly tragic to me

aside from all that is the weird foreign quality which has stayed in his accent to varying degrees over the years: these sort of flat, almost south african sounding vowels

part of it is 100% his mum & flemish roots. like, the reason i mention south africa specifically is bc i rmbr multiple ppl throwing it out as a guess, & it makes a lot of sense to me considering the dutch influence on the ZA accent. theres also his dyslexia, which often makes him trip over sounds / unsure of some pronounciations / simplify words in his head, and im almost certain that also contributes to his vague 'foreign' tinges

BUT if it was just those things it rly wouldnt explain why it fluctuated sm over the years. like we leave 11 year lando off sounding slightly european, but by the time we return to him at his formula 1 debut in 2019 i see ppl in the comments genuinely unconvinced that hes even british. he pronounces small 'i' sounds as long (think "a-nee-thing") and 'a' sounds flattened almost into 'e's (think "beck" instead of "back"). my reference for plotting where landos accent is at has always been how he says the name max (convenient that hes had by now 2 championship rivals and a best friend with that name) because at its most exagerrated it almost sounds like "mex"

i think what happened to get him to that point was like. as soon as private school flattened the regional twang his accent became even more absorbent than it had been before, and hanging out with so many international people brought out the european aspects of his own accent as well as had him borrow a few of their pronounciations

in 2019-2020 he was either living with sacha fenestraz (french-argentinian, has subtle and imo very charming argentinian accent) or alone & struggled to reconnect with old friends, bc of first the pressures of his rookie year and then the pandemic. this all changed massively in 2021 - at work he got an EFL teammate, at home he had max move in with him, in his social life he started hanging out more with tom bale and connor hughes and british youtube circles. 2021 is also when his accent solidified way more as 'standard southern' & i think it makes sense considering everything

nowadays his accent still varies & still carries some shades of his unique foreign pronounciations but it rests pretty consistently at 'standard southern'. what pushes it into different directions a bit is probably hanging out w garrix & other dutch ppl, as well as him adopting maxf's horrible little habit of mimicry which has him either pulling out the bankai bulgarian even out of context or, on the opposite side, placing the completely incongruous 'bunda' and 'man' into his vocabulary. OH and the even more baffling occasional brummie touches, also from maxf

tldr lando does have the ambiguous euro accent but its a bit more complicated than just spending time in international circles bc i think he is predisposed to speaking like that

as an addendum bc the english class police will come for me: by working class i just mean not posh

HLKSDFHLH kira this is such a dense text i don't even need to add anything!!! i've also seen people be like >WHY DOES HE SOUND SOUTH AFRICAN??? which mildly amuses me but yes all of this makes sense! and omg sacha's accent is sooo fun to me, i remember watching this interview where he talks about it (answering in spanish while his parents spoke to him in french 😭) and identifying as more argentinian than his sister etc. it was very charming. anw tl;dr as you put it i think a lot of it is just him and maxf possessing a natural inclination toward mimicry and a wide social circle LOL

[bluwavez]

WAIT FOR IT: KIM DOWON IS THE FIRST K-POP IDOL TO TAKE ON BROADWAY WITH HAMILTON.

He Wants To Be In The Room Where It Happens. The Kpop Star's Second Debut Of 2016.

When Kim Dowon ranked 7th in The New Wave, his fans deemed it a miracle. While they never doubted his talents, they knew the judges didn't favor him for his age or appearance. Kim, turning twenty-one during the show's run, had been training for five years while focusing on singing, rapping, and dancing; he had begun developing a passion for musical theatre, learning the choreography to Newsies to impress the panel of judges during his trainee evaluations.

Growing up in lower-class New York City, Dowon, English name Dylan, would often sneak into numerous Broadway shows with his friends. "I still feel this way, but I always felt the ticket prices were way too high. I wanted to see Westside Story so bad, and my friend was like, "Why don't we just sneak in?" So that's exactly what we did." Ever since then, Kim's love for musicals has only grown.

When Dowon moved to Korea at age 15 to start his K-pop training, he got to do something he never thought he would ever get to do: Take an acting class. "My mom didn't make a lot of money, and the school I went to didn't have a good arts program. So, I really felt like the closest thing I could get to acting was either sneaking into shows or watching movies. When they told me I could take acting classes as a part of my training, I was like, "Really?!" my eyes got big, and I couldn't stop smiling. It was really exciting for me." Dowon would share during an interview with Cosmopolitan.

After DeepDive's lackluster debut, Dowon would be reached out to by none other than Alexander Hamilton himself — Well, his actor, Lin-Manuel Miranda. "I still have no idea how he got my email. Not my manager's, not my company's, no, my personal Gmail account," Dowon says, "He said he saw the video of me doing an In The Heights cover and wanted me to audition for a musical he was working on. I sent him back something like, "You know I'm in South Korea right now, right?" and he went, "It's nothing we can't work out. Send in an audition tape." and I mean...The rest is history."

Lin-Manuel Miranda would confess that he had watched every performance of Dowon on YouTube. "I don't know if it was his charming good looks or his crazy vocal ability, but I knew this was the guy I needed for Aaron Burr."

Kim Dowon, listed as Dylan Kim on Hamilton's Playbill, would be cast as Aaron Burr two weeks later and head off to New York to prepare for his Broadway debut.

Hamilton premiered on Broadway at the Richard Rodgers Theatre in previews on July 13, 2016, and opened on August 6, 2016. 

Despite Dowon being the first and only K-pop idol to have a successful Broadway debut, his company was rather silent about it. They announced he would be joining the Hamilton cast and taking a hiatus from the group until the show's run ended, ending their comments on Dowon's Broadway debut despite his achievements during his time in New York. Dowon would open a personal Instagram account a week after the show's massively successful opening, making him the first member of DeepDive to do so. Still, it's not like the people following him knew him for his K-pop group — Oh no, that was Aaron Burr to them.

One of his achievements during his time in Hamilton was winning the 2017 Tony Award for Best Performance by a Leading Actor in a Musical. He was the first and only artist under Angelico to win a Tony award. However, you wouldn't know this because his company did not acknowledge the achievement. During his acceptance speech, which he did in both English and Korean, he thanked his brothers Jisung, Noah, Woobin, Kiwoo, Woojin, and Finn for remaining by his side during this journey and the entire cast of Hamilton for taking him in during this time of his life.

Dowon gave his last performance in Hamilton on July 9, 2017. Tearfully, he told the crowd he wasn't sure when he would return to the stage, but he hoped they wouldn't forget him or the rest of the cast, whom he addressed as his family.

Dowon would return to Korea and DeepDive on August 17th, 2017. He has not performed in a musical since.

[userparamore]

PARAMORE'S DORK INTERVIEW

i thought i'd gather some of the highlights/important quotes from their newest interview with dork magazine; all from new music, more solo music from hayley, and fine print. i've put it under the cut as it got a little long:

– hayley talking about new music:

Well, the band have already started toying with new music. At home, before the tour began, Paramore created some early demos that "really surprised" Hayley, with the tracks taking inspiration from the Bjork-fronted alt-rock band The Sugarcubes. But they've also spent a few days off from tour in the studio. In Hamburg, they visited Clouds Hill Studio and started messing around with another idea that "felt like it was on the other side of the tracks to what we'd been working on at home," offers Hayley. "But that excites me."

"Lyrics have always been a huge driving force for me as well. I feel a deep sense of discomfor when we go home to the American South in this political climate and a lot of poetry that I've been writing lately feels like adulted versions of the themes I was writing about in 'Brand New Eyes'." The band's third album was an exploration of faith, betrayal, community and pain. "Also you mid-30s are wild. I was told they were supposed to be breezy but it's like another puberty."

After the overwhelming positive reaction to the glistening pop of 'After Laughter' and the scuzzy rage of 'This Is Why', there's a real sense of liberation to whatever comes next. [...] "It does feel like there's more space now to do whatever it is we're inspired to do and not look back," she adds. "It doesn't have to be on thing either."

– hayley talking about more solo music:

"Fine Print is about creating a better ecosystem for our creativity," explains Hayley. And that includes potential solo stuff as well. "Paramore has always been the thing that I want to do the most, and I get really passionate and protective of it," says Hayley, but something shifted after seeing that nothing major changed with the band after releasing solo album 'Petals for Armor' and follow-up record 'Flowers for Vases/Descansos'. "I don't feel done with it at all," she adds. "And that feels so good to say."

"Originally she wanted her solo music to be released under the Petals for Armor name because it felt like a nice cloak. "Even when I was doing press for 'Petals', I was really worried people would think I was done with Paramore because those rumours fly so fast, but now I don't feel that fear at all. I know the three of us will be creative until we die, and that's going to manifest as a million different projects," she explains. Some projects will be Paramore, sure, but others might be Zac shooting music videos on film or Taylor acting as a producer for other people's records, like he did with 'Petals for Armor'. "I think Fine Print is going to be a really great catch-all for those things."

– on "Fine Print" and independence:

Not having a label is the closest Paramore have ever got to the "total freedom" they felt when they first started the band. "I think the creativity is about to get cranked up," offers Hayley.

With Fine Print, Paramore want to find a balance between creating art and living life, especially because "the music industry does not reward taking care of yourself," says Hayley, who is also asking questions about fairer payments for musicians and how to support new artists as well.

Paramore are still laying the foundations for Fine Print but the whole thing is being built on the same ethos of their 2018 Art + Friends festival. "If it's not people I would be happy to have a cookout with, I don't want them involved," says Hayley. "Music is community. It's such a great connector, and that's the energy I want around anything that we do."

– on their inspirations right now:

Right now Hayley is inspired by the fearless, slightly chaotic world of pop that's being ushered in by the likes of Billie Eilish, Olivia Rodrigo and Chappell Roan. They're not afraid of messy feelings and they don't care if they don't have all the answers either, which is something Paramore have always done really well. "You have all these women ruling the world, and I don't think pop has ever been cooler," says Hayley. "It's so inspiring to see young artists being really bold, expressing themselves freely and making good shit that everyone wants to sing along to, while also speaking about things that perhaps don't always feel good to speak about," she adds, with that new generation of pop stars kickstarting discussions on politics, abortion rights, body image and predatory fan behavior.

"But there's also so much exciting stuff happening with guitar music as well," Hayley adds, name-checking Amyl And The Sniffers and "sick" new band Font. "I'll always love indie sleaze and bands like The Rapture and Yeah Yeah Yeahs, but I'm ready for whatever comes next in the dystopian future that we're all entering. We need punk music, and we need those underground movements," she explains. "Not because I want to hide from pop music, but because there's life there that I want to live."

– hayley said she thinks zac is the most underrated drummer:

"Can I also just say in an interview that I think Zac is the most underrated drummer in whatever fucking genre we're in," says Hayley, still struggling to find a label for the band. "When he was 11, and I was 13, I saw him play for the first time, and I just knew." She can't explain how she knew, because what does anyone really know at that age, but at the end of every Eras show when the rest of the band huddles around him for the furious, cathartic conclusion to 'This Is Why', it's every dream Hayley ever had for the band come true. "I'm so grateful Zac came back for 'After Laughter' because he's the backbone of Paramore. He makes us better."

– hayley on performing:

"I remember when we were touring 'Brand New eyes' and our tour manager kept telling people the only time we didn’t fight was when we were onstage. I didn't want to accept it, but he was right," says Hayley. "We were beat down, uncomfortable, and that was such a rough time, but there's a reason Taylor and I never quit, and it was the shows. Paramore gigs did get a lot of the poison out."

"My smile is sorta too big for my face but make no mistake, I am but a bird-sized woman still filled to the brim with rage. If i didn't get to make music or throw my body around the stage every night, I wouldn't survive."

"I've realised I can't be alone," says Hayley." I can't be by myself in this, so I guess we'll keep touring until we physically can't. Can you imagine seventy-year-old Taylor York doing light choreography on stage?" she laughs. "Honestly, I am so excited for the next incarnation. It feels like there's something in the water."

[On playing The Only Exception] "It's not 'Misery Business' but I didn't want to endorse that message either," she explains. This time it was her vocal coach who had a word. "He said, 'You're in a band with your partner. Just look at him and pretend nothing else ever existed'. You know what is so dumb about me?" asks Hayley. "I felt so stupid doing that at first. I felt stupid having this pure expression of adoration and tapping into the hopefulness I had as a 19-year-old. This tour completely changed my relationship with that song though. Now when I sing it, I feel happy."

[kaiserin-erzsebet]

This is a total sidebar to what you’re thinking about right now re US institutions (which I totally agree with), but I actually wondered if you could share a little about your uncertainties about Timothy Snyder’s work? I recently read a few of his books (Black Earth in particular) and thought it was really interesting, but am not a historian to know if his analysis is at all correct or what biases to keep an eye out for

I should have guessed that someone would catch me putting that in a tag.

I am not, perhaps, the person best placed to critique his work since I tend to focus on things more or less West and South of Poland, and he is looking the opposite direction with a lot of his work. However, I have had several conversations with people who dislike him for a number of reasons.

Here are the broad reasons people are skeptical of him and his work (and from what I can tell there are two main reasons, though it's a venn diagram with some considerable overlap):

People who don't like his books because they feel like he doesn't know his own limits as a historian and writes confidently and incorrectly about things he doesn't know. He's been pretty heavily criticized, for example, on the grounds that he hasn't read enough of the historiography about Nazi Germany to make the broad claims that he does in Bloodlands. I once met a Romanian historian at a Conference who despised Bloodlands because, as he puts it, "Not a single thing about Romania in that book is correct." Snyder is a historian of Poland, Ukraine, and Lithuania. From conversations I've had, it seems that the consensus is that The Reconstruction of Nations is his best book because it's the one most focused on what he actually works on. To be fair to him, there are a whole raft of historians who have unearned confidence on things outside of their field. I have dragged many "general" European histories for being wildly wrong on the Habsburg empire, because that's my specialty.

People who do not like him as a public historian or a political writer. Here I think there are good and bad reasons to dislike him. I think the idea that historians "shouldn't" do political interviews or comment on current events is unhelpful. We're not helping anyone by locking ourselves in academia and acting like we are above it. However, there are legitimate reasons to not like what he says in those interviews. A historian who works on the Russian empire that I talked to, for example, doesn't like the implication that there was some inevitability to the Ukrainian invasion because that's just how Russia is and always has been (as opposed to being related specifically to Putin's manipulation of the past and historical memory.) And I think people who have made careers studying the Romanov period have some right to take umbrage with some of the claims he makes since he is a 20th century historian.

You can decide how you personally feel about these things, but that should give you a general idea of what the issues are.

Other people who have more feelings about his work, feel free to add on.

[matan4il]

Daily update post:

The IDF has been releasing a lot of incriminating intel on the Shifa hospital in Gaza being used by Hamas. There's footage of a drone going into a terror tunnel underneath it.

There's pics of the weapons found there. There's the results of an investigation into the fate of 19 years old Noa Marziano, who was kidnapped by Hamas, lightly injured in an IDF strike, which killed the terrorist who was guarding her, another terrorist took her into the basement at the Shifa hospital, and killed her there, then Hamas tried to stage "evidence" that she was killed in the IDF strike. And most recently, there's CCTV footage showing Hamas bringing in hostages (one man from Nepal and one from Thailand) into Shifa, with the terrorists being armed, and all of this was done in broad daylight, and right in front of the medical staff.

Of course anti-Israelis, including the Hamas, said it was just bringing hostages in to get treatment.

But here's the thing, Shifa is on the Western side of Gaza, while Hamas breached the Israeli border in the east. On the way between the border and where this hospital is located, there are plenty of other medical facilities on the way. Any of them would be preferable if the goal was to give the hostages medical treatment as soon as possible. But they took these kidnapped men all the way to Shifa instead. Because that's Hamas' headquarters.

I've known for years, like most Israelis, that Hamas is using medical facilities like hospitals and ambulances for its terrorist activity. This evidence does not surprise me. But I think it didn't really sink in for me until yesterday, just how many people knew and kept silent. I'm not even talking about the Gazan medical staff. They live under the constant threat of Hamas, I don't blame them. But the UN, the Red Cross, all of those "noble" NGO's operating from Gaza (and getting a lot of donations to do so), all of those foreigners with access to Gaza, who knew the situation on the ground, and chose to lie, and continued to do so even after the Oct 7 massacre... WTF is wrong with these people? By keeping quiet, they endangered both Israeli civilians (who Hamas could continue to target with impunity when operating from inside medical facilities), and Palestinian ones that Hamas endangered by using them as human shields.

Who is going to hold these people accountable? Who is going to make them pay for their complicity in endangering so many people, millions altogether, on both sides of the border, so that they never dare do this again?

Have ANY of them come forward, apologized, taken responsibility for their long complicity? I've heard of no such thing. In fact, I assume that they will only raise the volume of their accusations against and vilification of Israel, to drown out the voices asking these questions.

In this tweet you can hear an interview (starting at around 35 seconds in) with one of the few foreign doctors, who had worked at the Shifa hospital, and who after Hamas' massacre, did not come forward with his testimony about what he'd seen and experienced while he was there, but did agree to have it recorded once he was asked to. If Hamas is finally taken down, we might get to hear more of these, and I guess... better late than never.

In the midst of all of this, Israel has helped evacuate babies from the Shifa hospital to ones in Egypt, and the equipment to established a second Jordanian field hospital has entered Gaza today.

Israel continues to be attacked by Iran-funded rockets from the south, from the north by Iran-funded Hezbollah, as well as from Syria, by the Iran-funded Houthis in Yemen, by independent terrorist attacks, and online from cyber attacks, by Iran-funded and even Iranian hackers. I kind of tend not to talk about these that much, because they're on going. It's happening every single day, and Israel, in the middle of the fight to destroy Hamas, has to also defend its people on these fronts.

The anger and hurt over the denial of rapes that happened as part of Hamas' massacre continues, and more people are trying to speak up against it:

This is 15 years old Itay Cohen.

He's a triathlete, and was in the middle of a training session, cycling in the south, when Hamas terrorists shot him. He was taken to a hospital without any family by his side, because his parents were locked inside a bomb shelter in their kibbutz. Itay took a bullet to the head, and lost his eyesight, but somehow survived. So did his parents. He vowed he won't stop training, despite his new disability. This terror attack has changed countless lives, from among the survivors as well.

(for all of my updates and ask replies regarding Israel, click here)

[total-drama-brainrot]

Deep diving into Alejandro's ethnicity and family because the show is vague with how both are portrayed, and I'm pedantic:

Off the bat, we know that he was born in 🇪🇸 Spain. Or at least, that's what his wiki page says, so I'm sure it's mentioned in some kind of canon content (the show, the character interviews, the creators' stating it, ect). He often times speaks en español, either by replacing words and phrases in otherwise English sentences or cussing out his team in an entirely spanish confession. His name is also rooted in Spanish origin; 'Alejandro' is the Spanish equivalent of Alexander, and his surname 'Burromuerto' literally translates to "Dead Donkey", likely a combination of the idioms "beating a dead horse" and "no ver tres en un burro", translation: can't see three on a donkey; akin to 'blind as a bat'.

I could go on about the symbolism of his name(s) and how it relates to his performance on Total Drama, but that's not essential to the topic at hand so I'll go over it later.*

With this in mind, the show really wants us to believe that he's Spanish, or at the very least Hispanic.

In Chinese Fake-Out, we learn that he won a gold medal at the South American Skate Olympics, so he presumably lived somewhere in South America in his childhood. On the wiki, it claims that he moved to Latin America soon after he was born. His comment in the same episode about eating barbequed guinea pigs where he grew up had a lot of people deducing that he lived in 🇵🇪 Peru since guinea pig is famously a delicacy there. The question begs, why would Alejandro and the rest of the Burromuertos move to Peru from Spain?

We know that Alejandro's father is a diplomat, so uprooting the family to a new country could be related to his work, but I doubt a diplomat would settle down and start a family just to go through the hassle of moving them halfway across the world to a random country, regardless of his salary.

What other reason would anyone have for dragging their brood across the sea? To see their extended family.

Family is a big character motivation for Alejandro: he has a lot of pride in being a Burromuerto and often times complains about disappointing his family or being susceptible to José's teasing when his plans don't work out. Pride is a staple of the Burromuertos; they even have a family code they abide by. That kind of mindset is usually generational, implying that his parents place the same emphasis on the presentation and opinions of their family.

The most glaring example of this mindset is the hate fuelled rivalry between Alejandro and José, which was sparked by their desperate need to be the "better son". The main goal of the Burromuerto brothers is familial recognition. Understandable, when your parents are too successful to raise you themselves, any kid would be desperate for their attention. Since their competition was allowed to escalate to the point of mutual loathing, their parents probably encouraged their behaviour; when you value familial reputation over everything of course you want your children to continuously prove themselves. (Poor Al is just full of complex familial trauma, from his parents' neglect to his brothers' bullying to the incredible pressure he's put under to succeed. No wonder he's like that.)

After seeing how the brothers are willing to go to extremes for the sake of family, it's reasonable that parents sharing that mindset would move across an ocean just to see their relatives (and likely compete with them, after all even a younger Alejandro was showing up everyone in South America's skateboarding scene).

Suggesting that either one or both of his parents, or grandparents, are Latin American. For simplicities sake, we'll say that Alejandro's dad is Spanish (as he carries the surname), and his mother is Peruvian (since Peru is the assumed country they moved to).

That means that the brothers qualify as both Hispanic and Latino. Alejandro's latin blood really is canon, and the stereotypical 'Latin Lover' archetype he fills (alongside the "Archvillain" he's titled as) is all the more accurate. He's evidently very proud of both heritages.

To clarify, the Burromuertos moved to Peru when Alejandro was young to be with his Mother's side of the family.

If we want to really wade into the theoretical waters, I'd like to suggest that Alejandro's father left Spain because he disgraced himself/his family in some way, and that's why he's so insistent on his sons restoring the family pride and prestige.

So, I've established Alejandro's ethnicity and touched on the bare-bones basics of his home life. But what about his other brother, or his uncle? You know, the characters that were mentioned once and never expanded upon. Don't worry, I've got notes on them too.

Carlos: The eldest child and a professional soccer player. Alejandro doesn't mention anything about a rivalry with Carlos. Instead, he suggests the two share a healthier bond as Carlos taught him soccer skills. 'Carlos' the name is a Spanish variant of Charles, meaning "free man". Fitting, since it's widely assumed that Carlos escaped from the Burromuerto home's harmful environment at his first opportunity and 'freed himself' from their high expectations/standards, hence why he doesn't engage in the family-typical hypercompetitive bullying. A somewhat common fandom troupe I've seen is Carlos being disowned by the Burromuertos, and post-World Tour/All-Stars Alejandro reconnecting with him after he too is disowned.

Uncle Julio: The hypnotist. All we really know about Julio is his name and occupation, but it's enough to pin him down as Alejandro's maternal uncle. Alejandro states that he learned hypnosis from Julio in The EX-Files; as he grew up in Peru, the only family he reasonably could have interacted with outside of the nuclear unit would be his mother's relatives. His comment "manipulation runs in the family" is never ascribed to the Burromuertos by name, which adds to the implication that Julio isn't his father's brother, as any skill as useful as hypnosis would definitely be branded under his surname otherwise. Additionally, 'Julio' as a name is derivative of the Latin Julius or Julianus (meaning "Devoted to Jove/Jupiter", the Roman incarnation of Zeus, though I can't find any meaning in this applicable to his character), and not a strictly Spanish name like those of Alejandro and his brothers. Instead, it's common in most Hispanic and Latin American countries.

José: The middle child and Alejandro's source of his lingering childhood trauma, if the aversion to the nickname "Al" is anything to go by, I've already written about their relationship. The name 'José' is a Spanish variant of Joseph, which means "to add/give" in it's simplest interpretation. He sure does give Alejandro a tonne of issues, so I suppose it tracks.

*And finally, analysing the symbolism of Alejandro's name.

Alejandro, derived from Alexander, meaning "warrior" and "man's defender". Though in Al's case, it's likely a reference to Alexander the Great as opposed to the name's literal meaning/origins- Alejandro conquered the competition like Alexander conquered his empire.

Burromuerto's double idioms combine "beating a dead horse donkey" with "blind as a bat", likely as a convoluted way to say he's blinding the dead donkey; in this case, the beaten dead horse donkey is the OG cast of Total Drama who have already been milked for two seasons of content and have little left to offer (therefore, the third season is the beating of the dead horse, as its' an attempt to force content out of a resource with nothing left to give. that's why they added two more competitors, if that makes any sense? I'm not sure if I'm explaining this well enough,) and Alejandro is deceiving or 'blinding' them through his manipulations.

Obviously, this is all speculation written by someone with too much free time and no expertise. All of my knowledge/facts come from google searches and connecting dots that likely have no real links to each other. I'm not an authority on any subject. Keep that in mind, please.

Feel free to add your own opinions/thoughts! Or correct things that are be wrong!

[lulu2992]

I’d like to (finally) talk about this interview with Mark Thompson, Narrative Director on Far Cry 4:

I love it when devs talk about their work because it’s always super interesting and informative! This video is no exception.

But what struck me most when I first saw the interview is what he says about Far Cry 3, a title he also worked on as a Level Design Director, which I believe means he was not (or barely) involved in the writing of the script. When he mentions what he thinks the issues with the game were and what had to be “fixed” in Far Cry 4, the thing is that... he often contradicts what Jeffrey Yohalem, Lead Writer on Far Cry 3, explained in various articles.

Under the cut, I highlighted some parts of Mark Thompson’s interview (in red) and compared them to Jeffrey Yohalem’s words (in blue, with the sources) so you can see how different their points of view are.

In this case, when it comes to the story and meaning of Far Cry 3, I’m inclined to give more credence to the Lead Writer’s explanations, but I think this example perfectly illustrates how even people who worked on the same project can have very different (and sometimes equally valid) opinions, understandings, and feelings about it, and why it can therefore be difficult for the audience to determine what the “truth” or the “right” interpretation is…

Open world vs story

MT: We ended up shipping a game where the open world had a lot of cool stuff, but it didn’t have a lot of depth or meaning, and it had almost no connection to what was happening in the story. And in fact, in some ways, the two were kind of opposed and they were kind of conflicting each other. So, on one hand, the story itself had this ticking time bomb of “I have these friends that I need to rescue, but holy sh*t, collecting plants, finding that next animal I need for the next upgrade, getting that next skill point… Oh, look, there’s a radio tower! Wait, wasn’t I heading to that outpost?” And then you’re like, “Oh yeah, sh*t, my friend Keith’s trapped in the basement, I should probably go rescue him… I’m a terrible friend.” That was my main goal: fix this sh*t and make sure that the story and the open world speak to each other, complement each other; strip everything down so that the story and the open world are the same thing and it’s the same game.

JY: People who have looked at the surface of the game think that the story and the game are at war with each other as they are in most games, with the story just plugging potholes and the gameplay is going along its merry way. I think it’s very exaggerated that, “Oh, go save the friends! Go save the friends!” but most people are out on the island doing all this other crazy stuff and experiencing the gameplay. And that’s actually the point of the story. It’s not a game about go save your friends. It’s a game about – doing a lot of picking skins from things, and wait, it’s just a pile of meat – this doesn’t even make sense, yet I’m still doing it instead of saving the friends. (Rock Paper Shotgun - Dec. 19, 2012)

The “white savior” trope

MT: We were definitely aware of some of the tropes that we fell into - unintentionally in some cases, intentionally in some - and (…) almost the first thing that we did was decide how we were gonna address the white savior trope, the outsider who comes in and helps simple people with his outsider’s kind of more advanced understanding of the world. (...) The first thing we said was, “This guy is from Kyrat, no matter what happens. That is the most important thing; he is part of this world, he belongs here.”

JY: “It’s a first-person game, and Jason is a 25-year old white guy from Los Angeles. From Hollywood. So his view of what’s going on on this island is his own view, and you happen to be looking through his eyes, so you’re seeing his view,” Yohalem explained. “It’s set on an island in the South Pacific, so immediately the thing that comes to mind is the white colonial trope, the Avatar trope. I started with that, and it’s like, ‘Here’s what pop culture thinks about traveling to a new place,’ and the funny thing is, that’s an exaggeration of most games, they just don’t expose it. (The Penny Arcade Report - Dec. 17, 2012)

JY: There’s a reason why Jason is a 25 year old white guy from Hollywood – these are all ideas that are in his head. You’re seeing things through his eyes. (...) It’s not that [Citra] needed a white saviour at all. She didn’t need a white guy at all. She was just looking for the ultimate warrior and someone to be her gun. (...) If this was about the white messiah motif, would I be so stupid as to have a main character’s nickname be Snow White? I’m making fun of that! (Rock Paper Shotgun - Dec. 19, 2012)

The player and the protagonist

MT: When we were doing the script review, almost immediately, the first thing we would do would be, “Okay, so how many lines does Ajay have? Okay, cut that by 75%”, and then we would review it and then cut out even more. Whenever possible, we would set up a scenario where we know or we think we know how players would react, and so we would remove the line that the character would actually say and then have the other person react to it. “Oh, you think that, do you?” - in that kind of way, so they’re like, “Oh f*ck, how did he know I was gonna say that?” Whereas, if the protagonist said that line, they’re like, “Oof, I wouldn’t have said that”, and then suddenly you’re kind of broken out of the experience. (…) When you’re in first-person, all you hear is this disconnected voice that might not be agreeing with what you’re doing. So, again, it’s just about stripping away those barriers of immersion so you can imagine yourself in this scenario.

JY: In Far Cry 3, Jason is a character and he’s not the player. The player is another character in the game. Sometimes Jason disagrees with the player, and sometimes Jason agrees with him. And the magic of that is that then it doesn’t matter! Basically, as long as the whole narrative is directed towards what the player is feeling—which for me is how videogames should be—then I get to target Jason as a resource where players can go: “I disagree with Jason.” And the player gets to convince Jason to do something else. So instead of trying to force the two of them together, I’ve decoupled them. (Killscreen - Dec. 12, 2012)

[loiswasadevil]

Hi Lois, I wanted to share extra information regarding the co-creators of South Park. I have a very grey but not neutral opinion on the show, so I won't try to tell you what to think about this. Also this is quite long and rambly, so if you'd rather not read it, that's okay!

Matt Stone is Jewish, but his parents didn't really "raise him Jewish" (for lack of a better term) if i remember corrrectly, as they are both atheists (Stone is as well). He is still ethnically Jewish of course, and someone can correct me but he didn't know this until he was 16. He said he did read an awful lot about Judaism and Jewish people, and I don't think their portrayal of the Broflovski family is completely negative. In some respects the firmness by which Kyle defends his identity and family can be nice to see on TV. I digress.

Matt Stone has written a few episodes (or co-written), and he voice acts in almost every episode, but his role overall is largely ideation and helping his co-creator stay on task and see the episode through. He does the important business side of things, and often the ideas that go into the shows are taken from him or are whatever made himself and Trey Parker laugh.

Trey is his co-creator and is not Jewish. He is the one responsible for a lot of the writing past the ideation stage and beyond making sure the plot tracks/things make sense. I feel like it just isn't 100% accurate to say Matt largely spearheaded the show, when the show is moreso about his dynamic with Trey, where Trey is the one with basically full creative control, only (or mostly) answering to Matt's second opinion. Matt defers to Comedy Central in Trey's stead as well, which is still a lot of work but mostly to keep Trey's work in tact.

Since I did go over what is known about Matt's experience being Jewish, I can cover (what I know regarding) Trey's experiences regarding Judaism. He grew up in a largely white, largely Catholic (or just Christian) town. He talked about how there was only one Jewish family in his choir or something? And how bad he felt for the 1 Jewish girl who had to go up and sing Hannukah songs after everyone was done singing Christmas carols. This might seem inconsequential but he chose to say this, though it must have been a bit ago when he was in his 20s so the memory was fresher. As far as I know, he hasn't said a lot else about it.

I think it might have been actually Matt who said this, but either way, one of them also had witnessed physical assault on Jewish peers at their school (I'm leaning toward Matt being the one who said this just because I think Trey just talked about hwo he felt sympathy for the girl in choir being the odd one out).

I will also say in terms of their partnership, Matt is viewed more as the one who has a dark sense of humor while Trey is considered to be the one with "heart." A lot of South Park overall is just the two of them making them laugh, and sometimes especially recently Trey will play off of "whatever Matt is pissed about today" for episode plots, and sometimes episodes feel like the A plot is Trey's idea while the B plot is Matt's, or vice versa... but regardless, Matt isn't the one writing the episodes (and he only co-wrote beforehand). That isn't to say either of them are genuinely anti-semitic, racist, misogynistic, homophobic, transphobic... but that isn't to say they aren't actually those things either.

I don't know what they currently think and i can't fully know what they were thinking when they said those things in interviews and whatever else. But we can still look at what is in the show and how people respond to its content, because REGARDLESS of Stone's involvement, if he does more or less in the development process, the show still had an effect on people that many would consider to be negative. I guess the question is how much do Jewish people need to be involved in a creative work for it to be "okay"? Does Matt Stone's involvement absolve South Park of being anti-Semitic or perpetuating anti-Semitism at all?

Anyway Lois, sorry for the long ask! Feel free to delete, I just used to be obsessed with South Park for years so I wanted to share what I knew. Let me know what you think!! I love your blog 🩷

Sorry I dont care about South Park so I didn't read this

[whydontyousaeso]

“Tattooed in your brain” part 6!

Damian Preist x Fem Reader

Warnings- insults from random people, semi mentions of smut(not really)

A/n- it’s finally here 😭. I hope you guys like this and I’ll start posting other characters soon! Love you guys :3

Tag list: @brideofinfamy @haileysmall2005 @alyyaanna @queencherryberry @new-zealand-chic @lizzyd1ish @southerngirl41 @hikaruhatsue

He took you to a really good authentic Mexican restaurant, which was good because of the way your cravings had worked recently.

As you sat across him you admired his features, looking over his broad shoulders and chest along with his toned arms.

You almost let your brain wander too far.

That was quickly stopped however, you forced yourself to come back to reality and shake the thoughts from last night off.

“What are you thinking about?”

Dammit

“Hm? Nothing important.”

He smirked slightly and let it go.

“So am I taking you back to your place after this?”

Oh

You hadn’t thought about that.

Unfortunately you were actually pretty busy for the next couple days, as you had multiple job interviews.

“Yeah, I think that would work out”

“Got it, any way we could possibly do this again super soon?”

You sat and thought for a second.

“I have a ton of interviews through Wednesday, and if any of them offer me the job on the spot I’m taking it. I guess I just have to see how it plays out.”

He nodded along with your words, taking his time to think at the end.

“I wouldn’t mind having another date night Friday, if that’s okay with you of course”

Oh how you loved the date night from yesterday.

“I don’t see why we couldn’t”

That made him smile.

“Well, looks like we’re here”

You nodded with a tight lipped smile, in all reality you didn’t want to leave but had to.

“Make sure you’re taking care of the tattoo, I actually want to see it in a few days but if you can’t come in it’s perfectly understandable.”

You nodded again and looked over at him, leaning towards him

“I’ll see you next Friday if anything else D”

He smiled and leaned in, kissing your soft lips slowly.

Oh how his kisses always sent you to heaven

Or south of heaven, depending on the mood surrounding it.

You pulled back and smiled

“I’ll text you later, I promise.”

He nodded and let you go, allowing you to grab your bag and step out of the car.

As you made your way up the steps you let your mind wonder again.

You were gonna have to surprise him this week.

He was always doing a lot for you.

Maybe once the tattoo healed up, you were sure he would love to see the tattoo once it was settled.

You unlocked the door and stepped into the now empty apartment.

Your roommate was gone.

You kicked off your shoes and walked to your bedroom, throwing yourself on the bed and scrolling mindlessly through your social media.

You can’t say he left your mind though.

You missed him.

A lot.

Even as you looked at the bag that held your clothes from the night prior you ached for him.

You knew they would smell exactly like him.

The interviews were rough.

Really rough.

No one was interested in you or your skills, which was extremely frustrating.

“May I ask what turns you away from me?”

The older man smiled at you.

“Well it’s just I don’t think you would be nice as the first thing people see when they walk in.”

“Excuse me?”

He definitely just called you ugly

“Well I-“

“No it’s fine, you don’t have to explain anymore.”

You stood up and grabbed your things

“Thank you for the interview”

You speed walked out, holding back the angry tears in your eyes.

It was about lunchtime, and you weren’t far away from Damian’s place.

You pulled out your phone and called him, waiting for him to pick up.

“Cariño, what’s up?”

“Where are you right now?”

“Just hanging at my house, why?”

“Can I come over?”

“Yeah of course, need me to pick you up?”

“No no, I’ll be there in five minutes”

“Sounds good, stay safe”

You were so ready to be done.

You knocked on the door, your feet killing you in your heels.

It only took him a few seconds to open the door, sweeping you off your feet instantly

You wrapped your arms around him, everything dropping out of your hands.

“I missed you so much y/n”

You hummed and kissed his cheek, laying your head in his neck.

“It’s only been a couple of days”

You mumbled

“I still missed you.”

He closed the door and moved your things aside, carrying you into the living room.

The same one that you were in last time.

As he laid you down you noticed you could still smell it.

But that was the least of your concerns

“What’s wrong?”

You sighed and played with his hair, letting everything spill out.

As you let your stresses out he sprinkled kisses on your neck and chest, listening intently to everything you said.

“Do you have any more interviews today?”

You shook your head, wrapping your legs around him.

“Then you’re staying with me, if you want to of course.”

You smiled softly

“I came here for a reason you know?”

He chuckled and fixed your hair, running his hands through it.

“Do you need to go get anything from your apartment?”

“Not really, unless I decide to stay the night”

“That would be nice”

“It would, what do you have to do tomorrow?”

“I have a 12 am, then a 3 pm”

You hummed, tapping his shoulder so you could sit up.

“I might, I dunno yet. Why don’t we just watch tv or something?”

He nodded and kissed your cheek.

“Sounds good to me darling.”

[melliotwrites]

Was Ghost Story written before or after y’all knew you’d get the chance to go to Montana?

Mostly before!

We started from the concept of Ghost Story (two relationships, one in the past, talking about race and transness in different time periods) and then looked into which states had the kind of history that would let us talk about those topics in an interesting way. The transness aspect led me West, because I (Mel) was really excited about the figure of the American Cowboy as this unattainable pinnacle of white masculinity (when really most cowboys were immigrants and/or people of color). We kind of chose Montana by process of elimination (South Dakota is too far east, Wyoming is too Brokeback Mountain, etc etc), Eventually we decided our historical couple (Hao and Józef) would be coming from opposite coasts and meeting in the middle of the country, so Montana would be a perfect midway. Montana also has a fascinating history of Chinese-American immigrants that we wanted to dig into.

Anyway, we always planned to go out to Montana eventually to make sure the show was accurate, but after working on the show through remote research for a while we looked up residencies in Montana and applied to OpenAIR! There was a long interview process and we also weren't supposed to talk about it online for a while so they could announce all the artists at once, but we were super excited and honored to have OpenAIR sponsor us and help us do research in person in Butte. The journey out here and the things we've discovered while living in Butte for the past few weeks have also changed the script a lot (and it'll probably change more after the presentation!), so the show has been rewritten in Montana, but the core themes are the same.

~Mel

[cyanidecravings]

some thoughts about skinship in bump up business

did i say i wouldn't take bub seriously? yeah, i take that back.

i just have a lot of feelings about the way skinship and intimacy are handled in the show. apparently there are some people who are complaining that we didn't really get anything besides that one kiss (which isn't up to their standards either) and that makes me so angry because there's actually a lot of casual touching going on. we get TONS of hand holding, so much so that someone on twitter said it's jihoon and eden's love language (it totally is). it also serves as a representation of their relationship over the course of the show. the first time they do it in episode 1, it's for the fans: jihoon reaches out and eden is surprised but goes along with it because that's what's expected of him. it's strictly business except that it also triggers eden's dream about jihoon and his subsequent confusion about his sexuality. in the confession scene in episode 8 we get a nice parallel to that: jihoon offers up his hand but he waits for eden to take it, which he does of course. they're also alone, meaning this moment isn't for the fans or the cameras but just for them. we've come full circle.

it's not just the hand holding though. there's a lot more touching going on. jihoon brushes eden's cheek on more that one occasion (the car scene in episode 4 is a very sweet example) and while eden is a bit more hesitant he reaches out for jihoon too (like grabbing his shoulder after hearing jihoon defend him during their first interview). of course those touches also serve as a replacement for more kisses (quite literally in episode 8 when jihoon and eden are interrupted before their lips touch and instead run off together holding hands). the fact that we even got one kiss is already a big deal considering mill and nine are in an active group together and south korea is still rather conservative when it comes to lgbtq people/relationships. (the only other example of two group members starring in a bl together is a shoulder to cry on and that did not include a kiss.) i personally think it's a smart way to balance showing romance and intimacy without being too over the top and potentially risking their careers. and it works because mill and nine are already familiar enough with each other that it's not too awkward.

a lot of other series seem to forget that kissing isn't the only way to show romantic interest which is why i get pretty annoyed when we get nice enough kiss scenes but the couple doesn't touch in any other meaningful way the rest of the time. (i judge hugs more that i judge kisses by now. there are a lot of very awkward hugs in bl shows!)

i'm not saying bub is perfect or that you shouldn't criticize it. but i can't stand when people complain about stuff that evidently isn't true. (maybe they just don't know the meaning of skinship.)