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mollyrealized · 9 months ago

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How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.” I mean, this is … what … '88? '88, '89. So it was … now I know that it was a period of time that was a big change, transformation going through comic books. Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No." And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story. And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy." Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick. Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe. Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman. And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA. And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary.

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.” You know, “This is eel. This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"

We'd finished, so we pay our bill. And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil. And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be – it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months. So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course." I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.” But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well. And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God. Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”. I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah. Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard. I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you.

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

#neil gaiman #michael sheen #david tennant does a podcast with...#good omens #aziraphale #crowley #sushi #whale #the cove #oscars 2010 #coraline #mini secret compartments #howneilmetmichael #howmichaelmetneil

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blackpearlblast · 7 months ago

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ezzideen's recounting of eid during the genocide, translated and put together by boshra. all sides have alt text and full transcript under the cut.

link to ezzideen's facebook page / donate to ezzideen's campaign

slide 1: A picture of a lit candle in the darkness.

Title: Story of Eid Through the Eyes of Ezzideen Translated from Ezzideen's Facebook page

slide 2: For ten consecutive years, the arrival of Eid brought a lump to my throat, a lump with many meanings for me (exile from my country, being away from my mother, my beloved, and my family and relatives, in a country where no one else knew of Eid's arrival but me). Before coming here, I thought long and hard about what I should do during the Eid days. I imagined thousands of scenarios: How would Eid pass?

slide 3: Which house would we visit first? Should I give out Eidi (gifts to children, like my uncle's grandchildren and my cousin Abu Bilal's children)? Would the first house we visit be my grandmother's? How would my mother react when I give her the Eidi? What would be our first breakfast? Should I go to the Eid prayer in jeans or in traditional clothes? Where would I and the young men of the family spend Eid night? And many, many more details, from where we would spend the first night of Eid to what kind of nuts we would buy for the guests.

slide 4: And today, on Eid day, here I am writing this text without needing to know answers to any questions, because Eid has passed like this: My big uncle's house was destroyed (no need to visit it), my uncle's grandchildren and my cousin's children have died (there is no one to give Eidi to), my grandmother also has died (no reason to visit her house, as it suffers in silence as we do), there is nothing in the markets fitting for the luxury of an Eid breakfast (and if found, no one in the country can afford it),

slide 5: Abboud, Bilal, Ahmed, Mohammed, and Yusuf were killed (the adornment of our family's youth) so there is no need to think about where to spend the first night of Eid, no need to choose what I wear for the Eid prayer (as no prayers are held and no mosques are in this country), and my mother? My beloved, I am ashamed to even mention to you that it is Eid! As for the rituals of Eid, there is no ritual but to cry in imposed silence, for even God wept silently for the martyrs this morning as the rain fell.

slide 6: Screenshot of a post from Ezzideen's Facebook page.

Caption: Main post from Ezzideen's Facebook page. Link in bio.

#eid #eid mubarak #eid 2024 #gaza #north gaza #free gaza #palestine #free palestine #EndIsraelsGenocide

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raayllum · 2 months ago

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Transcript of Aaron Ehasz Interview (Sept 2024)

Podcast link here. Transcript down below with bulk under a read more.

R: Alright so welcome back to the Wordswithdragons podcast, and today I’m joined by a very special guest, the co-creator of The Dragon Prince, Aaron Ehasz.

A: Hello, thank you for having me today. Glad to be here.

R: Thank you so much for being here. Um, yeah, so, as we semi touched on, it is the 6 year anniversary of The Dragon Prince this September 14th.

A: Yeah.

R: Do you have any thoughts, reflections, feelings about the show having gone on for this long and being such a big part of people’s lives?

A: I mean for starters, it’s really hard to believe it’s been on for six years. Like that seems insane to me. Cause it seemed like we had — Justin and I had been working on it for so long before it finally came out because we had worked on the story and then gotten feedback, and help in improving that pitch and bringing it out and we had it set up at Netflix, and we had to — we wrote the pilot obviously, and we didn’t know where we were gonna produce it, and found Bardel. So there was so much time between even just starting to think about it and when it came out.

R: Yeah, cause that was like 2015, right?

A: Yeah, I guess we started the journey in 2015 and we got with Bardel by the end of 2016, and it got released evidently in 2018, so... Yeah, yeah, cause I remember even we were writing kind of the end of season 3 when we had that panel with Marco and named the character after Marco.

R: Oh yeah.

A: The character [chuckles] from the first episode, we only had an opportunity for him to say his name out loud in that last episode because we were writing the ending while we were showing the episodes for first time, so. Anyway, that’s my reflection, it’s great it’s been six years.

R: Yeah. I know The Dragon Prince has been a really like — both life changing and I think, like, life affirming experience for a lot of people, myself included. So we just really appreciate everybody’s hard work on the show and are very excited for season 7 and hopefully beyond as well. As well for any future projects that Wonderstorm comes out with, like Bonders sounds amazing.

A: I feel — well first of all, thank you for saying that it’s life affirming, that’s such a nice thing to hear about something you’ve worked on, but I also agree that Justin and I feel a ton of gratitude for the whole team and the work and heart that everyone put into making this. I think people wanted it to be meaningful and special and that takes a certain kind of energy and vulnerability to build something like that, that you share, and our whole team really did give that in building the show.

R: Yeah. I think for sure. I think that’s like, um, I was even — I was rewatching some of the show earlier for — for a parallel, and it was the scene between Avizandum and Zubeia when she goes to him in like her kind of corruption dream semi-nightmare, and obviously that’s such a heartfelt, touching scene, and it’s always so strange. Because on the one hand, you should hate Avizandum, he killed Sarai and Rex Igneous has rightful criticism of him, but then you watch that scene of him and he really did love his family, so I think the show being able to draw out those strong, conflicting emotions for so many of the characters is one of the reasons why it connects with people to the degree that it does.

A: And that’s one of the themes you probably see in the show — just gonna make a quick —

R: Yeah, yeah for sure.

A: Avizandum, which is that being a good dad can make up for awful lot of [R laughs] monstrosities, as long as you’re doing it in the name of being a good dad. I’m joking, uh. Of course, yeah, Avizandum was always meant to be a complicated figure like many of our characters.

R: You mentioned that you guys have been working on — I think season three during this panel with Marco, or Marcos, and I remember, I think you’ve said before that the seasons get worked on concurrently, that there’s a decent amount of overlap.

A: Yeah.

R: I’ve always wondered, because we know — obviously, I’m a big Rayllum fan — but I’ve always wondered, cause I know they weren’t originally planned, and then you guys were boarding season two when you were like, “Hey, maybe this should be a thing,” and then probably like shifted and tweaked things or changed things to write more towards that in the future... Um, I’ve always wondered, if there was time, like at that time, to go back and change anything in season one for them, or the season one that we see was just like that?

A: I don’t recall there was time to change season 1 — that does happen because we are working on things in parallel because we are working on something in the script and then some time later we are working on the later stage of production, like an animatic, and we’ll be able to kind of give notes or even make changes with the knowledge of what’s coming, so that has happened. But in the case of Rayllum, I don’t think so. I mean, I think — again, I remember...

R: It was a while ago, yeah.

A: We were rekindling, or when we were realizing that something was being kindled between them, it was watching an animatic so that shouldn’t have informed our writing of season one, but our later stage stuff. But we weren’t trying to force anything so it got in there naturally and I don’t think we went back and changed anything.

R: Yeah, that’s what I’ve always — they had those kind of vibes to me from like episode two and three, obviously season two brought a lot more people on board, but I was always curious. Cause in season one, like, I think, it feels so natural, it feels so organic, and like I’ve shown — one of the things I love about Dragon Prince is it’s a great way to connect with friends and family and you kind of catch up with each other like through the show, of “oh have you seen the new season yet?” and that sort of stuff. And so when I’ve shown the show to like my brother-in-law, who is not plugged in at all, he also kind of picked up on it in season one, so I’ve always been curious.

A: You know, what else, I’ll even say, I think we initially, intentionally planned they weren’t going to be a couple. We were like “Oh yeah, no, they’re—”

R: Friends, yeah.

A: Friends, with different views of the world and they journey together, and we don’t want them to be a couple. We’re not — we’re definitely not targeting it. I think we were intentionally not targeting it, and then it was “too bad creators! [R laughs] We’re going to fall in love despite everything you’re planning.”

R: Well, that very much I think even fits what they represent to each other, of like you don’t have to do this path that you think you have to do...

A: Yeah.

R: You can be something new. I always kind of felt like Ezran and Zym were — felt very kind of like designed as foils, as like a pair, of like through Zym, Ezran learns more so like how to grow up, and they’re both like the princes who will be king, and then Callum and Rayla also kind of felt sort of like developed as a pair, in terms of like — he needs to gain more confidence, she’s pretty confident on the surface.

A: Yeah.

R: She needs to learn how to open up, he’s really good at being open especially in the beginning.

A: Right.

R: So I was always like...

A: He needs to be murdered, she needs to learn how to murder someone.

R: Yeah! They complete each other, yeah. Uh... Some other questions that I had [rapid typing]. So I guess, maybe, I have some questions that are more season specific, in respect to time, but I also had like more general questions.

A: Okay.

R: So, one of the things I’ve always love in general and really love about The Dragon Prince is its like use of philosophy and like its deeply interested in ethical and moral questions, and presenting some answers for some of them, but like are those the right answers? We don’t know.

A: Right.

R: So I know King Harrow’s choosing of Lady Justice’s blindfold is a pretty apt comparison to John Rawls’ Veil of Ignorance—

A: Yes.

R: Of, you know, you strip away everything that you could have, like advantages, disadvantages, and think, would the system work for me? Which has been useful when I’ve like, had to tutor students in philosophy actually, but I was curious, were there any like philosophical concepts or ideas that people really, or you really, wanted to work into the series? ‘Cause we have a lot of trolley problems.

A: Right. Um, probably. I mean like, I should say, I was a philosophy concentrator in college so I absorbed a lot. Things like Rawls, I had a class with John Rawls, and thought that was a really interesting concept and I liked including it, and I thought we can include it in a fun way, the idea of justice. So other philosophy probably makes its way in, it can makes its way in accidentally or subconsciously, so nothing specific right now comes to mind. I will say, as with kind of Avatar before this, I don’t like to have — I’m not trying to have a right answer, ever. I’m trying to have the characters have a deeper understanding of what they’re struggling with, and y’know, move in a direction of deeper understanding, so if anything, it’s more interesting to me to see conflicts between maybe philosophical approaches that are different and see how — Oh well, this has these kinds of results, and positives and negatives, and this has... so that the audience can have a chance to say, “Oh well okay, I have some thoughts on that,” or “here’s what I feel,” and that’s why sometimes I think we see the fandom actually kind of go back and forth—

R: Yeah.

A: On — around characters and people’s choices, and things like dark magic or Viren, which are controversial, are things where like, I do not have a strong point of view on... the kind of binary right or wrong of... Viren in the long term. He’s made a lot of wrong choices and he’s made a lot of choices for good.

R: Yeah.

A: He is an arrogant and power hungry person and he’s also a caring and loving father and someone who wants to have a positive impact on the world, right, like?

R: Yeah.

A: So those conflicts play out in him. But similarly, I think with maybe most of the philosophical ideas I can think of, I’d rather get to like a place where everyone just has a chance to entertain those thoughts and ideas and struggle with them, or hold them in an authentic way, and then can come to their own conclusions and feelings. I mean, I have some deep feelings about like, the world, and how can people be optimistic or not pessimistic or—y’know, what it means to hold onto hope or what it means to try to move past conflict, and I have beliefs that there are conflicts that get so you know, kind of sewn in, that they feel they are impossible to untangle, and especially if the game you’re playing is who started it, or who did the worst thing, where you can’t just ever untangle it. You can’t ever find a right or wrong, so how do you get past that? That’s one of the questions I was hoping Rayla, Callum, and Ezran would try to—

R: Figure it out.

A: Struggle with. Anyway, I’m giving a very long winded answer—

R: No, no.

A: That’s the philosophy that comes to mind. If something comes to mind for you, you can bring it up and I can go, “Oh yeah, that was probably influenced by so-and-so.” [R laughs] Or maybe not.

R: Well, one of the things I loved about season six was kind of — you see, even... One of the things I thought was really interesting was we see, not quite like that return to trolley problems, but we see Aaravos at the end of season 5 is telling Viren you have to make the sacrifice so that you can live, and then we see Rayla tell Callum, “Hey, if the choice ever happens, you also have to sacrifice me,” for — so Callum can live, but also for like the greater good and that sort of stuff. And then you have Kpp’Ar, who — I love Kpp’Ar, I think he’s terrible and interesting and I love him.

A: Awesome. He is — we’ll learn a little more about him in the future, but yes.

R: And obviously when Viren’s like, “A child will die,” and this is a kid that Kpp’Ar would’ve known, and we see in The Puzzle House that he loved these kids, and whatever is up with the Staff is bad enough that Kpp’Ar’s like, “Okay. I’ll make that sacrifice.” Which feels very much in a way like he’s given up on dark magic, and to a certain degree he’s both given up on the mindset of dark magic, and maybe also hasn’t given it up in the same way. Like I love that — Claudia, you know, obviously, puts Viren above all else, is she always right to do so? Maybe not, but we get why she’s doing it, that’s a hard thing to say. And then we have Callum, who also seems inclined to put Rayla above all else, and because we like Rayla more, we’re like “Yeah, he can do that, it’s okay for him to do dark magic for her, that’s fine,” even if there’s also like, consequences. Cause most characters in the show, like you said, everybody kind of wants the same thing, they wanna have a positive impact on the world, they want to protect their loved ones, but what constitutes that world, what they think is a positive impact, or who they want — how they protect those people, that’s all very malleable and can fluctuate. Viren says “Claudia, you’re on the wrong path,” and we’re like yeah, he’s right, and Karim says the same thing about Janai, like the exact same thing, and we’re like, well he’s wrong.

A: Yeah. I mean a lot of things come to mind when you’re talking through that, but one is there’s often a conflict between rigidity and rules and some kind of compassion, or emotional decision, and those decisions are hard, right? Like I dunno, maybe Kpp’Ar should’ve said, “Okay just this once, it’s Soren,” or not, I don’t know. I mean obviously Kpp’Ar had taken himself to some deep horrible place and he really had, actually. And was like, “Okay, dark magic is just corruption when you start and keep going down this path, but this Viren’s kid so I don’t know.” One of the things here, I think there’s a relationship between — you know, sacrifice plays a role here. Sacrifice and thinking about generations and generational conflict and thinking you know maybe in a way I think is interesting. I think about the beginning of season 6 when Claudia has done all of this and sacrificed another life but also sacrifices some of her soul or whatever to save her dad and he’s like “No no! This is not the way! A parent is supposed to do this for a child but never the other way around,” right? And there’s something to that I find interesting which is — it’s almost the inverse of children having the opportunity to start anew and break cycles, parents potentially have the opportunity to make sacrifices that don’t pass by burdens onto their kids, but sort of like that’s the mirror I see a little bit, in terms of how do you have generational change and evolution? It’s somewhere in younger generations being able to not get stuck on conflicts and burdens, but also the older generations recognizing that they may have to be the one to take the — and this is I think a natural... I dunno, it’s something I think about a little bit and came to mind when you were talking. So we’ll see more about what is the meaning of sacrifice and when — when do you... trade? Yeah.

R: Yeah.

A: Side note on sacrifice. You’re familiar with Game of Thrones? You’ve watched all of Game of Thrones?

R: I’m decently familiar, yeah.

A: Okay.

R: And if not, I can have Kuno explain it to me later, so.

A: One of the things I love about the sacrifice Ned made, that we didn’t realize he’d made until I think the very end of the series, we realize — a sacrifice to his kind of reputation, right? And I’m talking about him representing Jon Snow as his bastard to protect him, right? Think about that, that’s a sacrifice, he had to go through the anger — he didn’t tell his wife the truth, he didn’t tell anyone, because it was the only way to protect the child, and as a result he lived with — even though the truth is that he was a really honest, good, or evidently he didn’t go cheat on his wife, he sacrificed that part of his reputation to protect Jon, at least how I see it. I think things like that are kind of interesting. I dunno.

R: Yeah. Yeah, I think it speaks to that idea of — one of the things I love about Dragon Prince is it’s so much about choices.

A: Yeah.

R: Like one of the things I really really liked about season 6 was that, you know, Callum is like, “Okay, I’m going to get myself purified, healed of dark magic,” and Rayla was his light, which was very validating, cause I had noticed in season two there was like some framing so I was like well “Maybe, maybe” you know? And then slowburn buildup but it was — I think that was a great moment that really paid off. And he’s told “if you ever do this again, it’ll corrupt you completely.” And whether he will or won’t — I personally think that he will, but spoilers, you know — but whether he will or won’t, I think it’s really nice because now whatever choice he makes, he’s making with the full context, of what this would do to him.

A: Yeah.

R: Whereas in season two, yes he was making his choice to do dark magic then, and I don’t necessarily think he would make a fundamentally different one if he had known what it would lead to, but there’s a different kind of awareness. Like I always of it would’ve been so easy to have Harrow not know that Viren was going to kill Zym, cause that’s such an easy way to kind of let Harrow off the hook of well Viren went off and did this on his own, and Harrow had no idea, and blah blah blah, right? Cause we like Harrow, he’s a — again, he’s a good dad, we’ll forgive a lot. And instead, it’s not his idea but he’s fully aware, he signs off on it. And I think constantly pushing characters to make hard choices — kind of like what Ezran says, “these aren’t dreams, these are choices.”

A: Yeah.

R: You can choose love, you can choose to make... It’s something that makes all the characters feel so fully developed and interesting, so I always appreciate that you guys push them to make the hard choice.

A: Yeah. Cool. Thank you.

R: One question I did have is, uh, Karim is one of my favourite characters.

A: Okay. Unusual person. A lot of people hate — or love to hate...? I love him too.

R: I also love Kasef, so I think I just kind of love everyone, because I’m like well, they’re really interesting. I feel like [Karim’s] arc was one of the things I loved most about season 4 because you can see him really wrestling with his choices and I love watching him fail, cause that’s kind of all he does, so that’s always fun. But I am really curious obviously now he’s been betrayed by Sol Regem, Katolis is in ashes and maybe they’ll blame Karim for that cause Sol Regem is like — dead, and now, presumably his only hope is going to be that his sister doesn’t execute him on the spot?

A: Yeah.

R: So is there anything you can tease about Karim’s arc in season 7?

A: Yeah, so — so it’s not just Karim, there’s an army of people who betrayed Janai, and — and...

R: What do we do?

A: Yeah, what do we do? That will be something we’ll have to see them grapple with pretty much right away in the season. Especially cause [Karim’s army] showed up for this battle where they were never even — they were just planning to sweep up the ashes afterwards, so when they didn’t get the dragon support they needed, I suspect they lost really quickly.

R: Yes, yeah.

A: So uh... Yeah, but basically as of the start of season 7 — all of them are prisoners of Queen Janai and the question is — what do you do with that? What do you do when you have an entire army and your own brother who betrayed you? And so that’s — we’ll find out.

R: Yeah. [Laughs]

A: But yeah.

R: Yeah. Another question I had going forward was Terry and Claudia obviously I thought had a really beautiful relationship arc, particularly in season 6, and we saw in season 4 the lengths he’s willing to go to for her, and how Terry, I think, is a great example of how there’s a lot of character traits where we think “oh, if you’re a selfless, helpful, accepting person, you’re a good person,” and I feel like Dragon Prince does a really good job of how, Rayla’s selflessness can be great but it can also be kinda bad, or, um, Terry can be super accepting, maybe a little too—

A: Yeah.

R: —accepting sometimes, right? So I feel like at the end of season 6, it will presumably be him, Claudia, and Aaravos for a little bit now that he’s out of the prison. And it feels like maybe Terry might hit a breaking point?

A: Here’s what I will say — Terry is a really special character and if you watched him, he’s so good, and what we’ll find out is, he is — there is an episode called TRUE HEART and he is someone who has a true heart.

R: Oh that’s so sweet.

A: It’s very impossibly rare and special — but also we all understand what a true heart is in some way and we’ll learn a little more about that. But yeah, the question of what will Terry do, what can he do, is difficult because he has a very strong sense of right and wrong, but he has a very deep capacity for love and he loves Claudia with all of his heart. Where does that present an impossible conflict, it may... we’ll see a challenge.

R: Yeah. Yeah, for sure.

A: I’ll also throw in like I sometimes see some parallels between Terry and Uncle Iroh—

R: Yes.

A: Though Uncle Iroh I think has a very different journey. Iroh is kind of a recovered problematic person who now has some wisdom and enlightenment, so in terms of the difference between the purity of a true heart versus where Iroh is more of a later stage enlightenment, the love that they have for the kind of complicated person that they are with is similar to me. And the way that they both sometimes have to, or don’t have to but...

R: Choose to?

A: You have to give that person the space — you can’t force them to choose right or wrong, you can be there with them, you can try to guide them, you can — but ultimately you have to give them the space to fail, and eventually, you may have to turn your back on them.

R: Yeah.

A: At some point. I don’t know. But um yeah — I still see them as connected characters in my mind.

R: I think I can even see some of that with even the way Callum is with Rayla, like season five onwards, of like “I’ve hit my turning point, I’m not mad at you anymore, and you can steal my key, you can lie to me, and I’m not going to have you open up to me out of guilt or obligation, I want you to tell me what’s going on when you want to tell me what’s going on, and I’m going to give you the space for that.” So I think it speaks to that unconditional love that I think—

A: Yeah.

R: —a lot of the characters are blessed to have. But I do see the Terry Iroh connection. So another thing that I thought was really interesting was — obviously next season is dark magic, and I’m very hopeful that maybe we’ll learn more about the origins of dark magic or Elarion, even.

A: Great.

R: Because I know when I was watching Sol Regem burn down Katolis, it made me think of what might’ve either happened or almost happened to Elarion in the past, you know?

A: Yeah.

R: Even down to Ziard and Viren both die, kind of deflecting and trying to save people, with the same staff, you know, and how the cycle continues to just always repeat itself over and over again. And if there was like — yeah, cause burning down Katolis was a massive shakeup, you know?

A: Yup.

R: And what maybe the process was there, with the — Aaravos seems like he’s trying to repeat the cycle of like “Oh I’m going to take down the dragon monarchy or I’m gonna use that vacancy to my advantage, and mess with the Sunfire elves.”

A: He has a specific vendetta against Sol Regem, obviously, but it’s one where he has played it out in... What’s certainly meant to be implied, even though we’ll find out more later, is that one of the great mysteries of Sol Regem’s life is that his mate disappeared and he never found her. He’s the freaking Dragon King, and she disappeared. And though we don’t know how or what happened, while she was buried alive. He killed her. He didn’t even realize it, somehow. Somehow, Aaravos manipulated him into killing her, and he doesn’t — I dunno, I assume Sol Regem does understand when it must have happened, but that moment, it’s like an impossible — it’s meant to be just...

R: Awful.

A: He’s tortured him for 1000 years or whatever, without him knowing he was being tortured by Aaravos, and now he’s given him the mercy/cruelty of knowing the resolution to the mystery was that he killed her. And one of the things that worked well with that was that, we had sort of said Sol Regem can smell the truth from a lie, so he has the horrible curse of being able to know this is the deep dark truth. So I dunno, I think um, are we going to find out more about that? So, if we can eventually get the Book Three novel out [R laughs], we will find out more about that.

R: I did wonder, I was like “Maybe this is something that was gonna be in the book three novelization.”

A: Yes, we will find out more in the book three novel, it may be a year or so before unfortunately. And then I don’t think we’re gonna get too deep into that in season seven, that’s part of — it is involved in what we’re thinking about as the third arc, understanding and resolving the third arc, is gonna go a little deeper into...

R: Some of the history, yeah.

A: Some of the stuff that happened with Sol Regem. But yeah, no, I — it’s enjoyable to have these figures like Aaravos and Sol Regem who are ancient and operate over the course of centuries and are incredibly powerful, yet they can’t — or at least Aaravos, they can’t conflict directly as easily, and so Aaravos has played this really complicated game. Anyway, but yes Sol Regem is part of that, but there’s — there’s more, there’s more people who — beings that took from him. He feels that Leola was unfairly punished and that that was — you know, he sees a future and he has something... All this time, a burning — it’s the twisted form of his love, in which he’s full of hate right now to the beings who brought this about. Obviously, Sol Regem played a role because he’s a rules dragon.

R: Yeah, yeah.

A: He is the one who betrayed her to the Cosmic Council ultimately — but how do you punish the Cosmic Council? That’s a bit more complicated.

R: Yeah. No, I remember finishing season six and just being so impressed with the story. Like, taking that direction, and almost doing a lot of recontextualization, because it’s one thing to have like your worldbuilding where “magic in the story works like this” and it’s just very kind of like hand of God, you know? Like oh — cause the magic system has always been unfair, that’s why we have Callum, you know? It’s another thing to say we’re going to have characters in the story who are responsible for it being unfair. And now we’re just going to have that in terms of conflict and themes of destiny. We have about seven, ten-ish minutes left I think.

A: Probably seven, if that’s okay?

R: Yeah. Of course.

A: I’ll throw one other thing in there, which is that — cause characters experience things that change them: has Aaravos experienced — I’ll phrase it as a question, even though probably the answer is here, has Aaravos experienced much that has changed him in the last — since the death of Leola? I mean certainly some things, and is what’s happening now changing him in any way? Is it satisfaction, is it the relationship with Claudia, and what does that mean to someone? That’s a question that I think we’ll have to watch play out a little bit.

R: [Intrigued] Okay. Yeah. One thing that I really liked about Leola’s character was I felt like she had pieces of each of the main trio in her? Of this very helpful innocent well meaning child, kind of like Ezran — and I have also always seen Ezran as autistic as well cause I know that Leola canonically is — and then you also kind of have the whole oh she gave / helped humans have primal magic, which obviously Callum has. And even just being this young elven girl punished for her compassion and mercy, that felt a lot like Rayla. And when making the choice for Leola to be Leola, was that something intentional or like the choice for it to be a child rather than another loved one?

A: It was very intentional that it was a child... And we talked through other versions of Leola that could’ve been, in other ages, genders, relationships with Aaravos that an important person was lost. Some of the things I liked about the way, Leola both as a child, children are the cycle breakers.

R: Yes, yeah. I think it was the strongest choice.

A: And in particular also, the idea of coding her autistic was a little bit like not as cued to kind of accept the social order and the order of things, but actually more open in a way to in what some people see as like — something that’s broken which is not taking those cues, something else about that — not being bound by it that allowed her to have compassion that crossed the line in terms of the perceptions of what the Cosmic Order needed to be in it — but it made her more, both as a child and an autistic person, to make that choice and do what she did that changed everything.

R: Makes a lot of sense.

A: [Her being a child] also frames it with some innocence obviously right? It’s not calculated, it’s kind.

R: Yeah.

A: So I dunno.

R: Yeah. Yeah, I’ve been curious about how Ezran might be challenged now that Runaan is back in the picture.

A: That’s a great question. That’s a great question. I mean, it’s so weird, it’s like no one even asks that, it’s like “Cool,” Rayla’s like “I’m gonna go get him. Awesome! Runaan’s back.”

R: Yeah I’m like either — either Callum is like “Ezran will be totally fine with it,” and Ezran is probably not going to be fine with it, or maybe Callum knew that maybe it wouldn’t be great, and kept it under wraps. Yeah, I’m so excited for that like trio, potential broyals conflict, so...

A: Well, I mean, Ezran is a very special kid and he’s very positive and kind and forgiving and all of this. But we’re talking about, Runaan is back.

R: Castle’s destroyed.

A: Katolis is rubble. Where does that leave him?

R: Yeah.

A: You know? I mean — so I’m excited about that part of Ezran.

R: I know the fandom is really, really excited for Ezran to get to be — not that he hasn’t always been complex, but to get to be like messier, of letting his emotions maybe get the better of him and that sort of thing. So people are definitely hype for that, for — cause I feel like season six really brought home a lot of things for Soren, and it seems like season seven is going to do a similar thing for Ezran, so that’s — that’s really exciting. Um, with our final couple minutes, I wanted to see — do you have any questions that you want fans to ponder or to be thinking about?

A: Um... Gosh. I don’t think I have anything specific that we haven’t talked about, but you know. On some level, like, you know how do you take the tragedies and conflicts that we all inevitably face repetitively and relentlessly and kind of learn to move forward in hope and optimism? I think that’s more of a question of like how do you personally learn to process — all the kind of bullshit in the world, and process it, and still move forward as a kind, connected—

R: Measured person.

A: —hopeful person? That’s a challenge we all face in our lives, so that’s like...

R: Yeah. Well, I think the show does a good — really good job at asking and challenging that — that question. Uh, yeah, I think — I think that’s our time for today, uh. Thank you so much, this was...

A: It was my pleasure.

R: This was a lot of fun.

A: It’s always my pleasure reading your theories and your—

R: [Gasps] Oh my gosh.

A: Honestly, I came on today and to tell the truth [R laughs] a little bit intimidated.

R: Oh my God.

A: You’re so—

R: I also felt intimidated [laughing] so don’t worry.

A: You’re so insightful and articulate, that I almost am like [R laughs] what if they catch me that there’s something not as smart in the show as I thought it was?

R: Oh my gosh, no, you’re fine.

A: [Overlapping] So anyway, I really enjoy what you write—

R: [Overlapping] I’m also a writer so I know what it’s like to be like “I did this subconsciously,” it’s — yeah.

A: I love what you instigate in the fandom and the kind of conversations you support and engage in. I’m a huge fan of yours, so.

R: Oh! Thank you so much, that’s so sweet. Um. And I am a huge fan of yours.

A: Yay. That’s a great way to end a podcast.

R: That is a great way. Okay. Alright, well thank you so much, hope you have a great day, great week, uh, and — yeah. Okay.

A: Alright, and I’ll see you soon, we’ll do this again sometime, I hope.

R: Yes! Yeah. Okay.

A: Alright. Thanks again. Alright, bye.

#tdp #the dragon prince #podcast #cast and crew #wordswithdragons #aaron ehasz #transcripts #interviews #s6 #arc 2 #transcription

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rowanyx · 1 year ago

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There is something so deep about Laerryn's choice in the finale, and Brennan's phrasing of the decision to be made.

To clarify, this scene (copied and pasted from the CR wiki transcripts):

BRENNAN: On a 16, you must make a tough decision. Do you want to further limit the release of energy and make the release of energy safer for the physical environs of Avalir and Cathmoíra, or do you want to ensure that Rau'shan and Ka'Mort will be permanently banished from Exandria?

TRAVIS: Impossible.

AABRIA: Laerryn's little joke to herself was always that the Heart of Avalir was the thing she inherited, but it was too small. She made it bigger, she improved it. She improved the Etheric Net and built this and that she was the Heart of Avalir, and she gave everything to this city. But I know what people are fighting to protect and I remember what Quay said about going down with the ship. So we will ensure it. This will work. Avalir be damned.

or this timestamp of the episode (in case the link doesn't work for the timestamp, the first comment's list has it labelled Laerryn's Tough Decision):

youtube

As we were first introduced to her, Laerryn Coramar-Seelie is the Architect Arcane. As Aabria herself even put, her whole life, all her work, is about taking the city and making it better. Building more. Expansion is the name of the game. So when Brennan specifies that the limiting of energy output will save the physical environs rather than the people, that holds weight.

Just, in a mechanics aspect, there is the fact she is an Abjurer. The whole point of her magic is exactly this choice. To stop things from being destroyed. Her wards that take the damage so that she or others will not. She is not built to bring destruction, leave the fight to others. She will be there to soften the blows that come her allies' ways. She is the one one deciding this, and it feels right, because she's spent her studies dedicated to figuring out how she will prevent the destruction that comes her way.

But that isn't all.

Because any other hero, any other party member, every other soul faced with this question could so easily think that it is a useless decision. A city can be rebuilt, but only if the Betrayer Gods are stopped before they kill all the people that can do so.

But Laerryn, who has dedicated her years to this, the position of Architect Arcane, knows this city and her structures far more intimately. She has been there, step by step, as she forged them. Designed them. Watched over their construction. It is by her hand it was built.

Asking her, specifically, is asking her to choose between everything she's done, or let it all burn. Asking her to make this decision is asking her to decide her legacy. Will she live on as the maker of the land that survived such devastation, but not the people, or will she go down as the one who helped stop the Calamity?

Her choice boiled down to this: Limiting the energy, their work, the libraries and churches, the colleges, grand towers and hallowed halls, stone and mortar, it all can go on unshattered. Or, stopping the Betrayers, the people may continue on.

Was her work more important than the lives she was surrounded by?

Aabria mentions Laerryn was given the Heart of Avalir, jokes how she improved it. But the Heart of Avalir, while magical, is only an engine. It was made, and can be again. So in this moment, I think Laerryn maybe realizes that the true heart of a city comes from the people. Always thinking, thoughts speed by her, whether or not she ever had time to really process the revelations before her demise.

Evandrin is already gone due her hubris. Who else would she lose? Would it have felt like home, without Loqautious there by her side? Would it truly feel like her city, without Patia keeping up with her? What would she cause, without Nydas to hold her back? What is Avalir, without her Brass Ring?

Her assistant, probably still waiting for her, in their offices, and the choice of which will see tomorrow?

How many will feel the heat of Rau'shan's flames as they die? How many will fall to Ka'Mort's earth?

None, she decides. Her friends and neighbors, the kinsmen of her home, will not feel these pains.

I think it is also a moment that beautifully showcases her accepting her death. She will not be here to heal her city. She's going down with the ship. Maybe her blueprints will be found and used, and Avalir will be as it once was. Maybe they won't, and they'll construct it all anew. But she won't see it, so it is their turn to take what was given and build on.

Of course, Rau'shan and Ka'Mort were not the only assets of the Calamity, and damage and destruction was still wrought across Exandria. But there are enough hands to clear the ruins and make their own stories. And that is because of the greatest Architect of them all.

She gave them a chance indeed.

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soapiemomorphine · 2 years ago

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My Rottmnt Separated Au!// Masterpost

(*Dj Khalid voice *: Another one ) (scroll to bottom for links to other posts)

This one’s called:

How I Met Our Brothers

And it’s an au of my own inspired by all the greats, like @daedelweiss @dianagj-art @trubblegumm @red-rover-au and more! (Seriously go follow their blogs)

Mainly by @trubblegumm and by the feral Leo from @cupcakeslushie , and you’ll soon why

With out further ado;

DRUMROLL PLEASE DUN DUNNUNUUUUHHHHH

(Also dont worry ab my chicken scratch I have it all written down lol)

(Click for better quality lol)

Since my writing’s shit (lol) here’s the transcript for what I wrote: the character descriptions first, then the pluses from top to bottom

Donatello Hamato:

Raised by Splinter/Hamato Yoshi/Lou Jitsu in the sewers under Brooklyn

Started looking for his bros after his dad told him about them

Met April when he was 9 (she was 11)

He met Leo when they were both 11

Baron Michelangelo:

(I hc that Baron is a title, not a name; like Lord or Lady, so Mikey inherited Draxum’s title)

He’s been training to be a mystic warrior since he was born

Muninn (the one with a larger body and the underbite) wanted him to be named Angel, Huginn (the one with a larger head and overbite) wanted him to be Michael, so they compromised with the perfect name (don’t tell Draxum they saw it in a human pamphlet )

Raised by Draxum alone until he was seven

At 7 y/o he met Raph and ever since both Big Mama and Baron Draxum have joint custody over them

BM and BD raise them like a divorced couple, they alternate houses weekly and they celebrate each holiday twice, (Big Mama and Draxum only come together for their b-days)

Besties with Raph and Cass, (met Cass when he was 10, she was 13)

Rapheal Jitsu :

Training to be a mystic warrior since he was 9

Big Mama named him what she and Splinter would have named their first son; (he proposed to her, you can’t tell me that they didn’t talk ab baby names)

Big Mama was not the only secretive one in the relationship, she didn’t know what Splinter’s real last name was, (and as a gang leader she doesn’t use her name anymore) so yes, Jitsu is Raph’s legal last name

Met Mikey when he was 9 y/o

BM and BD raise them like a divorced couple, they alternate houses weekly and they celebrate each holiday twice, (Big Mama and Draxum only come together for their b-days)

Besties with Mike and Cass, (met Cass when he was 12, she was 13)

??????? —> Leonardo Hamato:

He grew up in the sewers in Staten Island, the one who brought him there was *REDACTED*

Staten Island is full on awful people, so nobody took him in, and he learned to fear people

Donnie found him, and named him Leonardo and gave him his birthday, making him 11

Other Info:

+ because Leonardo was hella malnourished as a growing young lad, Donnie ended up being the 2nd tallest by the time of the movie

+Splinter became more proactive in Donnie’s life ever since he lost sight of the other three brothers and became more proactive in his training when he met April because he’s more paranoid than he is in the show

+Don didn’t really care for Leo (he was comfortable as an only child and Leo changed his routine), until Leo got deathly sick and nearly died

+Big Mama and Draxum (somewhat) reformed only b/c Mikey and Raph would cry and throw tantrums (they won the moral argument slay) when they would talk ab their plans and beliefs (Draxum loves his children more that he hates humanity, and Big Mama finally learned how to love with Raph)

+Mama truly loved Splinter, but was insecure about him loving her as a Yokai (she had trust issues) and b/c her morals are hella skewed, it seemed like a great idea to keep him the only way she knew how, by putting him in Battle Nexus (and she makes bank with him there! In her mind it seemed like a win-win)

(Note: Big Mama’s and Splinter’s relationship will solely be as exes, because it would be hella unhealthy for Splints to trust her after she betrayed it like it. (They both lied to eachother during their relationship in this au) Their relationship in my comics and fanfics in this au will solely be as estranged exes, they will not be getting back together)

If this post gets like, at least 30 notes then ill post a comic on how Leo and Donnie met! (Edit: oh wow. U guys did it)

Lists of HIMOB Posts:

Disaster twins post

Sunset duo post

HIMOB Donnie meets the Canon Mad Dogs // Bonus Comic

Donnie and the Stranger: Part 1 // Part 2

The name Rapheal: Part 1 // Part 2

The Caretaker: Part 1 // TBC . . .

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jokeroutsubs · 4 months ago

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[ENG SUB] Bojan Cvjetićanin for the podcast To je moja muska ('This is my music')

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To je moja muska ('This is my music') is a podcast of the Val202 radio programme in which each guest provides the song selection, explaining their choices during the interview. The original interview was published on 1.07.2022 and can be found at this link.

Transcript and translation by drumbeat, proofread by a member of JokerOutSubs and X klamstrakur, subtitles by drumbeat.

The audio version of this interview is also available with Italian, French and Serbian subtitles. Translated respectively by @varianestoroff, X Yoda_Bor and IG marija_rocen.

Transcript below the cut 👇

To je moja muska. ('This is my music'.)

Host: Bojan Cvjetićanin, welcome to 'This is my music'! The show where the guests choose the music that has defined a particular time in their lives, or that they just like, or that is linked to an event in their lives. Can I try to guess what you've chosen? Usually my guests tell me upfront, but you didn't.

Bojan: You can try.

Videosex? As locals?¹ I just gave you an idea, didn't I, you'll change it. Then Elvis Costello and ABBA.

Bojan: ABBA is spot on.

Okay.

Bojan: ABBA is spot on.

To je moja muska.

How much has your taste in music changed over the years? Were you, I don't know, rebellious, did you belong to a subculture?

Bojan: It hasn't really, honestly, it hasn't changed, I've just been adding new artists to the repertoire, so to speak. But my taste hasn't changed.

Did you have any posters in your room?

Bojan: I had posters, and in fact I still have them, in my old room, all over the room, from Green Day.

How often do you go back to the old music, let's say very old music, and how much do you stay up to date with the contemporary and which one inspires you more?

Bojan: Now I don't know what you mean by old, but let's say 60's, 70's, okay. Yeah, I really like listening to music from that era. I would say it inspires me quite a lot, and if it doesn't, it's an influence for sure. Otherwise, I also really like new music, especially Slovenian. So my Slovenian selection will be very contemporary.

Tell me, what is your local selection?

Bojan: My local selection is 'Angeli' by MRFY.

Why?

Bojan: Because it's a song that I really like to put on at times when I'm not thinking about it, and then it pops into my head, like, 'Ah!' Spur of the moment, let's go! A great song.

Is there any rivalry between you?

Bojan: Absolutely. There's major rivalry between MRFY and Joker Out, which makes sense, because we're peers. But this is one healthy rivalry. I don't think either of us hates the other, except Štras² hates me, and I hate him back. (laughs) But no, I think we have a very healthy relationship.

To je moja muska.

You're not just a singer, you've got a few acting roles and event hostings under your belt. I've heard in one of your interviews, you said that you compared yourself to Val Fürst³ and realised that maybe you are not as talented, but still. How interested are you still in other artistic areas?

Bojan: I am very excited by and interested in acting. I know and understand that I am not a world class actor, but I feel that for these roles I've been cast in, I'm suitable and that I am good at what I do. At this point I feel that I don't want to stand on a theatre stage or go to AGRFT⁴ first and study for it. That is what I meant by Val Fürst being superior. Somehow I felt that Val really had it, that certain X factor, as far as acting is concerned. But yes, I am interested in acting.

Okay. Hosting?

Bojan: I like hosting. I found EMA incredibly stressful, incredibly enlightening, but I wouldn't do it again.⁵

What makes a frontman of a band, in your opinion? What are those traits, qualities?

Bojan: Yeah, a frontman just has to be very willing to share all of himself with everybody, that on stage he leaves nothing behind.

For example, Damiano David, Måneskin, who you also portrayed with Maja Keuc in the song 'Zitti e buoni'⁶, said that he learned this interaction with the audience on the street, where people don't show up to your concert, but you have to win their attention. How did you master it?

Bojan: I worked on graduation trips, as MC, so that was my job, to get the 500 graduates who were all very different, motivated to hang out, to have fun, to dance, to do all those sports activities or whatever. So I actually met a lot of different types of people and interacted with them and those things have just come in very handy for me now.

Second track?

Bojan: Track two I would say, because it was the first one that came into my head when you said that to me, 'The Winner Takes It All' by ABBA.

Any particular story behind it? Since when, I mean, when did you hear ABBA for the first time? Why do you still like it? How come it doesn't get on your nerves?

Bojan: ABBA is one of those artists, where whenever I'm listening to them, I feel really good. Usually in the morning, if I'm making eggs for breakfast, I put ABBA on and the day is better. So there aren't many, there's really no specific reason, but ABBA is a really feel-good band for me plus 'Mamma Mia' the movie, right. I don't know, people can hate, but if you watch it, and you don't feel good, there I really don't know what's wrong with you.

To je moja muska.

Let's talk a little bit about success, being recognisable, fame, do you feel it? Of course you do. Can you go somewhere without being recognised?

Bojan: Yes, I can go places where I'm not recognised, like EXIT.⁷ And even today, they…

At home, I mean.

Bojan: No, it's not ultra extreme though, but it's extreme enough, that it actually happens very rarely, that I go out and I don't take pictures or sign autographs or something.

Yeah, I was surprised at the 50th anniversary of Val 202⁸, that especially older ladies wanted to take a picture with you.

Bojan: Thank you for busting that myth, right, that only young girls listen to us. Because slightly older girls like to listen to us too, and the male companions as well.

One last thing, the third track.

Bojan: 'I Bet You Look Good on the Dance Floor' by Arctic Monkeys. Because I hope can transfer this song, or rather the energy of this song onto the stage today.

To je moja muska.

Notes:

¹Videosex were a Yugoslav synth-pop band formed in Ljubljana in 1982. The band was one of the most important groups in the Yugoslav synth-pop scene.

²Gregor Strasbergar, aka Štras, is a Slovenian musician, singer, guitarist and author for the Slovenian band MRFY, formed in 2013.

³Val Fürst is a Slovenian actor and musician who went to high school together with Bojan. Bojan talks about him in his interview.

⁴The AGRFT is the Academy of Theatre, Radio, Film and Television in Ljubljana.

⁵Evrovizijska Melodija (EMA) is the selection programme for Slovenia's representative in the Eurovision Song Contest. Bojan hosted its 26th edition, held from 5 to 19 February 2022.

⁶During the EMA 2022 final, Bojan and special guest Maja Keuc paid tribute to the reigning ESC champions, Maneskin, by performing their winning song, 'Zitti e Buoni'. The video can be found here.

⁷This interview was recorded before Joker Out performed for the first time at EXIT, a festival held annually in Novi Sad, Serbia.

⁸On June 16, 2022, radio station Val 202 celebrated its 50th anniversary by broadcasting 'Dan 202', a concert of Slovenian folk music live from Križanke, in which Bojan Cvjetićanin also participated. The concert is available in full here.

#joker out #bojan cvjetićanin #jokeroutsubs #Youtube

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nicofan57 · 6 months ago

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i wanted to talk about this clip so here’s my thoughts on it and the entire situation from yesterday (rest is under the cut)

(transcript:

minute: oh but why wemmbu, why, we- clown you and i were against him before, why-

clown: i didn’t like it either, okay, let me- you know why-

minute: ill tell you better- ill tell you better than anyone he’s just gonna use you and spit you out whenever it’s convenient. or whenever you’re no longer convenient for him. i know it better than anyone!

clown: i think we can handle wemmbu.

minute: he can't die!

clown: oh but he could drop- (?)

minute: he's just gonna sit tens of thousands of blocks out and wait for everyone to kill each other until he's the last one. i know this better than anyone! why didn't you talk to me?)

so first let’s dissect this clip. minute saying "i know this better than anyone" brings me back to kings s1 . they worked together to take down the other team that had the mythics and when wemmbu finally got a hold of the lifestealer (i can’t remember the exact details.. time for a rewatch) he threw minute out, saying there could only be one king. which sucks more when you think about at the start of the server, minute was open to teaming with wemmbu because he genuinely thought they were friends like he was not seeing that coming. someone warned him wemmbu is not trustworthy and he went “wemmbus my boy he wouldnt do that" (or something along those lines). and it’s like. well he did end up doing that. and minute realized he was being used all along.

fast forward to foundation when wemmbu literally said something along the lines of (again, sorry this might not be accurate) he’d team with minute because

- minute is powerful

- he has gear sets

- he would give him stuff

and most of all because he’s too kind for his own good. he wants peace even with his enemies, which we all know from the current arc right now. and wemmbu knows that all too well he knows he wouldnt refuse siding with him even considering their history on kings. anyway we all know how the abyss arc turned out for them with the orbital

so here is this clip i posted a while ago (linked here, because i cant put more than one video in a post apparently) where minute talks about how wemmbu's betrayed him a million times and how he says it hurts but he moves past it (this guy....) well clearly he’s not going to move past it now. because behind his back wemmbu has been working with zam, the person trying to break him mentally, and wemmbu’s stolen his position of power and is going to undo everything he’s worked towards. and the worst part about it is that he even convinced minutes teammates from day one to vote for him.

it’s pretty clear that wemmbu knows minute more and is able to get to him better than zam, he knows how to get into his head, he knows what actually fucks minute up, and no offense to zam because zam did end up winning… he achieved his goal by employing wemmbu! but i noticed minute isnt worried about zam that much anymore, or any of the players at all. it’s wemmbu because he knows what wemmbu can do and he knows how fucked up the server is going to be under his presidency. worst of all he knows what’s going to happen to his friends, he’s been in their shoes before, he knows they’re going to be left for dead when all is said and done, and even though they betrayed him and voted for wemmbu he still wants to save them because he knows it all too well (i think he also did say this). he still has some good left in him, even after the betrayal.

though the players are using wemmbu's presidency term to get what they want, it’s always going to end up being minute against wemmbu, it’s a cycle that ive noticed keeps repeating lately . thank you all forcoming to my ted talk

(p.s. i copied and pasted this from my twitter thread sorry if theres any weird formatting. or typos. or bad english pleabse be nice to me smiles)

#zam dont look #lifesteal spoilers #minutetech #wemmbu #tanya yaps #long post!!!! long post!!!!#my friends convinced me to put this here c:#lifesteal smp

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vampylily · 1 year ago

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Transcription of Fall Out Boy's interview with Rock Sound

Since I was going to read the article anyways, I thought I'd transcribe in case it'll be more accessible to read for others. The interview with Pete and Patrick goes in depth on the topics of tourdust, evolving as a band, So Much (For) Stardust, working with Neal Avron, and more.

Thank you to @nomaptomyowntreasure who kindly shared the photos of the article! Their post is linked here.

PDF link here. (more readable format & font size)

article in text below (and warning for long post.)

Rock Sound Issue #300

WHAT A TIME TO BE ALIVE

WITH THE TRIUMPHANT ‘SO MUCH (FOR) STARDUST’ CAPTURING A WHOLE NEW GENERATION OF FANS, FALL OUT BOY ARE RIDING HIGH, CELEBRATING THEIR PAST WHILE LOOKING TOWARDS A BRIGHT FUTURE. PETE WENTZ AND PATRICK STUMP REFLECT ON RECENT SUCCESSES AND THE LESSONS LEARNED FROM TWO DECADES OF WRITING AND PERFORMING TOGETHER.

WORDS: James Wilson-Taylor

PHOTOS: Elliott Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We've been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There's a new energy to it. There was something that I could hear live that I couldn't hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren't a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era.

PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there.

PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that's probably the one I would listen to. But I just never wanted it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally. I think that’s fucking awesome.

PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly.

One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do, I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this,’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion, because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band.

PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout the record where you got these little inklings of who the band really was. We really explored that on ‘From Under the Cork Tree’’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t playing on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the tour of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’. I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day. I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like, ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’ you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other…as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time had passed as people but the four of us got on better so we had more to bring to Neal.

PETE: It’s a little bit like when you return to your parents’ house for the holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy.

He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little bit scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From the Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and I want to keep shaping and changing.

Patrick: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from “Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it one such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And going that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had kind of written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day.

PETE: There's irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s almost no secret that the sound you became most known for in the md-2000s is having something of a commercial revival right now But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who also likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it.

PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing.

PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you realise that the fans over there are real fans of music It’s really awesome and pretty beautiful.

PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour…

PETE: This is why me and Patrick work so well together (laughs).

PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UL, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home.

Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen

#fall out boy #fob #tourdust #pete wentz #patrick stump #fob interview #so much for stardust #smfs era #your unemployed friend at 2pm on a monday:#anyways. hope this is helpful i loved the interview!

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darkestwolfx · 8 months ago

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TAG Transcripts | Masterpost

So, I'm making a start on organising all of my previous content and I'm starting with Transcripts!

And the reason I'm starting with these is because when I came back and was able to look at messages etc (as opposed to the late night reading I made fanfics) there were a lot asking about these with quite a few questions - so firstly, Q & A;

Where can the transcripts be found? They can now be found on this masterpost, but also back on my 2016 post!

Are all the episodes available? Series 1 is complete, Series 2 is mostly complete, Series 3 is unstarted

Will I finish them? Yes, if there is this level of interest of course I will, but episodes can take a while to transcribe so it may not be a quick process!

Do I make a profit? No. This is something I started doing as a fan, for fans as someone who's previously found issues with subtitles not appearing or being incorrect.

Can I download a copy? Yes, from my mediafire links in word or PDF format

Why can't the documents be edited, copy & pasted? The documents are password protected, yes, because a lot of work goes into them and if they're going to be re-distributed I would appreciate the credit or an update of where they're being shared, so no they cannot be directly copied and pasted

Feel free to reblog and share though, Thunderfam, as these were made for you to enjoy!

And before there are questions as to where the link can be found on this masterpost, let's put that here!

Above is the link for the TAG transcripts (I have TOS completed but will post this separately).

What can be found here at the moment:

Series 1

in Word & PDF format

25 files per folder

All episodes completed - Ring of Fire is in one combined set

Series 2

in Word & PDF format

Available episodes - 17; Earthbreaker (1) City Under the Sea (4) Colony (5) Up from the Depths I (6) - will be added shortly (amending pieces) Up from the Depths II (7) Volcano (14) Power Play (15) Bolt from the Blue (16) Attack of the Reptiles (17) Grandma Tourismo (18) Clean Sweap (19) The Man from TB5 (20) Home on the Ranch (21) Long Haul (22) Rigged for Disaster (23) Inferno (24) Hyerspeed (25) Brains vs Brawn (26)

I will aim to finish the episodes outstanding here and then start on Series 3, but this will be amongst all my other work but I will do my best to get there!

Okay, I think this is the part of the post where you can cheer for joy :)

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cardentist · 1 year ago

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well ! I'm making this post to make a point.

for context, I made this post [Link] earlier, wherein I spoke first about my frustrations with cis people not considering the trans perspective, and Second about my frustrations with me doing so immediately being framed as an attack on trans women specifically Because my frustrations were tied to me being a trans man.

(I do Also consider myself trans fem, but that wasn't particularly relevant to the original post, so I didn't mention it at the time).

this was then followed by an interaction in dms wherein the quiet part was spoken out loud.

1: that trans men Are Not equal to trans women, and that it is taken as an attack on trans women to present them as such (it is not).

2: that the idea that any individual trans man could face harm within the trans community from any other individual is, itself, transmisogynistic because it implies that trans women are capable of oppressing trans men (it does not).

3: that it is Impossible for any individual trans woman to ever speak over any individual trans man, because trans women are women and trans men are men (it is not).

4: that trans women possess some Secret Additional Layer of oppression that no trans man could ever match up to no matter what their individual experiences are, even when that trans man is Also a trans woman (they do not).

5: and by extension, that every single individual trans woman has it worse than every individual trans man in every situation (theoretical or real) no matter what, thus making anything that a trans man experiences Lesser Than by default (do I even need to say anything).

I am going to put the entire conversation (censored) under readmore, but I need it to be understood that This Is Not Hyperbole.

when I say that trans men are singled out and attacked for the simple act of having a voice This Is What I Mean. it is considered by some people to be Inherently Transgressive, Inherently Bigoted, for trans men to consider themselves equals. for trans men to consider their experiences equal.

and so, it is Assumed by Default that a trans man speaking on his own experiences is harmful to trans women Regardless of whether trans women are being spoken on or not.

not everyone thinks this way of course (and the people who Do think this way aren't dictated by gender, this isn't trans mascs vs trans fems this is about bigotry, which anyone is capable of)

but a Significant Enough proportion of people Do, and people don't recognize or realize this fact.

if you feel that I am being hyperbolic, if you've never been exposed to this way of thinking before, if you find yourself Agreeing with any of the points I have listed above, I do suggest reading through this conversation and the posts linked to it.

content warning for a brief non-graphic mention of rape/csa within the linked posts and this conversation.

Me: I know odds are you don't want to hear it, and that's fine you can ignore this message entirely if you'd like. but I Do think you'd better understand what my perspective is if you were to read my response

I do think I Understand where your perspective is coming from, and I get it on an emotional level. but there's a disconnect here where intent is assumed when it doesn't need to be [Screenshot of tags written by anonymous that reads: transandbros (transandrophobia + bros) they think that they can’t be the most privileged in a group because they think trans women have privilege over them. End Transcription]

I am trans masc yes, I am also trans fem, and I don't enjoy assumptions like this being made about me.

Anonymous: i said trans women as in TMA [transmisogyny affected] people. not transmasc or tranfem which can be used by tme [transmisogyny exempt] and tma [transmisogyny affected] trans people

Me: like I said in my response, I want to go on testosterone, physically transition, and then present femininely. I want things like an audibly deep voice, facial hair, a square jaw. I also want to keep my breasts, I want long hair and feminine features, I want to dress femininely and be read as a feminine And masculine person

I also live in mississippi.

now do you think that if I do that I will walk outside and never ever experience transmisogyny.

Anonymous: also trans men oppress trans women and benefit from transmisogyny. i say this as someone who benefits from transmisogyny as well. i oppress trans women. i experience misdirected transmisogyny as someone w [with] facial hair and a low voice and long hair and tites. And when people in and out of my community learn about my gender and transition, much of tht [the] MISDIRECTED transmisogyny disapears[disappears]. my experience is better in certain situations than it would be for a similar trans women. if tht [that] is a statement you cannot aggree [agree] with than [then] there is nothing to discuss here

there is no way for a trans women to speak over a trans women [I think they meant trans men?] if they are otherwise on [a] similar playing field (white, abled, class, religion etc) thats not what speaking over means. thats like cis men thinking cis women are dominating the conversation when they make up even 30% of the conversation

Me: the post I was responding to was written by a cis person, I asked people to consider the trans experience and spoke about how it was frustrating that people Don't do that. /I/ was the trans person speaking to a cis person, and then it was decided after the fact that I was somehow stepping on trans women's toes by doing so.

Anonymous: okay great. shouldve kept that context than maybe you wouldnt have also revealed u [you] think trans women can oppress trans men

Me: this is why I suggested you read my response, because I don't believe that and I also explained explicitly why I didn't include the username of the original poster (though part of it, of course, is that I didn't want anyone to harass the op)

Anonymous: i did read ur [your] response thats how i know you think trans women oppress trans men as equally as trans men oppress trans women

Me: that's not really how oppression works? I believe that trans people are able to Hurt Each Other, because all people as individuals are capable of harming each other as individuals. this is not the same thing as oppression, oppression is a systemic power structure that puts one group above another.

what I've said is that I believe trans people are equals, and you think this is a bad thing?

I didn't even say that trans people are equals In The World As A Whole (though I do believe that), I said they're equals Specifically Within The Trans Community made by and for trans people.

Anonymous: and i wholeheartedly disagree with that! its incredibly clear as a tme [transmisogyny exempt] trans butch lesbian in community with trans women, its incredibly easy to see how tme [transmisogyny exempt] people are privileged over tma [transmisogyny affected] people

including in lgbt and trans specific spaces!!!

Me: so your point is that from Your perspective you have seen the way that people within queer and trans spaces have made you feel othered and hurt people for being trans fem.

my point is that This Is True, I have seen this as well. but I have Also seen people take that exact same energy and point it at other trans people. I have personally been othered and torn down both for being trans masc And for being nonbinary at different points in time.

I am telling you that you are right, but that people need to be more open to other people's perspectives to get a clearer picture on the over all situation.

because when we look at Everyone is saying, the truth seems to be that All trans people are torn down for who they are.

why is that a bad thing? what does it hurt to consider that I have also experienced something similar to you?

I Really hope that your point isn't that I am privileged compared to other trans fems after I spoke in depth about being raped by a man and how that's affected me for the rest of my life

Anonymous: no im litterally [literally] saying that amab trans fems and trans women experience another layer of oppression from afab trans people. i litterally [literally] told you i am also an afab transmasc person. why do you transandrophobia truthers litterally [literally] always jump to trauma dumping ! if you want to put it in those terms, you are privileged in comparison to amab transpeople who actually have higher rates of sexual abuse and rape. you are not more privileged than cis people who experience lower rates rape and sexual abuse.

and fuck u for reading me call myself a butch lesbian and calling me transfem so it suits ur argument

Me: 1: I'm sorry I called you trans fem when that isn't how you identify, I thought you'd explained to me that you were tme trans fem like you consider me to be. we're both upset and this isn't really the best medium to hold a conversation with, so it's easy to word things in a way that can be misinterpreted as well as misinterpret things that would be clearer if you had more time to sit on and absorb the information.

I didn't mean to hurt your feelings, but I am frustrated with you continuously jumping to the most negative reading of my intentions possible.

to rephrase my point:

"so your point is that from Your perspective you have seen the way that people within queer and trans spaces have othered and hurt people for being trans fem."

followed by the rest of it

2: that's not actually true, there are a few studies that have found that trans mascs over all face similar (and at points higher) rates of sexual abuse to trans women.

(this is a link to a tumblr post, but that tumblr post is a link to a study, I've included This link because it has easily accessible pictures of the relevant graphs).

though coincidentally I've recently made a post that relevant to this exact topic

the point I made there (and the point I'm going to make here) is that saying "This minority group experiences This Thing less than That minority group" isn't useful when speaking to individuals because those individuals have still experienced trauma.

individual people Are Not every statistic about their minority group, and they cannot have their Experienced compared based on those statistics

because Experiences are not dictated by statics. and treating people as if their experiences don't matter because their experiences don't match the statistics is cruel.

the other point being, of course, that using studies like this to try to hard measure the Amount Of Oppression between different minority groups is silly.

these are self reported with relatively small sample sizes of specific locations at a specific time. they're Important to prove that there is a problem, but there has never and will never be a measure of the experiences of every trans man vs every trans woman that we can then calculate and compare.

I'm sure there Are some statistics out there that show trans women with a marginal increase of sexual abuse compared to trans men, just like there are some statistics out there that show the opposite.

what this tells us is not that one group Inherently has it worse than the other, it tells us that trans people experience sexual assault, and that's a problem that needs to be addressed.

3: I find it incredibly distasteful to insist over and over again that someone is not oppressed, that they are privileged, that they haven't been hurt in a meaningful way. and Then refer to them speaking about their lived experiences as "trauma dumping"

if you can't handle frank discussions on the trauma and oppression that trans people experience on a day to day basis then you really shouldn't be commenting on that trauma.

[End conversation]

screenshots of the full conversation can be found here: [Link] I would've made a video to fully prove that these aren't doctored, but I don't want to out the person I was speaking to. they don't deserve harassment

#discourse #transandrophobia #lateral aggression #trans unity #why do I reach out to people when I know there's a possibility of getting responses like this?#because sometimes people aren't malicious and can be reached #and that's true often enough to I still choose to engage with people from time to time #also I'm green because luigi colors and anonymous is red because you can't have luigi colors without mario colors #granted mario would not say this

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thatsonemorbidcorvid · 2 years ago

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“Freedom of Speech”, Chimamanda Ngozi Adichie’s Reith Lecture, 2022

Full transcript, with a link to watch at the end of the post.

“It’s a bit disturbing to have people be forced to clap for me. And I’m sorry. Thank you all for being here. I’m really happy to be here and I’m happy that you’re here.

It is a privilege for me to be here today to join in the distinguished tradition of the BBC Reith Lectures. When I was growing up in the 1980s on the campus of the University of Nigeria in Nsukka, I was a very curious child keen to hear every story, especially those that were no business of mine. And so, as a result, I sharpened very early on in life the skill of eavesdropping, a pastime at which I am still quite adept.

I noticed that each time my parents’ friends visited, they would sit in the living room talking loudly, except for when they criticised the military government. Then, they spoke in whispers. That whispering, apart from testing my eavesdropping capabilities, was striking. Why speak in such hushed tones when in the privacy of our living room, drinking brandy, no less? Well, because they were so attuned to a punitive authoritarian government that they instinctively lowered their voices, saying words they dared not say in public.

We would not expect this whispering in a democracy. Freedom of expression is after all, the bedrock of open societies. But there are many people in Western democracies today who will not speak loudly about issues they care about because they are afraid of what I will call, “social censure,” vicious retaliation, not from the government, but from other citizens.

An American student once accosted me at a book reading. “Why,” she asked angrily, “Had I said something in an interview?” I told her that what I had said was the truth, and she agreed that it was and then asked, “But why should we see it, even if it’s true?” At first, I was astonished at the absurdity of the question, then I realised what she meant. It didn’t matter what I actually believed. I should not have said it because it did not align with my political tribe. I had desecrated the prevailing orthodoxy. It was like being accused of blasphemy in a religion that is not yours. That young woman’s question, “Why should we say it, even if it’s true?” illustrates what the writer Ayad Akhtar has called a moral stridency, “a fierce, perhaps even punitive adherence to the collectively-sanctioned attitudes and behaviours of this era.”

To that, I would add, that this moral stridency is in fact, always punitive. We now live in broad settled ideological tribes. We no longer need to have real discussions because our positions are already assumed, based on our tribal affiliation. Our tribes demand from us a devotion to orthodoxy and they abide not reason, but faith. Many young people are growing up in this cauldron afraid to ask questions for fear of asking the wrong questions. And so, they practise an exquisite kind of self-censorship. Even if they believe something to be true or important, they do not say so because they should not say so.

One cannot help but wonder in this epidemic of self-censorship, what are we losing and what have we lost? We are all familiar with stories of people who have said or written something and then, faced a terrible online backlash. There is a difference between valid criticism, which should be part of free expression, and this kind of backlash, ugly personal insults, putting addresses of homes and children’s schools online, trying to make people lose their jobs.

To anyone who thinks, “Well, some people who have said terrible things, deserve it,” no. Nobody deserves it. It is unconscionable barbarism. It is a virtual vigilante action whose aim is not just to silence the person who has spoken but to create a vengeful atmosphere that deters others from speaking. There is something honest about an authoritarianism that recognises itself to be what it is. Such a system is easier to challenge because the battle lines are clear. But this new social censure demands consensus while being wilfully blind to its own tyranny. I think it portends the death of curiosity, the death of learning and the death of creativity.

No human endeavour requires freedom as much as creativity does. To create, one needs a kind of formless roving of the mind, to go nowhere and anywhere and everywhere. It is from that swell that art emerges. The German writer, Gunter Grass, once reflected on his writing process with these words: “The barriers fell, language surged forward, memory, imagination, the pleasure of invention.” As a writer, I recognised this intimately. As a reader, I have often felt the magic of literature, that sudden internal shiver while reading a novel, that glorious shock of mutuality, a sense of wonder that a stranger’s words could make me feel less alone in the world.

Literature shows us who we are, takes us into history, tells us not just what happened but how it felt and teaches us, as an American Professor once put it, about things that are “not googleable.” Books shape our understanding of the world. We speak of “Dickensian London.” We look to great African writers like Aidoo and Ngugi to understand the continent and we read Balzac for the subtleties of post-Napoleonic France.

Literature deeply matters and I believe literature is in peril because of social censure. If nothing changes, the next generation will read us and wonder, how did they manage to stop being human? How were they so lacking in contradiction and complexity? How did they banish all their shadows?

On a calm morning in New York this August, Salman Rushdie was attacked while just about to speak, ironically, on the freedom of speech. Imagine the brutal, barbaric intimacy of a stranger standing inches from you and forcefully plunging a knife into your face and your neck multiple times, because you wrote a book. I decided to re- read Rushdie’s books, not only as an act of defiant support but as a ritualized reminder that physical violence in response to literature can never, ever be justified.

Rushdie was attacked because in 1989, after his novel, The Satanic Verses was published, the Iranian regime declared it offensive and condemned not just Rushdie but all his publishers, to death. Horrors, of course, then followed: His Italian translator was stabbed, his Norwegian publisher was shot, and his Japanese translator, Hitoshi Igarashi, was murdered in Tokyo. Here is a question I’ve been thinking about: would Rushdie’s novel be published today? Probably not. Would it even be written? Possibly not.

There are writers like Rushdie who want to write novels about sensitive subjects, but are held back by the specter of social censure. Publishers are wary of committing secular blasphemy. Literature is increasingly viewed through ideological rather than artistic lenses. Nothing demonstrates this better than the recent phenomenon of “sensitivity readers” in the world of publishing, people whose job it is to cleanse unpublished manuscripts of potentially offensive words.

This, in my mind, negates the very idea of literature. We cannot tell stories that are only light when life itself is light and darkness. Literature is about how we are great and flawed. It is about what H. G. Wells has called ‘the jolly coarseness of life.’ To that I would add that just coarseness alone will do, it need not be jolly.

While I insist that violence is never an acceptable response to speech, I do not deny the power of words to wound. Words can break the human spirit. Some of the deepest pain I have experienced in my life have come from words that somebody said or wrote, and some of the most beautiful gifts I have received have also been words. It is precisely because of this power of words that freedom of speech matters.

‘Freedom of speech.’ Even the expression itself has sadly taken on a partisan tribal tint. It is often framed, and I will put it crudely, as “say whatever you want” versus, “consider the feelings of others.” This, though, is too stark a dichotomy.

I cannot keep count of all the books that have offended me, infuriated me, disgusted me, but I would never argue that they not be published. When I read something scientifically false, such as that drinking urine cures cancer, or something gratuitously hurtful to human dignity, such as that gay people should be imprisoned for being gay, I desperately long to banish such ideas from the world. Yet I resist advocating censorship. I take this position as much for reasons of principle as for practicality.

I believe deeply in the principle of free expression, and I believe this particularly because I am a writer and a reader, and because literature is my great love and because I have been formed and inspired and consoled by books. Had any of those books been censored, I would perhaps today be lost.

My practical reason, we could also call it my selfish reason, is that I fear the weapon I advocate to be used against someone else might one day be used against me. What today is considered benign could very well become offensive tomorrow, because the suppression of speech is not so much about the speech itself, as it is the person who censors. American high school boards are today engaged in a frenzy of book banning, and the process seems arbitrary. Books that have been used in school curriculums for years with no complaints have suddenly been banned in some states, and I understand that one of my novels is in this august group.

I confess that there are some books I would fantasize about banning. Books that deny the Holocaust or the Armenian genocide, for example, because I detest the denial of history. But what if someone else’s fantasy was to ban a book about the Deir Yassin massacre of Palestinians by Zionists in 1948? Or a book about the Igbo coalminers massacred in Nigeria by the British colonial government in 1949? Above principle and pragmatism, however, is the reality that censorship very often does not achieve its objective. My first instinct, on learning that a book has been banned, is to seek it out and read it.

And so, I would say, do not ban them, answer them. In this age of mounting disinformation all over the world, when it is easy to dress up a lie so nicely that it starts to take on the glow of truth, the solution is not to hide the lie but to expose it, and scrub from it, its false glow. When we censor the purveyors of bad ideas, we risk making them martyrs, and the battle with a martyr can never be won.

I read newspapers from both sides of the political spectrum. I am, by the way, still puzzled that newspapers, ostensible bastions of objectivity, are politically differentiated. And I often say when I am feeling a little sanctimonious, that I am interested in the ideas of people who disagree with me because I believe that it is good to hear different sides of an issue. But the truth is that I am interested in their ideas because I want to understand them properly and therefore be better able to demolish them.

I believe that the answer to bad speech is more speech, and I recognize how simplistic, even flippant, that can sound. This is not to suggest that one should be allowed to say absolutely anything at any time, which to me is a juvenile position, for being fantastical and detached from reality. Free speech absolutism would be appropriate only for a theoretical world inhabited by animated ideas rather than humans.

Some speech restrictions are necessary in a civilized world. After the Second World War, when countries gathered to draft the Universal Declaration of Human Rights, most agreed that “incitement to violence,” should be punished, but the Soviet Bloc wanted to add “incitement to hatred,” citing the Nazis as an example, which on the surface was reasonable. But their opponents suspected, rightly, that “incitement to hatred,” would end up being interpreted so widely as to include any criticism of the government.

This raises the question: who decides just how narrow and how clear restrictions should be? The nineteenth century English philosopher, John Stuart Mill, wrote that all silencing of discussion is an assumption of infallibility, and with all due respect to the Pope, nobody is infallible. So, who decides what should be silenced?

Mahatma Gandhi, after he was arrested for sedition, wrote: “Affection cannot be manufactured or regulated by law. If one has no affection for a person or system, one should be free to give the fullest expression to his disaffection, so long as he does not contemplate, promote or incite to violence.”

Most people would agree. But what about speech that does not directly incite violence but has nevertheless led to deaths by suicide, as has happened with people is so harangued on social media, so insulted and abused, that they take their own lives? I, by the way, use the word ‘violence,’ assuming that its meaning is self-evident. But is it really? For what is to be said of the idea prevalent today that speech does not merely incite violence – the kind of physical act as suffered by Salman Rushdie – but that speech itself IS violence?

The expression, ‘the answer to bad speech is more speech,’ in its beguiling simplicity, also fails to consider a central motif, which is power. Who has access? Who is in a position to answer bad speech with more speech? In arguing for the freedom of speech, one must consider all the limitations placed by unequal power relations, such as a mainstream press owned by fewer and fewer wealthy people, which naturally excludes multiple voices.

Even the definition of speech can be limiting, such as when the US Supreme Court decided, in the case of Citizens United, that money is speech. All those not wealthy cannot then ‘answer back,’ as it were. Most of all, the Social Media companies, with their mystical algorithms and their lack of transparency, exert enormous control on who can speak and who cannot, by suspending and censoring their users, something that has been called ‘moderation without representation.’

Yes, these companies are private but considering the outsize influence they have in modern society, they really should be treated more like a public utility. There are those who think that, because of these sorts of power limitations, we should robustly censor speech in order to create tolerance. A well-intentioned idea, no doubt. But as the Danish lawyer, Jacob Mchangama, has argued: “To impose silence and call it tolerance does not make it so. Real tolerance requires understanding. Understanding comes from listening. Listening presupposes speech.”

For all the nobility in the idea of censorship for the sake of tolerance, it is also a kind of capitulation, an acceptance that the wounded cannot fight back. When an anti-black poster was once displayed on the campus of Arizona State University, the university chose not to expel the perpetrators. Instead, a forum was organized, the poster discussed, and an overwhelming majority of students expressed their disapproval. One of the black students who organized this said, “When you get a chance to swing at racism, and you do, you feel more confident about doing it the next time.”

A troubling assumption underlying the idea of censorship for the sake of tolerance is that good people don’t need free speech, as they cannot possibly want to say anything hurtful to anyone. Free speech is therefore for the bad people who want it as a cover to say bad things. The culture of social censure today has, at its center, a kind of puritanism that expects us to be free of all flaws, like angels, and angels do not need free speech.

Of course, we all need free speech. Free speech is indeed a tool of the powerful, but it is also crucially the language of the powerless. The courageous protests by Iranian women, the ENDSARS protest in Nigeria, where young people rallied against police brutality, the Arab Spring: all wielded speech. Dissent is impossible without the freedom of speech.

The biggest threat to speech today is not legal or political, but social. This is not a new idea, even if its present manifestation is modern. That famed chronicler of American life, Alexis de Tocqueville, believed that the greatest dangers to liberty were not legal or political, but social. And when John Stuart Mill warned against the “tyranny of the prevailing opinion and feeling,” it reads as though he foresaw the threat that orthodoxy poses today. The solution to this threat can only be collective action. Social censure creates not just a climate of fear but also a reluctance to acknowledge this fear. It is only human to fear a mob, but I would fear less if I knew my neighbor would not stay silent were I to be pilloried. We fear the mob but the mob is us.

I want to make a case today for moral courage, for each of us to stand for freedom of speech, to refuse to participate in unjustified censorship, and to make much wider, the boundaries of what can be said. We must start again to assume good faith. In public discourse today, the assumption of good faith is dead and speech is by default interpreted in the most uncharitable way. Yes, some people are not of good faith which, I suppose, is what that modern word “troll” means, but we cannot, because some people do not act in good faith, then decide that the principle of good faith itself is dead. It is instructive to be reminded of American President James Madison’s words: “some degree of abuse is inseparable from the proper use of everything.”

We must start again to make our case, respectfully and factually. We must agree that neither sanctimonious condescension on the left nor mean-spirited hectoring on the right qualify as political arguments. We must insist not only on truth but also nuance. An argument for any social justice movement, for example, is stronger and more confident when it is nuanced because it does not feel the need to simplify in order to convince.

We must hear every side and not only the loudest side. While social media has re-shaped the traditional power dynamic by giving some access to the powerless, it has also made it easy to mistake the loudest voices for the truest. We must protect the values of disagreement, and agree that there is value in disagreement. And we must support the principle of free expression when it does not appeal to our own agenda, difficult as that may be, and I find it particularly so.

We must wean ourselves of the addiction to comfort. When I first left Nigeria to attend university in the US, I quickly realized that in public conversations about America’s difficult problems – like income inequality and race – the goal was not truth, the goal was to keep everyone comfortable. And so, people pretended not to see what they saw, things were left unsaid, questions unasked, and ignorance festered. This unwillingness to accept the discomfort that honesty can bring is in its own way a suppression of speech. Some Americans argue, for example, that students today should not be taught about the racist Jim Crow laws of the 1950s, because it will make them uncomfortable. And so, they prefer the disservice to young people of making them ignorant of their own history.

We must stop assuming that everyone knows, or should know, everything. I was once struck by how quickly an American journalist was fired from her job for saying something racist. Little was made public about exactly what it was she had said, and this not only gave a certain unearned power to her words, but also darkly suggested that perhaps they contained an element of truth. The public was also cheated of its right to hear, and perhaps, potentially learn. What was said? Why was saying it wrong? What should have been said instead?

We must demand that people behave on social media only as they would in real life, and we must also demand reasonable social media reforms such as the removal of anonymity, or linking advertising only to accounts with real names, which would provide an incentive to promote voices of actual people and not amoral bots.

What if each of us, but particularly those with voices, gatekeepers, opinion shapers, political and cultural leaders, editors, social media influencers, across the political spectrum, were to agree on these ideas as broad rules to follow? A coalition of the reasonable would automatically moderate extreme speech. Is it naïve? Perhaps. But a considered embrace of naivety can be the beginning of change. The internet was after all designed to create a utopia of human connection. A naïve idea if ever there was one, but it still brought about the most significant change in how human beings communicate.

Sometimes it takes a crisis for a naïve idea to become realistic. President Roosevelt’s New Deal itself was based on ideas that went against the prevailing consensus of the time and were generally considered naïve and impossible. But when crisis came in the form of the Great Depression, it suddenly became possible.

Social censure is our crisis today. George Orwell wrote that, “If large numbers of people are interested in freedom of speech, there will be freedom of speech, even if the law forbids it.” To that I would add: We can protect our future. We just need moral courage.

Thank you.”

#too good not to share in its entirely #*entirety #I’ll be posting individual quotes tomorrow I think

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opinated-user · 11 months ago

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[important poll by the end! don't miss it!]

totally real "anon": i can't believe that Brittany Gallade would go to such extremes as saying this thing happened! LO: that thing actually did happen, but i decided it actually means something else and MO is totally okay with that. alright, LO. since you think nobody can trust on the judgement i had through my own two ears, let's have people deciding what do they think, shall we? the video that is being referenced here is this one: https://www.youtube.com/watch?v=fP2d9aMlZA0 you can first, don't actually click the link. download it on your own devices using the links on my pinned post and then watch it. comfortably ignore everything on it for this ocassion and go straight to the section "Mikaila's Abusive Ex" at the mark 1:17:02. the relevant portion we're talking about happens at 1:21: 51. transcript for those who need it: MO: "it was emotional, physical abuse, eh... and which i didn't realise at the time, there was sexual abuse because she'd actually always be the one to uh initiate sex for me. she was always like, whenever we were alone, she'd just put the moods on, she'd like literally grab between my legs, it's like... i'm, i'm not in the mood. and then she'd just like keep grab me like well, and i'm just using, um, i'm using her exact words, these are not correct, these are not my pronouns, she was like well [s]he's in the mood, it's like *hissing* oof, just... give me a sec... LO *groaning* oh god... MO: "yeah uh... um... so, she'd always pressure me into sex, it was not right and, and it was always only over when she finishes and she always finish first, so... i didn't even get to... LO *wheezing and laughing* KP *small laugh* MO:"... yeah... " LO: "god... you were dating a straight guy!" MO: "yeah... and it's gets even worse because she tried to trap me with a baby. " and since we're all on the same page, let's make a pool for people to decide if MO was just joking around and LO was totally not inappropiat or what!

let's hear it from everyone else.

#lily orchard #lily and mikaila orchard

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thefirstknife · 1 year ago

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Lightfall quest is also really good. Seems to be something that will go on for a bit, I think, since the point was to get Golden Age files and we heard only one file. Osiris said there's more but that he needs time to decrypt them.

Files are Chioma Esi's logs! She is a voiced character now! Massive win for the lesbians. Osiris also directly mentions her having a wife, just in case there are people who wanted to be in denial until now.

But before that, really interesting dialogue between Nimbus and Osiris towards the end of the quest. I'll transcribe it and add a link to the video later when it gets uploaded by Destiny Lore Vault:

Nimbus: You know, ever since we defeated Calus, I've been wondering a lot more about the Veil. I think... I think we take it for granted. It's always been here. We always assumed that the Ishtar Collective brought it with them on the Exodus ship, but... Osiris: But now you question that assumption. Nimbus: Nezarec seemed to know something, didn't he? When we were inside the Vex network, he said something about... Savathun. Osiris: My memories cast shadows of Savathun's. Echoes of the time she and I were bound by her dark magic. The more time we spend here, the clearer the outline of those shadows become. The Ishtar Collective didn't bring the Veil here, Nimbus. Savathun stole it from the Witness and left it here... quite possibly for the Ishtar Collective to find. Nimbus: Why? Why would she do that? Isn't she our enemy? Osiris: She is. And yet, at times, she is our ally... when it is convenient to her, and in that convenience, we find common ground. Or as a friend once said, the line between Light and Dark... is very thin. Nimbus: [grunts] I kinda hate that. Osiris: As do I.

That's really good information and an interesting angle to understand the Veil situation better. First, Neomuni clearly don't even know how the Veil got there. They either assumed (as Nimbus said) that it was brought by the founders or perhaps the founders told everyone they did so, to keep the situation in control. It's easier to build a civilisation on this power if you tell people you brought that power here, rather than telling them that an alien entity placed it there during the time when alien entities were destroying the solar system.

But outside of that, ever since that time, people took it for granted, as Nimbus put it. They didn't really question it or wonder about it. The Veil is there, it's powering Neomuna, it was brought by the founders to make the civilisation, that's it. There's nothing really to wonder about for the average citizen. Not to say that they don't care about it, but they don't view it as something that has to be explained or pondered. As I've said before, the Veil to the Neomuni is a power source. They're not into it because of strange paracausal powers or whatever the hell is going on with it and the Witness. It's nice to see that reading was the intended one; to Neomuni, the Veil is a power source and one that is taken for granted aka isn't being actively researched. Meaning, they can't answer our questions about what the Veil is.

And now transcript of Chioma's first log (very VERY likely that more will be coming throughout the season, maybe on a weekly basis? They wouldn't voice her for one message is my main assurance). The log is accessed in the big room overlooking the Veil:

The log transcript (link):

Chioma Esi, personal log: incidental. Maya arrived yesterday with the Exodus Indigo. I should be relieved, but... in light of the current situation, I... I don't feel much of anything. We're presently en route from Hyperion to the terraformed surface of Neptune. I'm scared. I'm so scared! We don't even know what we've lost. Comms are dead. It's just silence everywhere. We might be all that's left. Maya was right about everything. The cult, the end... how we'll survive. [sighs] I hate this.

Some interesting points right away! Hyperion has been long established as a place where Chioma Esi was working. This is also giving us the Exodus Indigo route: Maya was on the colony ship which made a stop at Hyperion to pick up Chioma (and possibly other people). Shortly after they left Hyperion, the events of Winterbite lore happened where the colony ship was attacked by an unknown entity which left Winterbite in the hull.

Another neat point is that Chioma mentioned that a part of Neptune's surface was already terraformed. This gives us some crucial details; Exodus Indigo was going to Neptune on purpose and didn't just have to land there as an emergency escape. Going there was deliberate which also makes sense given that previously an ECHO ship crashed on Neptune. This makes it's more likely that Maya knew about the ECHO ship crash and about Soteria's possible survival and that Exodus Indigo followed that trail deliberately. The mention of surface being terraformed already also means that the colony was well underway of being established following the ECHO ship crash. Neptune was being hard-prepared to fit a colony.

This also means that Exodus Indigo was most likely a very well known mission and that Neomuna was not originally planned as something secret. They only went dark after making an assumption that they may be the only ones who survived the Collapse, which Chioma mentions in this log! Comms went silent and they had no idea what was going on; if they wanted to ensure the survival of the human species, they had to also assume that they're the only ones left and hide.

Chioma also mentions that "Maya was right about everything." She specifically mentions "the cult" which is Future War Cult, founded by Maya in the Golden Age. FWC was investigating something called the Device, a Vex-tech based machine capable of predicting the future. The cult would eventually regain access to the Device and use it well into the present day for the same purpose. Chioma also mentions "the end" as she muses about Maya being right about everything. Strange and possibly concerning. What exactly did Maya see through the Device?

This is some wild stuff, especially to me now after I've made a really long post about some curious connections between the concept of the history and mind of the universe and how it tends to be adjacent to Vex predictive technology. I mentioned Maya, Future War Cult and the Device in this post as well, trying to see if there's anything worth connecting in an analysis. Chioma alluding to the cult again the first time we've ever heard her voiced is intriguing. I'm not sure if this is something that will continue to be explored and if these connections are important, but it definitely felt like an important point to add into this fairly short voice line that specifies about Maya having been right "about everything," "the cult" and "the end."

I'm really excited to see if we'll get more and I assume we will. Osiris was very direct about us having to protect these logs and that there's a lot of them, but that he will have to decrypt them first. If we genuinely get more logs, it will be an incredible treat to hear actual voices from the Golden Age and the Collapse, of people who founded Neomuna and their first encounters with the Veil and possibly their original research into it.

#destiny 2 #destiny 2 spoilers #season of the deep #season of the deep spoilers #chioma #veil log #long post #lore vibing #i've binged everything that released today in one sitting in 5 hours i am enchanted #really good start #and definitely hoping to hear more of chioma. genuinely don't believe they would voice her for one message #and osiris very explicitly said 'i'm gonna go decrypt the rest'#extremely exciting little addition on top of already banger season

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m0e-ru · 1 year ago

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tohruest adachiest manager's choice experience as compiled by the tumblr branch moel gas station 2023

helloooo my dearest okyakusan my most wonderful customers whether you have a membership card or just passing by. Here is the manager's choice of how to have the most tohru adachi experience ever 📣📣📣

this post will have a breakdown of the whole diagram with highlights, and my own opinions of each medium stated. Otherwise, here's a summary as a list!!

YES!!

Persona 4 (PS2 2008)

Standalone Drama CD Vol. 3 (scattered cameos)

Manga Adaptation (Sogabe)

adachi jumpscare table

Vol. 10; Chapter 54

Vol. 12

Arena Ultimax; Episode Adachi

Arena Ultimax Manga Adaptation (Rokuro Saito special mention!??)

this is a bit cool too

The Golden Animation

Blu-ray/DVD Vol. 2; Bonus Drama CD: A Sense of Gratitude

Blu-ray/DVD Vol. 4; Bonus Drama CD: Boo ~ I bear a grudge on you ~

The Animation

Standalone Drama CD Vol. 2: You'll understand when you get older

The Golden (PS VITA 2013) (Social Link, new events, etc.)

The Golden Animation

Episode 6: See? I told you Yu.

Episode 7: It’s cliché, so what?

Unaired Bonus Episode “Another End Episode”: Thank you Mr. Accomplice

other opinions

I’ll be linking all available online resources for everything I’ve stated!! If a link is broken or the media is inaccessible, hit me up!! I have my own personal archive.

YES!! segment !! wahoo !!!!! this is where i constantly stuff my nose in whenever i want a good reference on adachis character. AND THEY'RE ALL PERFECT TO ME!! <- about the media

Persona 4 (PS2 2008)

Back to basics everybody!!! Let’s remember who this goofball is from the start. Forget he has a social link and see him be the bumbling fool for plot exposition and the real murderer !!!! Just like how I tell you not to reference the attendant during 3/20, we can put Shadow Adachi’s mannerisms and his influence under literal god aside and try and focus on what that means as symbolism and extra information on Adachi himself!!

Standalone Drama CD Vol. 3

THIS IS A FUN ONE he has scattered cameos throughout the drama and was essentially being dragged around by Dojima.

Basic premise of this volume that it’s sports festival season!! Yasogami’s at it and the IT are participating, as well as Nanako—although she worries that her dad won’t even come to see her and that she wouldn’t even be able to do the family three-legged race.

Adachi’s appearances here are so stupid, he says he was an “elite” then flops trying to help high-schoolers with homework because Naoto’s there. He does his usual begging and whining with Dojima etc etc he also drove Dojima to compete with Nanako after saying the man finished all his reports as fast as possible.

I like this one because it reinforces who Adachi is based mostly from the main game. With the context that fans listening are aware he’s the culprit (or not), they do sprinkle in his “emptiness” (<- no i'm exaggerating it sorry) and bring it to the front of the picture a bit.

Translated Transcript: https://docs.google.com/spreadsheets/d/14uOTyzic9Ij9DjN4ZRNBLFTcGe0UF-PvX4qMnqcs2Fk/edit#gid=283104639

Available video link: https://youtu.be/p3yDNbczEqg?t=228 (timestamped to 3:49)

youtube

Manga Adaptation (Sogabe)

SOUJI SETA TRUTHER COMING IN STRONG also i just adore Sogabe’s adaptation on the game as a whole. While I am Marie lover#1, this manga did begin in 2008, and I like to think it’s the hypothetical that Marie really was expunged completely OKAY WHERE WAS I

As mentioned, this whole adaptation focuses on the game before Golden was ever a thing. No scooters, no extra events, no nothing. Although, Sogabe did write in a bit of Adachi’s Social Link in a context best suited for Souji.

I like Sogabe's take on Adachi in the manner of how he draws him and writes him as a character. It's not as whimsical or lazy like the anime, and the way he took the downhill spiral of the Hospital arc, from November to December, just actually felt like my emotions were ready in the right places. Surprisingly, in every adaptation, I was really enamored to see how Adachi acted differently in each one.

In the manga, he didn't seem as slack jawed as he did in the game at least. He looked like he was trying so hard to act concerned when he he actually feels guilty for everything going down !!! OR MAYBE NOT !!!!!!!

compared to the game, you can really how much he exudes of being so. plastic. ung kaplastikan. and you're mad not because you're stuck with ps2 limitations of three polygons of an arm waving around, but you're mad that he reeks of faking concern. But also unlike the game, you don't understand what's going on anymore because of the things that have transpired in relation to Adachi's character. Which is Sogabe's adaptation of his Social Link with Souji through having dinner with each other.

and Souji doesn’t know him! They share things with one another that one dinner but otherwise, Adachi’s never rambled on about himself as much as he does in a normal Social Link run. There is a different sort of motive with Souji and he wants to some things wrap things up while everything else is falling apart around him. If there’s a chance to help someone, even if he’s only talked thoroughly once or twice and that the other party’s opened up a single time to him, he’s the boy who wants to get through to people either way. What if Souji’s a bit selfish himself and wants to be in control of things when everything in his life and vision are literally blurring as he breathes? (takes place in november when nanako's hospitalized btw)

I love the lack of intimacy between the two, contrary to what majority of the fan base wants or even BELIEVES. Souji is a kid with a year in Inaba, of course he does a million other things with his time than hang out with an adult that’s some kind of darker version of himself and a representation of a possible bleaker future considering how similar they are.

As for the specific chapters, I think it’s fulfilling to go through the whole manga from the start. Like, forget everything you know about P4 for a second and experience it as fresh as possible. Then you get to Chapter 54 to see Adachi’s condensed Social Link and get to Volume 12 to see things come together. Sure, I start getting a bit iffy with Volume 13 but I enjoy the parallels between the two, genuinely.

i have more stuff locked and loaded but uhmmm yeah 👍

Available manga link: https://manhuascan.me/manga/persona-4-official

VISUALIVE (stageplay)

you will never see adachi ever act like a cunt like this ever again. he only does it once because hes gay.

i have made a million essays about this this is the foundation of this gas station itself

Available video links to the only things i’ve subbed ever because they’re the most important ones to this fruit’s development:

https://youtu.be/mWRB1dIgFNE

youtube

https://youtu.be/QRps3M9uXiw

youtube

or you can watch the whole thing because Masami Itou’s portrayal of him is just delightful: https://youtu.be/7oTpjmeD-mk

youtube

Arena Ultimax; Episode Adachi

hahaha. haha. laughs weakly. haha.

I would kindly ask everybody to do this in Japanese dub but otherwise ehmmm yeah ! Episode Adachy. I do enjoy how they try to elaborate how his personalities are coalescing into a single face as he doesnt have to fake around people anymore. Like the fact that his lame humor is still present and he’ll do stupid voices, which makes you wonder if he was always like this or that it’s something he adopted while acting out the last facade he’s done for over a year—or more.

HE IS SO FUCKING OPINIONATED AND THINKS HES SO COOL he has SO MUCH PRIDE but also he doesnt at the same time. you think hes a soldier surviving in the idgaf war but hes still dying in the mines he planted and crossfire for multiple reasons. hes simultaneously a teenage girl and a man in his late twenties.

Adachi is totally giving a fuck, not just in a white girl bully “I’m better than everyone” kind of way but like he’s totally giving a fuck about a lot of things. “Oh I gotta stop whatever this god has going down for this city in bumfuck nowhere because the case is going to go around in circles and i’ll never serve jail time in peace” how many times has he turned corners in an alleyway maze just by saying this.

hes literally trembling in his shoes with everything happening in that hour but hes just so good at bottling up emotions from others and HIMSELF. Theres only so much he’ll admit in his own monologue—in his own thoughts. That hes aware of things but he’ll never say it out loud even in his own head i’ll tear him apart with my bare hands <- i am just genuinely annoyed he can do this and not me but i should be grateful that i can express myself than be an emotionally repressed asshole

He finds kids who are mirrors where he sees himself in. One, a goody two-shoes who has it all, the other an actual brat with a fucked up life from loneliness, isolation, and abuse (a million other things). And he’s not annoyed only because he finds similarities between him and them, but the fact that they’re children and they have at least a decade more than his ass which he spent sulking about with.

He’s mad at Bancho because he has his way from the kindness and generosity of his time he’s spent with others, something Adachi didn’t do; in which he could use his situation with his family and education as an excuse, but he never brings that up because as much as he likes seeing others eat shit and he has his way, Adachi also considers himself a fuckup. can you see this irony. So many chances to get out there and socialize, but he stuck his nose in his studies thinking a good future’s already laid out for him—BUT THE BUBBLE POPPED which is what fucking happens when youre in Japanese economic depression after the bubble economy. and you dont bother to leave your comfort zone either EVEN WHEN YOU DONT NECESSARILY like the things youre doing because it’s the only damn thing you’re used to !!!!

He’s sick of Sho because he’s an oversized 10 year old who’s doing the exact same thing Adachi’s done in the past and Adachi is sick of that. he hates himself. and he’ll hate a kid for acting the same way. He’ll project so much he’ll fix another person’s mistakes not out of pure goodness of his heart, but because he doesnt like himself as a person no matter how much he tries to deflect these thoughts in his own head.

Adachi’ll scoff and nitpick Narukami because he doesn’t want to admit this better version of him is better. That he’s not this other guy, but rather, he’s just himself. He complains and whines about Dojima and even says he “hates him,” but is everyone not aware he’s the second biggest tsundere in this series next to Marie at this point. they are COMPETING for that number one title.

no matter how many times he tries to sever connections for the sake of the other party, those bonds are developed enough for the other party to WANT to tie it back together. he doesnt know how to build bridges, but he doesnt know how to properly burn them either. hes sloppy at everything he does. he is gay.

okay sorry about that im sososo dizzy honestly. where was i. i talked about his issue with his Persona before and how it isnt his Persona a million times on this blog sorry i really everything's spinning right now 'and you're still writing an adachi essay?' hushup

Japanese Bubble Economy: https://www.britannica.com/topic/bubble-economy

Available Video Link: https://youtu.be/0TkRLCGqT3g

youtube

Arena Ultimax Manga Adaptation (Rokuro Saito)

this is a bit funny. i read it mostly for Sho like. while i do adore it as very beautiful adaptation. when it comes to adachi uhh. hmm. looks around. the rokuro saito effect. he did mementos mission too if you're wondering and what I mean by this.

I mean he did reinforce Adachi getting proper police training and essentially being above average to the top of his classes (krav maga, shooting accuracy, detectivisms, etc.). His humor and mannerisms are also delightful i think personally with the way they're illustrated and essentially visualized. Rokusai has his quirk for drawing everybody really pretty which he does really well for Persona characters, but it also caught me really off guard when he works on adachi like okay! sho breaking his ribs can fix everything itsok.

Available manga link: https://m.manganelo.com/manga-cn116859

OH now this is the section where im a bit iffy with the characterization here but i still like to reference it sometimes

The Golden Animation

Blu-ray/DVD Vol. 2; Bonus Drama CD: A Sense of Gratitude

Adachi doesnt have a big part here he’s literally there to help with the Dojima garden and Narukami plants cabbages for him.

Available Video Link: https://youtu.be/1SNKljdyUcY?t=640 (timestamped to 10:40)

youtube

Blu-ray/DVD Vol. 4; Bonus Drama CD: Boo ~ I bear a grudge on you ~

THIS. this, goodness gracious it was so silly. Adachi’s here for a few segments with Dojima in the pub. Detective yaoi if thats what you’re into I guess. He also sounds a bit cheeky here in speaking tone and the scheme he’s pulling to call Naoto to do their job while Dojima’s knocked out on duty.

Available Video Link: https://youtu.be/PasKTZtKx_c?t=720 (timestamped at 12:00)

youtube

The Animation

i dont have much to say about the actual anime i dont really watch it, but i respect the Narukami truthers out there. It’s just not for me, nor do I reference it for Adachi at all. why does he look like this

i dont have that much judgement to say if it's good enough to use as reference for Adachi besides it visualizing how much of a goofball he is, I guess I could mention that. I have issues of it depicting lore but otherwise i dont think it's that much different than what the base game pulls besides it different pacing to better fit the animation medium.

Standalone Drama CD Vol. 2: You'll understand when you get older

Not particularly partial with this one because the anime gave Narukami a face, like he’s his own character here. Dojima makes Adachi go to Okina and deliver something because his clown ass forgot to hand it over to the other prefect police who visited within the day. Narukami’s off to go help Ebi stand in line for a makeup promo and Dojima says they can go together. There’s a subplot with the IT where they think Narukami’s being arrested lol so they go follow him throughout the rest of the drama.

Adachi just hangs out with the silly billy that is his boss’ nephew who has so much kindness and generosity that it could get the kid killed one day.

Available Video Playlist Link: https://youtube.com/playlist?list=PL2Wysh6PBhe_jyqxxIcyt_XrW6GcKHRn0

The Golden (PS VITA 2013)

I scratch my head and wonder what they were going for with Adachi’s Social Link besides the fanservice. I mean thats what they did with akc in royal i guess. <- has my own opinions about this but im closing my mouth.

It feels a bit too… intimate for me? What’s the deal with WANTING to invite him for dinner… without Dojima around either. Like they’re a two in one package for me, you can’t see one without the other most of the time. Like Adachi’s slacking off work while Dojima’s slaving away by himself? I’ve always believed they get off at the same time or something because of the subordinate status.

I did enjoy the Junes segments though, it kind of felt like it was a good placement—if you move things around a bit. Him hiding behind your back while you’re doing groceries so it looks like he’s busy was a bit funny, and him chatting you up while you’re supposed to be busy yourself is also silly if you consider that Bancho himself wants to bail and was just caught into his chismosa and whining. He has enough of a degree of association with you as you’re putting your nose into the murder case and that you’re his boss’ nephew, so that’s kind of why you’re the only few people he can talk to.

(pauses yes or yes ) i also ate ice cream where was I going with this

dont make me talk about the accomplice ending that thing’s pretty corny to me but also unnerving i dont want to think about it alot.

With the way things have gone for Adachi’s new characterization with the added Social Link and the new events for Golden, it personally made me think twice about it all, especially when his TV studio and Shadow self ended up the same. There’s a lot to go about this? (<- deranged) and I will admit that I myself got sucked into the idea that he’s an antagonist and couldn’t truly experience everything right at that point. whoopsie. Then again, looking at it at this point in time after a few years makes me realize yeah maybe this does make a bit of sense! The nature of the fog has changed, which can explain the drastic change in character between Namatame and Adachi. which is an essay for another day I really feel a bit out of it.

The “um” segment. Stuff I dont really like to reference nor put in the pot that makes adachi soup because im really iffy with it and how the writing was taken liberally for the sake of the audience rather than the reinforcement of source material itself.

The Golden Animation

The Adachi centric episodes 6, 7, and the accomplice ending bonus episode lol, as the whole Golden anime was really for Marie and other new Golden add-ons like Okina and scooters and ski trip and etc.

how do I put this. im really opinionated on this segment it’s okay if you dont take my word for it. I dont like the production quality. The animation is honestly really bad and the artstyle itsnt tasteful with how it’s executed. There’s enough frames of Marie that people looking over my shoulder while I watch would call her Adachi. It really is a boatload of a cashgrab and fanservice that kind of adds new insightful things to the lore but honestly? I don;t trust it. Like the writers forgot what they were writing about and started writing fanfiction of what they originally made.

It did give some insight with Adachi, but I hate how they just made Narukami the way he is for this adaptation. Like the boy does have all the time in world and hes not an overworked high-schooler with so many commitments now he can… make a man dinner and deliver it to him…? I would definitely say “> Adachi doesn't seem to lead a nutritionally balanced life...” and leave it at that, i am not making him dinner i dont have time for that. can someone get this guy a girlfriend please. Don’t get me started how they treated his character development and lore surrounding him overall im sick of it. At least Sogabe made it all look pretty.

anyway here’s the part where i can add my closing thoughts as someone who fills a niche solely because they think and enjoy things so differently than the present majority. I don’t think im mature enough to enjoy things peacefully in a community full of different people but also because im losing the idgaf war myself. I’m glad I can enjoy a media in general and I’m so happy when people can enjoy it with me. (had to stop the cat from clawing on the vacuum he likes the texture apparently) where was I

hold my hand as i go through a hundred coming of age arcs in my life and that one day i wont be as embarrassed as i am now to admit i like tohru adachi as a character and talk about him with a restraint so childish because I dislike how a majority depict him. he’s part of my journey as i learn things about myself as much as mimi but in a more human way because. hes human. or something. one day i can forget his reputation in the community and create all the things i make with pure love that is not fueled by spite to be right and correct. I already know i am right and correct because everyone can enjoy things their own way and find things that they like in one thing that are different from things others like. for now, i will still treat him like an insufferable uncle older brother thing whose arm i periodically chew on until i reach bone and let him carry me back to bed when im tired of being annoyed of him.

#long post #persona 4 spoilers #persona 4 arena spoilers #kommento #sulululat #pagsususuri #tohru adachi #p4 #// SCREAAAMS SO FUCKING LOUDDDD IM FREEE IM FREEEEEEEEEEEEEEEE THIS SHULDNT HAVE TAKEN THE WHOLE DAY BUT IT DIDDDD IT FUCKING DIDDDDD #// sorry for code switching in the middle of writing i was trying to translate this word and it didnt feel right as a direct tl #// friend cameo shes the one who read the manga and watched vl with me and proved my theories thatnks to friendship #// MEME BY ANOTHER BESTIE TOO THIS IS TEAMWORK #// sorry for what happened at the ultimax segment im normal now i prommy #// revising this on laptop MY BACK HUURTTSSS FUCKKK #// the rokusai part is another thing though these tags are like an hour apart #// i think im done oh my god im so tired i couldnt put rokusai's manga in the diagram IM SORRY ROKUROSAITOOOO #// i dont want to say this is a dissertation of sorts but all of the things i write are incomprehensible mishmashes of information put toge #// ANYWAY IM DONE FOR ! IM TIRED ! this is the biggest adachi centric thing ive done right next to the tierlist explanation i dont think iv #// ever posted here IM SORRY OKYAKUSAN !!!!!!! anyway heres the . fuckingg. thing. highlighting manager's choice because thats MEEEE :33333

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