#discussion of an abuse narrative

[jinglyhigh-heels]

Okay so. Now that I’m not thick in the Emotions this game was giving me, I have come to the realization that this game does SO good at portraying abuse.

So uh. Expect to see a lot (Lot) of talk about that, under the cut.

I’ll start with the most recent realization, which was how the cat was dictating your actions the entire time. It explicitly says so at the end: it was your narrator throughout this whole game. And then how you had to struggle through narrating your own actions at the very end? Solid.

Then, the second most recent realization: you may have ‘messed up’ in the very first ending, but the cat just goes on to show you that literally anything you could’ve done was the ‘wrong choice.’ It found enjoyment in watching you try again and again to see what you could’ve done differently: which is such a good way of telling the player that this isn’t on you. Often times people who are in abusive relationships are blamed for the violence inflicted upon them. If you dressed differently, went to bed instead of watching tv, made such-and-such for dinner instead of so-and/so, did whatever was the catalyst for your abuse differently, then it wouldn’t have happened. But this game is saying no! That’s not how it works! People who want to hurt you WILL hurt you, and it’s not your fault.

As an addition to that point, you cannot avoid doing something that will get you killed (well, except for the ending where you help your cat kill everyone else, but I digress). Even when you see the death coming, and choose the option that gets you away, you run out of things to do. You either have to stay in a single loop—or, well, daydream in this case—forever, or do something that makes the cat (or something else) kills you.

Then, the endings where you feed the cat your blood. It’s really interesting! These endings made me think of what it’s like being in an abusive relationship when you have a child. The choice of whether to risk an even greater abuse to—maybe even temporarily—protect someone who couldn’t protect themself, or whether to turn a blind eye and let your own abuse be temporarily paused, permanently stopped, minimized, or even just kept the same but importantly not made worse; it just reminds me of stories I’ve seen in the past. And you might think, well, you should obviously choose the first one, right? But the game does a good job of showing the dilemma someone who’s being abused might go through. See, if you choose the former option, you die. And as you say when dying: how can you protect anyone now? It’s the same with the mouse, when you choose to let it go. You saved one, for the price of one, and now the cat is free to kill as many more as it desires. And that’s not even considering the instinctive desire to protect oneself, or how the abuser might have changed how you look at the abuse. All this to say, it’s a pretty great portrayal of a dilemma that often shows up in abusive relationships that have a dependent involved (which doesn’t always mean a child, despite what I said in the beginning of this section).

Next up, the dog park. This is pretty heavily related to the first point; which, upon rereading, wasn’t expanded on enough, so let’s talk about it again. This section, the narration goes on and on a lot about how disgusting dogs are, how everything’d be so much better with the cat, and then even your visual perception of these dogs is altered to make them terrifying—part of an attempt to lure you back to the cat (not that you can. Actually do that, if you’re at this point). As part of the game, the cat’s influence is really obvious, and really direct. It’s literally, directly admitted to influencing your thoughts like this. But you don’t need magic or psychic powers, or whatever, in order to influence someone’s thoughts. And abusive people take advantage of that often! They tell you stories, or act a certain way, or inflict physical pain in order to make you view something positively or negatively. Like, if your abuser would curse out dogs all the time while drunk and slamming cabinets, or something. You might look at dogs and be reminded of the fear and paranoia you felt while the cabinets were slamming. (To give a simple example.)

Then, the endings where you almost feed the cat chocolate. These endings do a great job at exploring two different mindsets that abuse victims often have. One, that thoughts of doing something bad are nearly as reprehensible as doing the act itself. When you almost feed the cat chocolate—and by ‘almost’, I mean, you pull it out of your pocket while searching for food and then merely look towards the cat, the beginnings of consideration in your mind, before you stop—you’re wracked with guilt aaaalllll throughout the journey home, and the cats reinforce this guilt. And then this one is specific towards the ending where you ignore the cats, where you turn into a fish and realize now that you have a way to ‘repent’ for what you did. The cat is staring at you, and likely has the means to grab you, but what’s notable here is that you, on your own will, swim up to the surface. And even after you’ve sacrificed yourself, you find yourself feeling guilt that you couldn’t feed all the cats, couldn’t truly repent for what you’d “done.” Which, again, was literally just thinking about doing something, and even before you realized that it would be bad (not that that makes a difference, because thoughts aren’t bad 🔫). This is kinda similar to what happens when you let the mouse go, but that one is unique in that you: 1.) stay still. You don’t deliver yourself to your death like you do in the fish-transformation ending. 2) don’t say anything about regretting being unable to give the cat its fill. Probably because, well. You probably are able to.

And then of course, The ending. This is, most definitely, the least subtle thing ever. Even if I hadn’t happened to exit the game partway through (and then actually read the CWs upon reentering), this likely would’ve let me figure out pretty fuckin quick what was goin on.

I’m gonna split this into three parts: the beginning of the end, the end, and the post-end.

To begin my discussion of the former, I need to mention that the end is you not letting the cat (who, in case this wasn’t obvious by now, is your abuser) back into your home. This is a HUGE step for abuse victims. It’s, hard. Like, in this case it may have been due to magic, but the cat was literally rewriting your brain. Also, you’re lonely, and the cat provided at least some comfort. A helluva lotta pain, sure, but they gave you more comfort than you were receiving anywhere else. Not every situation is the same, but there’s almost always some big hurdle keeping you with the abuser. In this case, the game lets you climb that hurdle through the help of previous victims. This is good, because it avoids the pitfall of ‘to escape abuse you just need to pull yourself up by your bootstraps.’ And, ‘the pain they inflict on you will be enough motivation.’ Like no! This wasn’t something you could do on your own!

Then for the second part, I’m first gonna talk about the lead up to the end: the chase scene, as you’re trying to get home. In that, the cat begs you to stay, saying they’ll die without you, that they’re nothing without you.

And here’s where I make the disclaimer that I’ve never been abused, nor have I ever abused. Furthermore, while I have read many accounts from people who have been abused, I have read very little from the perspective of the abuser (at least, ones that were from people who had recognized and accepted that they were abusive).

However, with this dialogue, it seemed like the cat really believed what it was saying. And from what I can tell, it seems like (SOME) irl abusers actually feel the same? They punish you because they worry that if you enjoy the world outside of them, then you’ll love it so much more and leave—and what would they do without you? And I say this, because then the ending of the game is teaching the lesson that: THAT IS NOT YOUR PROBLEM.

You staying with them did not help them get better. They had every chance, every single second you were together they could have chosen to change, and instead they chose to continue hurting you. Going back will not prove to them that they need to change or they will lose you: it will only tell them that they need to take away even more of your power so you CAN’T leave. Splitting up is not only the best thing that you can do for yourself, but it is the best thing you can do for them: even if they don’t seem like it.

Which is a great segue into the post-end. Because it really proves the point! You may have been lonely, but your abuser wasn’t your only option. You did find someone, and this one won’t kill you! :D I do have mixed feelings on the new cat being a black cat with their right eye gone though. One the one hand, it could potentially be interpreted as you letting your abuser, reformed(?), into your house. On the other, sndndinwjd. (<- that was initially a placeholder but you know what? I’m leaving it.)

For example, if you view its coat as a symbolism for a trait like gender, then choosing another black cat could be like dating another woman after your last abuser was a woman. The traits don’t make the abuser, yada yada. Very good! But since we’re dealing with cats, the creator would’ve had to deal with the issue that cats (especially in a simpler art style) Can Kinda Look Similar. And I know that if I, personally, had seen that image and the cat had both eyes, I would’ve immediately been like ‘oh sHIT THE ABUSER’S BACK—’ and had a mini heart attack. /j So. They were probably trying to find a way to make it obvious that THIS cat was not the abusive one.

But not only did you find someone better to replace the abuser with, you are just overall happier without them in your life, and the game did an excellent job of portraying this: by making you go through all the locations you already did. It was such a good parallel. Visiting any location while you were under your the cat’s paw you marred by anxiety and death. But visiting those same places on your own, after ditching it? You have fun times at every one! You even meet new people—and I really love the way the game handled that, because it could have suddenly made us outgoing and extroverted. But nope! We were an introvert walking in, and we’re an introvert walking out. That’s not a bad thing.

One final note that I realized while writing this, is that the game does a VERY good job of giving you a reason for sticking with the cat. See, I can’t think of any specific examples, but I feel like when most people see their main character in an abusive relationship they get frustrated by why they won’t leave. They, the player, can see what’s happening and see the means to escape. The character themself likely has a reason for staying, but the player doesn’t feel whatever emotions are behind that, so it’s pretty easy for them to either view the reason as ‘stupid,’ or to discount the reason altogether. To properly tell an abuse story, I think a really important aspect is being able to see why they wouldn’t leave. To feel, even a little bit, of what the victim is feeling. This game does that in two very simple, yet effective, ways. First, by making the abuser Cute and Smoll. There’s no har~m giving them a chance~! It’s an adorable kitty cat~ (And even when it does do bad things, it’s like “dohhh~ you didn’t know what you were doing~, did u my wittle cutie patootie~”) By virtue of it being adorable, many people immediately have a baseline bond with the cat, which is later made deeper by all the cute scenes, and the moments of backwards kindness in which the cat directly or indirectly helps you out in some way. The second, juxtaposing the first, is done by making the cat incomprehensibly powerful. You see for yourself the power it can, and is willing to, wield against you. Sure, most (and, hopefully, all) abusers don’t have this kind of eldritch power, but to many abuse victims, it sure may seem like it. Maybe it’s financial, or social, or maybe they’re just scarily good with guns: regardless, it tends to be a hurdle that feels impossible to overcome, though it may seem different to an outsider looking in. By making the abuser literally impossible to defeat until you’re given help by outside means (aka, the game, via the former victims), it places you right into the eyes of a victim gazing upon their abuser. This incomprehensible power pairs really well with the cuteness factor, by making the cat seem almost innocent in everything they do. Sure, they ripped me to shreds when my laser pointer was reflected to the back of my head; but they’re just a wittle kitty, how can I blame them for following their instincts~. Not every abuser has this veneer of innocence, but when it’s there it can make recognizing (as was my experience here lol) and reporting abuse to be extra difficult.

[bananasfosterparent]

An anti-AA account posted a comment akin to "I'm tired of the fandom being taken over by sex pests who are obsessed with abusive relationships" in response to the AA kisses being optimized for evil route roleplayers. They were implying that we "bullied" Larian into "changing the narrative they created". (which is a whole other rant post on its own lol). And some others agreed.

Is... is this really how they see us? lmao

I am just baffled because so many loud Anti-AA people are:

constantly going on and on about how it's supposed to be an abusive relationship

constantly reminding AA fans of all the abuse AA supposedly does

writing fanfiction and drawing comics showcasing AA as an abusive partner to Tav/Durge

making absolute statements that AA is locked out of healing and only able to treat Tav abusively

making absolute statements that everything good AA says is narcissistic lovebombing and only everything bad he says (after Tav insults him) is to be taken as truth

only ascending him to get AA romance scene screenshots (with an "I hate AA but..." disclaimer usually attached).

thirsting after AA's romance scenes in general while condemning actually playing/enjoying the ending as a whole because... *drum roll* abuse.

brigading Larian on their Discord with messages to "protect their narrative" to drown out AA fans just asking for rp-friendly animations.

AND YET....AA fans--who actively avoid and reject the abuse narrative headcanon and enjoy AA as a whole and not just for the sexiness--are apparently the sex pests, obsessed with abusive relationships. Out of all the AA stories, comics, and things I've consumed from AA fans, none of it ever seems to include the abuse narrative or glorifing him solely for sexual reasons.

Huh...

[thetwistedbeauty]

“Morally Grey” Characters

Morally grey characters are a staple of literature and storytelling, and they can be some of the most compelling and thought-provoking figures in a narrative. These characters often blur the lines between good and evil, making readers question their motivations and actions. However, the acceptance of morally grey characters hinges on how their complexity is presented within the story. While morally grey characters can be intriguing and even empathetic, it becomes problematic when their moral ambiguity is used to excuse or downplay abusive or harmful behavior.

Complexity vs. Excuse: Morally grey characters should be portrayed with depth and nuance. Their actions and motivations should be explored in a way that allows readers to understand the complexity of their choices. However, this complexity should not serve as an excuse for abusive or harmful behavior.

Accountability: It's essential that morally grey characters are held accountable for their actions. Their choices, even if morally ambiguous, should have consequences within the story. This accountability demonstrates that the narrative acknowledges the impact of their behavior on others.

Character Development: Morally grey characters should ideally experience growth and change over the course of the story. They may grapple with their actions and seek redemption or self-improvement. This development adds depth to their character arcs and provides a path for reconciliation with the audience.

Exploring the Grey Area: Morally grey characters can serve as a vehicle for exploring ethical dilemmas and the grey areas of human nature. However, this exploration should be done with sensitivity and an awareness of the potential real-world implications.

Avoiding Glamorization: It's crucial to avoid glamorizing abusive or harmful behavior, even within the context of morally grey characters. Romanticizing or justifying such behavior can send harmful messages to readers.

Balanced Perspective: Authors should strive to present a balanced perspective on morally grey characters. This means acknowledging both their strengths and flaws, their virtues and vices. Readers should be encouraged to form their own opinions rather than having a character's behavior imposed as unquestionably acceptable.

In literature, morally grey characters can be some of the most captivating and thought-provoking figures, challenging readers to question their own moral compass. However, their complexity should never be used as a means to justify or romanticize abusive or harmful actions.

[strangedarkage]

I truly, madly, deeply think that people who actually view Midsommar as a purely "good for her" movie do not understand it (and especially it's ending) at all.

Just because the ending of the film is cathartic- especially for people who have gone through significant trauma and find healing and liberation through this film's narrative- does not mean that it has a happy ending. I really do think that a lot of people thin that just because something is cathartic automatically makes it good. Most things that have produced these sorts of feelings in me have been really dark and fucked up. It hits a nerve that's a little raw, it fulfills some kind of dark fantasy. In this case, allowing your emotionally immature, borderline emotionally abusive, definitely toxic boyfriend to be selected as a human sacrifice and being burned alive inside the pelt of a bear. I remember rewatching this film for the second time with my mom, who was seeing it for the first time. And she was like... shaking and crying by the end of this movie.

She had just recently left my dad after being married for twenty years because of the horrific abuse that she had suffered, among many other things. She had called me many times that previous year, telling me how scared she was that he was going to do something to hurt her, more likely than not, that he was going to kill her. And she had been able to safely leave him, to move into her own place with my sisters and file for divorce when she felt safe enough to do so. I think that she found Dani's agency (which ironically in reality, is just the illusion of agency, because the whole situation was highly controlled by the cult as she was specifically chosen) in that final moment to be inspiring, a reflection of what she had been forced to live through and survived. It was horrible and she was forever changed (in most ways for the worse obviously) but she was alive. And I think that's a really beautiful thing, honestly. It allowed her the opportunity to really start processing these feelings, something she hadn't really been able to do successfully quite yet. This is one of the things that I love most about horror, that it provides a constructive, creative outlet for difficult, uncomfortable, and often horrifying situations and feelings. At it's core, Midsommar is a story about trauma and how it can be exploited to make anyone vulnerable to abusive, predatory people (and in this case, an entire community of people).

I also do want to acknowledge right now that a lot of people who really relate to this film are those who interpret Dani and Christian's relationshp as abusive, me being one of them. I really understand the "good for you" interpretation because that was also my first interpretation of this film when I saw it for the first tine. But then two seconds later I realized that it's a lot more nuanced than that.

Once you burst your own bubble, once you realize how fucked up your own fantasies could really be, you realize that Christian did not actually deserve any of that. He was drugged, sexually assaulted, and BURNED ALIVE. The punishment does not fit the crime. And that while basically everyone was making really bad choices and therefore also easier to puppet around and influence for most of the film, THEY WERE ALSO TRIPPING BALLS. Drugs, particularly hallucinogenic drugs, are a well documented tool for cults. Because drugs keep people close to you as their supplier, and it also makes them significantly easier to manipulate and control. What I think is so perfect about the ending is that it puts us in Dani's mindset- it's cathartic, it's vengeance for what she thinks Christian did. She feels as if she had a choice and in a small way she does at the end, but again not really. Because everything has been orchestrated to lead up to this moment. It's the illusion of choice being roesented to her over and over and over again.

Basically the entirety fo Midsommar is Dani getting slowly indoctrinated into the cult.

Dani has really lost everything. Her last connection to everyone and everything that she loves. She has successfully been indoctrinated into a white supremacist cult who have assisted her in severing her last ties to the outside world through Christian, and by extension, his friends as well. She is technically a missing person now, even though there's no one left to really miss her. The wording in the screenplay is very explicit in the direction of this last scene. Dani has lost her mind because of everything that she has been through, she is not happy. She is absolutely dead inside. And this cycle is going to continue to be repeated in different ways to keep bringing more people in the community (and also different DNA to keep the gene pool diverse, as inbreeding is something that is just kind of an accepted practice in the cult, but has to be avoided in order to keep producing more new, healthy cult members). She is basically going to be used to produce more "perfect", blonde haired, blue eyed offspring. We know what her future is going to be and it is bleak. Sure, she gets a kind of "family" out of it, but at the cost of everything, including her sanity. None of this is good!!! And it wasn't supposed to be! The most horrifying thing about the ending is that it leaves so much room for very grim headcanons about Dani's fate. The real horror of this film isn't solely found in the gore or body horror, it's Dani's complete loss of agency disguised as something that is good and liberating.

I think the intended (and correct) takeaway of the ending is that a *kind* of catharsis has been reached but it is not the good kind. That you can think "good for her" because she does get her own kind of fucked up revenge on her milk toast boyfriend who did not respect or understand her at all. But also acknowledge that Christian did not deserve to be killed for being a shitty boyfriend. Dani is not really capable of making any good choices at this point because she is exhausted, grieving, and on so many different drugs. She doesn't understand the full scope of what is going on because she can't. And that is by design.

[billpottsismygf]

Episode 4 of Dead Boy Detectives (Lighthouse Leapers) doesn't quite reach the heights of last episode, but it was still good. I really appreciate the way this show is able to blend comedy and darkness. I love its oddball sense of humour and I often catch myself laughing out loud, particularly at Niko, and it never clashes with the dark storylines running alongside it, which takes a lot of skill.

I would be surprised if that's the last we see of the Night Nurse. Although Charles' defeat of her was brutal, or 'extreme' to quote Edwin, it was satisfying to see him get to fight back against someone hurting him, especially after seeing his father's abuse and his death at the hands of his "friends". I also want to know more about him stopping his friends from beating someone up.

This thought is slightly out of left field, but I find it interesting that seeing a male hero hitting a female character, even a villainous one, might have been impossible to include a while ago. It is a very unusual sight and people have pointed out before that usually, when a woman needs to be physically fought in an action scene, she is often only allowed to be hit by a female hero. While obviously I don't mean that it's actually fine to hit women, I do like that maybe we're moving beyond this reductive 'don't hit girls' narrative (combined with the 'it's fine and dandy for a woman to slap a man for comedy' one). Sometimes a woman is in a position of violent authority and is using that power to hurt a man (or boy, technically, in this case) and it's cathartic to see him get to retaliate.

Again, there's a rift forming between Edwin and Charles as they struggle to be honest with one another. Interestingly, they both seem able to talk to one of the others. Charles opens up to Crystal about his father and feeling angry, while Edwin (although still not saying much) seems able to be honest with Niko in a way he can't be with anyone else. Niko is perhaps becoming my second favourite character, and something about her brand of upfront quirkiness (read: autism) breaks through a lot of Edwin's defences. Their talk on the sea shore was my favourite part of the episode, with them watching scooby doo together at the end maybe a close second.

There have been hints since the beginning of Edwin maybe having feelings for Charles, and this is dealt with somewhat directly for the first time with the Cat King shapeshifting into him, and then that little lingering shot later that Edwin has to shake himself out of. I don't have much to say about it other than that I love that Edwin, who has even admitted now that he doesn't know whether he wants to kiss Monty, has enough love interests - none of whom are ideal in one way or another - to make his sexuality journey, much like this sentence, as confusing and complicated as possible.

Small things:

The washer woman is a cool concept well-executed.

I want to know more about Asha.

I love the Walrus man and am glad he seems to have his own running subplot.

Jenny's "love letters" are giving me huge creepy vibes, but I'm also intrigued.

I missed Esther this episode. Even when she only appears for 30 seconds, it really brightens the whole thing.

[whatever-you-can-give-me]

maybe i'm just biased because of my specific analytical read, but every time i hear something to the tune of "xyz thing knives did to vash wasn't actually quite as bad as you think it is" my hackles go up. Maybe I'm Just Biased. but i think if you cannot emotionally confront the way that knives' entire character is based around ignoring the consent or wishes of. everyone, but especially his siblings, in a myriad of extremely loaded ways, you should probably have a think about how your knives apologism starts to sound.

[jewishbarbies]

I knew I didn't like TS/Swifites when last year, they were trying to say one of her songs was about Zac Efron and harassing him ya know, after he came out about his anxiety and addiction issues. It's why I could never get behind that Jake hate train since the worst thing he did was break up with her. If people want to harp on age gap, then ask Taylor why she dated minors when she was 21/22

[trans-leek-cookie]

I just saw your tags on the unreliable narrator post and I really want to know what character you’re talking about now

Geto Suguru from JJK. I came for the hot Asian guy with long hair and a cool outfit stayed bc I'm interested in how cults and eugenics hurt ppl irl and also how they're explored in fiction. But between heaven and earth I alone am trying to find a fic that actually treats him being a cult leader as the problem it is and also gets fucking Nanako and Mimiko out of their. Uhhh fuck idk if u know JJK so spoilery ranting under the read more that assumes familiarity (so not like. Explaining specific plot shit bc my brain will explode)

so basically ppl have called out the eugenics shit with like "kill everyone who isn't a sorcerer" and generally they're like yeah that sucks but whatever not important lol. And I've seen like 0 shit actually about how he's a cult leader + how cults are Abusive. And some ppl are like "actually he has a point bc blah blah blah" like okay. If sorcerers were a stand in/comparable to real life marginalized groups. WE DONT NEED MORE "MARGINALIZED EUGENICIST" PLOTS. But even within the story they don't seem marginalized? Like, there are Marginalized Sorcerers, but being a Sorcerer isn't something that's consistently oppressed? The closest thing is either misdirected ableism/sanism ("they see things that aren't there and are assumed to be psychotic" which is its own can of worms) or like accusations of witchcraft which... I guess that's sorcerery based on this universe but irl those were usually used either along with or as cover for other shit (racism, misogyny, land grabs, etc). So hes not necessarily marginalized on that level- tho growing up in a family without other sorcerers mightve caused problems for him that's a LOT different from systemic oppression. And, also? In a lot of cases it seems like sorcerers are relatively privileged with a lot of economic, social and maybe political power? Like the big three families are obv examples bc they're fucking Rich and control the sorcery world so. Y'know. Also it's stated at one point sorcerers receive some like exceptions to the law but aren't allowed to hurt ppl who aren't sorcerers so. Yeag

anyways going more in depth on eugenics- okay real quick terms: negative and positive eugenics. That's not in reference to the quality, "positive" doesn't mean "good" But Rather in reference to wether the action is meant to Reduce "bad genes" or Increase "good genes". And obv negative eugenics includes shit like forced sterilization and murder which I don't want to downplay, but positive eugenics is also coercive and fucked up. For example, forcing ppl to have children they don't want. Which isn't Discussed in the series, but the fact is sorcerers a SMALL minority of the population, and they're already having trouble with curses, so. Theoretically sorcerers would be coerced to have more children to bring the population numbers up. Personally I think that's Not Something Suguru Believes In (I'll get into that but main thing is his eugenics isn't an actual strategy but rather lashing out and ego) but like. There's abuse on both sides of the equation no matter what. Eugenics isn't fucking redeemable.

Now onto the cult shit. It's not super expanded on besides needing money and curses to like. Kill ppl or whatever. But my interpretation of Suguru is that he started a cult, and believes in eugenics, because his ego was damaged. Like the trauma impacted him and influenced his actions ofc bc trauma Does That but also I straight up think his ego was bruised and he wants revenge.

Like first of all, the wider context- he's a kid who is alienated from his parents and probably most of the ppl he interacted with due to his abilities, which is understandably damaging esp at a young age.

He is then scouted and labeled as a special grade- he is one of three in Japan and I believe the world, if I'm not misremembering. He is on par with Gojo Satoru (category wise) who. Literally "Gojo Satoru's birth changed the world" like that's a NUTS ego boost to get

Anyway Gojo called the two of them "the strongest" literally pairing them up and positioning them as equals so like. Whoo boy. Also special grade sorcerer is defined as "a sorcerer who could single-handedly take down a nation" which okay! Labeling children as essentially weapons of mass destruction. Normal behavior

Then Toji happens and this random fucking guy beats you up. He kills your best friend and the girl you were escorting. But he doesn't kill you- because of your cursed technique being risky to deal with, but also. Obvious subtext of "you aren't important enough to kill"

Then your friend comes back from the fucking dead. Kills the man who tried to kill him. Discovers entirely me abilities and becomes even more powerful. And you are stagnating, with a technique you fucking hate. Your entire power is the power of Other Things.

So like. Understandly, thought maybe not justifiably, your ego is fucked.

So you start creating a new dichotomy: sorcerers and everyone else. If everyone else is lesser, you still have worth because you're Better than them by virtue of existing.

And then you discover 2 children being abused for the thing you have a victim complex over (<- this is also it's own thing I'll talk about) and you murder a bunch of ppl about it (okay this is a little questionable of My Opinions maybe but I could. Not forgive but understand the mass murder bc there's a lot of shit building up and clearly if 2 young girls being badly abused in a small village that implies the majority of people were either okay with it or unwilling to try and help at all. Anyway it's still Bad but like. Understandble mental breakdown trauma kinda bad for me? Also bc most ppl irl recognize murder as being Bad but are Weirdly Forgiving of bigotry yknow)

Anyway you take over the cult that was doing some other shit and my personal interpretation of this is also an ego thing. Bc lots of cult leaders do it for the money, but a lot of them also do it bc they like the feeling of controlling ppl. And there's essentially 2 levels of the cult- everyday people and the people he considers Family (which includes Mimiko and Nanako, the 2 children from the paragraph above).

On the "everyday people" level, there's a feeling of being a revered religious leader, knowing something they don't (curses exist), and the satisfaction of taking advantage of the people you don't like.

On the Family level, you position yourself as a savior and as The Only One Brave Enough To Do What Must Be Done (eugenics genocide) so even if you aren't the strongest you're still Special.

So that's my main analysis of why he became a cult leader, and now I'm gonna make more comments about why I think his shit is "Ego" rather than a (fucked up) desire to actually help ppl

If you wanted to help sorcerers survive: THE CLANS ARE A MASSIVE FUCKING PROBLEM. They hoard techniques tools and knowledge and the Zen'in clan literally cast out Toji who could've been a fuckin BEAST at dealing with curses. The clans reliance of tradition also generally hinders sorcerers ability to grow and improve in ways that aren't Traditional

When he dies the cult falls apart (which: good) but also the members have different ideals like some of them wanna keep doing eugenics, some of them just wanted Suguru to be powerful, and two of them were basically his adopted kids. If you actually had good intentions: CREATE A PLAN FOR WHEN YOU DIE SO YOUR FOLLOWERS CAN ACTUALLY CARRY OUT YOUR WILL AND HELP PEOPLE INSTEAD OF LETTING THEM INFIGHT

And idk if this is totally Ego or starting to move into a separate thing so I just decided to split it up: even when he was "righteous" his beliefs kinda Sucked

Like "the strong must protect the weak". There are inherent sort of... values being placed there, because weak is negative, not neutral. It's relatively minor, but I think it's important to note with how his beliefs evolve.

It's not like "we need to protect the people who can't protect themselves" it's really reductive. There's weak people and strong people and basically Noblisse Oblige but for strength or whatever which isn't really actual kindness or equality but rather pretty much. Pity.

Also he sorts jujutsu sorcerers into "strong" and everyone else into "weak" for the most part so that's... great worldview my guy. Definitely not going to just worsen your alienation from other ppl

so when he goes to "why should the strong protect the weak?" He jumps to "the strong don't owe anything to the weak, and actually the weak should be Punished For Being Weak" instead of. Just doing something else. Just get a fucking job, my guy

Anyway his plan is just garbage top to bottom total mess morally and logistically and he's a traumatized teen who grew into an abuser and like. The trauma influenced that but there were always fucking problems so it isn't "oh he got hurt and is evil :(" it's "he has some worrying beliefs and his trauma is likely making his emotions and ability to reason unstable, and then he finds an excuse to turn that instability into Violence" like. He's not necessarily abusive bc he's mentally ill or traumatized marginalized he's abusive bc he got to a point in his life where he could justify it to himself and it felt Good

And I just remembered this part: for the characters who interact with him I do enjoy that they still like and love him, even though he fucking sucks, because that's very human. You'll love imperfect people, you'll love horrible ppl who hurt you and/or others, and that isn't irredeemable it's just Human because being a Human and Connecting With Humans is complicated like that

I even like it when they excuse his bad behavior! Bc that's a realistic character flaw, to value the person u consider your friend over the people they hurt! It's not ethical, but it's natural and interesting to explore in fiction.

THE PROBLEM. IS WHEN THE AUTHORS DO NOT TREAT OR ACKNOWLEDGE IT AS A PROBLEM.

Like... listen. Love a relationship where one character sucks and the other character forgives them for the ppl they hurt and just wants their loved one back. The problem is when the writers are like "aww this is so sweet/romantic/beautiful" WHATEVER. Because it's not??

Someone defending their fucking abusive partner/friend/family member, especially when they aren't victims themselves, isn't fucking sweet it's scary, either for them or others!!!! And I want either to see the characters grapple with the way they excuse their loved ones' abuses and how that reflects on them and their morals, or, if the characters don't do that, for the author to acknowledge it as A Flaw!!!! I'd that too much to fucking ask

Especially with cult abuse, I don't want to say it's necessarily treated worse than any other type of abuse, but it feels really hard to find things related to fictional cults that actually acknowledge the Real Life Damage and Abuse cults do instead of having the cult be 1. Faceless evil 2. A joke 3. Fetishized/romanticized. And like all forms of abuse are similarly distorted in media + fiction, but I feel like ive almost never seen cult abuse portrayed respectfully/accurately, especially in fan works

Anyways for the wild TL;DR I think Geto Suguru's personality is comparable to an anti-sjw trans guy who is getting scarily close to Actual Fascist beliefs and is hurting all the people around him and his ex mutuals are like "he's not that bad" when he is That Bad and I'm so fucking mad about what happened to Nanako and Mimiko. If I think about their canon treatment I get so upset I start to have a headache

[naivety]

like i don't think it's a stretch to say they made that narrative twist and then ended on a tearful kiss and embrace between lestat and louis very much assuming the audience wouldn't be swallowing it with the same taste in their mouth as they would have Before that reveal

[infizero]

blah blah blah YES norman was going to allow ruby to partake in contests. doesnt change the fact he beat him up lol!

[luneyverse]

the death of art the death of education the death of childhood the death of narrative the birth of christ as we believed he was a zombie and our father

[perenlop]

i really dont know what to expect from magolor epilogue and im honestly not expecting a ton of story (lore stuff, absolutely bc magolor is kinda stuffed w lore as a character already) but ngl i do sorta hope theres at least a little bit of a hint of him improving or feeling bad or redemption so that people stop saying that he exists to be abuse apologia bc “he never got a real redemption arc”

[theriverdalereviewer]

surely one of you has read nineteen minutes by jodi picoult... as usual I have THOUGHTS

[unlimitedbutchworks]

the frustrating thing about discussions of kink for me is that it’s like the gom jabbar test for pulling reactionary sex politics out of people. you’ll see people bringing up (real and worth discussing!) issues of abusive people using the cover of being a dom or liking servant/master dynamics and then they’ll conclude this is why we have to treat kink like nuclear waste, rather than pointing to other issues of consent, power imbalances, lack of communication, respect, or negotiation. (not to mention how the existence of predatory/abusive subs is basically handwaved away because it’s inconvenient to their narrative..) like the problem of shitty guys pushing 50 shades wannabe stuff on their girlfriends lies with their misogyny and lack of respect for their partners wants, not with an idea of them being ontologically evil for enjoying sadism. further stigmatization and demonization just make discussing safe practices and safe communities for informed and healthy kink harder

[maaarine]

'We Can Bury Anyone': Inside a Hollywood Smear Machine (Megan Twohey and Mike McIntire and Julie Tate, The New York Times, Dec 21 2024)

"Last summer, as the release of “It Ends With Us” approached, Justin Baldoni, the director and a star of the film, and Jamey Heath, the lead producer, hired a crisis public relations expert.

During shooting, Blake Lively, the co-star, had complained that the men had repeatedly violated physical boundaries and made sexual and other inappropriate comments to her.

Their studio, Wayfarer, agreed to provide a full-time intimacy coordinator, bring in an outside producer and put other safeguards on set.

In a side letter to Ms. Lively’s contract, signed by Mr. Heath, the studio also agreed not to retaliate against the actress.

But by August, the two men, who had positioned themselves as feminist allies in the #MeToo era, expressed fears that her allegations would become public and taint them, according to a legal complaint that she filed Friday.

It claims that their P.R. effort had an explicit goal: to harm Ms. Lively’s reputation instead.

Her filing includes excerpts from thousands of pages of text messages and emails that she obtained through a subpoena.

These and other documents were reviewed by The New York Times. (…)

Mr. Baldoni was best known for the CW satirical romantic dramedy “Jane the Virgin.”

Wayfarer provided the resources for bigger ambitions. It was bankrolled by the billionaire Steve Sarowitz, who is co-chair of the studio with Mr. Baldoni.

They and Mr. Heath, the chief executive, are all deeply involved with the Baha’i religious organization, which promotes unity, peace and gender equality.

Mr. Baldoni has presented himself as an ally to women, writing books, co-hosting a podcast with Mr. Heath and giving talks on toxic masculinity. (…)

She claimed Mr. Baldoni had improvised unwanted kissing and discussed his sex life, including encounters in which he said he may not have received consent.

Mr. Heath had shown her a video of his wife naked, she said, and he had watched Ms. Lively in her trailer when she was topless and having body makeup removed, despite her asking him to look away.

She said that both men repeatedly entered her makeup trailer uninvited while she was undressed, including when she was breastfeeding. (…)

As the film release neared, Ms. Lively and other cast members informed Sony and Wayfarer that they would not do any appearances alongside Mr. Baldoni.

So did Ms. Hoover, the author, who had her own dissatisfactions with him and had become more upset after he told her about Ms. Lively’s allegations, according to text messages from Mr. Baldoni and Mr. Heath.

By the first week of August, Wayfarer and Mr. Baldoni had retained Ms. Nathan, who had worked with high-profile clients including Mr. Depp, whose ex-wife, Amber Heard, accused him of physical abuse. (…)

Three days later, Mr. Baldoni texted Ms. Abel, flagging a social media thread that accused another celebrity of bullying behavior and had generated 19 million views. “This is what we would need,” he wrote.

Ms. Nathan soon floated proposals to hire contractors to dominate social media through “full social account take downs,” by starting “threads of theories” and generally working to “change narrative.”

��All of this will be most importantly untraceable,” she wrote. (…)

When Ms. Abel wrote to her Aug. 4 that “I’m having reckless thoughts of wanting to plant pieces this week of how horrible Blake is to work with. Just to get ahead of it,” Ms. Nathan replied that she had spoken off the record to an editor at The Daily Mail.

“She’s ready when we are,” Ms. Nathan wrote.

A flurry of articles followed the Hollywood Reporter piece. Many made it seem as if the only rift was over creative control.

Some journalists had gotten wind of complaints about Mr. Baldoni’s behavior, but none of the most serious ones were published.

“He doesn’t realise how lucky he is right now,” Ms. Nathan texted Ms. Abel. (…)

It is unclear exactly how Mr. Wallace operated.

There are references in emails to “social manipulation” and “proactive fan posting,” and text messages cite efforts to “boost” and “amplify” online content that was favorable to Mr. Baldoni or critical of Ms. Lively.

“We are crushing it on Reddit,” Mr. Wallace told Ms. Nathan, according to a text she sent Ms. Abel on Aug. 9.

The next day, one of Ms. Nathan’s employees texted, “We’ve started to see shift on social, due largely to Jed and his team’s efforts to shift the narrative.”

Ms. Nathan wrote to Ms. Abel: “And socials are really really ramping up. In his favour, she must be furious. It’s actually sad because it just shows you have people really want to hate on women.” (…)

On Aug. 16, Ms. Nathan shared the Daily Mail article headlined “Is Blake Lively set to be CANCELLED?” with references to ‘hard to watch’ videos and a ‘tone deaf’ promotional Q. and A.

“Wow. You really outdid yourself with this piece,” Ms. Abel responded.

“That’s why you hired me right?” Ms. Nathan replied. “I’m the best.”"

[unproduciblesmackdown]

working off a presumption that winston gets sent off in the first quarter of the season, Also presuming that it's not simply like as fond in-universe as possible (e.g. reluctance all around, a nice chat with taylor, kiss on the head, etc) b/c like, nobody ever gets that, & even though it's more possible re: finales, again, just Presuming winston sure won't get that:

ofc possible that it's decided that the Conclusion for winston's character ought to be an "answer" to his being autistic, but interpreted both in & out of universe as oh this person is inconsiderate, arrogant, hostile, etc. so that is just finally allowed to "catch up with him" and like seize any conflict or grievance anyone has with him as the excuse to push him out, pwning him one last time b/c he refused to Learn His Lesson & either become allistic or just essentially see himself out, either by quitting or shutting up forever

but imo it would obviously be more fun at all if the Conclusion for his character is instead focused on the also more substantial "if a character is on billions their life has gone awry; they have shown up with their [problems] suitcase at the [more problems] sunk cost factory" wherein like....winston's autistic, he's trying to be valued as a person by being valued for his quanting, and this whole time he's been succeeding Enough at that in that he was hired & hasn't yet actually been fired, but like, probably actually nobody's working back from [begrudgingly valuing winston's quanting] to valuing winston himself, even also begrudgingly....you've got rian wringing "value" from him more generally b/c by & large their moments of friendship seem to just be something she wants to take from him in those specific moments, check back 5 seconds later & that may have stopped being true & she'll be lashing out b/c What Matters is that this is all on her terms serving what she wants, which is also winston's (& anyone's) relationship with their role in his job overall. rian's above him in their own social duo, also as an employee in tmc, everyone else wherever he works are also always above him socially/professionally....i know it was like oh too busy to film much and we can't really come up with an explanation so winston's just absent from tmc get-togethers in s4 w/o anyone speaking of it at all, but like, forever whew ouch the Verisimilitude that aligns anyways like. of course he'd just unspoken collective agreement be singularly excluded

anyways to this end we Know he's not going to get an ending of finally finding [ppl have liked/valued him as a person b/c he convinced them to want to try b/c they like/value his quanting :) ] like that's never a guarantee for anyone, the [irl autistic ppl trying to "make up for" the dislike / rejection they garner for being nd by being a Good Co/worker] just leading to having to quit / be fired b/c of burnout anyways and nobody cares....there'll be some extra shit in the mix to be sure, but what i'm saying is like, if winston just Does cause a Problem on his way out out of pettiness, out of [ruin everyone's day this once like how has been done to him fifty thousand times] out of [make people pay attention to His Work(tm) b/c they won't pay attention to Him even in the end here] out of [just being pissed & getting any revenge by even like doing the equivalent of taking a not precisely aimed huge swing at mpc as a Fuck You that anyone will have to care about / exert any energy over, vs that if winston himself just expresses Fuck You interpersonally then nobody would care & would just ignore him as he left]

point is like i wouldn't be mad if he gets petty at Anyone b/c like uh, yeah. singled out at Taylor would ofc be a downer but like, if they actually get to interact about it? that'd be Something, for sure, and we're never guaranteed something. he has plenty of cause to be hostile to rian b/c to the end here she's decided to be [the person who hurts him, deliberately, continually], all while getting preferential treatment from the person he's Really been here for the whole time, just as salt in that wound even if rian didn't choose that part entirely on her own. could definitely anticipate it at least being marginally more enjoyable than what's easily expected: winston only getting some unceremonious sendoff in the midst of a scene about other shit, with everyone getting to immediately completely move on

all of this ofc about like, pretending like oh whatever billions does with winston cannot hurt me. but also not Really pretending that, and also it already has lol, i'm frustrated & annoyed as i have been abt things we've learned like [hip hooray rian and dollar bill on the trading floor. what bliss] and [nobody will mention that william exists or has ever existed behind the scenes like ugh please] and that [victor's staying power is so so annoying too just like it was when are you kidding we're getting rid of bonnie instead of him? kill me] but like. it'll hurt me and i'm just bracing to roll with that and it's also been about already clocking in at the [ow. ouch] factor abt this shit Ahead of time lol, you can't have just flipped some switch....but i also know billions may not just completely let us down & may even give us fuckall, and that knowledge is also further setup for pain lol. Can't truly have zero hopes, unforch. but also whatever also begrudging forch b/c like, we do have fun. i have my hater energy but it's not genuine but it also is lol like leave me to my galaxy brain idiosyncratic exact experience that i am having, as [we are not the same] w/frustrations & grievances as w/delights & revelations (when you are reveling in something)

basically it's like, i Would rather that the [quantessence] of winston's character be His emotional hangups that are required to even be on the show, namely, an autistic person desperate for recognition of his personhood through "merit" fruitlessly proffered to offset his rejection, or, as stated, to indeed at least be Needed so that he can have the like bare begrudging hollow inclusion of [being allowed in the building, literally], and have the "resolution" of this issue even being, very billions aptly, simply to be forced to give up on / let go of / have taken from you the means to keep acting on that motivation as you have been: for winston, naturally, having this job, working for taylor as Thee taylor mason loyalist, and understander, and supporter....all that, rather than centering Everyone Else's Hangups abt hating & rejecting an autistic person. tragically, can't put it fully past billions to not prioritize any & all other characters, and at winston's expense, basically just as has been happening to winston in-universe the whole time (& already out of it, like, where are his little arcs even just for fun? where is his being allowed to talk to taylor, or like, in general? where is he in most of s7, now? you didn't have to send him off early at all.) but also can't put it fully past billions to suddenly devote thought & effort to the character, god forbid that truest conduit for our hopes & dreams manifest which is that, if nothing else, winston gets to say something to taylor that they listen to b/c they choose to actually consider things he says, even though, indeed, they don't "have to," 4x11 to 4x12, through tears "Q is for Quantitative, babey," for sure. and even this time make it clearer that's obviously what happened, though like, there is fuckall on this show that can be made "clear" to the whole audience out here so yknow. at the same time like as though someone couldn't go "for the wynnstans" like look all the audience who also doesn't devote a neural spark to winston no matter what is not gonna care either way. but i will care so much forever. already i will probably be thinking "winston dick energy" every day for the rest of my life

you may notice as i have that i'm basically like gee billions would be fun if you at all gave winston material about him being a person in his own right rather than solely getting in one more Use of him as whatever object resource plot device for other characters' [being a person] like. would it count if (this will not happen) rian has to think about how what it means for her as a person that she Hasn't been treating winston as a person? eh, that's sure indirectly anything i guess. taylor's our best bet, someone who has already listened to winston & talked to him person to person & understood him & whom he's here for, & because of, & etc. tuk is winston's friend for real but he probably won't get to do anything, it'd be fun if idk they hug, or are confirmed to continue to hang out & get laid together, or wave & smile across the room, or anything. really obviously would go off the rails do anything blast off for the winnie n tay but you know. here we are, forever, doing it for them