#given the commentary on capitalism

[willfulscarlet]

Current Hellblazer run remains my favourite ongoing. The art is always effective and striking, the story is cleverly woven, every character beat lands squarely. I want someone who understands American folk mythologies to info-dump at me about how it refracts and reflects, about John as the perpetual outsider and reliably unreliable narrator. John remains the biggest bastard in the multiverse, dragging everyone along to their inevitable dooms.

Also the moments like this, where you can just see Si Spurrier laughing at his own jokes (deserved, tbh).

[clonerightsagenda]

my mom messaging me from the plane: I think Marissa's being controlled by Ezekiel??

me: tbh I still have no fucking clue what was going on with the Ezekiel thing

[captain-huggy-bear]

Guard Dog

Pairing: Quinn Hughes x Fem!Reader

Warnings: Spoilers for the Washington Capitals game (Jan 2025), anger/conflict, derogatory commentary towards Reader

Summary: You are feeling particularly protective of Quinn after the game against the Washington Capitals and run into Dubois.

Notes: I was ready to throw hands at Dubois for purposefully seeking out and trying to hurt Quinn so...

Apologies to Dubois but he's now my arch nemesis and if I was actually dating Quinn I know I'd hold a grudge, sorry, I'm sure you're a great guy but...not today. Reminder that I am writing a fictional version of these people and what I do write is not representative of them in real life. Don't sue me, Dubois, this is fictional you, not real you. 👀

Also I don't think Quinn is generally violent or aggressive but I do think that if he felt someone he loved was being treated in a way that was disrespectful/aggressive, that he wouldn't avoid conflict. Protective boy in my eyes.

Totally happy to take requests/ideas/prompts at the moment in my ask box :)

Writing Masterlist

You wanted to say that you were used to watching how violent hockey could get, especially when that violence was directed at Quinn, but that would be a lie.

Watching as Quinn was practically attacked by Dubois, watching him be targeted had you gasping and jumping to your feet in an instant. The way he knocked Quinn to the ground had your heart thudding in your chest and you'd gotten to your feet instinctively like you could physically go out and defend him, like you had any ability to do something when in reality you were completely helpless, stuck behind glass.

That intense feeling of protectiveness had only increased as Quinn was pulled from the scrum by Dubois again like he was being hunted down, targeted. It grew almost unbearable, a protectiveness mixed with anger, as you watched Quinn try to keep his distance, shoving away from Dubois even as he tried to hold him close, as Quinn tried to protect himself while avoiding roughing himself, only to receive a penalty anyway. That anger grew watching the way Quinn was stuck in the penalty box, the way he was desperate, standing, wanting to get out after his 2 minutes, only to be stuck because play was ongoing for another 3 minutes.

You had never hated a player before. Players had upset you in the past, annoyance at the way they'd dealt with something or how they'd behaved towards Quinn, but you'd never seen someone so determined to hurt your boyfriend. It was that sheer targeting, the way Dubois followed Quinn, gunned for him for no reason, especially given he was still sporting a hand injury, that had you hating him immediately. It had you itching to say something, do something for the entirety of the game. You could barely concentrate on the actual game, too amped.

You couldn't help the way your leg bounced angrily the entire game, the way you bit your lip, the way your mind ran through all the things you'd like to say to Dubois about his behaviour. That feeling didn't disappear as the game ended and you waited outside the locker room for Quinn, if anything it grew from how hard you tried to suppress it. You felt a little like a ticking time bomb.

That anger boiled over the moment you saw Dubois coming down the corridor towards you after the game. Dubois was freshly washed and changed, laughing with his teammate, Roy, like he hadn't been trying to hurt your boyfriend for half the game. You tried to keep your comments to yourself, but couldn't keep the angry glare, the deep scowl, from your features as you leant against the wall, arms crossed. You knew you were giving him the evils, that if looks could kill he'd have died five times over, but you couldn't force your face into neutrality, not when you felt that buzz of anger in your chest. It was dangerous for him to target Quinn like that, it was unfair, it made you wish you were 6ft 8 and built like a brick shit house so at least you could throw a punch in Quinn's honour. Instead you had been absolutely helpless, unable to do anything but watch.

You heard it muttered, whispered, an exchange of 'what's her problem?' and 'that's Hughes' girl...', that had you almost vibrating with anger. Dubois should have left you well enough alone, should have read the room and let you cool down. He shouldn't have assumed he could mess with you in that moment. But, since when have hockey players ever missed a chance to chirp?

You watch him stride up to you, a glint in his eyes that spelled trouble and only served to push more adrenaline through your body.

"You got a problem with me?"

"Walk away." Your voice is clipped, short, an attempt to maintain a sense of decorum, to control your anger because the last thing you want is to embarrass Quinn by getting into a fight with a rival hockey player on the same night his team lost a game. The last thing you want to do is make matters worse and in the words of Marie from Aristocats 'ladies don't start fights'.

"Or what? You going to cry cause I grabbed your little boyfriend?" His sneer reminds you of every bully you've ever known your entire life. Brutish, stupid, and with a deep desire for power and control, the sort of desire that causes them to be nasty, be mean, to try to hurt people because it shows that they can. It only makes it harder for you to control your feelings, nails digging into the palms of your hands as you clench your fists tight, like that will help keep you back.

"I'm telling you to walk away because I will not be responsible for what I say or do if you don't. Walk away." It was probably comical to him, the way you stepped forward and squared off with him, a man well over 6ft tall. You were relatively small in comparison. It didn't matter to you though, all that mattered was the fact he'd gunned for Quinn, for your lovely, kind boyfriend who avoided fights at all costs and tried to always be a reasonable, decent player. Your boyfriend who tried to play clean. Your boyfriend who was still injured. Your boyfriend who was under an insane amount of pressure right now. Your boyfriend who had only just come back off of rest for his injury.

"You've got some balls on you, lady, more than Hughes does at any rate."

You're certain your eye twitches, certain you're one bite away from causes your bottom lip to bleed. Certain that you've dug half moon circles into your palms. Certain that murder doesn't seem quite that bad of a crime right now and that you could survive prison.

"Walk. Away. Now."

"So you're the man in your relationship, huh? Is Hughes your pretty princess?" It's the hateful, misogynistic attempt to demean Quinn that causes you to snap. It's his refusal to just walk away, the goading, the pushing, the way he steps closer into your personal space, leers over you in an attempt to intimidate you with his size that finally does it. But, he doesn't seem to realise that you're too angry to be intimidated, you're not really thinking about yourself, about the situation, about the fact he's twice your size. So it doesn't matter that he could break you if he wanted to. It doesn't matter that he should be scary. He's not in that moment, because you're simply too angry, vibrating with rage.

"You're a vile, disgusting human being,y'know that? He's still injured, you fucking knew that and fucking went for him? What the fuck did he do to you? You trip him, you gun for him, you then try to pull him from the scrum?! What the fuck is wrong with you?" You could each infraction off on your fingers as you move into his space and push the two of you further into the centre of the corridor.

Maybe it's how loud you are or maybe it was just good timing, but Quinn and Boeser step out of the locker room just in time to see you yelling in Dubois' face, to see the grin on his lips like he's enjoying it. It's honest to god fear, mixed with a protectiveness that he always feels for you, that has Quinn practically sprinting the short distance to you.

He's pretty sure you don't realise you're shaking with anger or how close you've gotten to Dubois, practically nose to nose, leaning up while he leans down, until his arms are wrapping around you and pulling you back against his chest. Even in his arms you're shaking with adrenaline, eyes fixated on Dubois like a look is enough to put him in the ground.

Dubois' eyes shift to him, and Quinn can't help the set of his own features, the stern glare that he directs to the other man even as he's smirking back at him. If anything the way he seems to be enjoying this makes Quinn's expression sterner.

"Keep your little plaything on a fucking leash, Hughes." The grin Dubois sends his way is toothy, predatory, the sort of grin that tells Quinn he knows what he's saying and he knows what reaction it'll get. It doesn't stop Quinn's shoulders from tensing, it doesn't stop the tightness in his chest and it certainly doesn't make it easier for him to keep his usually cool head.

"What did you just say?" It's almost whispered, low, quiet, and it makes you stop shaking in Quinn's arms because there's something deadly about it, something that tells you not to push him right now even when you're not the one it's directed at. Something that makes you still in surprise.

"I said keep your little plaything on a fucking leash."

There's a prolonged pause, one in which Quinn looks back behind him, eyes finding Boeser, a silent sort of conversation happening between them, an agreement reached.

"Brock?"

"I got her." The blonde man steps forward as Quinn turns you in his arms and pushes you gently to Brock, Boeser pulling you into his own arms and away from the other two men.

"Quinn?" You're not sure what's happening other than the fact that the fear is starting to set in. All that anger, the adrenaline that had kept you so focused on Dubois, had started to fade. It left behind a shaky sort of anxiety, as reality hit you, that this was not just a simple argument anymore.

You gasp and move back into Boeser as you watch Quinn turn back to Dubois and just as suddenly grab him by the collar of his suit jacket, slamming him back against the wall. While Quinn is shorter, he's certainly not small or weak by any stretch of the imagination and Dubois doesn't expect it as he's shoved full body into the wall behind him, his feet struggling to keep up with the harsh movement backwards.

Quinn is nose to nose with him, glaring up at him with a look you can only describe as murderous, "You ever talk about her like that again and I will break your fucking nose. You don't ever talk to her or about her like that. Do you hear me?" The interesting thing about it, is how Quinn doesn't have to yell. In fact, his voice low, but it's the edge to it, the way it feels sharp enough to cut that makes his feelings clear.

"Oh? Now you think you're a big man, what you gonna do with that hand of yours?" Dubois' eyes shift to the brace on Quinn's left hand, the one that you can see trembling under it's own grip. It upsets you, that he's hurting himself for you, that you started this, as much as part of you preens under his protection.

"My right hand is just fine, Dubois. Yours won't be if you don't back the fuck down." Maybe it's the way Quinn's eyes narrow. Maybe it's the way his teeth grind together. Maybe it's the way he shoves Dubois even harder into the wall or maybe it's something else entirely, but something seems to make Dubois realise that Quinn is serious. That Quinn has every intention of fighting for you if he has to, if the disrespect is not corrected, if Dubois doesn't back down.

Maybe Dubois simply doesn't care enough or maybe he's intimidated by Quinn because he mutters, "Whatever...", hands shoving Quinn's away from his collar, one last glare exchanged before he and Roy walk away, whispering the entire time.

You're practically shaking in Brock's arms, Brock who releases you gently once Dubois and Roy walk away, Brock who backs away to the locker room with one last look to Quinn, leaving the two of you by yourselves.

Quinn's shoulders drop, relax as he watches the two men turn the corner and disappear out of sight, before green eyes shift to you, features softening into something affectionate and gentle. A stark contrast with his expression mere moments before.

He's the one who reaches for you, stepping until he's in your personal space, hands resting on the sides of your face like he thinks you might physically be hurt.

"You okay?" His voice is soft, sweet, as his thumbs brush your cheeks, green eyes darting over your features, trying to assess how you are and if he needs to chase after Dubois and teach him a lesson or two.

Quinn will openly admit he's not a fighter nor does he want to be, but the strong surge of protectiveness in him overrides his usual aversion to violence. He'd fight anyone for you, if it meant you were respected, protected, safe. He doesn't care that Dubois gunned for him out on the ice, all he cares about is the way he got into your face out in the corridor.

"Am I okay? Are you okay? He almost took you out on the ice!" Even as you say it your voice is shaky. Quinn knows you better than he knows most people, he can hear that shake a mile off, knows that that shake is a sign you're not okay, that that shake usually comes before a break.

It's why he doesn't answer you, it's why he pulls you fully into his arms, wrapping them around you until you're chest to chest.

So he asks again, "Baby, are you okay?" Only to feel the way your body starts to shake aggressively in his arms, like your body has just caught up to the situation, like the adrenaline has fully left your system, leaving only the after effects.

His voice is soft as he mutters to you, "Oh, you really worked off instinct, huh? Just now realising you nearly fought a 6ft 2 hockey player for me?" Quinn's quick to pull you tighter against him, a full body crush, rocking you side to side as his cheek presses into your hair. His hands rub up and down your back, attempting to sooth you as the reality of it all fully kicks. As you realise how stupid it was of you to do that, how scary the situation actually was, how you should have just walked away.

"Fuck...did I just really do that?" Your voice is shaky, almost wet, like you might start crying.

"Uh huh...yeah, you did, baby." His voice is almost amused, sympathetic, now the worst of it is over Quinn can't help but find your actions endearing. The way that you, of all people, decided you'd go toe to toe with a massive hockey player on his behalf.

"Fuck." You press your forehead against his chest, letting out a shaky breath as he rocks you from side to side. You don't regret it, not really. You'd defend Quinn to the death, you love him and that meant protecting him, just like he'd protect you. But, you have to admit, it wasn't perhaps your smartest idea or your finest moment.

"It was kind of hot, baby, but please don't do that again. I nearly had a heart attack seeing you nose to nose with him." Quinn's actually certain his heart stopped when he walked out of the locker room. You'd seemed so...fragile in comparison to Dubois and while he knew you, knew you weren't weak, it had scared him. The idea of you getting hurt was one of his nightmares, even more so you getting hurt because of him.

You pull back as far as he'll let you which really isn't very far, tilting your head back to look at him, "You nearly fought him for me..." your voice is almost disbelieving like you can't understand why he'd step in like that for you, his girlfriend.

"Yeah, I did.." Quinn's smile is soft, loving, eyes crinkling at the corners as you practically gape at him.

"But you don't fight." You look so confused that it almost breaks his heart because who taught you that you were unworthy of protection, who taught you that the people who love you wouldn't step in when needed?

"I'd fight for you. Any day. Any week. Any time. I'll always fight for you, baby. You're my girl." He says it like it's just a fact of life. Like 2 +2 = 4 or that water is wet. He says it like it is the most natural thing to exist.

"But...you don't like to fight." He hates fighting, you know because whenever he gets in one on the ice or has to break one up, he complains when he gets home. You know because everything about Quinn is gentle and soft, always slow to anger and quick to find a diplomatic solution.

"Yeah, I know." Quinn smiles at you amused, "But I love you and if the choice is between protecting you or not fighting, I'm always going to pick you. That's what you do when you love someone. You'd protect me, right?"

"Of course." You don't even hesitate because it's like breathing, that instinct to look after him because you love him because he's your person.

"Then there's your answer, sweet girl" He watches the way you nod like it is starting click, like it makes sense. His hands brush cross your shoulders, tugging you into his side, twisting so his arm is slung over your shoulders. Your shaking has long since stopped and whatever anger both of you felt has since faded under the sweetness of realising you're both loved, both protected.

"You wanna go back to the hotel? Enough excitement for one night, huh?"

"Mmm, yeah...You're okay though, right? Your hand?" You shift under his arm, eyes looking to his left hand and the brace there, watch the way he flexes his fingers as if to remind himself he can.

"I'm okay, baby, especially knowing I have you to fight my battles for me." Quinn kisses the crown of your head, the scent of your shampoo filling his nose as he pulls you tighter to his side.

In that moment the hotel room sounds great, home would sound even better, but you think home might actually just be Quinn and wherever he is.

[mariacallous]

In 2017, watching a two-hour Bastille Day procession, Donald Trump told the French president that we’d have one too, only better. That time, the grown-ups said no. The reasons given were costs – estimates ran to $92m – hellish logistics, and the Washington DC mayor Muriel Bowser’s worries that tanks and other armored vehicles would tear up Washington’s streets.

Some retired generals objected publicly to the totalitarian-adjacent optics, especially given the US president’s praise for such bad actors as Saddam Hussein and Vladimir Putin. Several Republican lawmakers also expressed their distaste. “Confidence is silent, and insecurity is loud,” the Louisiana senator John Kennedy told MSNBC. “America is the most powerful country in all of human history ... and we don’t need to show it off. We’re not North Korea. We’re not Russia, we’re not China,” he continued, “and I don’t wanna be.”

This time, as Washington prepares for a huge military shindig on 14 June, Trump’s 79th – and, oh yes, the US army’s 250th – birthday, the generals are silent. The Republicans have sworn allegiance to the king. And the media are focused on the price tag, the potholes and the impending pomp; on tensions between the blue city of Washington and the red capital; and on the decimation of veterans’ healthcare, housing, and pensions while the administration throws $25m to $45m at a circus of war.

All are important parts of the story. Yet commentary is muted and the debate mischaracterized as normal political discourse. The horrific point is missed: the spectacle of a massive show of military might, before a president who behaves like a dictator and views the armed forces as his personal foot soldiers, evinces memories of the worst totalitarian regimes. History may mark 14 June 2025 as the ceremonial birth of a new American fascism.

Military Parade in Capital on Trump’s Birthday Could Cost $45 Million, Officials Say, reported the New York Times in mid-May. CBS also led with the cost. The Washingtonian described in detail the street-damage-preventive measures the army is installing: metal plates under the parade route, rubber padding on the tank treads – though transportation experts warn that running, at last count, 28 Abrams tanks, 28 Bradley fighting vehicles, 28 Strykers, and four Paladins, each behemoth weighing as much as 70 tonnes, could buckle the asphalt and smash power, water and telecom lines underneath.

Even the New Republic, the president’s daily disparager, put the cost up top, tallied the ordinance, and noted that the man who “signed an executive order creating a program to ‘beautify Washington DC’” was now “plotting to transform his expensive birthday party into a demolition derby that will cause serious damage to the roads that line the nation’s capital”.

[sometimesoliloquy]

THT Is a Love Story

(Yeah I said it. And I'll tell you why.)

In the very bittersweet context of being in the middle of the final season, and with the knowledge of all the press notes/directional spoilers out there ramping up to the finale, I’ve been thinking a lot about The Handmaid’s Tale as a a whole. What it’s about, at its core, and what would accordingly make for a truly satisfying ending. Margaret Atwood’s novel, of course, has presented a disturbing and brilliantly crafted political commentary and cautionary tale since its debut in 1985: the bleak but ultimately hopeful story of an ordinary woman’s survival trapped in a cold and cruel extremist regime where human rights (and particularly women's rights) are a thing of the past, made possible by environmental ruin and the everyday apathy of ordinary people. The show is that too, of course. It’s also at it's core a story of loss, perseverance and ultimately revolution. But moreover what weaves all the themes together in a truly compelling way: I think at essentially the very heart (fittingly), it is a love story. Not just in the most obvious romantic sense, but on so many broader levels. It’s a love story of parents and children, of family (born and chosen), of human connection. It’s a love letter to the perseverance of the human spirit, the ability of the heart to expand and evolve, the triumph of light over dark in the soul and in the world at large. And dancing at the center of it from the very start (and enduring against incredible odds) has been Nick & June: yes, the very epitome of epic, passionate romance with a capital “R”, but also on a deeper level, the symbolic and tangible embodiment of all of the above.

I’ve also been reflecting a bit on some of the things the show’s writers and producers have been saying about the ending and the last season in general, like how it has been “crafted with viewers in mind more than ever” and focused on “delivering a rewarding conclusion for the audience.” They’ve also hinted at a purposeful harkening back to the very first season and touching on all the seasons in between. All of this would have me believe they are paying close attention to staying consistent with the repeated motifs of the show, and striving for satisfying, full circle cohesiveness AND catharsis in the end. With this in mind, I wanted to go back and explore how the ever-present and echoing theme of love is depicted through the words of the characters themselves. Namely here, a trio of major power players since the beginning: June, Nick, and (in the opposing corner) one Mr. Fred Waterford.

…

June:

"What else is there to live for?"… "Love." - 1x05 "It’s lack of love we die from." - 3x05 "Nichole, she was born out of love. Her father’s a driver named Nick… he helped me to survive." - 3x05 "It’s too dangerous” "No it isn’t… at least someone will remember me… at least someone will care when I’m gone. That’s something." - 1x08

June believes in love. This is made clear from the very beginning and is one of the core tenets of her character. It’s not a “nice to have” and it’s not something she’s able to separate from herself, even in Gilead, a place where love is essentially forbidden, where it should feel impossible. It is framed by her as essential to life itself, like water or oxygen. It’s what she credits her very survival to. Moreover, she believes that love is worth dying for, it’s that vital to her. If June stops fighting for love, stops believing in the power of or perhaps even the very existence of love, who is she then? How depressing and devoid of hope would that ending be? Sure, the June we bid farewell to at the end of 6x10 will inevitably not be exactly the same June we met in 1x01, but given the consistent through narrative, we should expect this core value of hers to remain steady, if not indeed grow in conviction.

...

Nick:

" Love is patient, love is kind... Love does not delight in evil but rejoices with the truth. It bears all things, believes all things, endures all things. Love never fails." - 2x05

It’s fitting that it’s Nick who reads this passage in the show because perhaps more than any other character, Nick’s love throughout has been the very epitome of the verse. We’ve seen his actions play it out literally line by line. Nick knows his Bible verses. He picked this one for a reason, his (barely) coded Hail Mary message to June: I’m still here, this isn’t over, please don’t give up on us. Nick believes the words he reads to her, believes them to his very soul, and he continues to show it in his efforts season after season, demonstrating the constant and undying nature of his devotion. It’s notable that in fact, the full 13:8 verse reads "Love never fails, but where there are prophecies they will cease, where there are tongues they will be stilled, where there is knowledge it will pass away," emphasizing love as the one true thing that remains.

"I’m trying to keep you alive. You and our baby" - 2x02 “I’m trying to keep you alive" - 4x02 "I just want her to stay alive"- 4x03 "She changed you, she changed me" - 4x03

It’s Nick's love for June (and Nichole) that drives him more than anything else, and we see the real, tangible reverberations throughout the story. June and Nichole are safe, alive and free (at least in part) because of his love. Nick is changed because of this same love. And June’s love saves him from a life lacking in meaning, purpose and true connection. If Nick fully turns to "the dark side", if he becomes somehow irredeemable (particularly in June's eyes), it would negate in the cruelest and most nonsensical way all of this, and in one fell swoop rip to shreds the hopeful rainbow of his cumulative character arc.

...

Fred:

"Love isn’t real. it was never anything but lust with a good marketing campaign" - 1x05 “Every love story is a tragedy if you wait long enough." - 1x05

Fred on the other hand, scorns the idea of love. His cynical, contemptuous views are presented as the antithesis to June's quite early on. In rose-glass tinted flashbacks of early life with Serena, we see glimpses that this may not have always been the case, but what was once their love story has indeed turned to tragedy: corrupted into a bitter, twisted thing under the weight of the monster they created together. In the present, he does not believe in love and the selfish callousness of his actions (in stark contrast to Nick) clearly shows it, over and over again. To Fred, 1 Corinthians 13 is just a silly meaningless little verse (of no more consequence than the vapid old fashion magazines he "gifts" to June) in the book that he uses, not as a guide or an inspiration, but as a weapon: a cudgel to wield for his pathological ego-driven power trips, no matter how many must suffer (including his once beloved wife), how many innocent lives it ruins or much how it blackens his soul.

...

If in the final episodes Nick were to be exposed as a “true villain”  who ends up burning June (and in fact his soul) in favor of “power and prestige”, then Fred will have been proven correct all along, and we (like June) will have been stupid to ever believe in love.

- If Nick truly decides to throw away everything he's done, everything he's held close to his heart even at his own peril all these years, to remain in a dismal teeter totter of emotional pain and privilege in Gilead;

- If June refuses to forgive, to endure, to truly fight for Nick as he's fought for her;

- If they truly flame out in epic betrayal and irreparable rupture:

Then we will know love has failed. And Fred was right. Love doesn’t save, it destroys. Love doesn’t endure, because in fact it was never even real to begin with. Love isn't the ultimate reason and purpose, but a tragedy. A lie. 

That's not the story. That CAN’T BE the story. Fred doesn’t win. He was so dead wrong that he is now dead and buried for it. He eschewed love a long time ago and it warped him into a depraved, cruel shell of a human with acts so heinous under his belt that we all cheered as he was hunted down and the flesh savagely torn from his body, because he deserved it. 

No, this isn’t The Debased Delusional Small-Weak-Man Commander’s Tale. This is not the story of how Fred was right after all.

This story is love endures all things. This story is love never fails. This story is love lifts us up, love saves us and gives us the will to fight. And that (someday) a child conceived in love in this brutal place and saved by the love of her parents will unite with her long-lost but dearly loved sister to burn it to the ground.

They may want the viewers to believe that it’s possible for Nick to be irrevocably lost for the drama of it all; for the shock of the reveal, the reckoning and the emotional payoff when the ship rights itself. And I’ll keep my clown makeup handy in case I end up being astonishingly wrong, but I just can’t see how they would so blatantly, not just blow up the story, but in doing so essentially erase the very core of the story we’ve been told up til now.

(just look at them, don't you fucking dare break up this family for good!)

*screencaps/captions sourced by me*

[dollypopup]

honestly? I think Antonia and Luke are really cute together

Now, let it be known I am NOT a shipper, and I'm not following her or digging into anything. Everything I know is basically through osmosis when people tag stuff about it in the spaces I actually follow, and I think shipping real people who I will never know is weird and invasive, so let's get that clear

however, considering the narrative they've shown us, they seem like a pretty healthy couple. As furious as people get about them (and honestly, it's JUST because Antonia isn't Nicola, and thus many fans can't project onto her the way they do with Nicola), I think it's sweet that they turn work events into dates. I don't see what people are spouting about how she's 'fame hungry' or 'using him'. The woman was wide-eyed at BOSS. When they walked out of the car, she seemed entirely floored. And who wouldn't be? You're being subject to constant flash photography and tons of people demanding things of you. But they showed up, had a good time, and then went back to eat pasta in bed. At his other work events, like BAFTAs pre-party or the actual ceremony, they seem to make a time of it. Cuddling up, holding hands, giving cheek smooches.

I mean. . .come on. She's coming with him to a work event. No matter how glamorous it may look to us, it's still a work event. A work event in which she will often be left on her lonesome. But she gets dressed up and she comes with him and she makes a time of it. They get their pictures taken as a couple professionally, wear cute clothes, eat nice food, and hold hands. That's sweet!!!

Whilst I do not know her, what I DO know is what she's faced, and this woman stuck around through horrible vitriol from the fanbase, constant misogyny, insults about her body, her work, her very existence. They attacked her on her personal instagram pages, went after her family, made up malicious rumors about her, misgendered her, body shamed her. She watched what felt like the whole world want her boyfriend with another woman. She's a civilian. This is not a celebrity who is accustomed to fielding that kind of situation.

But she stayed.

That is capital L Loyalty, okay? Like, she must really, genuinely like him. And I'll be real: I'd stick it out for Luke, too, I mean, the man is a gem, but if this isn't baptism by fire, I do not know WHAT would be. People talk about 'oh, where are the real ones? There are no more real ones anymore'- I think she's a real one. As a woman who dates other women, if she put up with as much as Antonia did, and decided to stand by me? You don't let go of her. That's pretty rare.

Because what has she actually gotten out of the whole situation? Is she suddenly rich? Getting all these jobs? Has magazine covers and exclusive interviews? No. She seems to be making her life out of her own merit for the most part. I mean, people make fun of her being a working dancer and model picking up the less glamorous gigs, but what is that BUT making her life of her own merit? That's what most dancers DO. No, mostly what she's gotten out of it all is abusive commentary and a need for a much more private life- but on the other hand, she got a relationship with him. If that's not devotion, idk???

But even if she DID get a few gigs from his connections- so what? What would be SO wrong with that? There's no proof she has, but why would it be horrible? That's what networking and making connections IS. Luke's known for giving his loved ones a hand. He's been given one from them, too. This is a man who couchsurfed in his best friend's apartment, bartending to make ends meet. He knows what it's like to go without, so why would it be such a bad thing for him to help out someone he cares about? I'm not saying he has, but after everything she's had to deal with, yeah, I think she's well within her rights to be cheesing on a red carpet getting her face smooched for the world to see. Good for her! All things considered, they seem like a couple who spends a lot of personal time together, vacations, date nights, running errands, who make the most of the situation they're in. They're loved up, happy, hot people attending events together. Most couples are significantly worse in real life.

idk, from where I'm sitting, people have made all these assumptions to build their meanspirited narrative on. This idea that Luke is so hungry for fame, and so Antonia is, too. But I think @rainybraindays put it best.

"They are not "begging for the camera" they're attractive, and hes popular so photographers at these events know they can get a good deal on their work that features them. Theres no nda or blackmail, they're just a more lowkey couple, likely because neither seemed to be really searching for the fame, shes just dating a guy she cares for, and hes just pursuing his passion and hit big"

People are so harsh and critical of these two. First it's 'he wouldn't claim her!' (like luggage. the misogyny of it all) Now it's 'ugh, she's everywhere'. First it's 'she's evil and using him' then it's 'what he's put that poor girl through!' but the reality is, no matter those criticisms and bullying, they're happy with each other, and they've decided their relationship is pretty serious

And honestly they're really cute together

Fight me

[takemeinyrarmy]

BoyBoy book club⭑.ᐟ

These books have either been mentioned or recommended by the boys, list made to the best of my memory, some notes added for context + little abstract. [(A.) = Aleksa's rec; (L.) = Lucas' rec; (Al.) = Alex's rec] Reply or reblog to add more to update the list thanks! 

⊹ Caliban and the Witch: Women, the Body and Primitive Accumulation - Silvia Federici  (A.) [Aleksa's commentary: Also 'Caliban and the Witch' by Silvia Federicci is brilliant. It's a great marxist-feminist retelling of the European witch-hunts, it's really really cool. It completely flipped my view of the birth of capitalism... She posits that capitalism is a reaction to a potential peasant revolution in Europe that never succeeded, and situates the witch-hunt as a tool of the capitalist class to break peasant social-ties and discipline women into their new role as reproducers of workers.] || Is a history of the body in the transition to capitalism. Moving from the peasant revolts of the late Middle Ages to the witch-hunts and the rise of mechanical philosophy, Federici investigates the capitalist rationalization of social reproduction. She shows how the battle against the rebel body and the conflict between body and mind are essential conditions for the development of labor power and self-ownership, two central principles of modern social organization.

⊹ The Age of Surveillance Capitalism - Shoshana Zuboff  (A.) || This book looks at the development of digital companies like Google and Amazon, and suggests that their business models represent a new form of capitalist accumulation that she calls "surveillance capitalism". While industrial capitalism exploited and controlled nature with devastating consequences, surveillance capitalism exploits and controls human nature with a totalitarian order as the endpoint of the development.

⊹ Anti-Oedipus: Capitalism and Schizophrenia -  Gilles Deleuze and Félix Guattari (L.) || In this book , Gilles Deleuze and Félix Guattari set forth the following theory: Western society's innate herd instinct has allowed the government, the media, and even the principles of economics to take advantage of each person's unwillingness to be cut off from the group. What's more, those who suffer from mental disorders may not be insane, but could be individuals in the purest sense, because they are by nature isolated from society.

⊹ Open Veins of Latin America - Eduardo Galeano (A.) (Intro to LATAM history, infuriating but good.) (Personal recommendation if you know nothing about LATAM.) || An analysis of the impact that European settlement, imperialism, and slavery have had in Latin America. In the book, Galeano analyzes the history of the Americas as a whole, from the time period of the European settlement of the New World to contemporary Latin America, describing the effects of European and later United States economic exploitation and political dominance over the region. Throughout the book, Galeano analyses notions of colonialism, imperialism, and the dependency theory.

⊹ The Origin of Capitalism - Ellen Wood (A.) || Book on history and political economy, specifically the history of capitalism, written from the perspective of political Marxism.

⊹ If We Burn - Vincent Bevins (L.) || The book concerns the wave of mass protests during the 2010s and examines the question of how the organization and tactics of such protests resulted in a "missing revolution," given that most of these movements appear to have failed in their goals, and even led to a "record of failures, setbacks, and cataclysms".

⊹ The Jakarta Method - Vincent Bevins (A.) [Aleksa’s recommendation for leftists friends] || It concerns U.S. government support for and complicity in anti-communist mass killings around the world and their aggregate consequences from the Cold War until the present era. The title is a reference to Indonesian mass killings of 1965–66, during which an estimated one million people were killed in an effort to destroy the political left and movements for government reform in the country.

⊹ The Anarchy: The Relentless Rise of the East India Company - William Dalrymple (L.) [Not read by the boys yet, but wanted to read.] || History book that recounts the rise of the East India Company in the second half of the 18th century, against the backdrop of a crumbling Mughal Empire and the rise of regional powers.

⊹ The Triumph of Evil: The Reality of the USA's Cold War Victory - Austin Murphy (A.) || Contrary to the USA false propaganda, this book documents the fact that the USA triumph in the Cold War has increased economic suffering and wars, which are shown to be endemic to the New World Order under USA capitalist domination.

⊹ Technofeudalism: What Killed Capitalism - Yanis Varoufakis (L.) || Big tech has replaced capitalism’s twin pillars—markets and profit—with its platforms and rents. With every click and scroll, we labor like serfs to increase its power.  Welcome to technofeudalism . . .

⊹ The History of the Russian Revolution - Leon Trotsky (A.) [Aleksa's commentary: This might be misconstrued since I'm not a massive fan of Trotsky... but... his book "History of the russian revolution" is amazing. It's so unique to have such a detailed history book compiled by someone who was an active participant in the events, and he's surprisingly hilarious. Makes some great jokes in there and really captures the revolutionary spirit of the time.] || The History of the Russian Revolution offers an unparalleled account of one of the most pivotal and hotly debated events in world history. This book presents, from the perspective of one of its central actors, the profound liberating character of the early Russian Revolution.

⊹ Rise of The Red Engineers - Joel Andreas (A.) [Aleksa's commentary: It's a sick history book, focusing on a single university in China following it's history from imperial china, through the revolution and to the modern day. It documents sincere efforts to revolutionize the education system, but does it from a very detailed, on-the-ground view of how these cataclysmic changes effect individual students and teachers at this institution.] || In a fascinating account, author Joel Andreas chronicles how two mutually hostile groups—the poorly educated peasant revolutionaries who seized power in 1949 and China's old educated elite—coalesced to form a new dominant class.

⊹ Adults in the Room: My Battle with the European and American Deep Establishment - Yanis Varoufakis (A.) [Aleksa's commentary: The book I mentioned earlier - "adults in the room" - is amazing. There's a great description of Greece's role in the European economy [as an archetype for other, small European countries] and the Union's successful attempts to discipline smaller countries to keep their monetary policy in line with the interest of central European bankers. I'd definitely reccommend it!] || What happens when you take on the establishment? In Adults in the Room, the renowned economist and former finance minister of Greece Yanis Varoufakis gives the full, blistering account of his momentous clash with the mightiest economic and political forces on earth.

Edit: Links added when possible! If they stop working let me know or if you have a link for the ones missing.

[leliwardens]

project joplin will always be a ghost in the machine of veilguard regardless of how you feel about the game. like yes the "it what could of been" is a good reason but what i consider a more concrete reason is the bones it was built from and how it bleeds into it even now.

like. i remember early on the marketing and promotion for rook specifically was (paraphrased) an everyman type character, one that didn't have a magical hand or special papers to do what needs to be done, "having to earn the respect rather than it just being handed to them" is presumably the takeaway from this approach.

however, personal feelings aside on that opinion for previous protagonists, it's simply...untrue? yes rook has no magical hand to land them the following they start out with or the warden with treaties that gain them a guarantee army, but rook has solas in their head providing critical information, the lighthouse and access to several eluvains, and the dagger as advantages. rook didn't earn these, they were given to them by fate or by chance. presumably the earning aspect is suppose to be for the companions (though, all games have you need to maintain their loyalty/respect) and factions. there isn't a big enough equivalent from previous games to parallel factions but you could argue the treaties are similar, or the allies you gain at the end with hawke (like zevran), but nothing relevantly close.

but this isn't the point. the point i want to make is trying to market rook as so vastly different than the previous protagonists as an "everyman" is simply not true in-game no matter how you slice it and makes little sense.

but you know what does make sense for that comparison? project joplin.

in it's inception to cancellation (at least what know publicly) was a smaller scale story set far away from the previous games' direct influence: a "heist" type set up in tevinter where you would travel in a rickety old boat with your crew while on the hunt for solas assumedly under orders of the inquisitor. you were essentially a sunderland's company, or more or less what absolution was.

now this makes far more sense for the intention of rook to simply be a random, a nobody, that just so happens to stumble into something bigger and have to earn everything because they're literally an agent on a war table mission esp because the release of elger'nan and ghilan'nain was midway through the concept vs the start.

this makes me more sad than anything, because yes if project joplin was what was released it could of been vastly different than the artbook suggests since that's how game development works, but clearly it shows the capitalism bloodsucking machine that ea is a front for they had pick at the bones of a previous project and scramble to build something out of it rather than be given the time to properly change course into something actually fresh and fitting. it's not commentary on the competency of the devs either because there is only so much you can do, truly.

(and no I do not believe, claim, or otherwise think this drastic of a change happened between marketing -> release, that's stupid lol and also not how game development works)

[a-tad-bit-obsessed]

(This isn’t a criticism, I’m glad about this, just not sure how else to phrase it)

I wonder why, during 13s run, whenever any social commentary happened you had a load of people up in arms about it being too ‘woke’ or political or whatever, yet these first 3 main episodes of 15 have given some view on (at least) abortion, refugees, capitalism and organised religion and yet I’m not seeing the same sort of response (again, glad about this, just wanted to note)

[bdafic]

Insights on Elven

While stuck in bed being ill I went completely off the deep end while trying to understand the use of letter-doubling in Elven (spoiler: I think it's a feature of fusional language). I ended up spending two days collecting canon phrases with official translations, retranslating it myself, and then applying each bit of knowledge to the formation of other words and phrases... and I think I've stumbled into a few insights.

First off, the word "vallaslin". We know this means 'blood writing', and we've always assumed the 'lin' is 'blood' and 'vallas' is 'writing' -- and up until two days ago I thought this too. But the more examples I dug up the more I think it's actually 'val' that means blood as a root -- though not necessarily in terms of violence. I believe it originally referred to mortality. We already have use cases of "vallas" meaning "life" in canon (Vallasdahlen: "life trees"), but I think the most damning evidence comes in Veilguard, where an Elven Rook will comment that the word Anvallenim means "womb".

an (place/location) + val (mortal/physical life) + len (people, n.) + im (him, become) = where mortal life becomes.

I think the real root of the word vallaslin is exactly what Solas says it is: a chattel brand. val (blood/physical) +las (have) lin (person).

Second insight was the word 'lath': it's used to refer specifically to a person in physical form. Over time, it expanded to encompass feelings that involve the physical form (eg. love and sex). The World of Thedas vol 1 actually lists two definitions for it, and that first one was really pulling at me when I read it:

Some of Solas' banter with Cole may even confirm this: "Have you felt no interest in women since you came through the Veil?". Spirits are singular in purpose and don't reproduce -- they probably do not fall in love, need, or have sex.

Leaning into this assumption, I found that the presumed translation of 'ath' by the illustrious fenxshiral ('taking the characteristics of' or 'embodiment of') not only works, but actually helps clarify a number of other words. Like, 'athim' for humility. ath (relating to physical/human) + him (become). With so much commentary about the limitations (and consequences) of physical form, and the constant struggle to become better and more powerful in it, the origins of the word would seem to reflect the views of the culture it emerged from.

I think the "L" in "lath" is borrowed (or implied) from the words for 'people' (as in group, not capital-P-People, which is 'vhen' or 'Elvhen'), depending on use). This would make "lath" very literally "love of being".

Along this same path, we know 'eth' is canonically used for "safe". I think it can also mean 'trust'. This would make "lethallin" translate more literally to 'trusted person': friend or kin.

This would also clear up a currently-untranslated word spoken by Solas' spirit sentinels in Trespasser. When you approach, you're greeted with, "Atish'all vallem, Fen'Harel elathadra."

The only other time we see the "adra" at the end of a word is when you're greeted by Study in the Vir Dirthara. They'll greet Sera, or an elf Inq, as "honoured elvhen", or, "mirthadra elvhen". Mir has been used as a root in words about rebellion, fighting, or weapons -- and that tracks, given that the first thing everybody did upon getting bodies was start a war. If the "th" is coming from my interpretation of "lath/leth", that would make the "adra" apply a concept to an individual.

Honour + physical being + applying base term to that being: honoured.

Spirits embody a singular idea or feeling - they're only ever spoken of in that way. Once they began taking form, they'd need an entirely new vocabulary around the existence of a spirit who is not a spirit -- especially when referencing a feeling/state/idea as a personality trait rather than their whole existence.

So, that spirit guardian isn't saying "peaceful welcome". It's saying, "(come) in peace, those-who-became-physical". That untranslated word, "Elathadra" would be something like, "those loyal/close to the Dread Wolf".

"Peaceful greetings mortals; loyal of Fen'Harel".

[highdio]

Pleeease, write your thoughts about the musical lol. I really like your Dio meta posts <3

Just a disclaimer: this is really opinionated but I don't like to drag media for its own sake. There were lots of things to like in the Phantom Blood musical, just ... Dio wasn't one of them. Also, Mamoru Miyano threw himself into the performance he was asked for, so it's hardly his fault. It's just always amazing to me that people feel the need to rewrite Dio into someone else when the way Araki's written him is already perfect, complete and a lot of fun.

So, where to start? Basically, the Phantom Blood musical re-writes Dio, giving him a different personality and different motivations through OOC stage direction along with a bunch of original dialog and scenes. What results is a version of Phantom Blood where "Dio" is just a normal guy without charisma who had a bad childhood and spends most of the story being miserable. Dio as he's written in canon has an uncommon charisma and appeal that's allowed him to remain relevant as one of those 'all-time great' villains. Scene after scene in the musical prove that its creative team either didn't read the manga or just really didn't like Dio.

fwiw Araki wrote Dio as thoroughly fleshed-out, with consistent traits and behaviors and consistent motivations behind his actions. He also left a paper trail of interviews and author's commentaries that develop Dio even more fully beyond the manga. So there's really no excuse for media that treat Dio as some sort of empty vessel waiting to be filled by narrative cliches we already know and expect.

It's annoying too, because, along with its OOC content, the musical is peppered with occasional manga-consistent moments. It's like the musical is camouflaging its Very Bad Take on Dio by having Mamoru Miyano periodically re-enact the canon character's most famous panels. The musical wants simultaneously to take credit for bringing Araki's vision to life on the stage, while at the same time completely undermining its most important element: a capital V "Villain" who, according to Araki, "accepts and embraces his evil nature, and follows his dark path without hesitation." This is the biggest change the musical makes to Dio: musical!Dio has none of the confidence that allows canon Dio him to move so decisively and destructively through the narrative.

Musical Dio is introduced by a scene where he's bullied on his way home, before breaking into a song about how terrible his life is, where "everything is always taken from [him]" ("it's hell …I feel nauseated …[I'm] under a cloudy sky.") The song is alternately tearful and hopeful. "I'm going crazy from being robbed!" he laments and then pollyannaishly muses, "hey, Joestar, can you turn my [cloudy] skies to blue?"

If Dio being introduced as a sad sap and self-described perennial loser hoping for any break sounds attitudinally unfamiliar that's because it is. Araki went in the opposite direction: he started his story by subverting the cliche - wide-eyed poor boy victimized by circumstance leaves his sorrow-filled life hoping for a new start - and instead gave us a kid with surprising, even sinister agency. Dio is not just given a hero's upward narrative arc (something Araki crafted very deliberately), he's introduced improbably in his first scene from a position of control. This fact is important because in the manga it's a position he won't lose until four chapters and nearly 100 pages in, when Jonathan finally fights back. From the time young Dio is introduced - reading a book with his back turned to his bed-ridden father who he's secretly poisoning -

- to the time he's systematically broken down his adoptive brother's spirit by alienating him from his friends, taking Erina's first kiss, and of course kicking his dog, Dio is shown as being in control and on top (Erina drinking the muddy water is the only exception). It's OOC to imagine 12-year old Dio feeling sorry for himself because at the time he's introduced, he's already made a habit of getting what he wants. By the time he sets off for the Joestars after killing his first dad, he's already developed full confidence in his abilities and the inevitability of his rise to riches (something Araki has him explicitly state and then underscores with a panel illustration of a steam train signaling the rise of Modernity).

But the writers and director of the musical don't find this characterization interesting enough or something. So they lose the canon entirely and in its place they invent a version of Dio who's despondent. And they didn't get Araki's steam train memo so they miss the Modernity theme (even though Araki's tied Dio so tightly conceptually to the idea of the Modern that he has him "use a 20th century boxing technique in the 19th century"); instead they double down on class difference being determinative. It never occurs to them that Dio is written specifically by Araki with the freedom to move outside of his social status because he sees it as artificial (the "evil elite" monologue later reveals Dio thinks of the whole social contract thing is arbitrary and voluntary).

Throughout the musical, Dio (although it's not fair to Mamoru Miyano since he isn't responsible for writing this mess, let's use mamoDio from now on because it's easier) seems to idolize the Joestars for what he calls their "beautiful blood." Not "beautiful" because usable calories for the vampire he will become but "beautiful" because noble. The Joestars' noble status and the honor that's apparently behind that status become the shining "star" toward which mud-bound mamoDio flailingly, failingly reaches. I don't need to tell you that in canon Dio doesn't have respect for nobility.

"Mud and stars" is heavy-handedly introduced as a dominant theme of the musical. According to the play, Jonathan, noble and bright, looks to the stars while human Dio, pathetic, conflicted and even confused, can only see life as a mud-soaked prison.

Now, the mud and stars thing was only used in Part 1 as a single text element on a Volume 1 illustration but, in spite of its marginality, it's becomes a liturgical text for some fans looking for an explanation for Dio's actions beyond what Araki gives them in the actual narrative. To this sort of fan, a guy who embraces his inner talent for evil and never had the misfortune of developing a moral compass isn't the right type of villain because he's unapologetic. If the villain doesn't have excuses how can you apologize for him? So they need Dio and by extension Araki to give them a "good enough" reason to accept Dio's ever-escalating atrocities. If the reasons Dio has for doing the things he does lie outside of what's considered good or acceptable, they are simply rejected and new reasons are invented in the hope of making Dio much less objectionable.

Now, like I said earlier, Araki's repeatedly told us in his writings that Dio has an upward narrative trajectory, not a downward, "mud"-bound one. The mud and stars duality fails to describe the narrative journey of the two main characters: both look upward to transcend their circumstances and travel along a shonen manga hero's rising path. (In fact, it's Jonathan who needs a good push to realize his potential, something Dio happily provides). And it's Jonathan, not Dio, who Araki first gives a downward arc, being handed defeat after defeat for those first four chapters before gaining his footing and progressively rising to Dio's challenges. "Mud and stars" isn't just a bad choice of metaphor, it's a misleading one.

Back to the musical, mamoDio is the exact opposite. An air of sadness and insecurity haunts his performance. An original scene where George presents the mud and stars dilemma as a lesson highlights Dio's lack of confidence and the depression that lurks behind it, as Dio bemoans how people doomed to "struggle and die" cannot possibly summon the hope it takes to look up to the stars (he's talking of course about himself).

Likewise, and here's where mamoDio's failure as a character really comes into full relief, seven years after this, when Dio's machinations are revealed and he's about to be arrested, before he uses the stone mask, mamoDio drops to the floor and spends the better part of a musical number in tears, bemoaning his sorry life ("I'm trapped in a prison covered in mud… no matter how hard I struggle I'm crushed…") and his lack of noble blood.

(btw this is after the manga scene where Dio fake cries; here, mamoDio is genuinely distraught).

Contrast this to the actual scene in the manga. His expressions in these panels are memorable because of how assured Araki draws him. Dio's entire world - his poisoning scheme, his grab at what one can assume would have been the entirety of the Joestar estate - is about to end but instead of despairing, he launches into a philosophical soliloquy. His body language is haughty: this isn't mamoDio crawling on the ground and decrying his upbringing and lack of noble blood, instead this is a man who apparently, almost irrationally, perceives himself as noble. When he uses the mask, Dio is smiling widely. Metaphorically speaking, he's looking at the stars.

When mamoDio uses the mask? He's on his knees. He's in tears. On one night he interjects, "Mother…" In short, he's conflicted.

One of these depicts Dio. The other does not.

Now obviously the writers and director of the musical must think making these seismic changes adds something to Dio's character. But (and I feel like this is a theme whenever I write these things) I'd argue it only makes him more basic. It makes him predictable and formulaic, someone we've seen in countless other stories.

(Oh! and did I mention mamoDio repeatedly calls himself "useless"!! Because he does this.)

Now, because mamoDio has no confidence and as a human acts out of desperation, when he becomes a vampire he still isn't Dio. Mamoru tries to make his vampire Dio evil and scary by expending a lot of energy, running about the stage and sticking out his tongue ad nauseum. When you look at how Araki has Dio move physically throughout the manga, it's the opposite of kinetic. Dio is a point of fixity who's charisma draws others toward him (ask me for more on this if you want because there's enough here for its own post).

Now for the worst of the worst: at the very end of the production, after the manga ending that features Jonathan's death and Dio's (presumed) defeat as a head imprisoned in Jonathan's arms, the musical takes an original twist in which, following a finale number featuring most of the cast, mamoDio is lead offstage by Jonathan. You read that right. mamoDio is hunched over, resigned, and Jonathan seems to take on a paternal role. Although the lyrics would have you believe this has something to do with "two fates becoming one," it's clear from the stage direction that any embers of Dio's ambition are being tamed and extinguished as Jonathan takes Dio's grasping hand, subdues him, and leads him docilely into the darkness.

It turns out Dio's vampire arc was just a phase, a hurt and lonely child lashing out and making a mess for attention.

His body language here is obscenely out of character. Consider the following because, as I said in the opening, in spite of what all these re-writes of Dio would have you believe, Araki crafted Dio with specificity and consistency: Araki only draws Dio (with very few exceptions) 1) standing tall, looking down at you; 2) back turned, looking back and down at you; or simply 3) back turned, (performatively?) ignoring you. Dio is never on the ground except when he's knocked down (think, young Jonathan finally fighting back in the Joestar home or, much later, Jotaro stopping time and landing those punches). By constrast, mamoDio has spent an incessant amount of time of the ground, crouching, kneeling,, bowing, hunched down. Who is this guy? So his hunched-down exit in the final moments of the production, literally being led by Jonathan (controlled??), is so amazingly stupid that if I didn't have a gif as proof, you might think I'm just making this stuff up:

There's plenty more to unpack that I won't address here: ghost Dario. The lack of grave-spitting. The complete absence of true joy or leisure expressed by Dio especially during his vampire era: no woman eating her baby, no owlcats, no Poco's sister. No chaise lounge. No roses(!). No fun. Not for Dio. That would be too manga-consistent. That might mean Araki wasn't giving us the appropriate message that bad guys are actually just sad guys.

tl;dr Dio isn't in the Phantom Blood musical. He's replaced by a normal guy who's motivated by a lack of self-esteem and despair that he wasn't born into an upper-class household, or something. He's boring. The result? There can be no Part 3 in this musical's world (and presumably no Parts 4, 5 or 6, no Giorno, no Jolyne, … you get the picture) because mamoDio just gives up. It's a nicely produced little tale about Jonathan Joestar and some random other guy who at some point gets a funny green coat.

[littlesparklight]

What do you think is Helens most important moment in the Iliad, characterisation wise?

Hmm!

I think it'd be her scene with Aphrodite, if it's possible to pick out a single one at all. It's got a little bit of everything, with the additional bonus of this being in front of someone Helen has no reason not to be honest/mask off with.

She pays for that, yes, but that's part of my reason to pick this scene; Helen still lashes out. This is Helen in the (end of the?) ninth year of the war, and this is Helen still full of fight (she is with Paris, too, which is a similar honesty to the one in Aphrodite's scene).

We've got; "and stirred Helen's heart in her breast;" I'm borrowing Murray's translation (on Perseus.tuft) instead of Butler's or Caroline Alexander's, because both of those insert "anger" in Helen's reaction. I am fully convinced by Kirk's argument in his commentary on the Iliad that it's not about anger; the phrase is formular, as he says, and everywhere else where it appears in full it merely incites the individual to action.

So, Helen and her [unspecified] reaction to Aphrodite's description of Paris, which is meant to be, as Helen herself says, to be "seductive". Allegory has this scene be Helen fighting against her own desires, with the desires winning. I don't like leaning into allegory so much as to remove the gods, but given Helen's initial reaction quoted up there, I feel what we have is a display of Helen's conflicted desire. She doesn't like Paris much any more, but he is still attractive to her and she wants him. (And in the end, desire wins, even if she's ashamed of that.)

"since now Menelaos has vanquished godlike Alexandros and desires that I, loathsome as I am, be taken home." (Alexander's translation) Everywhere else we see Helen self-blame or express a negative opinion of herself, it's in front of people where, even if she absolutely is earnest and honest about that self-blame, it gives her some sort of social capital; pity, sympathy, and ultimately Priam and Hektor's [continued] protection/friendship. With Aphrodite, however, there's no such advantage. Aphrodite has no reason to care - in fact, Helen debasing herself like this in front of her could probably even be counter-productive.

So, since I in general do view her self-blame and related emotions as genuine, this, to me, is the absolute proof of that. It's also a connection to her active language about how she left Sparta elsewhere (she uses "I went/walked/left/sailed"). She did something, acted, and she [now/since a while back/etc] considers that a fault of hers and something she did wrong. Another thread on Helen's past (and continued) desire for Paris.

(Also, peep the "godlike Alexandros" there - Menelaos uses this once of Paris as well when he talks about him. It's generic "godlike"; in Book 24 she uses theoeides, which focuses more on his looks specifically.)

"As for me, I will not go there - it would be shameful - to share the bed of that man. The Trojan women will all blame me afterwards;" (Alexander again) I've read an article (pretty sure it was Nancy Worman's Body As Argument), that suggests that this is a matter of "it would be shameful NOW", because this conversation is happening after Paris and Menelaos' duel, in which Menelaos (technically) won, and thus Helen (technically) now "belongs" to Menelaos again, and thus it would be shameful for her to once again go into the bed of someone not her husband. I like that interpretation, and have adopted it, but the point of this quote is the fact that Helen cares about how she's viewed.

She is so very (self-) conscious of how society, and in particular the women around her, view her. She goes to the wall, but veiled and with two attendant slave women; she here, now that Paris lost the duel, acknowledges that in this instance it would be shameful to frivolously go back - others will judge her. (Whether they actually would for this specific instance or not matters less.)

But again, for this quote and in general for this scene (as well as later, when her and Paris' scene ends; the epics can easily tell us about someone's willingness or lack of thereof, but there is no actual comment about that); Worman points out that at no point does Helen actually say she doesn't want Paris/doesn't want to go back.

It is "I will not [go back/sleep with him (now)]", which of course say something about her feelings, but which in particular? We have many options. Helen's desire/want is woven throughout this and can be separated from, maybe even contrasted against, what she feels she ought to do.

And then, in the end, Helen is cowed into going back, because Aphrodite gets angry. But is that anger because of Helen's refusal to go, or Helen's bold "you go and take care of him as a mortal woman might, until he makes you his wife or his slave"? This is such a massively insulting thing to say to a goddess, and the showcase of Helen's temper and spine is honestly breathtaking.

Helen is no meek thing. Not even in front of a goddess.

(Even if it's perfectly possible Helen is well aware of Aphrodite's favour/fondness of her, and therefore knows she can risk to lash out in this way and "merely" get threatened, not actually punished.) Helen claims as much agency and self-control/power as she can, even against herself and an actual goddess.

[crowgore-throwaway]

Detroit: Become Human would've been so much better as a critique of capitalism. All the groundwork is there.

All these points are interweaved, but I'll try to address them in parts

1: Automation, the unemployment crisis, and abuse of workers

Todd, Alice's "father", was a taxi driver before cars were automated. Other blue and pink-collar jobs (sanitation, desk-work, etc.) have also employed the use of androids as a cheaper alternative to maintaining a human employees. The people at fault are clearly the corporation owners, who only care about profits and cheap labor. This mirrors how companies will outsource labor to poor countries, paying employees pennies. This is also reminiscent of hostilities toward immigrants and how they "take our jobs". The way androids are abused could also serve as critique of how employers want cheap, exploitable workers who'll do what you want without complaint, not matter how poorly you treat them.

2: The childcare crisis

In-game, android owners are demonized for owning androids. Yes, there are people who mistreat their androids, but there are other who have them for a good reason. (to preface this next part, I have no clue why Todd is the way he is. Buying two androids to live a facade of a family life while also, presumably, not getting a job and abusing the and damaging the machines they bought is perplexing, but I'll overlook it) Kara is a model designed as a homemaker, she cooks, cleans, does childcare. As a symptom of capitalism, many parents struggle to take care of their kids. Daycare is expensive and hard to access, so why wouldn't you get a nanny android if you can afford one? It's a one-time purchase, round the clock care, so you don't need to worry whether or not your child is safe while you provide for your family. This existence of androids is purely based on capitalist necessity, how it isn't possible to balance aspects of your life as culture shifts more and more towards making money.

3: Systems of authority upholding corporate interests

Connor's character could be great commentary on how the police uphold corporate interests. His whole purpose is to essentially stop the workers from striking by rooting out the problem. Him being an android could also incorporate the issue of tokenization, how those from disadvantaged backgrounds/marginalized groups are told that if they work hard and keep their head down, they can be successful. Connor, in his various endings, either upholds the status quo to (presumably) preserve his own place in world, which ends in him being replaced by a more advanced RK model, representing how licking boots and sucking up to oppressors doesn't help you. (Blaire White, for example) While him deciding to deviate is a great opportunity to show a character working within the system to bolster change. Also, the detective parts are really cool, but the narrative kinda separates the audience from how emotionally taxing that kind of work is. Don't want to overload the story, but the fact that the only reason given for Hank's depression, alcoholism, and suicidality is because his son died is bullshit considering he deals with homicides on a regular basis. It's similar to cop dramas, how the crimes are shown but at the end of the day, the officers go home and have their own interpersonal drama, completely divorced from the things they see on the daily. (This bit isn't as fully-baked as the other takes since I'm not super learned on the ins and outs of how corporations affect law)

4: Conflict within the working class

As mentioned briefly in part 1, there's a lot of talk about people on welfare and immigrants taking away opportunities from other workers. This, of course, is not true. It's a manufactured conflict that distracts the working class from the true issue: the mass exploitation of the 99% to fund the 1%. People lose their jobs due to aforementioned greedy business practices and protest against androids, mistreating them instead of turning their attention to system itself because they're so ingrained in it they don't even think to question why this could even happen in the first place. They take their emotions out, suppressing the symptom rather than treating the problem.

5: Commodification

Along with employees, Cyberlife has companion androids, again, like Kara, who are advertised as a partner who'll be whatever you want whenever. There are child androids, too. And the thing with machines is that they (presumably) have no feelings and feel no pain, so you can beat them, rip them apart, and kill them with no legal repercussions. The company is selling you a family, a partner, or a victim. They strip away emotional connections, making aspects of life that make us truly human into something shallow you can buy or sell. This is similar to the real-life image of the American dream. You look happy in your big house with your wife and kids, but it's only a facade. The only thing you end up caring about is the validation you get for having stuff, and when you aren't the best man in the neighborhood, with the biggest house, the prettiest wife, and the best paying job, you resent those around you, including your own family because in your eyes, they aren't good enough. You could assume people attack and abuse androids because they are dissatisfied by where their is at and are angry at the android for not making it better, but there's none of that. I wanna know why Carlos Ortiz got high and beat his android (who doesn't get a name). In a lot of the confessions and interrogations from androids, you just get a scared description of how they were abused, nothing about the lead up. We get basically nothing about Rupert. But anyway, there's an obvious implication that people are growing less emotionally stable due to the incorporation of androids into daily life, since they see these machines with human faces as people who they can do anything to so they end up having messed up morals and seeing people as disposable.

6: Conclusion

Okay, not a full-on well-researched essay, but y'all see what I'm getting at. So much of the allegory was so poorly established. We only get a taste of certain social issues and not really a solid lens besides vaguely civil-rights related. I need more android-human relations. I'd like to see Markus as a big socialist leader, I want a subset of "scab" androids that deviate and actually like their lives, refusing to join the revolution. I HATE the march and store break-in chapters because you see all these androids joining Jericho but they don't have an identity. Many of them die unceremoniously. They go from machines performing their function to suddenly sentient beings with emotions coerced into whatever cause Markus wants, which is arguably worse because it's basically cult indoctrination.

I'm not sure what I would do about the narrative androids' sentience, since the argument that they should be given rights is weak considering it's implied that the reason for deviance is a sudden, traumatic event. I feel there should be an argument in there about how human emotions are just chemicals when you boil it down, but still, it's perplexing. I really like the way the webtoon Lovebot approaches the bot's sentience. Spoilers, but the androids in that series aren't nearly as widespread. They were invented as romantic, sexual companions. All of them are sentient from the outset, they just have a chip in their brains that keep them from exercising free will. They are inherently free-thinking beings, just trapped in their own heads by hardware. I think DBH just didn't give enough thought to the logistics of deviancy. It doesn't have to be overexplained to oblivion, but there needs to be a solid reason as to why it isn't a computer virus caused by mistreatment.

All that said, I still love this game. Loved it pretty much since it came out, I remember watching Jacksepticeye play it. I was obsessed with the characters, thought the aesthetic was super cool and was affected by the heartfelt aspects of the story. The music is also really good. David Cage just isn't a very good writer. I also straight up don't like him as a person. But still, the artists and actors did a stellar job- Bryan Dechart and Clancy Brown have great chemistry as Connor and Hank, the futuristic style paired with some of the older architecture is interesting and, again, I'm a slut for a great soundtrack.

Tbh, I'm a bit neurotic picking apart a 7-year-old game, but it got me really into sci/fi. I was like, 12, when I first got into it and hyperfixated HARD. I'm realizing that some of my biggest hyperfixations have been detective fiction (current favorite thing is Disco Elysium), so I wonder what that's about. So I guess it was nice to combine something old I really like, Detroit: Become Human, with my current interest in socialism.

[dnickels]

John Irving Poem Playlist

I love the hype around Davechella and wanted to do something a little different- a mixtape of poems, with commentary (desperate self-justification) and bonus poems below the cut

I.

The Lamb, William Blake

The Pilgrim, Sophie Jewett

Self-Dependence, Matthew Arnold

The Light of Stars, Henry Wadsworth Longfellow

The Wanderer, Unknown, trans. Roy M. Liuzza

Up-Hill, Christina Rosetti

Sir Galahad, Alfred Tennyson

II.

They Could Not Tell Me Who Should Be My Lord, Edwin Muir

God gave a Loaf to every Bird, Emily Dickinson

Ancient Text, Louise Glück

I Find no Peace, Thomas Wyatt

A Secret Told, Emily Dickinson

Mary Magdalen, James Elroy Flecker

Because I Liked You Better, AE Housman

III.

A Better Resurrection, Christina Rossetti

The Temptation of Saint Anthony, Rainer Maria Rilke, trans. Leonard Cottrell OR trans. Len Krisak

Batter my heart, three-personed God, John Donne

At Least to Pray, Is Left, Is Left, Emily Dickinson

'Thou art indeed just, Lord, if I contend", Gerard Manley Hopkins

The Rubaiyat of Omar Khayyam, (LXXXIV- LXXXVI) trans. Edward FitzGerald

I Shall Know why- when Time is over, Emily Dickinson

IV.

Sudden Hymn in Winter, Joseph Fasano

Fable and Decade, Louise Glück

Love (III), George Herbert

Of Molluscs, Mary Sarton

Dark Night of Soul, Juan de la Cruz, trans. E Allison Peers

He Touched Me, So I Live to Know, Emily Dickinson

The Finder Found, Edwin Muir

V.

The Plate, Anthony Hecht

Prospice, Robert Browning

Pietà, Rainer Maria Rilke, trans. Jessie Lemont

DEATH THE COPPERPLATE PRINTER, Anthony Hecht

The Gold Lily, Louise Glück

Futility, Wilfred Owen

Flock, Billy Collins

"What, no Wild Geese?" spiritually Wild Geese is here, tucked in section IV, which might a well be subtitled "The soft animal gets a treat", same with Song of Songs and so many psalms I couldn't pick one. I wanted to try to play with poems that were either new to me or a little further off the beaten track (although there are still some obvious picks but come on was I not going to get some Donne in there?). Frankly, this entire list could have been Emily Dickinson start to finish, it's not yet accepted historical fact that she was an inexplicable psychic witness to the sufferings of the Franklin Expedition but I am submitting my findings to journals as we speak

(sorry Jirv for all the Catholics and extremely suspect Anglicans!!)

I. SEEKING

Whenever I invoke "The Lamb" please know I am reading it with the same menace and sense of foreboding as Patti Smith. Given the vibe I'm trying to cultivate you'd think there would be more Blake, but I think Jirv has such a profoundly different experience with Church Authority and his own conversion experience that he and Blake hardly seem like they share the same faith. Even in a scenario where he managed to unclench, I can't see him espousing a sentiment like The Garden of Love. Maybe if he survived to reflect on his encounter with Koveyook he might groove more with "[Christ] is the only God ... and so am I and so are you."

The only section that has at least a few poets I think Jirv would actually read, namely Matthew Arnold-- the only poem on here that I think isn't very good, I'm sorry to Mr. Arnold but there we are, they were right to light your ass up in Punch. He's here however because I think his work captures a very clear and immediately accessible sense of the early Victorian man striving to be himself, in the sense that he can flower fully into the model of upstanding sober bourgeois middle-class manhood which isn't always attainable for later birth-order sons in a navy overcrowded with officers. The real life Irving's letters touched me very much in that he is both looking for a deeper connection with God, a better version for himself, and in the material world, a way to make enough money to establish himself as capital-R Respectable in a way that swashbuckling at sea or derring-do in the colonies doesn't really allow him. I actually don't know if the years line up for him to have read Longfellow but this stanza:

O fear not in a world like this, And thou shalt know erelong, Know how sublime a thing it is  To suffer and be strong.

Is such a classic mid 19th century "making yourself miserable for ideological reasons" motto. Shades of "Invictus" (which for some reason I don't know if Jirv would vibe with, maybe more of a Crozier poem).

I think you could also call the first section "Voyages", I was struck by how often the real Irving was compelled to relocated to try and make a place for himself in the world in the literal, material sense, and the few letters we have are largely his thoughts on his spiritual seeking-- I was very surprised not to find a settled and secured ticket-to-Heaven holder but someone who still considers himself a student, is still wrestling and grasping and looking for something.

Prithee, Pilgrim, go not hence; Clear thy brow, and white thy hand, What shouldst thou with penitence? Wherefore seek to Holy Land? Stern the whisper on his lip: Sin and shame are in my scrip.

It feels a little much to say 'Jirv is the Galahad of their doomed Grail quest' but frankly, given that no one succeeds, I kind of like the idea of a failed Galahad. It's slightly ahistorical to invoke but once we get into the 1860s and the mid-Victorian chivalric revival Galahad becomes a potent symbol for a kind of chaste imperial knighthood in service to God/Queen/Country. At least one young office who died in WWI was named Galahad, not just a PG Wodehouse joke christening.

II. CRISIS

Obviously there are ten thousand things that could torment the evangelical protestant mind and bedevil one's self-worth and it doesn't have to be "hopelessly in love with your best friend" but I wasn't going to miss a chance for some Housman, was i? Wyatt gives us the money couplet:

I desire to perish, and yet I ask health. I love another, and thus I hate myself.

I had included Flecker's We That Were Friends but felt it was just slightly too self-aware, ditto Rosetti's Winter: My Secret.

III. STRIFE

I think these are all pretty self-explanatory. I could have added ten more Emily Dickinson poems because she is the only one on this earth who gets it (me, the deal, the whole of existence). Hopkins I think is more concerned with the sins of the world than the real life Irving (who, based on the very limited material shared, must be the most laid-back and chill evangelical in human history? Or maybe I spent too long among the Baptists) but I can see Jirv wondering, in the God-proof bunker of his diary, why the wicked are flourishing while he is losing his everloving mind and threatening to lock up ABs for being afraid of ghosts.

Here is the excerpted Khayyam so you don't have to go looking (although you should because its wall to wall bangers) (context: the narrator is standing in a potter's shed, and listening to the vessels talk amongst themselves)

LXXXIV. Said one among them— "Surely not in vain My substance of the common Earth was ta'en And to this Figure molded, to be broke, Or trampled back to shapeless Earth again." LXXXV. Then said a Second—"Ne'er a peevish Boy Would break the Bowl from which he drank in joy; And He that with his hand the Vessel made Will surely not in after Wrath destroy." LXXXVI. After a momentary silence spake Some Vessel of a more ungainly Make; "They sneer at me for leaning all awry: What! did the Hand then of the Potter shake?"

"Did you make me just to smash me, God?"

Runners-up for this section included Rossetti's The Three Enemies, which only didn't make the cut because I think its slightly uneven compared to the rest of this work and this list has become pretty Rossetti-heavy. Ditto De Profundis.

IV. ACCEPTANCE

Also pretty self-explanatory. Mystical union with Christ or a very special sergeant of the marines, or both! Is it canon? No! But I like to think that even just one time...

If you read any poem on this list please read 'Love (III)' and 'The Finder Found', the latter of which is my 'Wild Geese'. It seems self-serving to say I cried when I read it but I did. Meanwhile Herbert is goated and his entire work could be listed here but hearing Love (III) read aloud made me understand what poems could do.

I cheated putting two Glück poems for one but given that they were published together in that magazine I think its ok. Here's even more cheating: The Undertaking would be in there if I could squeeze it on the same line. "The darkness lifts, imagine, in your lifetime" PLEASE

Runners-up here were Larkin's First Sight, which just doesn't quite fit but I love for the sense of spring coming to someone who doesn't know there's anything other than winter deprivation, and A Shropshire Lad XI (On your midnight pallet lying) which I LOVE but again doesn't quite jive with the theme, but I do imagine it as a bridge poem between this section and the last...

V. DOOM

A little bit of Browning, who might squeak in under the line of plausibility (though perhaps not this poem) as Jirv sets out on the death march with waning faith that is not, in fact, a death march but then his journey ends in Stabtown, population: YOU. "The Plate" in this case would be that faith and knowledge of being loved that remains even after hardship and the final lost battle, maybe even literally in the meat from his stomach. But misery and death put all the men on the rack and instead of salvation they are essentially tortured to death, often long enough to crush/squeeze out any semblance of humanity and leaving the animal capacity for violence.

"Futility" could encompass the whole sorry venture but in specific the shot of Jirv's body after all the effort to make contact with someone would could help. Was it for this? "Exposure" also a strong contender for "the long slow process of freezing to death for unclear reasons".

"Flock" of course-- God needs martyrs.

[cerastes]

With the exception of Arknights what are your thoughts on gacha games?

I don't feel like I need to exclude Arknights from the statement, I can criticize things even if I like them.

In general, I don't like that their widely accepted and even defended business model is "Capitalize on FOMO, exploit gambling addictions, create dependent users". I also think that the use of the "game as a service" model, and one that needs to keep pumping content forever and can't risk to alienate the player, severely limits what can be done with the medium in terms of creativity, because you can't kill off playable characters nilly willy (I actually think Epic Seven was cooking with this, Epic Seven will kill off playable characters and remove them from the plot if it feels like it, or at least used to back when I played, don't know nowadays), relationships and dynamics with characters tend to be limited because otherwise your audience can feel like you are cucking them, and I wish I was kidding but just look at the absolute dumpster fire of a drama going on as we speak (22nd of January, 2024) in Girls' Frontline 2 over in China over one of the characters having interactions with a male NPC, and you can't ever bring a true sense of finality to any given arc because everything ends up having to be foreshadowing, set-up, build-up and so on and on and on. In many cases, you also have a mold cast of Must Have tropes in your playable cast: The Maid, The Idol, The One That Worships The Ground You Walk On, The Underage And Underclothed One, The Underage (But We Treat This One As A Precious Child!) One, Foxgirl, The Cold And Highly Analytical One (But Actually, Loves You), Chuuni, etc, so it feels like in every game I kinda already know at least a third of the cast minimum already and I'm kind of primed to not really want to know them, even though there's subversions I end up liking sometimes (Fenny from Snowbreak is an example of an Idol-type I ended up loving despite not liking Idol-types).

On the other hand, even with these negatives in mind, having a game that periodically updates and adds content, and that you can discreetly play pretty much everywhere on the go due to smartphones being their main 'console', games that foster community and something to talk about with your friends that also play and that will always have something new every couple of weeks, as well as inspire fanart, fanworks, analysis, and commentary, and that tend to be more risque and interesting with their designs is honestly good to have. I personally enjoy the community aspect of gacha games, I consider it one of the two most important aspects for me, because I know I can come here, for example, and see people talking about the story, the characters, the music, the gameplay, and more, every day, and the other important thing to me is how discreet they are, since I can just play a few maps or stages in my phone real fast midst a social situation at work, and then hop back in with a renewed social battery or when a topic I like comes up.

I fully get when people showcase their disdain for gacha, yeah, but if we really want to be nitpicky, the majority of the game industry is kind of a cesspool of toxicity, which is not to say "stop bashing gacha" and instead say "bash the whole thing if you're going to be bashing it anyway" (and we should! Game devs and other personnel in the industry have been crying for better conditions for years now!). Either way, if someone decides to sit at the gambling den, it becomes their responsibility. I want there to be more safeguards for people with actual addictions and to protect them, but with this in mind, if anyone still decides to sit at the den, it's assumed they are going to take responsibility for their actions and financial decisions.

So all in all, yeah, predatory games that suffer in quality due to their own trappings, but also good sources of community, inspiration, and effective at being discreet games you can play anywhere and that get periodic updates (this isn't necessarily exclusive to gacha but it is an aspect of them that bears mentioning, which I point out since no doubt people will want to point out there's good non-gacha smartphone game options out there)

[undead-moth]

The more I think about how The Bear went from being a show that was making a purposeful commentary on how gentrification happens and the harm it does to being a show that arguably glorifies gentrification and even embodies gentrification with more and more big-name celebrities cameoing unnecessarily in the show and with the real-life restaurant that inspired The Beef now being a tourist destination -

The more I'm actually hoping for an ending with The Bear failing. I honestly think that it would make more sense narratively and be more meaningful if The Bear failed. I would like to see Sydney become disillusioned from the dream of getting a star and realize that Michelin stars are at best an empty status symbol and at worst a literal scam. I would like to see Richie realize that serving the rich is not the kind of purpose he wants to have, and that he would much rather find purpose in serving the very community he defended in season 1, the low-income, working class people that frequented The Beef. And I would like Carmy to realize that the high-end restaurant culture that caused him so much trauma is not going to fulfill him, and that running a restaurant isn't about how high-end it is. I would like him to realize that running a restaurant really is about the magic of cooking, nurturing others, and accepting imperfection - all ideas that are largely incompatible with high-end restaurant culture.

I would like to see The Bear as a high-end restaurant fail, and instead, see all of them decide that not only is running an average, low-end and little-known restaurant more sustainable and more profitable - but that it actually means more to them, and is more fulfilling to them, and what they really want to do. I think this ending would say exactly what this show needs to say, and what it in many ways was trying to say in the beginning of the show.

But I don't think that's the ending we're getting. I don't think we're getting an ending that returns the show to its initial commentary on the harms of gentrification at all. There are multiple people involved in the making of this show that not only own and run high-end restaurants but have literally contributed to gentrification and become millionaires as a result. I think whatever inspired them to comment on it at all in the beginning was either a matter of Storer getting an elephant in the room out of the way, or a matter of different writers having worked on The Bear in the first season, writers who are no longer working on it now.

It's really unfortunate, honestly, but not really surprising. Given how difficult it is to get a show produced without the contributors being either significantly wealthy, well-known, or both, shows that are genuinely critical of capitalism and its many symptoms are pretty much nonexistent.