#every story that has ever or will ever be told is inspired (whether directly or indirectly) by The Story

[sunflower-chai]

I'm not gonna say you can't Get star wars if you're not religious yourself bc that would be silly and reductive but my Goodness it gives you a different perspective on their ideals of devotion and Force sensitivity and kinda just the Jedi order as a whole. At least I imagine lol I've never tried watching it while not being religious

this has been sitting in my ask box for ages bc i’ve been trying to think about how to answer but honestly i don’t have much to add lol. i will always relate the jedi’s connection to the force to my relationship with God. one of my favorite star wars scenes is from the obi-wan kenobi show when obi-wan finally reaches out to the force after TEN YEARS of being closed off from it in order to save leia from falling. the music, the struggle to do what used to be second nature yet it feels like coming home. and then when he tells leia that the force feels like when you’re afraid in the dark but you turn on the light and feel safe. like that is Christianity! Jesus makes me feel safe in a dark and broken world. but yeah you basically hit the nail on the head. watching star wars as a religious person hits different.

[stalkedbytrains]

“Cheryl? Where is the file for the next appointment? I can’t find it anywhere.”

“It’s the folder with the green tab,” Cheryl called from her desk at the front of the tiny office.

There was the sound of many papers shuffling around and finally an “aha!”

“The Rainbow Snake?” Came the voice from the office. Cheryl’s boss often read out loud when they were studying a client. Just a weird quirk of theirs. “Australian Aboriginal Deity. Oh I do remember them. We were at a party together… 2,000 years ago give or take. I don’t think they’ll remember me, ah well thems the breaks. Let’s see… hmm… I can see that this is going to be a problem Cheryl. Damn colonialists. I wish we could make the British gods fade away. Fucking King Arthur deserves to be relegated to the dust bin. I can tell that we’re going to need some deep cuts on this one. Start making a list of Australians we can contact, I have a feeling.”

Cheryl did as she was told. Her boss was almost always right about these things. She knew what the gods wanted before they even got here.

Several minutes later there was a knock at the office door. Cheryl got up to open it and invited in the dark skinned person and the beautiful snake they wore like jewelry but that might have only been because the snake itself was a living work of art. Like living breathing stained glass.

As Cheryl escorted the Rainbow Snake in, her boss came out and bowed deeply to their guest.

The chipper woman had tied back her full brown hair and smiled widely at the Snake and their human escort.

“A pleasure to meet you again,” the boss said, “it’s been many centuries but I am glad to see you once more. Please come in to my office. Would you care for any refreshments?”

After settling and getting water for the Rainbow Snake, Cheryl sat back down outside the office and listened to the pitch. She never got tired of listening to it.

“How can I help you?” Her boss asked.

“We heard that you can help us gods. Stop us from fading. We need faith. We need followers. The people are dying, the language is dying,” said a dual voice. The voice from the snake, and the voice from the human.

“We can do that. Sort of. I am sorry to say that it’s not a direct thing. I don’t just snap my fingers and make you some new believers. Human beings a wonderful little creatures. They crave us. They need us even if they don’t believe in us anymore. They want our stories and our myths. And that is what I provide. Stories.”

“How does that help us?”

“Do you know how down bad the Norse were? The Christian’s basically destroyed their religion, all we know of it is this bastard version of what was left after the Jesus freaks invaded. But then the comics happened. The Mighty Thor! And don’t get me started on Neil Gaiman and his Sandman and American Gods stories. I send that man a fruit basket every year. I love him. Have you seen how well the Norse pantheon is doing? Loki has seventeen penthouses, and more belief than he knows what to do with.”

“Bah. Western religion. White religion.”

“You are right. I am sorry that was a poor example. Perhaps I should have started with Māui and how well he’s doing with that Disney film Moana. I set that up.”

“You did all of that?”

“Well. Not directly. You know how us gods work. I gave some inspiration here and there. Got a writer to have an idea. Got a director and a bunch of executives to see the bigger picture and how it could be a hit. They did the rest themselves. Like I said, whether or not they know it, humans want us.”

“You can make me a hit movie?”

“Or a TV show or a video game. Those are hard though. Movies are kind of easy now a days, TV is having a resurgence now but you run the risk of cancelation and things like that, video games can be hit or miss honestly. Only the Greeks and Norse really pulled that one off and hoo let me tell you they paid for that one. Great games but still. I don’t want to look at those God of War games ever again. Books are easy. Worked really well for the Greeks and some of the Egyptians. Rick Riordan does great stuff. It all depends on what you want.”

“I can have anything?”

“Sure. Internet stories are easy. Quick and cheap but you are really gambling with the payoff. Could be either a total wash or go viral. Not something I can really recommend but if you need something now it can be done. Movies or tv can be great but there are also risks. It might be two or three years before you see anything.”

“Do I get to choose who does the work?”

“A little. I can influence certain people but sometimes the best person for the job is some down on his luck writer in a hovel in LA. Sometimes it’s Neil. But Neil is expensive.”

“I want a movie, I want it to be written by one of my people.”

“I can do that. But the problem is that reach might be very tiny. There are plenty of Aboriginal writers, I’m sure some can even be extremely talented, but something big and grand and bringing in all the faith and worship and stories you may way may be limited. If you want the Disney treatment you have to give up a whole lot of control.”

“No. I want it to be of the people.”

“Very well. Now, I can influence and give inspiration all over. I can even get this in the right people’s hands. But it is always a crap shoot. All I need to do is channel some of your power into the right person when I find it. Then creativity takes over, they do their work, I nudge some agents and companies their way and if we’re lucky you see some return on investment in a couple of years.”

“What do you get out of this process?”

“My dear, I’m the Muse. I feed off the creativity. These artists come to me most of the time. I just set them up with gods who need a little faith. And six points on the back end. I have a lot of alimony to pay.”

[bestworstcase]

Any thoughts on "The Sky is Falling"? I happened to be listening to it the other day and went "wow, this seems like something BestWorstCase would have Thoughts about", but searching your blog didn't turn anything up on it. If Tumblr search has failed me (probably not for the last time), I'd be interested to see what you've written before; otherwise, I'd be interested to hear now :)

ough i do have thoughts. many thoughts. idk if i’ve ever posted them, partly because i argue with myself a lot about whether it’s a hound song or an ozma song brfghks. much as i’d like it to be the hound for rotating him reasons, though, i do think ozma is a stronger textual reading.

unhinged about songs hours ->

the motif of the sky falling obviously calls to mind the chicken little folktale, of which there are numerous variations but in all of them the kerfuffle over the sky falling is hysterical: the danger is not real. in some versions of the tale, a sly fox incites the panic on purpose at the beginning and then eats the frightened birds who turn to him for help at the end.

the song’s narrative placement also connects it to atlas, and thence to atlas telamon, the titan who holds up the sky on his shoulders. (not the world—that’s a common misconception; classical images of atlas shouldering a globe depict the celestial sphere. it’s the sky.)

so we have on one hand the apocalyptic motif of the sky falling, and on the other the very real danger to atlas, conflated together: if atlas falls, so too must the sky… except that ‘the sky is falling’ is idiomatically an irrational fear. atlas may fall—that danger is real—but the world will not end if it does. the song’s central motif implies paranoid hysteria.

there is also the latin maxim fiat justitia ruat caelum, let justice be done though the skies fall. i go back and forth on whether i think the writers specifically have that in mind, in relation to this motif, but: “it’s important not to lose sight of what drives us—love, justice, reverence” and “in pursuit of a new world, no cost is too great.” fiat justitia, ruat caelum. that’s the salem perspective.

and i bring that up because of sacrifice:

Born an angel, heaven-sent Falls from grace are never elegant Stars will drop out of the sky, The moon will sadly watch the roses die In vain, Lost, no gain But you’re not taking me.

and

Show them gods and deities, Blind and keep the people on their knees. Pierce the sky, escape your fate, The more you try, the more you’ll just breed hate And lies. Truth will rise, Revealed by mirrored eyes.

with its similarly apocalyptic imagery (‘stars will drop out of the sky’/‘pierce the sky, escape your fate’) in relation to ozma and his task, and salem positioning herself in opposition (‘but you're not taking me’/‘truth will rise’)—fiat justitia, ruat caelum.

hence, ozma song.

‘the sky is falling’ is directly a dark mirror to ‘touch the sky’ but it’s also—i think more interestingly—a sardonic reflection on ‘until the end’ if one reads both songs as articulations of ozma’s perspective.

emotionally, ‘until the end’ leaves off here:

Love brings us dreams, But grief makes the heart burst at the seams. As light fills my eyes, I’ll picture me beside her, And pray that I’ll inspire, I promise I’ll be here until… …our story has been told. Til our bodies break down every door. Til we find what we’ve been looking for.

it’s a dream—a fantasy—ozma finding hope in this imagined scenario where he can be with salem again. i’ll picture me beside her.

and then she, uh. captures him:

Here comes another nightmare, Another fever dream. The horror just won’t stop, An endless scream, But this is not subconscious; We’re not imagining. We’re wide awake, This is reality.

lol.

‘until the end’ is very lovelorn and idealistic, and also fundamentally passive: though “desperate to make amends,” the promise ozma makes is to… wait. to do nothing. to hope for salem to make the first move.

and well. she does. this is what ‘the sky is falling’ is about, the collision of ozma’s romantic fantasies with the harsh reality of the situation.

Our world’s Lost without a soul. We’re losing all control, Not getting closer. Every day is just another dose of torture. Now we pay the cost. The race is lost, This nightmare’s Our real life.

points.

OSCAR: It should not be this hard getting people to just cooperate. OZ: And yet, it’s something I’m becoming increasingly concerned about.

this is what oz is worrying about all morning while the hound stalks oscar across mantle, how difficult it is to get anyone to “just cooperate.” because—contrary to the popular fanon—he is in fact still committed to his task and he does still, on some level, believe that remnant is damned and its people are missing something fundamental; his secrecy and manipulation, his guiding interest in silver-eyes and maidens and elevated ‘guardians’ and ‘symbols of hope,’ his all speak to his lack of true faith in humanity. and that traces back to what the god of light told him.

(since people love to cite ozpin’s commentary on ‘the story of the seasons’ as “evidence” that he’s abandoned his task by misinterpreting “I fear that if unrestricted magic use were possible, the results would be chaotic and catastrophic” to mean that ozpin thinks people are better off without magic rather than ozpin justifying his efforts to control the maidens; here’s part of his commentary on ‘the two brothers.’

Whether or not you believe in the Brothers, or in this story in particular, the underlying message still holds value: We are burdened with responsibility for our world, and we share a common destiny. Like the twin gods, we are intricately connected with one another, and if we can learn to work and live together, we can create things greater than the sum of their parts. Remnant survived the Great War, but while the four kingdoms now cooperate and coexist, our bond seems tenuous. We have a fragile peace, and in some ways, we are more divided than ever. Even if the gods aren’t real, even if they don’t return to judge us for our deeds, we should act each day as though they are arriving tomorrow. In the end, we will be the arbiters of our fates. We will either create a beautiful, peaceful world and live in harmony together or destroy ourselves and our planet, and the gods will judge what we have chosen.

in which he not only states his belief in his mandate and the inevitability of divine judgment outright, in plain terms, but also repeats the same fear he confided in salem thousands of years ago, that despite finding happiness or achieving peace, he worries that people are “more divided than ever.”)

thus: “our world’s/lost without a soul/we’re losing all control/not getting closer.” oz has become “increasingly concerned” about how hard it is to “get people to just cooperate.” and so “every day is just another dose of torture,” because, well…

To live free or die, it’s all the same. The enemy was right, there’s no reclaiming. In waves of shame, We’re desperate to make amends

…he knows salem is right. his task is impossible; things can never go back to the way they were. the old world, the world of the brothers, is gone and trying to reclaim it will achieve nothing but destroying remnant.

and yet he cannot bring himself to believe it, because to him this would amount to condemning the world, to admitting that remnant is broken and irredeemable and must be destroyed because it cannot be saved. to him, salem’s rejection of the mandate is horrifying—tantamount to a a declaration that nothing in the world is worth trying to save.

in her mind, rejecting the mandate is an act of defiance: remnant does not need to be saved because there is nothing wrong with it, and where he sees damnation, salem finds freedom. and that’s what ripped them apart.

‘sacrifice’ makes this point also:

Did the things you thought you should, All the things they said were good. All your faith in ancient ways Leaves you trapped inside a maze. […] Even with the lives you stole, Still no closer to your… goal.

that ozma’s faith in the god of light imprisons him in a futile, impossible quest because he can’t escape his belief that the world is broken, that salem’s freedom is really damnation. he achieves so much—he united the four human kingdoms after the great war and ushered in an era of unprecedented worldwide peace—and still, in ozpin’s own words, he sees only that people are “more divided than ever.”

the chorus of ‘the sky is falling’:

Better cover up your eyes, my friend, The sky is falling, Can’t outrun the ruin of our lives. Be prepared, we’re near the end, The final days are calling. Hold on now, The sky is falling down.

similarly echoes the motif of blindness that appears in ‘sacrifice’ (“close your eyes now, time for dreams/death is never what it seems” and “show them gods and deities/blind and keep the people on their knees”) and, more obliquely, in ‘until the end’ (“love brings us dreams/but grief makes the heart burst at the seams/as light fills my eyes/i’ll picture me beside her” -> the light is death, the light is love, love brings us dreams and death is never what it seems).

the first two lines of the chorus are also a direct inversion of ‘trust love’: “better cover up your eyes, my friend/the sky is falling” vs “trust love/and open up your eyes.” which is salient because ‘trust love’ is chiefly about ozlem; it’s in conversation with ‘sacrifice’ and ‘until the end’ and on top of the central motif of love restoring sight there is also, “if you could only open up a door/spread your wings and fly away from here/write yourself into a fairytale/all your problems would just disappear.” the you is ozma.

and that makes ‘trust love’ + ‘until the end’ + ‘the sky is falling’ really um, pointed foreshadowing:

All you have to be Is here in reality Leave your fantasy You’ll find the key  To victory I know the dark’s returning And the fires of hate are burning But the lies can’t hide what’s true When love’s alive

in one sense ‘until the end’ is the fantasy and reality ensues in ‘the sky is falling’, but in another—deeper, more important—‘until the end’ is also the truth which ozma keeps hidden from himself, and ‘the sky is falling’ is the act of self-deception; better cover up your eyes, my friend, the sky is falling.

so all of this—all of it—this is the false narrative oz has constructed about himself and salem, his blindness:

A curse that’s Never-ending This path with No escape No sudden death We’re trapped In slow decay These words are Not symbolic The torment’s All too real Eternal enemy Our fate is sealed We slide Further down the hole The damage takes its toll Helpless and broken Failed to stem the Tide of pain The floodgates open Now it’s one more sin As evil wins And misery steals Our lives

notice too how this section of the song reflects darkly on the hope and longing expressed in ‘until the end.’

ozma let himself imagine a reprieve (“time falls away/but pain always finds a way to stay/the tears that you’ve shed/will find a tree to water/but only when you’re stronger”), which he now scathingly reminds himself is impossible: his curse is never-ending, there is no escape even in death, he’s trapped in slow decay, his fate as her eternal enemy is sealed.

he admitted to himself that he wished to make amends and for just a moment he let himself believe that he could (“and stare with pride into the face of fear/in our finest hour, i’ll be standing here/and should we fall to darkness/this power i will harness/i promise i’ll be here until the end”), and now he mocks himself for it: he has done nothing but decay, corrupted more and more with every lifetime as he becomes unrecognizable to himself; the damage takes its toll. helpless. broken. he can’t make the pain stop, he can’t fix anything, he can’t save either of them.

oz found enough courage and hope to crawl back out of his darkness and try, once more, to do the right thing—to make amends—and what happened when he tried? “i’m not upset that you left. i’m upset you came back.”

that conversation, oz trying to apologize and being told that he’d done wrong again, made a mistake again, happened at most an hour or two before the hound caught them. one more sin as evil wins, cue the chorus.

and then the song turns inside out. (pour one out for the terrible rap 😔)

Lost all my hopes And dreams Watch my life flash By in scenes And it seems there’s No soul on the  Video screen But I’m green tryin’ To figure out what All of it means Staring at the casket Hoping to move past it Knowing things will Never be the same And that’s it Cold soaked as I stand in the rain Feeling nothing but pain Until I see you again

clears throat. not a metaphor. this is about the lost fable—ozma very literally watched his life flash by in scenes, narrated by jinn in ozpin’s own words, and then he retreated into isolation to think about it. not to brood or sulk but to reflect; he comes back with a very clear idea of what he did wrong and how he wants to change because he used that time to, well, try to figure out what all of it meant, knowing things will never be the same.

and that’s it?

this part of the song is an emotional echo of the regret and longing expressed in ‘until the end’; “love brings us dreams/but grief makes the heart burst at the seams/as light fills my eyes/i’ll picture me beside her/and pray that i’ll inspire” -> “cold soaked as/i stand in the rain/feeling nothing but pain/until i see you again” it’s the same idea.

that salem is his hope, his comfort. deep down in his heart of hearts ozma… wants to see her again. ‘until the end’ hints that it isn’t a coincidence that oz makes his hopeful return in the same hour that salem reaches atlas. here, too, “nothing but pain/until i see you again.” a flicker of hope. because the hound is taking them to her.

and then:

Feel the waves crash Loud and hard Oh God Lost control I think I’m gonna lose it All my sanity’s slipping away Oh Lord Press record I’d die without the music Each breath is closer To my death Except that which is, This life There’s none left Let my demons live on Through my legacy Study my pedigree I need therapy

he catches himself feeling that small glimmer of hope and freaks out. lost control, sanity’s slipping away. every breath is bringing him closer to death, oscar will die, his demons will live on in his next host, he needs therapy. why did he even think that?

where you seek comfort, you will only find pain. his heart knows that isn’t true, but ozma is still fighting tooth and nail to force himself to believe it; cue the chorus. better cover up your eyes, my friend, the sky is falling.

[illogicallyinclined]

Trick or treat! :]

a treat c: have some Aces

for Halloween, the team will usually have at least one practice (some time in late October) where they scrimmage in costume

every year, Virgil drags his ass to TJ Maxx to select one (1) new Halloween decoration to add to his collection

speaking of Halloween decorations, Remy and Emile always make sure to decorate their apartment prior to the Annual Team Brunch; (it's always v tasteful. Logan points out that the decorations seem to be inspired by the classic Romantic genre, perhaps by the works of Edgar Allen Poe, and Remy fondly calls him a Huge Nerd)

Patton cannot man the door when kids come by trick-or-treating because he always gets suckered into giving out Way Too Much candy

(once, a child that was trick-or-treating at Patton's apartment while Patton was dressed as Rapunzel told him that he was the "prettiest princess [she had] ever seen", and he literally dumped the entire bucket of candy directly into her bag. the team has not let him live it down.)

the team hosts a 2 Sentence Horror Story competition every year (with a plethora of superlatives that the team can vote on at the Annual Halloween Party); it's incredibly fun because there always ends up being a mix of earnest, disturbing stories and the dumbest stories that a human being could have possibly conceived

during October, the team plans out one night a week to meet at someone's dorm/apartment late at night and share scary stories (either self-written or found scouring the web)

the team, predictably, is wildly split on whether Candy Corn is a Valid Halloween Treat or an Active Affront to Nature

[38hertz]

Celebrate Every Day: Discovering Happiness with 38 Hertz

In a world filled with challenges and uncertainties, finding happiness can sometimes feel like an elusive pursuit. But what if we told you that there's a blog that's dedicated to not only uncovering the secrets to happiness but also celebrating it in all its forms? Welcome to 38 Hertz – a digital haven where happiness meets celebration. In this blog post, we'll delve deep into the heart of 38 Hertz, exploring its mission, its connection to a Zazzle Store, and the various ways it inspires and uplifts its readers. So, grab a cup of tea, settle in, and let's embark on a journey of joy.

Unveiling 38 Hertz: The Epitome of Happiness

Who We Are

At the helm of 38 Hertz is the passionate and visionary Debbie Schwarm, who believes that happiness is not just a destination but a way of life. Located in the vibrant city of Portland, Oregon, 38 Hertz is a blog that initially set out to explore the essence of happiness in its purest form.

Connecting Happiness and Celebration: 38 Hertz's Zazzle Store

Exploring the Store

38 Hertz's Zazzle Store is a treasure trove of delightful creations that celebrate the beauty of life. You can visit the store at 38 Hertz Zazzle Store and immerse yourself in a world of positivity, creativity, and, of course, happiness. Let's take a closer look at what this store has to offer:

The Celebration Book

One of the highlights of 38 Hertz's Zazzle Store is the 2024 Celebration Book. This unique book is not just a book; it's a journey through the art of celebration. You can purchase it directly from this page and explore the profound insights and creative ideas it contains. But that's not all - you can also get a sneak peek and even download the book without any charge on the Flip Book Short Code Page. It's a gift of celebration waiting for you to unwrap.

The Power of Celebration: Why It Matters

Finding Happiness in the Little Things

In a world where we're often caught up in the hustle and bustle of life, it's easy to overlook the little things that bring us happiness. At 38 Hertz, we believe in the power of these small joys. Our blog is dedicated to helping you discover the "things that make you happy" It's a reminder that joy can be found in the simplest of moments.

Celebrate Every Day

Life is too short to wait for special occasions to celebrate. At 38 Hertz, we encourage you to "celebrate every day". Whether it's a small achievement, a beautiful sunset, or just the fact that you woke up today, there's always a reason to celebrate. Our blog is filled with ideas, inspiration, and stories of everyday celebrations that will make your heart swell with happiness.

Embracing Holidays and Special Occasions

While celebrating daily life is a cornerstone of 38 Hertz, we also understand the significance of holidays and special occasions. These moments provide us with opportunities to connect with loved ones, create lasting memories, and, of course, be happy. Our blog offers a wealth of resources and ideas for holiday celebrations that are filled with warmth, love, and joy.

The Science of Happiness: 38 Hertz

Ever wondered about the science behind happiness? The name "38 Hertz" is not a random choice; it's deeply rooted in the idea that happiness can be measured in brainwave frequencies. The number 38 represents the brainwave frequency associated with happiness - a constant reminder that happiness is not just a fleeting emotion but a state of being. Our blog delves into the science of happiness, exploring how you can tune into your own 38 Hertz frequency.

Join Us on the Journey to Happiness

Get in Touch

We'd love to hear from you! Whether you have a story of happiness to share, a celebration to showcase, or simply want to connect with like-minded individuals, feel free to reach out to Debbie Schwarm at debbie.l.schwarm@gmail.com. Your happiness matters to us, and we're here to support you on your quest for a joyful life.

Stay Tuned

38 Hertz is not just a blog; it's a community of happiness enthusiasts. To stay updated on the latest posts, celebrations, and happiness discoveries, be sure to visit our website at www.38hertz.com. Subscribe to our newsletter and follow us on social media for a daily dose of happiness.

Conclusion

In a world that can sometimes feel overwhelming, 38 Hertz is a beacon of light, guiding you towards happiness and encouraging you to celebrate every moment of life. With its insightful blog posts, creative Zazzle Store offerings, and a heartfelt dedication to the pursuit of joy, 38 Hertz is more than just a website; it's a source of inspiration and a reminder that happiness is not a destination but a beautiful journey.

So, as you navigate the ups and downs of life, remember the words of 38 Hertz - "Find things to make you happy, celebrate every day, embrace holidays, and discover the science of happiness." After all, life is too short not to celebrate it every day at 38 Hertz frequency.

[voodoochili]

My Favorite Albums of 2022

The story of the 2020s–the years keep getting harder, the music keeps getting better. There's nothing I get more pleasure from these days than exploring the vast universe of new music that we are so lucky to be able to access with just a few keystrokes. Keeping up with everything can be overwhelming, but it's so so rewarding.

Here are my favorite albums from a very deep year–there's probably a smaller gap between my #1 and my #25 than ever before. But unranked lists are for cowards!

Check the bottom for the full list and a Spotify playlist with selections from every album.

Onward we go!

10. Fievel Is Glauque - Flaming Swords: Perhaps no album released in 2022 was as jam-packed with seemingly contradictory musical ideas as Flaming Swords. Fievel Is Glauque songwriter/bandleader Zach Phillips aims for sensory overload, cramming complex chords, modal key changes, free jazz freakouts, and hyperactive drum beats into his miniature prog-pop masterpieces. Nearly each one of these 18 songs has a moment of unexpected virtuosity, whether in the composition or the performance. The song that best represents the album’s messy ideal is “Save The Premonition,” a one-minute forty-six second sprint through moments of harmonic inspiration, never settling down for more than a measure at a time.

From my description, it might seem like Flaming Swords is a difficult listen, but though it takes some time to get used to the hyperactivity, these songs are targeted missiles aimed directly towards the pleasure centers of the brain, with sonorous saxophones and liquid keyboards augmenting the dulcet Francophone tones of lead singer Ma Clément. This is pop music filtered through a prism, separating the traditional elements of sound into their essences and reconstituting it into something entirely new.

9. Caracara - New Preoccupations: Philadelphia emo band Caracara isn’t afraid to mine the “embarrassing” sounds of the past in its search for catharsis. If you told the 2005 version of me that one of my favorite albums of 2022 would crib from bands like Snow Patrol or Relient K, I would’ve told you to buzz off before cranking up the volume on “Stay Fly” by Three 6 Mafia. But New Preoccupations won me over with its aching sincerity, its full-throated realization of the melancholy behind mundane moments (“I was listening to the Dirty Projectors in a Volvo by the freeway funeral pyre,” singer Sean Gill exhorts in highlight track “Colorglut”), and some powerhouse performances by the band. Producer (and Memory Music label head) Will Yip keeps things interesting, finding a guitar sound that would’ve fit nicely into WPLJ’s Hot Adult Contemporary lineup in the mid-90s and adding contemporary touches like programmed drums and rolling pianos. My favorite moments on New Preoccupations happen when the band grows tired of midtempo rockers and goes balls to the wall. They bust the door down early on the dissociative anthem “Hyacinth,” and put a bow on the proceedings with the achingly raw “Monoculture”: “I’M FINALLY FREE TO LET GO.”

8. Cash Cobain & Chow Lee - 2 SLIZZY 2 SEXY (Deluxe): 2 Live Crew changed the game in the late 80s by combining the compulsively danceable Miami bass sound with some of the raunchiest songs known to man. Luther Campbell and crew were so gleefully horned-up that they changed America’s copyright laws forever. Nearly 40 years later, NYC duo Cash Cobain and Chow Lee are bravely following in 2 Live Crew’s footsteps, providing a fresh spin on the dominant dance music of their region (in this case, Jersey/Philly club) to further their noble mission to make the horniest music of all time. So yes, Cash and Chow are sex-crazed to the point of obsession, but they’re making some genuinely game-changing shit. Cash is one of the best producers on the planet, a master of flipping a familiar sample into something fresh and unrecognizable. He saves his best beats for himself, from the ethereal and speaker-slamming J. Holiday flip on, um, “JHOLIDAY,” to the audacious Stevie Wonder sample on “SLIZZY LIKE,” to the absolutely beautiful “FREAK OF DI WEEK.” Cash and Chow combine their otherworldly instrumentals with an energy that mirrors teenagers at their first sleepovers after learning all the curse words, bouncing off each other in a competition over who can be the most out-of-pocket (Chow usually wins that competition). Don’t sleep on the deluxe edition, which brings even more brilliant beats and shamelessly lowers the bar X-rated bars even further, inviting some of the best rappers in the Tri-State area to meet them on their libidinous level.

7. Cloakroom - Dissolution Wave: Cloakroom exists on the bleeding edge between shoegaze and stoner metal, overwhelming with punishing soundscapes and entrancing with spectral melodies. Their 2022 album Dissolution Wave is lean and mean, clocking in at 39 minutes (Cloakroom hadn’t previously made an album shorter than 60 minutes), delivering a confident complement of space-age rockers. No album this year was better synthesizing such an intense beauty, its crushing walls of sound enhancing the heartfelt songwriting. On a few songs, including the midtempo “A Force At Play” (featuring keys from Matt Talbott from Cloakroom’s stylistic influence Hum) and the devastating countrified ballad “Doubts,” the band proves that they don’t need fuzz to make a major emotional impact. My favorite headphones album of the year.

6. billy woods - Aethiopes: billy woods is an astonishing wordsmith, crafting bars that can collapse hundreds of years of traumatic history into a single couplet. He’s at his best when he’s shining a light on the grimiest aspects of our society, and our society is grimy enough for multiple albums per year, all of them good, usually created in tandem with a producer. Aethiopes, produced in full by underground hero Preservation, is woods’ grimiest and greatest yet, packed with an array of industrial instrumentals that grind like the gears of a lurching, lumbering, ill-intentioned contraption.

The beat for “Wharves” clinks and clacks like a skeleton playing its own ribcage like a xylophone, a fitting backdrop for woods' story that touches on cannibalistic tribes and the Atlantic slave trade. “Heavy Water” invites Breeze Brewin and El-P to tag team an unbearably tense slice of boom-bap, as woods calls himself “the multiverse Benzino.” “No Hard Feelings” swirls with detuned woodwinds and ethereal synths, sounding like the warmup anthem for a closer on Hell's favorite baseball team, providing a bed for woods to show out in his trademark style–he rhymes with escalating intensity, his booming voice rising along with the music. The tension built in the first three quarters of the album dissipates with the final run of soul-samplers, but those outwardly gorgeous songs contain some of woods’s ugliest bars. From “Remorseless”: “Three rooms filled with Incan treasure/Still strangled the king cause it's now or never/It's a freedom in admitting it's not gonna get better.”

5. Naima Bock - Giant Palm: Naima Bock’s Giant Palm gleams like a greenhouse during golden hour, organic and synthetic elements operating in harmony to create an album unlike any I’ve heard before. The album is a spiritual successor to Mort Garson’s horticultural synth music and Vashti Bunyan’s insular, pastoral ballads, with strains of folk from Brazil and England mixed in for good measure. Created in collaboration with co-producer/arranger Joel Burton, the former Goat Girl bassist’s solo debut is structured like the tree of its title, a variety of frilled fronds emanating from a knotty heart–in this case, everything stems from Bock’s endless wonder at the marvels of our natural world, which she expresses through plaintive, immersive, and unpredictable ballads. Some of my favorite moments: the psychedelically eerie call-and-response that begins “Every Morning”; the whimsically bluesy piano in “Instrumental”; the dissonant waltz that undergirds the haunting “Campervan”; and the beautiful harmonies that adorn the Portuguese-language bossa nova ballad “O Morro,” which ends the album on a nostalgic note.

4. Big Thief - Dragon New Warm Mountain I Believe In You: Big Thief is in a special kind of creative groove right now. Frontwoman Adrienne Lenker has a seemingly bottomless arsenal of amazing songs, and her band has the adventurous mindset, telepathic chemistry, and ace musicianship to execute any of her ideas. The natural next step for a band on this kind of run: dropping a double album to show off the breadth of what they can do. The unwieldily-titled Dragon New Warm Mountain I Believe In You fits that bill, packing in some of their best songs while pushing their sound forward. You want classic Big Thief ballads? They’ve got them, including the immaculate “Change” and plaintive “No Reason.” Prefer the hard-rocking side of the band that they perfected on 2019’s Two Hands? Take “Little Things” or the cathartic “Love Love Love.” They even unveil some new tricks, like the trip-hoppy “Blurred View” and the minimal Magnetic Fields-meets-Springsteen experiment “Wake Me Up To Drive.” My favorites on here, though, channel what the music critic Greil Marcus called “The Old Weird America,” an energy that powers the cosmic hoedown “Spud Infinity,” the slinky and percussive “Time Escaping,” and the joyous, countrified “Red Moon.”

3. Earl Sweatshirt - SICK!: Earl Sweatshirt has been famous since he was sixteen years old, something that must feel particularly strange to the self-professed introvert. On his latest album SICK!, the now-28-year-old rapper seems to open up, inspired by his newfound fatherhood and embracing his role as the leader of a rising wave of left-of-center lyricists. The song sketches that populated 2018’s Some Rap Songs have (mostly) been replaced by fuller statements, its grainy, drumless loops giving way to slicker sounds.

The beats on SICK! are spectacular, from Theravada’s sorrowful and operatic “Tabula Rasa,” to The Alchemist’s menacing and cinematic “Old Friend,” to the multiple soundscapes crafted by Black Noi$e (especially the jazzy closer “Fire In The Hole”). Earl doesn’t rhyme over the instrumentals as much as he inhabits them, his resigned sigh painting contours and filling negative space, and effortlessly unfurling assonant and tangled bars like (from “Tabula Rasa”): “The calcium on my teeth fade/Streets are blazed with the anger complacency and deceit create/Ice sheet break, I couldn't weave weight/All I could say to the times that I couldn't freeze-frame, bleak fate.”

2. Makaya McCraven - In These Times: Producer, drummer, composer, and bandleader Makaya McCraven creates his albums like a mad scientist, laying down hundreds of hours of improvised live sessions and piecing them together to create wholly unique compositions. His music thrives on the moments of brief inspiration that come from a group of brilliant musicians playing together, creating an indelible atmosphere by stretching out and looping sections to form a new groove. Inspired by the legendary output CTI Records in the early ‘70s (home to George Benson, Hubert Laws, Bob James, and many others), McCraven curates a sound that combines the smoother side of fusion with complex, odd-meter rhythms. His percussion work is usually unflashy*, providing a bedrock for his collaborators to express themselves to the fullest. “So Ubuji” finds McCraven laying down a boom-bap style drum pattern as vibraphonist Joel Ross and harpist Brandee Younger elevate the song to the stratosphere, while the tangled polyrhythms of “High Fives” benefits from the virtuosic guitar playing of Jeff Parker. The album climaxes with penultimate track “The Knew Untitled,” a devastating composition that begins with swirling piano-led chaos before guitarist Matt Gold lays down one of the best guitar solos of this young decade. The most transportive and mesmerizing album released in 2022.

*with a notable exception coming on the thrilling “This Place That Place"

1. They Hate Change - Finally, New: They Hate Change (Vonne and Dre, both of whom rap and produce) operate with supreme confidence, creating a singular sonic blend informed, but not defined, by their omnivorous musical influences. Vonne and Dre are both great emcees–Vonne has a style that occupies the unlikely convergence between Big Boi, Ish Butler of Digable Planets/Shabazz Palaces, and Sonny Cheeba of Camp Lo, while Dre's drawling rhymes evoke both E-40 and Pimp C. Though they're clearly in love with hip-hop, the two Tampa natives are equally obsessed with dance music of all stripes, and Finally, New explores the unexpected connections between UK breakbeats and Florida’s club tradition, incorporating notes of Miami bass and Tampa jook alongside UK garage and DnB. The result is an album built for both head-nodding and ass-shaking. It's in constant motion even when it slows down, the two rappers brashly projecting an attitude that makes their flexing hit as hard as their evisceration of societal norms. A key track is “Some Days I Hate My Voice,” a defiant missive from Vonne that explores the nonbinary emcee’s inherent contradictions: “Some days I hate my voice, some days I feel like I'm the Metratron/Some days I'm basic, some days I'm dolled up like pageant debutantе.” I waffled for a long time about what to put at number one. I listened to hundreds of albums this year, and adored many of them, but for the top spot on this year’s list, I decided to just go with the album that sounded the freshest. Bursting with invention and bracing in its fearless experimentation, Finally, New is like nothing I’ve ever heard.

The rest of the list (playlist HERE): 11. 454 - Fast Trax 3 12. Bad Bunny - Un Verano Sin Ti 13. Asake - Mr. Money With The Vibe 14. Duval Timothy - Meeting With A Judas Tree 15. Animal Collective - Time Skiffs 16. DaBoii - Can’t Tame Us 17. The Soft Pink Truth - Is It Going To Get Any Deeper Than This? 18. Obongjayar - Some Nights I Dream Of Doors 19. Sessa - Estrela Acesa 20. Kendrick Lamar - Mr. Morale & The Big Steppers 21. Babyface Ray - FACE/MOB 22. Ron Trent - What Do The Stars Say To You 23. Hagan - Textures 24. WizKid - More Love, Less Ego 25. Smino - Luv 4 Rent 26. SZA - SOS 27. Duke Deuce - CRUNKSTAR 28. Alex G - God Save The Animals 29. Cate Le Bon - Pompeii 30. Panda Bear & Sonic Boom - Reset 31. Arctic Monkeys - The Car 32. PLOSIVS - PLOSIVS 33. Real Lies - Lad Ash 34. Rema - Rave & Roses 35. Drakeo The Ruler - Keep The Truth Alive 36. Beth Orton - Weather Alive 37. Tony Shhnow - Reflexions/Plug Motivation 38. Rosalía - MOTOMAMI 39. Beyonce - RENAISSANCE 40. Shabason & Krgovich - At Scaramouche 41. $ilkMoney - I Don’t Give a F*ck About This Rap Sh*t… 42. Quelle Chris - DEATHFAME 43. Dazegxd - vKISS 44. Phelimuncasi - Ama Gogela 45. Dawn Richard & Spencer Zahn - Pigments 46. Björk - Fossora 47. Roedelius & Tim Story - 4 Hands 48. Valee - VACABULAREE 49. NBA YoungBoy - 3800 Degrees 50. Toro Y Moi - MAHAL 51. Ethel Cain - Preacher’s Daughter 52. Brent Faiyaz - WASTELAND 53. Boldy James - Fair Exchange No Robbery (w/ Nicholas Craven)/ Mr. Ten08 (w/ Futurewave) 54. quinn - quinn  55. Rachika Nayar - Heaven Come Crashing 56. Junior Boys - Waiting Game 57. Friendship - Love The Stranger 58. Saba - Few Good Things 59. Silvana Estrada - Marchita 60. Rauw Alejandro - SATURNO 61. Ralfy The Plug - Skateboard P (Deluxe)/Pastor Ralfy 2 (Deluxe) 62. Sudan Archives - Natural Black Prom Queen 63. Kikagaku Moyo - Kumoyo Island 64. Young Slo-Be - Southeast 65. Death’s Dynamic Shroud - Darklife 66. Mr. Fingers - Around The Sun Pt. 1 67. RealYungPhil - Dr. Philvinci 68. CEO Trayle - HH5 69. Lil Poppa - HEAVY IS THE HEAD 70. Los - Kareem From New Orleans, Vol. 2 71. Fred Again - Actual Life 3 72. Gunna - DS4EVER 73. The Comet Is Coming - Hyper-Dimensional Expansion Beam 74. Ka - Language Arts/Woeful Studies 75. The Beths - Experts In A Dying Field

NOTE: This albums list could’ve gone on for at least another 75, and rest assured it would’ve included your favorite album from 2022! But I’ll make a special shout out to albums that just missed the cut: Luna Li, Nu Genea, Tears For Fears, Bartees Strange, Shawny Binladen, Little Simz, Oso Oso, Hikaru Utada, MAVI, BONES, Central Cee, BlueBucksClan, and Jay Worthy, Larry June & LNDN Drugs. Songs from those albums are included in my Spotify playlist.

[kaligar16]

i actually got to know them thanks to BIG!! they werent/arent that popular in my country lol, and by that time i could understand english fairly well so when the video popped on my twitter (rip) timeline, idk why exactly but i got the urge to watch it, and it quite literally changed my life. i was in a very bad psychological state and Dan just spoke directly TO MY SOUL on that video.

i haven't watched BIG again since like 2020, but i still got some quotes ingrained in my brain. one that was particularly special to me was "time changes everything. with the lives that we have, we can try anything we dream of. i want everyone who has ever felt like this to realise - you are never trapped. there is always hope. you just need to believe in yourself and get to the other side."

LIKE. BRO. i was fifteen, being groomed, was socially isolated and suffered with severe anxiety. when I heard this man say time changes everything – after he just told his whole life story and showed us how he was living proof that things do, in fact, change... he awakened a hope in me that i had never felt. something as simple as "the pain won't last forever. you just have to get to the other side" was exactly what I needed to hear. i feel kind of silly saying this cause i don't know him personally and etc but really, i don't care: dan howell saved my fucking life.

Another one of my favorite parts was the one he talked about Phil – keep in mind that I had never even HEARD about them before Basically I'm Gay. i have it ingrained in my brain as well: "and this was when, through the magic of the internet, i met Phil. and obviously we were more than friends, but it was more than just romantic. this was someone that genuinely liked me. i trusted them. and for the first time since i was a tiny child, i actually felt safe, and the relationship we formed, at that point, was something that i needed in my life. we're real best friends, companions through life, like, actual soulmates."

BRO. again. I was an anxious introverted teen who had no perspective in life. but if there's one thing i have always valued – and will keep valuing, as long as i live – is love. whether it's good or bad to jump headfirst in it doesn't matter. the fact that one can feel love, amongst every adversity, is so goddamn beautiful. and this guy i had never seen before, but just learned was as anxious and as depressed as I've been feeling the last couple of years, just told me he found the love of his life.

regardless of what society tells us how love is supposed to look like, regardless of them being friends or boyfriends or whatever. it was more than that. we're so used to saying two people are "just" friends, as if being friends is, somehow, filled up with less love than being in a relationship. and in Basically I'm Gay, Dan tell us "it was more than just romantic." I believe that's what made me get so attached to them – and it's part of the reason why people are so drawn to them as well. it isn't about whether Dan and Phil are "just roomates" or if they have ever kissed eachother. it is about love in its highest form. love that transcends labels and allows itself to grow. love that makes life worth living.

at that point in my life, Dan was the spark of hope I needed to keep going. someone who went through hell and back and was still able to find joy and love in those around him. someone who is still hurt and battles against their own mind every so often, and yet thrives through it all.

Dan didn't allow mental ilness and shitty circumstances to keep him apart from connection and joy, and he inspires me to do the same every goddamn day.

do you remember exactly where you were when basically im gay dropped? are there other d&p videos/content that you’ve had that experience with? am reminiscing and curious

[digitalmarketingagencyscarbor]

The Rise of Content Marketing: Engaging Modern Audiences Authentically

The Rise of Content Marketing: Engaging Modern Audiences Authentically

10 October 2023

Nicholas. B

Content marketing has emerged as one of the most potent tools in a marketer’s arsenal. In the age of information, consumers are constantly seeking valuable, relevant, and consistent content to address their needs, solve their problems, and entertain them. As marketing strategies evolve, let’s delve into the significance of content marketing and how Digital Scaleups can be your partner in mastering this domain. Why Content Marketing Matters More Than Ever 1. Building Trust with Audiences: In a world inundated with advertisements, consumers are more likely to engage with brands that provide them with genuine value without always pushing for a sale. Content marketing allows brands to build this trust over time. 2. Enhanced SEO: Quality content naturally boosts a website’s SEO, driving organic traffic and improving rankings on search engines. This gives brands increased visibility without the continual spend of paid ads. 3. Supports Other Digital Marketing Tactics: Content marketing beautifully complements other strategies. Be it email marketing campaigns, social media posts, or webinars, valuable content is at the core of each of these tactics. 4. Positioning as an Industry Thought Leader: Regularly publishing insightful content can position a brand as an industry expert, making it a go-to resource for customers and peers alike. Why Content Marketing Is More Relevant Now Than Ever Before In an era where consumers are often bombarded with direct advertisements, they’re seeking genuine value and authenticity. Content marketing offers brands a unique opportunity to build trust, not by constantly pushing for a sale, but by providing solutions, insights, and genuine value. When done right, this strategy can also boost a brand’s SEO, driving organic traffic and positioning the brand as a thought leader in its domain. The Modern-Day Challenges of Content Marketing However, the dynamic nature of the digital landscape means that the preferences of today’s audiences are constantly changing. Brands need to stay updated, not only with the type of content they produce but also the platforms they choose to disseminate it on. Moreover, consistency is key. Sporadic content releases can lead to decreased engagement, making it crucial for brands to have a streamlined strategy and dedicated resources. Determining the direct impact of content marketing also poses its set of challenges. Unlike direct advertising, where the return on investment can be more easily measured, content marketing’s ROI is often seen over a longer term, making it essential for brands to be patient and persistent. Understanding the Audience: The First Step to Content Success Before embarking on any content creation journey, it’s paramount to truly understand the audience. Modern consumers are not a monolithic entity; they’re a diverse group with varying needs, preferences, and behaviors. Tailoring content that speaks directly to their unique pain points, aspirations, and interests can make the difference between content that merely exists and content that truly resonates. At Digital Scaleups, we pride ourselves on our meticulous audience research methods, ensuring that every piece of content we curate is both meaningful and impactful.

The Power of Storytelling in Digital Marketing Storytelling has been at the heart of human connection for millennia. Even in today’s data-driven age, a well-told story has the power to captivate, inspire, and engage. Digital marketing, at its core, is about forging connections, and what better way to achieve that than through compelling stories? Whether it’s a brand’s origin, a customer testimonial, or an informative piece, weaving it into a narrative can drastically enhance its appeal. Digital Scaleups champions the art of digital storytelling, seamlessly blending facts with narratives to create content that not only informs but also deeply connects. Adapting to the Future: Embracing Content Evolution The digital landscape is ever-changing. New platforms emerge, algorithms update, and audience preferences shift. In such a dynamic environment, it’s crucial for brands to not just keep pace but to anticipate and adapt to these changes. Content strategies need periodic reevaluation and fine-tuning. What worked a year ago might not hold the same charm today. At Digital Scaleups, we’re not just content creators; we’re content futurists. We continually monitor the pulse of the digital world, ensuring that our strategies and creations are not just relevant for today but also poised for future success. Digital Scaleups: Your Partner in Content Mastery This is where Digital Scaleups steps in. Recognizing the power of content and the intricacies of harnessing it effectively, we offer bespoke content strategies that align with both your brand’s voice and the evolving needs of your audience. Our team is adept at crafting a range of content, from in-depth articles to engaging visual narratives. But we don’t stop at just creating content. Using advanced analytics tools, we help brands assess the performance of their content marketing efforts, offering insights that can refine strategies for optimal results. Our holistic approach ensures that your content marketing efforts are integrated seamlessly with other digital marketing strategies, amplifying their overall impact. As the world of digital marketing continues to evolve, content remains at its heart. The stories brands tell and the value they provide will always be paramount. With partners like Digital Scaleups, navigating the intricate maze of content marketing becomes a journey of collaboration, innovation, and success. Ready to redefine your content narrative? Digital Scaleups is here to guide, craft, and amplify.

[sanktyastag]

i do wish that the grishaverse series focused more on actually being a high fantasy trilogy, rather than a friends to lovers romance tale. and it’s not that i think there’s something wrong with allowing romance to be the focal point of a fantasy story - romance can, in fact, tie characters very closely to their setting, and allow for a more intimate, personal exploration of the worldbuilding, if it’s done correctly. the grishaverse trilogy feels... not like that, which is why i think i feel so ambivalent to the story that’s told to us.

because on paper, the grishaverse world is fascinating - we’re given a fantasy world, complete with a corrupt political system, intricate magic design, an oppressed fictional group that’s inspired by a real-world counterpart, a war-torn country that ends up going through significant social and political upheaval throughout the series, and a lot of morally gray choices and consequences by several different characters, that could have very long-reaching effects on the world. those are all things that would immediately convince me to get invested in a series, if someone was trying to sell me on it. the issue, i think, is that none of it... really felt like it mattered. it was all backdrop for a boy and a girl, and their struggle to stay together. it wasn’t that their relationship was the vessel that allowed us to explore this world, it was more like their relationship was the primary focus, and all of that worldbuilding was just to make their story of getting together a bit more interesting than what we might find in standard romance novel.

it’s why a lot of the conflict in the story leaves me feeling underwhelmed and generally dissatisfied: the stakes that i feel should be in place are never relevant, and the main concerns of the story are things i don’t really care about. 

like, are the protagonists trying to stop the darkling because what he’s doing is wrong and they disagree with his ideology, or are they trying to stop the darkling because he specifically needs alina to accomplish his goals, and that gets in the way of the love story? if the darkling hadn’t come for them in the beginning of siege and storm, would they ever have returned to eastern ravka? is the plot of the story that they’re trying to stop an evil man whose goal is to terrorize the world, or is it about stopping a man who wants to steal alina? they might, effectively, lead the story down the same path, but i’m much more interested in one of those motivations, than i am the other.

i want the conflict to surround the general of an army in a war-ravaged country, and how his ends-justify-the-means plan affects those around him, and the protagonists being forced to decide whether ending centuries of conflict is worth sacrificing innocent lives. i want a morally gray examination on what the protagonist considers acceptable loss, as she battles with her own experience as a low-level, expendable grunt in the army, versus her newfound responsibility and the expanded viewpoint that comes from being a saint whose decisions now affect people on a national scale.

i want a story surrounding political corruption, that examines power and the different ways it can be wielded. i want a story that looks critically at how and why oppression is created and upheld by those in power, and meaningfully engages with the concept of inherited privilege, and the idea that a good person taking over a bad system, but who has no desire to dismantle that system, is ultimately just as useless and complicit as those with active ill-will towards its persecuted minorities. 

i want, ultimately, a fantasy book that cares about the world that the characters live in, and that contains characters that care about their world, as well.

what i got was a story about a boy and a girl who love each other, and the story of how they overcome all the obstacles that got in their way of being together. it’s not a bad story concept, i guess. it just leaves the world they’re part of feeling very hollow and unimportant, because they’re so invested in each other, they stop being invested in every other event that happens - except for when those issues directly get in their way.

[macandriley]

5x06 - A Very MacRiley Analysis

Obligatory post to answer the age-old question: What do you see in MacRiley?

I’d like to start this off by saying, like a lot of you, I had very minimal hopes for this episode. I really didn’t expect anything to happen on the MacRiley front—especially not something that would significantly impact that storyline. 

But...I do enjoy being wrong.

Full transparency: this is not an episode review. If it were, I’d have to talk about the glaring plot inconsistencies and strange timeline. And I feel like I’ve already talked myself hoarse over that. 

So, without further adieu, let’s get into the long-winded analysis. 

The Cold Open

Absolutely irrelevant to the overall story and to this analysis. I just really like the way Mac says, “Riley, take the wheel,” and I thought it deserved an honorable mention.

“2020 Is Gonna Be Awesome”

Here, we cut to quarantine shenanigans. It’s cute. Fun. To see Riley and Bozer interacting like siblings again after so long just felt right.

Now, this is the pandemic, so of course conversations of toilet paper shortages arise. So Mac, in true MacGyver fashion, throws out some fun alternatives like newspaper and pine needles. And Riley shoots them all down, as she should. 

Because in the immortal words of Desi in 5x04, “Ew.”

This is when Bozer mentions that they could use the cardboard from Riley’s moving boxes. A seemingly innocent suggestion on the surface. If you don’t pay much attention to it, it goes right by without any fuss. 

However, at this point in canon, here’s what we know:

Bozer knows about Riley’s feelings for Mac

Riley has verbally told him that the reason she’s moving out is because of MacDesi. (Though her exact reasoning might’ve been intentionally misleading on her part)

So what does this mean? Well, to put it simply, Bozer is encouraging her to embrace living with Mac. To unpack her bags and stick around a while. A suggestion that Riley seems to ignore, as she says she’s dead set on getting out of there the second the pandemic allows.

Of course, the second she mentions moving, Mac picks back up with his beautiful Fauci song. Could it be that Himbo Barbie doesn’t like talking about Riley leaving? That’s open for interpretation.

Bonus points: Mac (incorrectly) blames Riley for not doing the dishes and it’s just adorably domestic. 

Getting Fed

Again, this scene is insignificant. The OG trio sit down to dinner, with Desi and Matty on video chat. It’s cute. 

But there is definitely something to be said for the way Riley looked at Mac when he mentioned having a private chat with Desi. My heart really went out to her there, because it must seem to her like she’s constantly being overlooked. 

After dinner, Riley and Bozer share a brief conversation. She expresses a disinterest in discussing her feelings, and reaffirms her choice to move out.

But Bozer reminds her that she’s only moving out so she “doesn’t have to watch Mac and Desi together,” and that “At this moment, it doesn’t seem like they are.”

This scene is important for two reasons: 

Bozer is clearly more supportive of MacRiley, which makes him honorary ship captain (as far as I’m concerned). 

it reaffirms the fact that her feelings are still very real, no matter how hard the lady doth protest.

Kitchen Floor Confessional

You all know this one from promo. After a tense conversation with Bozer, Mac heads inside to do the dishes. Riley, being the helpful person she is, offers to lend a hand. 

One thing leads to another, and the two wind up sitting on the floor by the sink, side by side. Just talking. The conversation comes to an end when Riley, who looks as though she wants to say something else, decides against it. (This “something else”, of course, would have been her confession). 

Cue the somewhat longing, emotionally charged staring from both parties. 

At this point, Mac says he’s going to go for a jog and abruptly leaves Riley alone in the kitchen. It’s clear by the look on her face that she feels, in some way, rejected. And the viewer is, at least for now, left to ponder why Mac seemed to cut the moment off so strangely. 

Though one could hypothesize that, just like Riley’s being packed and ready to go, Mac’s running has a little more to do with the emotional distancing than physical. 

The Parking Lot

Here we see Mac run off to speak to Desi. A scene I will not discuss at length, because the idea of playing footsie makes me cringe in the deepest recesses of my soul.

A little ways away, Bozer asks Riley if she told Mac about her feelings. She tells him she didn’t and that she’s glad, because she doesn’t want to be the thing that comes between them and their “happiness” (happiness is in quotes here because it seems like “anger” and “annoyance” are more common for them).

The dialogue in and of itself is not what I want to focus on here though. It’s the way the scene is framed.

Outside of the close-up shots for MacDesi’s conversation, much of the camera angles are from Riley’s perspective. Distant. Detached. The standpoint of an outsider looking in—of a girl watching the man she cares about being happy with someone else. 

The camerawork here makes this more of a Riley-centric moment than a MacDesi one.

Which is important because, from a narrative standpoint, there is no reason to frame it that way unless her emotions are going to be focal later on. This entire exchange implies that, in some way, Riley’s feelings are, were, and will be important to the plot. 

Yay for directorial story telling. 

A Moment

What to say about this scene? 

Mac has a heart to heart with Bozer and promises to be more present in his life. Bozer thanks him and begs him to finally clean the damn kitchen.

And agreeing, Mac turns away to do just that. Only, he stops himself short and tells Bozer he has one more thing he’d like to discuss.

The quote went as follows: “Kay, so...in the kitchen here a couple nights ago with Riley, there was a, uh...I don’t know, a moment.”

As I’m sure every MacRiley knows, him acknowledging that scene as a legitimate moment between them was incredibly unexpected. They’ve arguably had “moments” before, but only Riley ever seemed to notice them. Mac never mentioned having feelings, or even seemed like he might be aware of them.

This scene is the first time we’ve ever had direct confirmation that he feels—at least, in some capacity—the same way. 

To make it even better, this scene happens directly after MacDesi’s footsie match in the parking lot. Which means that, even when he’s got positive momentum with Desi, he’s still got Riley on his mind. 

Side note: I personally think this explains his behavior in 5x03. He doesn’t see Riley reciprocating, and he’s probably incredibly worried about screwing up all their history—an issue he doesn’t have with Desi, since they didn’t have much of a friendship first. 

So he throws himself back into that in an attempt to smother his feelings. Will it work? Only time will tell.

Ending

After cleaning up the kitchen, Mac picks up the piece of glass he’d left on the floor and, surprise surprise, finally gets an idea for his ventilator. Some fans say this is Riley’s influence, which I can honestly see. 

Especially given the quote Mac says at the end:

“When the world feels like it’s so turned upside down that it’s impossible to fix, it helps to look at things from a different angle. Because no matter how broken something appears—whether its your grumpy neighbor, your terrified best friend, your estranged girlfriend, or a shard of glass—that broken thing could inspire something new...Maybe even something better than before.”

I believe this is a direct foreshadow to MacRiley. Somehow, his fractured relationship with Desi will make him see what he COULD have with Riley. This “new angle” might even help him see that he’s better off as friends with Desi (something new), and that he might be happier in a relationship with Riley (something better).

And if you still don’t buy that, well...the scene transition seems pretty damning. 

There was absolutely no reason the camera couldn’t have faded to Bozer. Or to a shot of all three of them. This feels incredibly intentional, no?

In Conclusion

“Codex Adrenaline” and “Quarantine Cabin Fever” are cop-outs. Riley still likes Mac. Mac now likes Riley. And we are 100% going to see more development on that front. So is this a win?

I think so.

But I wanna hear from y’all. What did you like about this episode? What did you hate? Do you feel like they’re leading up to something bigger for MacRiley?

I’d love to hear y’alls thoughts. 

[path-of-my-childhood]

The Story Behind Every Song on folklore - According to Aaron Dessner

By: Brady Gerber for Vulture Date: July 27th 2020

The National multi-instrumentalist spoke to Vulture over the phone from upstate New York a few hours after the surprise release of Swift’s eighth studio album. (“A pretty wild ride,” he admits, sounding tired yet happy.) He was clear that he can’t speak on behalf of Swift’s lyrics, much like he can’t for The National frontman Matt Berninger’s either, or the thinking behind Jack Antonoff’s songs. (Here’s a cheat sheet: Jack’s songs soar, Aaron’s glide.) But Dessner was game to speak to his specific contributions, influences, and own interpretations of each song on folklore, a record you can sum up by two words that came up often during our conversation: nostalgic and wry.

“the 1″

“the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs] These are the bookends, you know?

It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing.

The song began from the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did.

“cardigan“

That’s the first song we wrote [in early May]. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote.

I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

The National’s Influence On Swift

She said that she’s a fan of the emotion that’s conveyed in our music. She doesn’t often get to work with music that is so raw and emotional, or melodic and emotional, at the same time. When I sent her the folder, that was one of the main feelings. She said, “What the fuck? How do you just have that?” [laughs] I was humbled and honored because she just said, “It’s a gift, and I want to write to all of this.” She didn’t write to all of it, but a lot of it, and relatively quickly.

She is a fan of the band, and she’s a fan of Big Red Machine. She’s well aware of the sentiment of it and what I do, but she didn’t ask for a certain kind of thing. I know that the film [I Am Easy To Find] has really affected her, and she’s very much in love with that film and the record. Maybe it’s subconsciously been an influence.

“the last great american dynasty”

I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].

She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

“exile” (ft. Bon Iver)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts.

We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue.

With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

“my tears ricochet”

This is one of my absolute favorite songs on the record. I think it’s a brilliant composition, and Taylor’s words, the way her voice sounds and how this song feels, are, to me, one of the critical pieces. It’s lodged in my brain. That’s also very important to Taylor and Jack. It’s like a beacon for this record.

“mirrorball”

“mirrorball” is, to me, a hazy sort of beautiful. It almost reminds me of ‘90s-era Cardigans, or something like Mazzy Star. It has this kind of glow and haze. It feels really good before “seven,” which becomes very wistful and nostalgic. There are just such iconic images in the lyrics [“Spinning in my highest heels”], which aren’t coming to me at the moment because my brain is not working [laughs].

How Jack Antonoff’s Folklore Songs Differ From Dessner’s

I think we have different styles, and we weren’t making them together or in the same room. We both could probably come closer together in a sense that weirdly works. It’s like an archipelago, and each song is an island, but it’s all related. Taylor obviously binds it all together. And I think Jack, if he was working with orchestrations, there’s an emotional quality to his songs that’s clearly in the same world as mine.

We actually didn’t have a moodboard for the album at all. I don’t think that way. I don’t really know if she does either. I don’t think Jack... well, Jack might, but when I say the Cardigans or Mazzy Star, those aren’t Jack’s words about “mirrorball,” it’s just what calls to mind for me. Mainly she talked about emotion and to lean into it, the nostalgia and wistfulness, and the kind of raw, meditative emotion that I often kind of inhabit that I think felt very much where her heart was. We didn’t shy away from that.

“seven”

This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

“august”

This is maybe the closest thing to a pop song. It gets loud. It has this shimmering summer haze to it. It’s kind of like coming out of “seven” where you have this image of her in the swing and she’s seven years old, and then in “august” I think it feels like fast-forwarding to now. That’s an interesting contrast. I think it’s just a breezy, sort of intoxicating feeling.

“this is me trying”

“this is me trying,” to me, relates to the entire album. Maybe I’m reading into it too much from my own perspective, but [I think of] the whole album as an exercise and working through these stories, whether personal or old through someone else’s perspective. It’s connecting a lot of things. But I love the feeling in it and the production that Jack did. It has this lazy swagger.

“illicit affairs”

This feels like one of the real folk songs on the record, a sharp-witted narrative folk song. It just shows her versatility and her power as a songwriter, the sharpness of her writing. It’s a great song.

“invisible string”

That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song.

It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

“mad woman”

That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

“epiphany”

For “epiphany,” she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords.

I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

“betty”

This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

Is ‘betty” queer canon? I can’t speak to what it’s about. I have my own ideas. I also know where Taylor’s heart is, and I think that’s great anytime a song takes on greater meaning for anyone.

Is William Bowery secretly Joe Alwyn? I don’t know. We’re close, but she won’t tell me that. I think it’s actually someone else, but it’s good to have some mysteries.

“peace”

I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these basslines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way - there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized basslines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs].

“hoax”

This is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

Does Taylor Explain Her Lyrics?

She would always talk about it. The narrative is essential, and kind of what it’s all about. We’d always talk about that upfront and saying that would guide me with the music. But again, she is operating at many levels where there are connections between all of these songs, or many of them are interrelated in the characters that reappear. There are threads. I think that sometimes she would point it out entirely, but I would start to see these patterns. It’s cool when you see someone’s mind working.

“the lakes”

That’s a Jack song. It’s a beautiful kind of garden, or like you’re lost in a beautiful garden. There’s a kind of Greek poetry to it. Tragic poetry, I guess.

The Meaning Of Folklore

We didn’t talk about it at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it.

I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened.

It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

Okay, but is it A24-core? [Laughs.] Good comparison. 

[lunaralight09]

Could you do books that the scps might read?

Books that the SCPs might read

SCP 035 Anna and the French Kiss by Stephanie Perkins Anna is shipped off to boarding school in Paris where she meets the super-charming Etienne, and that's when things get interesting. I was a squealing, giggly, mush-fest all the while through reading this book. Stephanie Perkins knows just how to turn a seemingly ordinary love story into an unputdownable read. SCP 040 Your Brain Needs a Hug: Life, Love, Mental Health, and Sandwiches Just the title of this book by Rae Earl makes us feel a little lighter. And we don’t know about you, but our brains could definitely use a hug right now. While the book is geared towards teens, we found Earl’s advice to be relevant for all ages — particularly for anyone who struggles with depression, anxiety, social media addiction, and self-esteem issues. TBH, pretty much anyone can benefit from this book! SCP 049 And the Mountains Echoed by Khaled Hosseini And the Mountains Echoed is such an amazing and heartwarming read. It's about a pair of siblings that fate cruelly separates and then finally reunites. A must-read for its simple yet gripping narration and amiable characters. SCP 049-j The Red Notebook by Antoine Laurain This is a French romance novella, and basically a love letter to book lovers. There's mystery, romance, and some of the most beautifully crafted sentences and paragraphs I have ever read. The ending is so sweet, even though you wonder how you ever got there so soon. SCP 053 Lulu and the Rabbit Next Door by Hilary McKay Lulu and her cousin help their neighbor Arthur learn to love and care for his (neglected) rabbit. She doesn’t want her neighbor to feel bad so she writes the rabbit little notes with helpful gifts signed from her own pet rabbit named Thumper. It’s a kind way to show Arthur how to take care of his new pet SCP 073 HumanKind: Changing the World One Small Act At a Time Looking for heart-warming stories of kindness and compassion? HumanKind by Brad Aronson was made for you. But the book isn’t only full of uplifting stories that will move you to happy tears, it’s also packed with practical and actionable tips for how to be kinder in your everyday. One thing is for sure: after you put this book down, you’ll feel inspired to do something nice for someone else. And because of that, we think this is one of the best books on the planet! SCP 076 Do Unto Animals We absolutely DEVOURED this book by Tracey Stewart. Whether you’re looking for tips on how to better understand skunks and squirrels or read your pet’s body language, every page is full of compassionate wisdom about to treat animals in a way that they deserve. Also, the illustrations are absolutely beautiful — we nearly wanted to pet the pages because the animal drawings were so lovable. SCP 079 Walden (Henry David Thoreau) With the outdoorsman renaissance happening as we speak, it is nice to look back at one of the books that probably started it. Walden isn’t the bore you read back in middle school, it takes time to appreciate like a nice bottle of red. Thoreau’s masterpiece tackles so much while quietly nudging your brain into activity. It also makes you want to build a cabin SCP 096 Black Beauty by Anna Sewell Told from the perspective of the horse, this story is so beautifully written that it's easy to get lost in it's pages. I laughed and cried, as did my daughter when she read it. SCP 105 Dandelion Wine by Ray Bradbury Warm and fuzzy the whole way through, Dandelion Wine is by far the best story to make you feel good. Though I'm not the correct age to directly relate to the young adult story, I still felt the warm summer days and the wonder of it all. SCP 106 Catch-22 – Joseph Heller “War is hell,” is the old adage we all know, but Catch-22 looks to modify that a bit. Instead, war becomes super goddamn weird. The book follows a bomber squadron in the Second World War whose collective sanity is slowly being eroded by whatever passes for power. Throughout it all, the main character keeps trying to prove himself insane enough to be kicked out of the Navy, which is precisely why he can’t

be kicked out. Which is a catch 22 and yes, this is where the phrase comes from. It’s a great extrapolation of quirks and idiosyncrasies we see in day to day life, only this time, they’re affecting war SCP 134 (I know she don't have eyes . But there is a books for blind people) A Mango-Shaped Space by Wendy Mass A Mango-Shaped Space is about a 13-year-old girl with synesthesia (she can see, taste, and hear colors) and her journey in getting a diagnosis and accepting herself and all her differences. It's sort of a coming-of-age story, too. As someone with multiple chronic illnesses who has gone through the same process at the same age, this really was an incredible reading experience. One of my favorite quotes is "We all do the best we can, trying to keep all the balls in the air at once." I recommend it to everyone. SCP 173 Rabbit, Run (John Updike) The greatest mid-life crisis novel of all time doesn’t actually deal with a mid-life crisis at all. Harry “Rabbit” Angstrom is 26 when he decides to leave his wife and son for a new life. Of course, what that new life is, and what exactly he wants out of it isn’t clear to the reader or to Rabbit himself. It will strike a cord with all men who struggle with the idea of settling down. SCP 239 The Harry Potter series by J.K. Rowling SCP 682 THE WOLF AND THE WATCHMAN BY NIKLAS NATT OCH DAG If you're the kind of person that can't get enough of Scandi noir films, TV shows and literature, then Niklas Natt och Dag's The Wolf And The Watchman should be next on your reading list. Set in 18th-century Stockholm, this tale is as dark as it gets, following the titular watchman and a detective as they hunt down the killer behind a dismembered corpse that appears in a local pond. As gruesome as it is gripping, it's the perfect literary companion as the nights get longer and increasingly eerie. SCP 847 The Case Against Satan by Ray Russell Two priests are called in to examine a girl who might be possessed by the devil. The Exorcist, right? Nope, it’s Ray Russell‘s The Case Against Satan, a novel of theological horror that beat William Peter Blatty’s book to print by eight years. The Case Against Satan is as much the story of a crisis of faith as it is a supernatural tale, and readers looking for a nuanced take on both should give it a try SCP 953 THE PILLOW BOOK BY SEI SHŌNAGON If you want to learn a bit more about the Japan of the past – and also, weirdly, all of us in the present – The Pillow Book is a cult classic you should absolutely try. Sei Shōnagon was a lady-in-waiting in the court of Empress Teishi in the year 1000 and here she collects her thoughts and musings about court life. To read a woman more than 1,000 years ago being as philosophical, neurotic and scandalous as anyone is today on social media is a thrill that lasts from the start to the end. SCP 1678 Memoirs of a Geisha by Arthur Golden Absolutely moving, the struggles Sayuri faces are painted so beautifully by Arthur Golden's masterful craft that you totally empathize with her as she grows and triumphs in a world designed to see her fail. The ultimate conclusion of the novel fills me with such warmth — it's both entirely unexpected and wholeheartedly appreciated.

[chouetteffraie]

The Inherent Romanticism of Headpats - Why Ship Dazatsu

I was scrolling through the dark corners of bsd tumblr and came across a few “Why I Ship (blank)” posts and thought I’d like to try and articulate my unending love for dazatsu in a similar fashion! Please note that I am in no way trying to steal the spotlight from other ships or trying to claim that dazatsu is “better” - it’s just my favorite and I wanna talk about them! Also, I physically cannot talk about them without a shipper’s bias - I’ve had them in my heart since like late 2016. This is ingrained into my spirit.

So, without further ado, let’s talk about why I ship dazatsu (and why you should too). yes i’m kidding about that last part.

warning for manga spoilers and headers that would make amazing fic titles. tag me if you use one. manga pictures taken from dazaiscans and easygoingscans.

1. The Promise to be Good

hehehe let’s start with maybe the most obvious one that is, arguably, the most canon fact about these two. Just because I choose to view it as romantic doesn’t mean it IS - but it is certainly a beautiful aspect of their relationship and yes it makes me soft every time I think about it.

We all know Dazai’s past and what inspired him to make the switch from the Port Mafia to the side that saves people - Odasaku. No matter what you say, it’s obvious that Oda and Dazai have a very close, meaningful relationship - and arguably, Odasaku had the biggest impact (and the most importance?) in Dazai’s life. When Oda told Dazai to leave the Port Mafia, to go make something beautiful with his life - he did. And it’s those words alone that keep him motivated to stay in his job and help protect the city - because he loves it, maybe, but because someone he loves urged him to.

Dazai, despite what his strange poetry may make you believe, is only human. As much as those words mean to him, he gets discouraged.

Along comes Atsushi, the starving tiger boy by the river. Atsushi is an orphan parallels to oda saving the orphans already, and he was in dire need of someone to save him. So, Dazai did. Whether it was because of the tiger or Odasaku’s last words, Dazai saved Atsushi and gave him life. He provided food, shelter, a means to provide for himself - even companionship. Everything Atsushi has, it started with Dazai picking him up off the riverbed and lugging him along. What’s more, Dazai didn’t just turn him over to somebody else - he presented a case to Fukuzawa to keep him and serves as his mentor. Further along in the canon story, he provides Atsushi with the emotional guidance that he needs (Portrait of a Father, anyone? Let’s cry over that for a second.) He doesn’t just give Atsushi a moment’s care - he helps him build himself up, he supports him, and together, they protect the people of Yokohama.

Atsushi is living, breathing proof that Dazai is living up to his promise to be a good man. Even better, he seems to be perfectly happy with confirming that yes, Dazai is good, whenever Dazai needs it.

In this way, they complete each other. They provide a source of comfort that nobody else has been able to. Atsushi is Dazai’s proof that he is doing the one thing he wants to do, more than anything - be what Odasaku wanted.

2. You Saved Me, We Save Each Other

Keeping that in mind, Atsushi is sort of Dazai’s reward for being good. Now, I’m not implying Dazai is owed Atsushi at all - to an extent, you could argue Atsushi is maybe even too good for Dazai. But Dazai is trying to be a good man, and Atsushi is the one who tells him and reaffirms his efforts and gives him that praise, that recognition, that reward for being good. Dazai’s main inspiration to stay on the light(er) side is Odasaku - but that doesn’t mean that Atsushi can’t become another huge driving force that makes Dazai want to stay on that path. Oda motivates him, gives him the reason to start. Atsushi can be the prize that makes trying worth it when he tends to forget. 

Atsushi saves Dazai. He saves him from his self-doubt, and from the world that gives him every reason to believe he has failed in his promise. If anything, that promise might be Dazai’s strongest lifeline. By reinforcing the line, Atsushi is saving Dazai.

And of course, Dazai saves Atsushi. He did literally save him by the river, and he helps teach Atsushi how to Not Die by virtue of being his mentor, but it’s more than that. Dazai has been the one to save Atsushi from his own mind time and time again. He provides a reason for Atsushi to believe he has (or is) earned/earning the right to live. Atsushi isn’t entirely over his desire to prove himself worthy - but Dazai is always the one to tell him that he has succeeded in his goal. Dazai is the one to say “You’ve proven yourself. You deserve the life you’re living.”

3. You Learn Something New Every Day

As Atsushi’s mentor, Dazai naturally teaches Atsushi things. But beyond the simple strategic battlefield lessons, Dazai has been there for Atsushi multiple times to help him address and begin to overcome his trauma. Sure, some efforts are worse than the others (dazatsu stans just wipe our memories of the train station scene and that’s valid and sexy of us i think.) But in times when Atsushi is clearly distressed, Dazai has been there to help him through it. He’s helped Atsushi sort through his grief, and he’s helped Atsushi start to see that his feelings are valid and that he’s allowed to live a fulfilling life.

Atsushi isn’t the only one learning, though! That’s one of the best parts of the ship - Atsushi teaches Dazai, too. Dazai has spent a long time feeling as though nobody will understand him intimately, or as deeply as Odasaku did. But Atsushi is getting there. He’s one of the closest to it, I think. From saying things like Dazai is a good man, to picking up on Dazai’s feelings at Oda’s grave in Dead Apple, and even the end scene when Dazai asked Atsushi directly if he thought he was a good person and Atsushi said without hesitation “Sure, why?” Atsushi teaches Dazai that he is human. He teaches Dazai that he is capable of feeling and forming close, intimate connections. They help the other learn about the areas they need to, and in both cases, they’re becoming patient teachers and prized pupils.

4. I’ll Listen When Nobody Else Will

Everybody knows how Dazai is often brushed off when talking about dying. People have brought up that the agency just has faith in his resilience, but that doesn’t meant that they aren’t acting without care towards Dazai. Atsushi does this too - in the very first episode, Dazai’s attempt at suicide is just taken with him being exasperated at his antics before pushing him down. But here’s the thing - it’s generally agreed upon that Atsushi is the one who is sent out to find Dazai. Atsushi is the one who knows where to find him. Arguably, Atsushi is the one that will listen to Dazai. He’s becoming the one who can not only pick apart Dazai’s mannerisms and slightest tells - he isn’t proficient, but he’s working on it - but he’s the one that treats them with care.

I’ve spent a lot of time noting similarities between the understanding Atsushi has of Dazai to the understanding Dazai’s truest friend had to him. Here’s one thing that separates Oda from Atsushi, and for me, it’s one of the major reasons why I personally ship one more than the other: Odasaku didn’t push Dazai the way Atsushi does. Both Oda and Atsushi have a way of laying out a field for Dazai to talk and bounce his thoughts off of, no matter how cryptically they come out. But Atsushi asks questions, he prods at the darkest corners of Dazai and he allows Dazai to question himself so he can continue to grow. Where Oda gave Dazai a place to feel comfortable in where he was, Atsushi gives Dazai a space to feel comfortable as he grows, which is what he needs in order to continue being a good man.

And please note, this isn’t me saying dazatsu or Atsushi is better than odazai or Odasaku. What I mean to say is this is where the difference lies, and Atsushi gives Dazai what he needs now - something he might not have needed without Odasaku’s urging to leave.

5. Guiding Light

When two characters are each other’s north star, where is there not romance? Dazai is very much Atsushi’s main source of guidance, a side effect of being his mentor for sure - but it’s more than just asking questions. Their relationship runs deep into Atsushi’s train of thought, to the point where Atsushi hallucinates Dazai’s presence when he feels uncertain. Any time Atsushi needs guidance or reassurance, he looks to Dazai. 

This is more shipper goggle-y, but I like to believe Atsushi does the same for Dazai. I’ve said over and over again that above all else, Atsushi is Dazai’s proof that he is being good. I also like to think that Atsushi, in a way, is a ray of light for Dazai to follow. He’s selfless (although for some reasons that deserve to be readjusted), he’s kind, and he loves life - all life. He’s a sunbeam in action that provides a perfect example for what Dazai could be and is trying to be - and if this light is happy with keeping Dazai close, maybe there’s hope for him after all.

6. What Makes Life Worth Living

Atsushi and Dazai are opposites in once major aspect: Atsushi has a sort of reverence for life, whereas Dazai craves to escape it. These are two major points of their characters - but here’s the kicker. Dazai wants to get close to human emotion. He wants to understand what makes life worth living. Atsushi is quite possibly the strongest candidate to show him what he can do and how loving life can help. I’m not saying that Atsushi is Dazais’ fix-it-all elixir, but he has a good chance to gently prod at Dazai and get him thinking.

Atsushi can show Dazai what makes life worth living. And that’s something that I think would do Dazai a world of good.

7. Can I Change for the Better?

ATSUSHI! INSISTS! DAZAI! IS! GOOD! I will not ever diminish this point because it is so important! Dazai seems to have it in his head that his blood is mafia black, that he can play the charade of a good man but will never be more than an actor playing a part. Atsushi, though - Atsushi is constantly telling him that he is good. Atsushi, who probably couldn’t keep up a lie for that long because the poor boy has zero tact. Dazai even asks Atsushi frequently if he’s a good person, and Atsushi always says yes. Atsushi gives Dazai what he needs to hear.

Atsushi, however, has his own issues. He has his own trauma to tackle, and his own bad habits to reform to become a better person. Atsushi isn't’ a bad person, but he also isn’t the best version of himself. Dazai can help him become that. Dazai can give him the guidance he needs, as he did with sorting through his grief surrounding the headmaster. Dazai can help Atsushi start the battle against his past, and he has been there with him every step of the way, whether in body or spirit. They help each other be better.

8. I Trust You With What I Love Most

I’ve said this before and I’ll say it again - the toast they added to the end of season 3 is one of the most tender moments Dazai has ever had with anybody. One thing Dazai never does is let people in on his past - not past the necessary details, anyway, and especially not the intimate moments he holds in his heart. But sharing that toast with Atsushi - inviting him in to the toast he shared with Oda and Ango, “To the stray dogs,” - it’s one of his most vulnerable times on screen. I don’t care what you say. Dazai deliberately letting Atsushi in, giving him this tiny piece of his past he’s had tucked away in a safe place - that was him offering up a piece of his heart. I’m soft just thinking about it again.

Other than that, Dazai has an enormous faith in Atsushi. He’s built entire plans trusting that Atsushi will do his job perfectly the way it needs to be done. Hell, towards the end of the Guild arc, it was his faith in Atsushi to bring the doll down to him that convinced Twain they were beat. Not to mention, Dazai has trusted Atsushi enough to form a new partnership without him in order to protect the city - and if that’s not one of the most blatant displays of trust and faith you’ve seen, I don’t know what is.

9. There’s a Softness Within Me I Didn’t Know I Had

Another thing that’s good for Dazai - Atsushi is comfortable. Dazai can let his guard down, just a tiny bit, around Atsushi, There was the graveyard scene in Dead Apple, or the toast scene at the end of season 3 - those are moments where Atsushi has given himself a moment to relax and show Atsushi how proud he is. This kind of emotion, this vulnerability that says ‘I’ve been hoping you’d pull through and look at how amazing you’ve become’ - there’s a softness that holds that Dazai doesn’t hold for anybody else. It’s a gentleness or pride, of trust, of somebody becoming more than you could ever imagine and coming back to you, even thanking you - it’s a sensation nobody else has given Dazai, because nobody else has been a protege as trustworthy and gentle as Atsushi.

(and, believe me, there’s a hundred other examples of the softness in the anime, manga, official art, and so much more. here’s a thread that you can still add to if you want)

Atsushi is also soft with Dazai. He wants to make him proud, sure, but there isn’t any fear once their job is done. Atsushi doesn’t have to fear horrible repercussions if he makes one misstep - Dazai allows him to learn, to grow, and to feel however he seems fit (or, it’s a skill he’s improving at as the series goes on.)

They give each other a safety to feel vulnerable. They are comfortable to each other. And, of course, they have a special softness for the other that they do not hold for anybody else.

10. My Mistakes are the Cracks You Have a Knack for Fixing

Again, Atsushi is always there to reassure Dazai that he can be a good man. One part of this is that he insist that Dazai’s past doesn’t have to affect his future. He’s one of the only people who tells Dazai that he doesn’t hold him accountable for what he’s done before - he’s Dazai-san now, and that’s what matters to Atsushi. Atsushi gives Dazai the most space to fix these mistakes, to move past them, and to learn from them, not holding them against him at all.

In the same way Atsushi is Dazai’s proof that he’s being a good man, he is also Dazai’s proof that he can fix the mistakes he made. (Of course, I’m not excusing the way he strings anybody along - but the first step to fixing a mistake is admitting you have made one and working on yourself, and that’s what Atsushi allows him to do.)

In conclusion, I think Dazatsu is so soft and amazing because it’s about the healing and acceptance. BSD is all about gray morality, and dazatsu is a soft ship that can take each other’s bad and accept them. It’s not only about seeing the darkest side of somebody - it’s about accepting those flaws but also giving them space to grow. They grow and they learn and they heal together. They ensure that the other never has to go through a drastic change alone. In a way, they can be home for the other, a refuge from the shitty cards life has dealt them and a steady lifeline to reach for a better tomorrow. That’s why I love dazatsu - because I can’t see another situation with nearly as much love and trust as they have. They are tender, they can be vulnerable, and they can heal. 

Like the beautiful sunset hours the met in, they celebrated in, they console each other in, they allow the other to turn the page on their past and start anew, with a clean canvas for a dazzling display that they can make together.

[toovirgins]

Hiya - what are your thoughts on jealous guy, if you have any? Do you think it’s completely about Paul, or only partially?

Hi there, anon! What a great question. :)

Short answer? It’s about Paul.

Long answer?

What I want to say right off the bat is that the first time I ever heard 'Jealous Guy', I just felt that it had to be about Paul. Of course, I had to take a step back and remind myself that not every song John wrote was about Paul, and not every song Paul wrote was about John. I find it’s quite easy to get carried away sometimes, especially because the pair looooooves to write cryptic post-Beatles-humous musical apologies / confessions and give conflicting recollections about those said songs.

The second thing that demands consideration is this quote from Paul from Playgirl Magazine, February 1985:

“He used to say, ‘Everyone is on the McCartney bandwagon.’ He wrote 'I’m Just a Jealous Guy,’ and he said that the song was about me. So I think it was just some kind of jealousy.”

This is pretty much the substantial “evidence” that people have used to defend the idea that ‘Jealous Guy’ is about Paul. As far as I know, we have no confirmation straight from the horse’s mouth; it’s pretty damn close, though, considering that Paul doesn’t have much of a motive, even egotistically, to just make that up here. Especially when considering that the song has been publicly conceptualized in romantic terms. But, take this quote for what you will, depending on how reliable of a narrator you view Paul to be. I personally feel like even if John never actually told Paul it was about him, the fact that Paul inherently believed it to be might be just as telling (see: John and his dismay with ‘Dear Boy’ which is objectively not about him).

On my own thoughts of the song: Any time we have a John song like this, the debate is whether it’s about Yoko or Cynthia or Unnamed Girl or what have you. Rock historians and writers tend to wholly leave Paul out of the conversation, though psychologically speaking, you could consider him just as much of an attachment (if not more) for John as either of his wives. Upon initially hearing the song, I tried to analyze the timeline in terms of these muses (Cynthia, Paul, and Yoko) and determine if, objectively, it made sense for him to be talking about X on any given line. 

For example, "I was dreaming of the past" feels like an odd verse to try and connect to Yoko, because at the point of release for this song, Lennon and Ono had only been married for a little over two years. "Dreaming of the past" isn't necessarily something you'd say to reference practically newlyweds. Much of the tone of the song is long-standing regret and guilt; proponents of the idea that Yoko inspired the song have argued that it’s John apologizing for some recent altercation or argument, but I just believe that directly contradicts the whole feel of the song. In more ways than one, John’s been sitting on this for a while, and it’s heavy and honest. There’s more here than meets the eye (wink), in terms of what exactly John may be expressing sorrow for. 

In addition to that, generally speaking, I would find it quite strange for John to be writing such a deeply emotional, personal, and sentimental song about his ex-wife in the beginning of his marriage to the true “love of his life”. But John’s a funny little guy, so let’s say we disregard that. "I was feeling insecure / You might not love me anymore" feels (to me) like an iffy feeling to connect to Cynthia, especially considering that their relationship began ending on the notion that Cynthia knew John was pulling away from her (also, see the 1976 letter that he wrote to Cyn and the cold assertions about their marriage). Nearly every story I’ve read of the breakup of John and Cyn has conveyed the impression that it was John’s will (more or less), whether it be emotionally pushing her away, consistent infidelity, drug taking, etc. Though not impossible, “Pretty sure you didn’t love me” isn’t typically what you’d expect to hear from someone that notoriously broke it off with you. 

On that note, while there’s lines in the song that I don’t think could be attributed to his female partners, I don’t think that there’s any lines that couldn’t be attributed to Paul: dreaming of the past, unintentional hurting, jealousy and insecurity (Lennon-McCartney “Tug of War” ideology), fear of abandonment (with Paul stepping up and taking the reins, so to speak, and John believing that Paul may move on without him; with Linda; with the tumultuous relations of the Beatles; even legally - there’s plenty of ways to interpret this verse), and misunderstandings/misinterpretations. These topics are all contributing factors to the ultimate implosion of their partnership, wouldn’t you say?

It’s also worth noting that the melody from this song comes from ‘Child of Nature’, which was written in India. So, there were likely some harbored feelings bubbling up at the surface of its revisiting. [pain]

Now - with all of that being said, do I think that John sat down to write 'Jealous Guy' with the intent of writing a song about Paul? Not necessarily. Disclaimer: in all honesty, any attempt to psychologically analyze early 70′s (scratch that. Any era) John is a grueling feat. On that note, I believe the 1970′s, for John, were arguably a period of self-reflection and attempts at self-honesty. Considering himself to be free from the “shackles” of the Beatles and exploring ~higher artistic expression~ with Yoko, John wrote some incredibly honest and heartbreaking songs, especially on Plastic Ono Band and Imagine (’Mother’, ‘Isolation’, ‘My Mummy’s Dead’, ‘Crippled Inside’, ‘How?’ ; the list goes on and on). I think that at this point in his life and career, John had surmounted whatever internal, personal barriers he carried to self-expression in songwriting in terms of discussing trauma, love, relationships, fears, etc. He was willing to talk about pain, about regret, and about jealousy; the facade that he felt obligated to uphold with his time in the Beatles could come down now that he was a Truly Avant-Garde Awakened Individual. 

My take is that, in his self-reflection, he found Paul to be one of the most regretful victims of his jealousy. It isn’t often that we see John taking accountability for his actions and being the one to say, “Yeah, I fucked up here.” We see a lot of deflection, a lot of avoiding responsibility and blame everywhere from the Beatles breakup to Julian’s early upbringing to experiences with LSD and heroin to etc., etc., etc. So for John to write an entire song like that? I think the motive had to be strong enough to warrant that honesty. It had to be someone that he had a history with, someone that he deeply hurt, someone that he was constantly insecure around but also competed with and was completed by. I think that the inspiration behind the self-reflection had to be someone that John, essentially, considered on the same plane as himself.  In its own strange, Lennon-esque way, I truly believe that this was a backward attempt at reconciliation and renewal with Paul - because when he’d hurt Paul to that extent, he’d known that it had gone too far.

But, y’know, the song is on the same album as ‘How Do You Sleep?’, so it’s all relative. Sigh.

[peniswrightjusticeforballs]

The Victim Behind the #Girlboss: Analysing the Tragedy of Dahlia Hawthorne

   **WARNING: this essay will contain mentions of pedophilia, grooming, and neglect, as well as (obviously) spoilers for Trials and Tribulations**

   Dahlia Hawthorne, as the major antagonist in Ace Attorney Trials and Tribulations, is often seen as one of the most evil villains in the series due to her multiple attempted and successful murders, as well as her targeting of Phoenix Wright and Mia and Maya Fey. She is often portrayed through fan content (as well as even in the games writing) as a cruel, heartless, and evil bitch. However, the story of Dahlia Hawthorne is one of the most tragic in the series, and I would even be so bold as to claim the reason it’s not recognized as such is due to flagrant misogyny. While perhaps not moral or excusable, her actions certainly are not without reason; and are unquestionably owed some sympathy.

EARLY LIFE

Dahlia's childhood is one of pain and neglect. Her parents certainly don't care for her. Her father saw her and Iris as a means of power and left Kurain with them when it became clear they were not of use for power. Even Iris points out that Dahlia had a neglectful childhood and never had an actual parental figure. Furthermore, Iris theorizes that it’s likely she would never committed murder had she had that support and guidance in her life.

One point brought up against Dahlia showing her “evil” in childhood is that she convinces her parents to send Iris away to Hazakura at a young age; this blatantly ignores both the reality of sibling relationships and their neglectful parents. Fighting with and getting angry at your siblings is a common experience as is wishing for them to go away. Considering her father and stepmothers' uncaring attitudes toward their children, it certainly must not have been hard to convince them to send Dahlia's twin away. Rather than being a sign of manipulation and heartlessness of a child, this event is a sign of the inability to care for their children that her parents had. This is amplified by the implication in the game that her father thought “two girls is enough”, so he would have been already biased towards sending one away as he had an older stepdaughter.

This point brought up also brings to light part of why Dahlia ends up like she is, alongside what Iris says. When a child is constantly told, whether explicitly or implied, that they are evil or cruel and value-less, it is reasonable for them to step into this role and boldly claim it. While not impossible, it shouldn't be expected of a kid to avoid evil and to be good when they've never been given the opportunity or resources to be anything BUT evil.

In addition to the neglect, it is implied that Dahlia’s father cares more for his job and the illusion of power and a perfect family than the wellbeing of his family and children. That implication is also supported by his belief that two children is enough-three would be outside what he thinks fits the perfect family. It is stated that Dahlia’s plot on Dusky Bridge is intended to “exact revenge on her father”. It is clear how a neglected and mistreated 14 year old could think it necessary to resort to such drastic measures as theft for attention and revenge.

TERRY FAWLES

   Dusky Falls, of course, is where it starts to go steeply south. Terry Fawles is 20 when he enters into a relationship with 14 year old tutoring student Dahlia. Dahlia is a victim of pedophilia and grooming un-debatably. There is no defense for Terry’s actions toward Dahlia, regardless of whether Dahlia considered the relationship mutual or not. Faking her death and consequently getting Fawles jailed may not have been a necessarily good decision when considered on its own, but is not morally wrong-for starters, it very well could have seemed a great or perhaps the only option to a traumatized 14 year old. Also, Fawles being incarcerated was a good toward society.

   Terry Fawles being manipulated into drinking poison was a good thing. That isn't necessarily proof of tragedy on Dahlia’s part, but rather an assertion I have decided to include here.

   Valerie Hawthorne’s murder should also be considered when looking at Dahlia and her actions. At first glance, her death appears to be an act motivated by selfishness and self interest-but upon deeper look, has two major motivations that make perfect sense. The first is that Valerie Hawthorne was directly complicit in Dahlia's grooming by Terry Fawles. She was part of the plan to steal the diamond that involved seducing Fawles. The second, of course, is panic. Valerie telling the truth about the events of Dusky Bridge could not only reveal Dahlia and her part in attempted theft, but also get Fawles a lighter sentence or even free once it is exposed that he didn't push Dahlia.

TRIAL(GODOT&MIA)

   Flash forward to when Dahlia is on trial. Diego Armando and Mia Fey take the defense of Terry Fawles in the murder of Valerie Hawthorne. While they are defending him on the charge of the murder of Valerie, they are still defending Dahlia’s groomer. Dahlia has every reason to hate them for this.

   Diego specifically has a way of speaking condescendingly to those around him. Most women are familiar with the humiliating and belittling experience of being talked down to by an older man. While as players it's visible that this is how Godot often speaks to other people regardless of gender(Phoenix and Ron Delite for example), a young woman on the stand would have no way of knowing this. In addition, he calls Dahlia words such as “Kitten”. Again, Dahlia is a victim of grooming and pedophilia. Like previously stated, Diego calls multiple people this; however, without this context his words come off as misogynistic and belittling at best and hostile and taunting at worst. Being talked down to and treated like this is such a viscerally humiliating and angering experience even without the life experience Dahlia has and it’s completely reasonable for her to react with vitriol. (Although likely less of a factor and of lesser relevance to the case, the judge’s treatment of her certainly couldn't have helped, despite working to her advantage at the beginning of her first trials.)

   Mia, on the other hand, does not call her these terms, but still does defend Terry Fawles. While avoiding the hostility Diego shows in his condescending nature, she presents her own hostility through viewing Dahlia as a threat from the beginning and treating her accordingly. Mia only ever truly views her through the eyes of a lawyer defending her client against a criminal, despite the twisted nature of her client and the reasoning of the perpetrator. Mia is a stubborn and vicious lawyer, and while those are not necessarily bad, they place her as Dahlias biggest threat. In addition to being a threat, Mia's open hostility inspires further anger because she treats her as suspicious and villainous from the start, just as she was as a child, as well as coming off as extremely confrontational.

   It is often less energy to pretend you were always evil from the start instead of looking back and acknowledging issues with your past and how they affect you. Pretending to be purely cruel and heartless and never anything more allows Dahlia to put up protective barriers. Her trial with Mia and Diego forces at least some of her painful past to come to light, knocking down some of her walls. It's only reasonable that Dahlia would become upset at this.

DOUG AND PHOENIX

Dahlia's treatment of Phoenix correlates to the threat he presents to her. Everything she's been building up can be ruined if he is too careless with that necklace. Similarly, Doug Swallow presented a threat when he tried to warn Phoenix. Dahlia has never had the chance to handle things in a “reasonable” way so as far as she was concerned, his murder was the only option.  

Her  murder of Doug Swallow and attempted murder of Phoenix Wright can certainly be attributed to girlboss behavior, but are also tied with everything else in her life-both in that her problems with them stem from everything thats been stacking itself since she was a child, and in that her methods of dealing with them stem from the trauma shes experienced.

IN SUM

   Dahlia's characterization as a pure villain with sole motivation of evil is one void of critical thought and sopping with misogyny. While the way Capcom sometimes writes their female characters and their villains means that it would make sense for Dahlia to be a one sided character motivated by pure cruelty and evil, the dismissal of her character cannot be fully chalked up to that. Taking into consideration the way she was raised and treated in life, growing to be manipulative with a twisted view of the world and morals is completely logical. While Dahlia Hawthorne WAS unequivocally a Girlboss, she was also a victim and her story is ultimately one of tragedy rather than depravity.

[thetravelerwrites]

Monster Match 33: Futakuchi-Onna

The Traveler's Masterlist

For @artless-whimsy : “I'm a bi cis lady, she/her. During non-pandemic times, coffee shops are my natural habitat. I'm quite small and get cold easily, but love sweater weather. My passions include cat/kitten rescue, reading, long walks, D&D, writing, and mental health advocacy. I write and edit for fun and profit, and I crochet to help manage my anxiety. I'm shy but friendly, and my family says I talk too fast. :p

In a partner, I love wordplay and being able to talk for hours, particularly about stories, but the most important thing is kindness (whether that's something that comes easily to them or something they work hard at). I'm happy to be the talker that draws someone else out, as long as they give me something back. My love languages are quality time and physical touch, but my partner's don't have to be exactly the same.

Monsterwise, I love creatures that are pretty but deadly (or misunderstood)—think vampires, faeries, ghosts, shapeshifters, demons—but honestly? Please just have fun with it; I can't wait to see what you come up with! As for NSFW-content, I'm happy either way and would rather you write what you're inspired to! I do love kisses, and I think I'd prefer more lime than lemon, if you go that way?”

You’ve been matched with a Futakuchi-Onna!

A futakuchi-onna, or "two-mouthed woman," is a type of Japanese monster characterized by their two mouths; a normal one located on her face and a second one on the back of the head beneath the hair. The origin of a futakuchi-onna's second mouth is often linked to how little a woman eats. In many stories, the soon-to-be futakuchi-onna is a wife of a miser and rarely eats. To counteract this, a second mouth mysteriously appears on the back of the woman's head. The second mouth often mumbles spiteful and threatening things to the woman and demands food. If it is not fed, it can screech obscenely and cause the woman tremendous pain. Eventually, the woman's hair begins to move like a pair of serpents, allowing the mouth to help itself to the woman's meals. While no food passes through her normal lips, the mouth in the back of her head consumes twice what the other one would.

TW: Eating Disorder, Abuse, Mental Illness, Hospitalization

“Cute girl!”

“Shut up!”

You looked up from the counter at your favorite cafe and tried to find the source of the voices, but you only saw one woman sitting alone by the window. You could tell when you looked at her that she had been staring at you and had looked away just as your eyes met.

“Talk to her! She’ll leave!”

“Stop it!”

“Hey,” You said, walking over. “Are you okay?”

She sighed and looked up with a strained smile. She was Asian and very pretty, with long, dark hair flowing down her back, though she seemed rather thin, perhaps unhealthily so.

“Yeah, I’m fine,” She said. “I have… a… growth or something.”

“That talks?” You asked.

“Unfortunately,” She replied, turning in her seat. Her hair lifted of its own accord and sitting among the tresses was a mouth, identical to the one on her face, except with sharp teeth.

“Hallo!” It said at you.

You blinked in surprise. “Well then.”

“Yeah, sorry,” She said with a sigh. “I used to hide it, but it’s gotten so loud lately that it’s just easier to explain and wait for people to run off.”

“Well… I mean, it’s unusual, but I don’t see why people would run off in this day and age.”

“If people look human and then aren’t, it weirds people out.”

“I get that, I guess,” You said, sitting down. “So, does it have a mind of it’s own?”

“No, no, it’s just says what I’m thinking but don’t normally say out loud.”

“So you think I’m cute?”

She looked up in shock and blushed hard. “Oh… I was hoping you hadn’t heard that.”

“You’re pretty cute, too, you know,” You said, smiling. “Can I buy you a coffee?”

“Oh!” She said, a surprised, shy smile creeping across her face. “Yeah, thanks, that would be wonderful.”

Her name was Kyoko and she was a yokai, or Japanese demon. She’d apparently once been human and became a demon over time, which is something that happens pretty regularly to both humans and animals in Japan. By the end of having coffee, you’d left with her number and a promise to see each other again.

The two of you went on a few dates together, and it was about a month before you realized something: you’d never seen her eat. Not once. Maybe as a yokai, she didn’t need to eat, but you’d seen her drink coffee and tea and things, so you weren’t sure. You decided to ask her about it.

On your next date, you went to a local park to feed some ducks. The mouth on her head was chattering incoherently. It was doing that more often, you noticed

“Hey, Kyoko?” You began, throwing out some peas and corn for the ducks to peck at. “Can I ask you something kinda personal?”

“Yeah, sure,” She said, holding out a handful of oats.

“Why don’t you eat?”

“Hungry!” The voice in the back of her head said.

“Stop!” She said, smacking the mouth lightly. She took a heavy breath. “I’m a futakuchi-onna. Do you know how my kind are created?”

“No,” You replied.

“It happens after years of under-eating and malnourishment,” She said. “In stories, it’s usually a stingy, selfish husband that causes a woman’s suffering, but for me it was my mom.”

“What do you mean?”

“My mom used to make fun of me because of my weight. I wasn’t even that overweight, but she decided when I was really young that I needed to diet and start fasting. She would make me not eat for days, and then feed me broth twice a day to make me lose weight quickly. She used to say that if I wasn’t thin and pretty, no one would ever love me and that I’d never be worth anything. Around my eighteenth birthday, the mouth appeared. My mom kicked me out when she found out I was a monster.”

“You’re not a monster, Kyoko. Your mother is.” You took her hand and squeezed it. “Why has it been getting so loud recently?”

She looked away. “I haven’t been very nice to myself recently. The mouth eats at night when I’m asleep, so I don’t eat during the day because I don’t want to gain weight.”

“How long has it been since you’ve eaten anything while you were awake?”

She shrugged. “Two weeks?”

Your mouth dropped in shock. “Kyoko, that’s not good! Are you seeing anyone about this? Like a therapist? This is an illness and needs to be treated.”

“I know,” She said, ashamed. “But I don’t want anyone to judge me or…” She stopped when her hair grabbed a handful of the oats and stuffed it in the mouth. “Stop it!”

“Come on,” You said, getting up off the ground and holding out your hands. “We’re going to the hospital.”

“What?” She said. “Why the hospital?”

“You need help now,” You told her. “I’ve been concerned about you since the day we met and this just confirms my fears. I don’t think we should wait.”

“Will you stay with me?” She asked, beginning to cry.

“Of course I will,” You said, pulling her into a tight hug. Her hair wrapped around you. “I’m not going anywhere.”

The doctors discovered that Kyoko was thirty pounds underweight and immediately recommended that she enter an inpatient rehab facility. Kyoko sobbed but agreed to go. You swore you would visit her as often as they would let you.

The two of you visited at least twice a week and talked to each other on the phone every day. Despite the fact that you couldn’t be with each other while she was in treatment, you’d grown very close during that time. After sixty days, she was released. She had lost her apartment during the time she was in rehab, so you moved all her things into your apartment and asked her to stay.

You went to pick her up and take her home, and she threw herself at you, laying a big kiss on your lips. It was the first kiss the two of you had. She looked radiant.

“How are you feeling?” You asked.

“Better,” She said. “The mouth hasn’t spoken in weeks and the staff said it quit trying to sneak food days ago.”

“That’s wonderful, babe, I’m so proud of you.” You gave her another kiss and set her down, taking her hand and squeezing it. “Let’s go home.”

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