#i think it's important to take shows in their cultural context

[cookedupinthelabm8]

I wanted to add to this that, although I do think that Mother Miranda adding these three black roses to the design of her overall presentation could potentially have something to do with the Dimitrescu sisters, I also want to point out a few details I personally find very important—so much so that they shouldn't be dismissed from the picture. Mother Miranda takes her title as Mother in the same way religions such as Catholicism take the title Father as a spiritual guide. Like them, she curates her physical appearance to maintain a very carefully crafted image that embodies what she represents to the eyes of the villagers she protects and rules over. Taking the title away, Miranda is a grieving mother. Miranda is a woman that never got closure for the death of her Eva. She's broken under that mask of perfection and every carefully chosen detail she allows her body to shift into. She doesn't even make herself look like she did before Eva passed—going as far as to have attempted suicide before the Megamycete found her and gave her its "gift" (Cadou, which literally means gift) and prevented her from achieving death. With this in mind, let us return to the flowers. Black roses are a potent symbol in art, literature, and culture, carrying multiple meanings depending on context. Their allure lies in their enigmatic nature, often associated with deep emotional, mystical, or philosophical ideas. Black roses often symbolize the end of a significant chapter, usually marked by the finality of death and the mourning of those who have lost what they love most. Black roses can also embody a sense of tragedy, a tragic form of love and a non-traditional, unconventional kind of beauty. Yet, they can also embody a mystery, secrecy, insidiousness and allude to a metaphor that the person wearing them isn't as they seem, signaling the individual to be hard to understand or predict. The very aspect of black roses symbolize the unattainable as well, that which you may desire but perhaps can never have. Black roses can also mean a kind of defiance against oppression—and though this initially may clash with the idea of Mother Miranda, remember that she didn't start her cult by killing the people of the village, but by protecting them from the indifference of the outside world and the lethality of the Spanish flu. Black roses can symbolize a rejection of societal norms, as well. They carry the symbolic nature of embracing one's individuality, especially if this individuality is your own darkness and potential for malice—often related to the occult and supernatural practices, that which you fear and don't yet know. They may also symbolize a sense of hopelessness, of acknowledging the futility of your cause, the inevitable doom of what you wished to accomplish—in this case, it could be how she feels with her attempts to bring back her daughter, especially if we remember her very last words when Ethan shoots her down being her dead daughter's name (and how bad she started tweaking the moment she realized the girl she was holding was Rosemary and not Eva.) Black roses can also signify a striking and timeless grace. Their stark beauty can point to refinement, elegance and an appreciation for that which is rare or extraordinary. (Might explain why Alcina wears one, as well.) Finally, the dark blooms can also work to tell you a subconscious law of what Miranda's philosophy on life and death is, or a close approximate: beauty and decay. And, despite the lost cause motif they can hold, they may also show a certain type of stubbornness, an undying hope that, perhaps if she keeps trying, she may one day see her daughter again. In conclusion, although I do think it'd be very sweet if they were meant to symbolize her hand in making the Dimitrescu daughters, the symbolism behind the black roses is versatile and evocative. It's meant to embody the beauty of contradictions and the complexity of human emotions (among other things.)

Do yall know those flowers on Mother Miranda’s collar? These?

I used to believe these to be a decoration she added to finish her whole outfit, but now that am thinking further I believe the roses to represent something else.

Ok, obviously we all know the Dimitrescu daughters and the fact that Alcina has black flowers on her dress to represent her daughters. These flowers.

And now that I’m thinking about it I do believe these flowers to represent Miranda’s making or ownership of the daughters? I wouldn’t say ownership but that’s the best word I can think of right now.

Basically what I’m saying is that Miranda represents the four lords from the crests on her outfit, and she also represents creating the daughters by the three roses on her neck. It honestly makes sense since Miranda doesn’t have any other reason to have a three-black rose necklace like Alcina besides trying to represent the three daughters through these flowers.

This probably isnt new news to anyone but I thought it would be nice to bring up. Now am trying to figure out which one copied the other with the flower theme for the daughters. Lady Dimitrescu or Mother Miranda? Funny either way honestly.

[twig-tea]

Lady Boy Friend Is Getting Interesting (at ep 7/16)

Nobody should take this as an endorsement to watch the show, because I think it is really hard to watch for most people and for good reason (it's also hard for me to watch at points). But Lady Boy Friend the Series is doing some really interesting things, and I have to talk about it. It took several episodes before I could get the sense of the overarching plot but now that I do understand what it's doing I'm really curious about where it's going. Spoilers for plot points through to ep7 follow from here.

The core plot of this show is about a class of high school students. The main character is Jeedny, who shows up on the first day of what I think would be equivalent to North American high school (~Grade 10) out of the closet as kathoey, but all of the other kids who are kathoey don't trust her because they've all been out for years and already have their own cliques. So they treat her cattily (they also treat each other cattily, to be fair), and she responds badly by pranking them. She starts desperately grabbing for attention; first by trying to fit in, and when she's rejected, she tries for attention by standing out, and it's not taken well by her peers. Finally in this episode it got to a point where the other kathoeys in her grade have banded together across clique lines to ostracize Jeedny, and it all comes to a head when she finally admits that she's been shitty to them but that it was in response to being rejected in the first place. Everyone apologizes to her but says they'll just stay out of her business, and she's left alone again which is the opposite of what she wanted.

Meanwhile the boys in the class have their own drama. There is a playboy (Jet) who starts flirting with another boy (New) who is cautious but enjoying the attention. It takes a few episodes of concerted flirting to get through that Jet is seriously interested and not just teasing him, and New starts to believe that maybe this could be real. They have sex, and then Jet ghosts New. When New tries to confront him, Jet acts totally disinterested and says he's just not into him like that. New is heartbroken and Jet is clearly discomforted by that; when New starts emotionally distancing himself from Jet and showing disinterest, that discomforts Jet even more. Jet keeps trying to get New's attention back but New's not having it, and he calls Jet out on his bullshit. Jet's own friends also call him out on how his actions differ from his words and how he seems to be leading people on, both New and the girls he dates, and how uncool that is. Jet seems to be unable to leave New alone.

I appreciate that this series is wrestling with in-fighting, cliques, how difficult it can be to get past queer gatekeeping, and how we band together against what we see as a threat. I also love how it's getting in how isolating that can feel if you're on the other side of it, and how difficult it is to come at your queerness at a different age than your peers (even though Jeedny is still so young!). I love that this show has a plotline around "straight" fuckboys and the very real games they play. I appreciate that in the conflict between the kathoey characters, nobody is in the right.

We're only just about halfway through the series, and I still don't have a a sense of what the back half of the show is going to be about (it could all still fall apart), but for now, now that the first half has crystallized into a plot I'm enjoying it. Even when these characters are being awful to one another it feels very familiar and...comforting, in a way. Sometimes I miss being in queer spaces and need to hear people insult one another for five minutes and then offer to throw hands at any outsiders who so much as look at the person they were just insulting with their whole chest.

So why am I not shouting for people to go give this show a try? There is a lot of Thai humour (more specifically the brand of Thai humour that reminds me of older series like Make it Right and Diary of Tootsies) in this show that doesn't necessarily land well, because it's based in puns which just don't translate, fatphobia, colourism, toilet humour, sexual aggression against men as comedy, etc. There are parts that I find hard to watch, and parts that I find boring. There are some scenes that I just don't know what to do with, e.g. when one of the boys is asked to provide a sperm sample for their science class to look at under a microscope. The acting is very uneven, quality of the cinematography, colour grading, sound, and other production elements are low budget. The translation is also lacking, which makes watching all that much harder.

A lot of the comments on MDL are about how this show feels transphobic and I can see why they'd say that, especially in the early episodes. The kathoey characters can come across like caricatures rather than people, especially at first (some of this I chalk up to these characters being young and trying to establish their identities; this does also improve as the show goes on), and the joke seems to consistently be that none of them are attractive or likeable to the male characters (possibly also improving as the show goes on, we'll see). There are many ways in which it's not a good show. It is about the ways we can be terrible to each other even as it's also about how we can hold each other up, which is understandably not something people necessarily want to watch. I really struggled at first, and even as it's become more clear what the show is doing, there hasn't yet been enough of a turn to get fully away from the parts that are difficult, and I'm not expecting the show to ever fully stop being difficult for me at times (it would be unrealistic to expect this show to become something completely different from what it is).

But even with all of that, I'm tentatively excited by the themes it's exploring and wanted to share.

[heywriters]

Details That Convey Intimacy

Developing fictional relationships that feel authentic takes more than dialogue and grand gestures. Every detail below can be used to show platonic, familial, agape, or romantic love depending on context.

cooking a meal for someone, bringing them food, or spontaneously sharing a snack

sharing body heat/warming someone with outerwear like jackets and scarves

fanning them with something if overheated

getting a cold/hot drink for them

offering to carry something, whether it's heavy or just a jacket, to lighten someone's load or free up their hands

more below the click!

changing the subject of a group conversation that will be personally discomforting to someone in the group

making sure to include someone in a group conversation, especially if it's a topic they have special knowledge of

waiting for someone to catch up when the rest of the group has walked ahead

remembering preferences/allergies ahead of time when preparing/ordering food

planning trips, whether in a pair or as a group, that provide something positive for every individual to enjoy

procuring personal healthcare items like sunscreen, moisturizer, lip balm, pain relievers, or a snack and keeping them on hand for that friend who frequently needs them

making room for someone in a crowded vehicle or on public transit

making room for someone under an awning or in another limited space to help them avoid bad weather

warning or wordlessly covering for someone with a wardrobe/cosmetic malfunction

remembering a small luxury someone mentioned they enjoy, and getting it for them the next time it's convenient

running an errand for someone to make their day easier ('importance of errand : depth of relationship' ratio should be explored)

escorting someone to safety in a sudden unsettling event

escorting someone who is drunk, sick, infirm, injured, or emotionally compromised

asking if light, noise, or other sensory factors are bothering someone and taking steps to make them more comfortable

getting gag gifts for someone to show you reciprocate their sense of humor or quirky self-expression (not everyone does this, not everyone appreciates it, and some people predominantly express love through humor and gag gifts; works well with some characters more than others)

holding someone's hand or arm as reassurance, especially when they are afraid*

using their body to block someone from wind, rain, or heat

picking up a dropped item, or carrying a train or other dragging garment for someone else

returning a recognizable possession to someone who may have lost it

This is an inexhaustible list as humans have many ways of showing love for each other. If you are writing spec fic with non-human characters, you can play with variations on these by remembering three core values the "lover" has to consider:

physical comfort of others

emotional comfort of others

social reputation of others

I'd add "sensory comfort" though I think it's tied to physical and emotional comfort.

Please do not try and force any of these into the mold of the misogyny-based "Love Language" trend. Human emotions and expressions of love are diverse and endless.

*While hand holding can be construed as romantic, in reality it varies. Some cultures do not see this as romantic, and some individuals only mean it as a sign of support or compassion. Same goes for long embraces and kissing, both can be done platonically and of course naturally between close family members or friends.

---

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[chronicbitchsyndrome]

so... i'm seeing a lot of activism (like, actual activism, not just tumblr posts--letters & scripts to us senators, for example, copy written for press, etc) focusing on improving ventilation & filtration as primarily an access issue for immunocompromised people. basically, presenting the argument as "this is in service of this demographic, who is blocked from public access currently."

this is like. true. of course. it is the main reason i want clean air and i think it is the most pressing reason overall for it. but i think it's the wrong tack for building a clean air movement and getting legislation passed.

like, unfortunately, the vast majority of people in power--and of americans in general, tbh--are not immunocompromised and do not have immunocompromised roommates or family members. should you have to have this experience to understand that public access is a big fucking deal for, like, staying alive? no! you shouldn't! but most people straight up will not understand whatsoever unless they have personal experience with immune compromisation.

trying to change hearts and minds to have cognitive sympathy for disabled people takes a long time, decades' worth of work to just change a handful of people; meanwhile, getting legislation passed is 1) imminently important, 2) while still a lengthy process, takes significantly less time if it doesn't hinge on first converting the majority of the population to have sympathy for a marginalized demographic they have no contact with (and yes, they have no contact with us because we are barred from public access to begin with, again, i am aware of how fucked up this is).

here's some arguments for passing clean air legislation that are designed to appeal to a normative, conservative-leaning crowd:

air filtration is a public health and sanitation baseline just like running water. we provide clean water to drink and wash our hands in as a baseline for public life; we should also be providing clean air to breathe similarly.

improved ventilation and filtration in schools results in less sick days for students, meaning better attendance and less time off work for parents.

improved ventilation and filtration in the workplace results in workers taking less sick days. it also makes it less troublesome when a coworker comes in sick; it's less likely you will have to take sick leave as a result.

improved ventilation and filtration in hospitals, doctors' offices, etc, helps combat the health care worker shortage by reducing the amount of sick leave health care workers need. it additionally makes hospitals safer overall; for example, it makes it safer for cancer patients to be in the same building with patients with highly infectious airborne illnesses such as chickenpox.

improved ventilation and filtration in public buildings at large could improve the economy, as less workers stay home, more people enter the workforce, more people begin attending public businesses like bars and venues, etc.

if government programs to upgrade ventilation and filtration are created, this could create jobs for blue-collar workers, further improving the economy.

the last note i have is that, as much as this sucks shit, don't mention covid as much as you can avoid it. covid has become a massive culture war thing in the usa and as soon as you bring it up, the entire discussion becomes about virtue-signaling and showing in-group affinity--it doesn't matter what you're saying about covid, anyone who thinks "covid is over" will immediately shut down and become incapable of listening to anything else you have to say. and unfortunately, a majority of the population does, in fact, think covid is an irrelevant concern even for immunocompromised people in 2024.

importantly, all general air sanitation improvements will improve the covid situation significantly. in this context, you do not have to talk about covid in order to make real, material changes limiting the spread of covid. system-level changes that limit the spread of things like the flu and chickenpox are equally effective in limiting the spread of covid. take advantage of that!

[tossawary]

One piece of acting advice that has stayed with me for years in regards to both writing and drawing as well is: "Don't use the body to act what the character is saying. Act what the character is THINKING."

Like, as a very, very basic example: a character is apologizing by saying, "I'm sorry." But that line is going to look and sound different depending on what the character is thinking. Crossed arms and a sullen tone can mean that a character is actually thinking: "I don't mean it and also I hate you." A pleading tone and reaching out to take the other character's arm can mean: "Please don't leave me." A tired voice and slumped shoulders within context could mean: "I did what I had to do."

This is one way to begin to do "Show, Don't Tell" in storytelling. It is trusting your audience to see the depth and to catch on to the things you leave unsaid. It's fun to let the audience be observant and clever. It is also reflective of real life, where people are often scared of being vulnerable, or don't necessarily even understand their own emotions, or can't articulate their own thoughts, or have difficulty identifying the true feelings of the people around them, and so don't say very much.

There are exceptions to this advice, of course. In writing especially, rather than in a visual medium, some POV characters are very good at reading emotions from body language and others are not, and their observations in the narration may reflect this skill. Some characters will assume everyone around them is always angry with them or simply not pay attention to other people's moods at all, personalities which can also be subtly communicated to the audience and later used in the story in some interesting way.

Some characters have excellent control over their body language and tone of voice, because they are on-guard, highly trained in some fashion, or a very good liar. They will not easily communicate their true thoughts through their body language or their actions. Their lie can be so good that it can be slipped past the audience as nothing important to the plot until it comes back to bite. Their oddly perfect control over their body in a tense situation can instead maybe be used to indicate to the POV character and/or the audience: "Oh, there's something up with this person."

Body language will also change by culture and class and disability and so on. This clash can cause communication problems between characters, as a character's affectionate pat on the shoulder of another might be intended as casual comfort, but be received as overly intimate condescension. Different cultures / people can even have very different opinions on what level of eye contact and overlapping speech is rude.

This advice was originally given to me in the context of illustration and animation, in which it is very common for inexperienced artists to act out the words that the character is saying in mime-like gesture. In media for young children, we might choose to keep things very simple, as toddlers struggle to learn what it looks like and feels like to be angry or happy. But past that? People don't really behave this way. What we say and what we really mean are not always synchronized, and we can use the body to communicate this.

[maplewozapi]

I should have known if I brought up wc I’d have to talk about. But it includes of a lot of issues with feral/furry designs that use feathers in hair. I don’t necessarily know why the conversation only started and stayed in the wc fandom when horse/wolf/lion feral fandoms are still doing the same thing.

Now having feathers in the design isn’t a racial attack first thing off because there’s a lot of context around what feather’s are used, the shape, and where they are placed. If the look is anything like "rave Coachella looking tribal fantasy feathers and beads" it’s probably insensitive. I’m not to sure why it has to be feathers, I honestly think the wc fandom are holding themselves back when it comes to forwarding designs in a unique way. Tail feathers are also left out in this conversation as well, one or two feathers or feathers in the shape of a birds tail are fine but bunched together feathers are leaning to close to how we have our horses wear feathers. This is in the context of the design already looking like a "medicine cat" already its bad. it’s like those yt girls wear feather head bands but animal addition.

I’ve talked about this before but silhouettes are so important, like Native American stereotypes are on the global scale you cannot escape this silhouette you just have to avoid it. There’s no "but it’s in so many other cultures" no it’s not it’s totally unique to our people that’s why people flock to it because it’s so "mysterious, sacred" whatever their weird twisted up reason is. There’s so many unique ways to break this silhouette you just gotta be more creative. And I feel like instead of being more creative and coming up with totally different ideas it’s just easier to lean on these visual native stereotypes to get across "wild mythical nature fantasy"

I could get into the horse fandom and the weird situations they’re doing over there but that’s another crazy thing. I should say because someone will ask, ostrich feathers on like show horses or knights or puss in boots style is fine not the same thing (breaking the silhouette) they’re not related.

And it comes down to understanding what you are drawing and where this imagery comes from, I’m not gonna get my feelings hurt because of your design but I’ll question why are you drawing stuff like that. You cant remove that cultural/stereotypical imagery, and if you don’t care about it then you don’t care about the history or how it looks on your character and art.

I made it this far on the internet but if you want to be conscious about these things good on yea it doesn’t take much☺️👍

Edit: can’t believe I gotta say this but yes other cultures utilize feathers, if people are using feathers that are used in their culture then don’t harass them. That’s weird have some common sense. Ostrich feathers, peacock feathers it’s actually so interesting how native birds to an area affect the culture there.

[maybe-boys-do-love]

It's wild that the whole global trend of gay-focused happy ending romance shows and movies has only been going on for *looks at calendar* a measly ten years!

Just ten years ago. 2014. That's when you get the discovery of a market for queer romance series and films with happy endings. That year the OG Love Sick in Thailand came out. Brazil puts out The Way He Looks, which deserves so much more credit than it receives for influencing the aeshtetics of the genre. Looking premieres on HBO, and although it had low ratings, it's an important touchstone. And, despite Nickelodeon’s censorship and shifting the program from tv to its website, the Legend of Korra confirms Korrasami in its season finale.

The next year, in 2015, we get Love Sick season 2, and China, pre-censorship laws has a few options: Happy Together (not the Wong Kar Wai one lol), Mr. X and I, and Falling In Love with a Rival. Canada, premieres Schitt's Creek. In the US, Steven Universe reveals Garnet as a romantic fusion between two female characters, and will proceed to just be so sapphic. Norwegian web series Skam premieres and sets up a gay protagonist for its third season, which will drop in 2016 and entirely change the global media landscape.

Then, 2016! This is the MOMENT. That aforementioned Skam season happens. Japan puts out the film version of Ossan's Love and anime series Yuri!!! on Ice. China has the impactful Addicted Heroine, which directly leads to increased censorship. The US has Moonlight come out and take home the Oscar. In Thailand, GMMTV enters the BL game and Thai BL explodes: Puppy Honey, SOTUS, Water Boyy, Make It Right, plus, the Thai Gay OK Bangkok, which, like its influence, Looking, is more in the queer tradition but introduces two dramatically important directors to the Thai BL industry, Aof and Jojo.

By 2017, Taiwan enters the game with its History series. Korea’s BL industry actually kicks off with Method and Long Time No See. Thailand’s got too many BLs to mention. Call Me By Your Name, though not a happy ending, makes a big splash that will send ripples through the whole genre, and God's Own Country offers a gruff counter-argument to problematic age differences and twink obsessions. This is also the year of Netflix reboot of One Day At a Time bringing some wlw to the screen, and the Disney Channel has a main character come out as ‘gay’ on Andi Mack ( I’m am ready to throw fists with anyone who thinks the Disney Channel aesthetic isn’t a part of current queer culture). And I'd be remiss not to mention the influential cult-following of chaotic web-series The Gay and Wondrous Life of Caleb Gallo: "Sometimes things that are expensive...are worse."

All this happened, and we hadn’t even gotten to Love, Simon, Elite, or ITSAY, yet.

Prior to all this there are some major precursors some of which signaled and primed a receptive market, others influenced the people who'd go on to create the QLs. Japan has a sputtering start in the 2010s with a few BL films (Takumi-Kun, Boys Love, and Jujoun Pure Heart). Most significantly in the American context, you have Glee, and its ending really makes way for the new era that can center gay young people in a world where queerness, due to easy access to digital information, is less novel to the characters. And the QL book and graphic novel landscape was way ahead of the television and film industries, directly creating many of the stories that the latter industries used.

There's plenty of the traditional queer media content (tragic melodramas and independent camp comedies) going on prior to and alongside QL, and there are some outlying queer romance films with happy endings that precede the era but feel very much akin to QL genre tropes and goals, many with a focus on postcolonial and multicultural perspectives (Saving Face, The Wedding Banquet, Big Eden, Maurice, My Beautiful Launderette, and Weekend). I don't mean to suggest that everything I’ve listed ought to be categorized as QL.

Rather, I want to point out how all of these new-era queer romance works are in a big queer global conversation together, in the creation of a new contemporary genre, a genre that has more capacity and thematic interest to include digital technology and normalize cross-cultural relationships than other genres (there's a reason fansubs and web platforms are so easily accepted and integrated to the proliferation genre).

You're not too late to be part of the conversation. Imagine being alive in the 1960s and 70s and participating in the blossoming of the sci-fi genre. That flowering is where gay romance sits now. Join the party.

[c-is-for-circinate]

It feels like there's this narrative that fandom keeps wanting to explore, with Steve Harrington, about this very specific type of martyrdom where self-sacrifice is an expression of a lack of self-worth. And, like, yes, write the narrative that's meaningful to you, and yes ok Steve does admittedly get beaten up a lot, but -- legitimately I do not think this narrative is actually Steve's story.

Like, without gendering things too much, there is something in the Steve fanon that I keep seeing that's so reflective of the specific kind of sacrifice and societal pressures exerted on girls, specifically -- this story of 'you make yourself worthy and worthwhile by carving pieces out of yourself', of believing that you must always give and never receive to justify the space you take up in the world. Yes, boys can experience this same pressure (and obviously trans and nb people of all genders run into it as well! sometimes a lot!), but especially in the mid-1980s cultural context where Stranger Things takes place, it's just...really not likely to be a dominant narrative for Steve to be operating under? It doesn't even really match the Steve we see on screen -- who is happy to make sacrifices for the sake of others, yeah, when needed, but who's not particularly kind or giving unless somebody asks first.

And Steve does get hurt a lot on other people's behalf! And this is a problem! It's just a completely different problem than the one fandom keeps writing.

Steve, and I'm going to say this forever, is a story about toxic masculinity, which the show may or may not even know it's writing. The archetypes influencing Steve's character as it shows up on the screen (and the stories and messages that Steve would actually be surrounded by in his actual life) are not deconstructions of suffering heroes who never should have had to fight in the first place and were destroyed by it. That's the Buffy the Vampire Slayer story. Steve's not Buffy. Steve's cultural context is Indiana Jones.

Steve is The Guy! And part of being The Guy is that you're expected to take the hits -- not because Steve is less important than the women-and-children he's supposed to protect, but because, the story says, he will get less hurt. Why should Steve get in between Billy and Lucas? Because Steve is an eighteen-year-old athlete and Lucas is in middle school, and of the two of them, Steve actually stands a chance. (And yes, Steve got badly hurt there, and Max had to save him -- but if Lucas, if Max had taken that beating they would not have been running through those tunnels later.) Was somebody else better-qualified to dive down to the uncertain bottom of a cold lake in the middle of the night? Steve doesn't list his credentials there as a way of justifying some ideal of martyrdom; he is literally the most likely person on the boat not to drown.

And make no mistake: when Steve's pulled into the Upside-Down, he survives the bats long enough for backup to get there. Realistic or not, he's apparently tough enough that he's physically capable of hiking barefoot through hell without much slowing down. Steve is the tank for the same reason as any tank: because he literally has been shown to have the most hit points in the group. You cannot honestly engage with Steve in this context without dealing with the fact that he's right.

AND THIS IS A PROBLEM! This is still a problem! But it's not the same problem that fandom seems to expect. It's not an expression of caretaking or the need for self-sacrifice; it's not an issue with Steve valuing himself less. It's an issue of toxic masculinity so ingrained that Steve doesn't even recognize he's suffering from it, because one of the tenets of toxic masculinity is that Big Strong Guys don't suffer. It's just a concussion, it's fine, he'll walk it off. It's not that Steve thinks he deserves to get hurt, or even that he's less deserving of safety than the others. It's that absolutely nothing in his cultural context allows him to admit that he can be hurt in a significant way.

There's still so much tension that can be gotten out of this situation, I swear. There's so much that can be explored in writing! Hell, the show itself is deconstructing some of this trope, believe it or not, by giving us a Steve who absolutely can take all the hits thrown his direction but still doesn't know what the fuck he's doing with his life. It turns out that doing his job as The Guy is only mildly helpful in horror movie situations (mostly by buying time for smarter, squishier people to do the damage from behind him), and somewhere a little worse than useless in everyday life.

But Steve does not go out of his way to self-sacrifice, he really doesn't. He just does his job. He's The Guy. Of course he's not going to let a kid or a girl or some scared skinny nerd who just learned about monsters yesterday take the hits. Of course Steve's got this.

[least-carpet]

Thoughts about jl and jc relationship? I love them but their relationship is criticized a lot, I would love to hear your thoughts

Hi, anon! Very belatedly, here is an answer!

They love each other and Jin Ling is very secure in that love. It is very evident to me—and to Jin Ling himself—that Jiang Cheng loves Jin Ling and would die for him. Jin Ling trusts and relies on Jiang Cheng, and scoffs at the idea that his uncle has ever hit him, in a cultural context where corporal punishment is not unusual. Jin Ling goes to Jiang Cheng when he's crying. Jin Ling pushes back at Jiang Cheng, goes around him, and talks back to him fearlessly, with a sort of bratty entitlement rather than fearful defiance. This is not something a kid who is afraid of their guardian does. This is not something Jiang Cheng would have done with his own parents!

Jiang Cheng did a better job than his parents did with him. You might not personally want Jiang Cheng as a parent, but contrast him against his own soft-spoken father: I don't think Jin Ling would ever say that Jiang Cheng just didn't like him, or think to himself that Jiang Cheng wouldn't show up to save him. Jin Ling is way more secure in Jiang Cheng's affection for him than Jiang Cheng ever was when it came to Jiang Fengmian, and I don't think that's by accident. I think that's something that Jiang Cheng probably worked hard for. It is notable that Jiang Cheng, Jin Ling's maternal uncle, showed up for Jin Ling so consistently that Jin Ling has more trust in him than Jiang Cheng had in his own parents, despite being, like, twenty and running a sect by himself.

Jin Ling looks up to Jiang Cheng. Jin Ling, I think, patterns his behaviour after a couple of ideals. One of them I think, is an image of his father as a young and adventurous hero— young war hero Jin Zixuan, one of the best archers in his generation. (Also initially kind of a twerp with bad social skills, but Jin Ling doesn't know that.) And the other, I think, is Jiang Cheng. (He also very obviously cares for and admires Jin Guangyao, but I don't think he takes him as a model in the same way?) So Jiang Cheng is also important to Jin Ling as a role model. And why wouldn't he be? He's really good at a very hard job. (He's also, like, emotionally damaged from the war and its fallout, but realistically, a lot of the adults around Jin Ling would also be like that to some degree, especially in the Jiang sect.)

Jin Ling expresses care the way Jiang Cheng does, and that helps them understand and trust each other. Jin Ling also expresses his love in the same way that Jiang Cheng expresses his love: through defending the people he cares about. We see him do it when Wei Wuxian and Lan Wangji want to enter Jin Guangyao's rooms, and again when Jiang Cheng is exhausted at the second siege of the Burial Mounds (Jin Ling just fucking scooping up Jiujiu and carrying him to safety remains hilarious to me). The scene where he thinks he hears Lan Sizhui say something about a ghost and he pops out and offers to kill the ghost for him also comes to mind. That's how you express affection if you're Jin Ling! He's going to put his foot in his mouth but if somebody threatens you, he's ready to go! Does this remind you of... anyone... like maybe Jiang Cheng, Mr. "Knife Mouth, Tofu Heart."

Jin Ling is definitely a little jerk sometimes, but I don't think it's fair to totally blame that on Jiang Cheng. Jin Ling's bad behaviour is often chalked up to Jiang Cheng being a bad guardian, but he's not the only influence at play: Jin Ling is at a terrible age. He's trying to individuate. He's at the centre of a lot of scrutiny because of his position, and potentially also danger. He's isolated and bullied in his home sect because he's an orphan, which, like, what the fuck. He splits time between two sects with wildly different philosophies and priorities, and probably gets a lot of conflicting messages about what's important and how he should act. His guardians have different parenting styles and priorities, and are themselves under a lot of scrutiny. People gossip about him, his dead parents, his live uncles—really viciously about Jin Guangyao— and probably his dead cousin, too. I would also probably be a very confused and angry teenager in those circumstances! Him acting out is not very surprising!

Jin Ling and Jiang Cheng are under a lot of stress during MDZS, and the way they relate to each other reflects that. Part of growing up is finding out your parents are people with, like, human frailties and their own trauma. Jin Ling's guardians have a LOT of human frailties and a LOT of trauma, and he finds out about it in detail during MDZS, in some pretty ugly ways. (We're shown that Jiang Cheng loves Jin Ling enough to shield him with his own body and that Jin Ling is comforted by Jiang Cheng's presence when he cries, but we also see Jiang Cheng give Jin Ling a pretty hard smack while he's freaking out in Guanyin Temple! Not good, although—based on what Jin Ling previously stated—not a usual behaviour from Jiang Cheng.) Despite this, I do think both Jiang Cheng and Jin Guangyao sincerely loved and tried to raise Jin Ling well. And they didn't do so bad! He's a snobby little brat with a mean mouth but he's also courageous, protective, empathetic, and willing to re-evaluate his beliefs when he's presented with new information!

Basically, I just think that you can be a flawed and harsh person and still love your kid enough that they turn out OK. Jin Ling's not perfect, by any means. But I think he's going to grow up into a pretty impressive adult, and I think no small part of that is because Jiang Cheng loves him, so, so much. (I also think that not all parental figures are great matches for every kid, but, like, these two just really get each other. Scorpio2scorpio communication.)

TL;DR I love them, they love each other, it's definitely not a perfect relationship and I understand why people react in a negative way to the thought of Jiang Cheng in a parental role (although I also think it's a mistake to assume that he parents like he was parented).

[sparrowlucero]

Even if a creator is a bad person it's still okay to like their work. People need to mind their own business.

Honestly it's not really that sort of situation. I'll actively defend Steven Moffat here.

There was a huge hate movement for him back in the early 2010s - which, in retrospect, formed largely because he was running 2 of the superwholock shows at once, one of which went through extremely long hiatuses* and the other of which was functionally an adaptation of an already well regarded show**, making him subject to a sort of double ire in the eyes of a lot of fandom people. Notably, his co-showrunner, Mark Gatiss, is rarely mentioned and much of his work is still attributed to Moffat (and yes, this includes that Hbomberguy video. Several of "Steven Moffat's bad writing choices" were not actually written by him, they were Gatiss.)

People caricatured the dude into a sort of malicious, arrogant figure who hated women and was deliberately mismanaging these shows to spite fans, to the point where people who never watched them believe this via cultural osmosis. It became very common to take quotes from him out of context to make them look bad***, to cite him as an example of a showrunner who hated his fans, someone who sabotaged his own work just to get at said fans, someone who was too arrogant to take criticism, despite all of this being basically a collective "headcanon" about the guy formed on tumblr. Some if it got especially terrible, like lying about sexual assault (I don't mean people accused him of sexual assault and I think they're making it up, I mean people would say things like "many of his actresses have accused him of sexual assault on set" when no such accusations exist in the first place. This gets passed around en masse and is, in my opinion, absolutely rancid.)

On top of that a ton of the criticism directed at the shows themselves is, personally, just terrible media criticism. So much of it came from assuming a very hostile intent from the writer and just refusing to engage with the text at all past that.

Like some really common threads you see with critique of this writer's work, especially in regards to Doctor Who since that's the one I'm most familiar with:

A general belief that his lead characters were meant to be ever perfect self inserts, and so therefore when they act shitty or arrogant or flawed in any way, that's both reflective of the author and something the show wants you to view as positive or aspirational.

An overarching thesis that his characters are "too important" in the narrative due to the writer's arrogance and self obsession (even though this is a very deliberate theme that's stated several times)

A lot of focus on the writer personally "attacking" the fans or making choices primarily out of spite.

A tendency to treat the show being different to what it's adapting as inherently bad and hostile towards the original.

Just generally very little consideration and engagement with the themes, intent, etc. of the shows

This one's a little more nebulous and doesn't apply to all critique but a lot of it, especially recently, is clearly by people who haven't seen the show in like 10 years and their opinion is largely formed secondhand through like, "discourse nostalgia". Which. you know. bad.

I think these are just weird and nonsensical ways to engage with a work of fiction. I also think it's really sad to see the show boiled down to this because that era of who is, in my opinion, very thematically rich and unique among similar shows, and I'm disappointed that it's often dismissed in such a paltry way.

This isn't to say people aren't allowed to critique Steven Moffat or anything, but the context in which he basically became The Devil™ to a large portion of fandom and is still remembered in a poor light is very tied to this perfect storm of fan culture and I just don't agree with a ton of it.

* I'm sure most people have seen the way long running shows and hiatuses will cause people to fall out with a show, with some former fans turning around and joining a sort of "anti fandom" for it while it's still airing. That happened with both these shows. ** Doctor Who will change it's entire writing staff, crew, and cast every few years, and with that comes a change in style, tone, theme - the old show basically ends and is replaced by a new show under the same title. As Steven Moffat's era was the first of these handovers for the majority of audiences, you can imagine this wasn't a well loved move for many fans. *** I know for a fact most people have not sought out the sources for a lot of these quotes to check that they read the same in context because 1) most of them were deleted years ago and are very difficult to find now and 2) many of them do actually make sense in the context of their respective interviews

[a-998h]

Hey! 🍉-Anon here! I’ll just make a quick SAGAU request!

If (Reader)’s culture resembled one of the Seven Nations? How would everyone react? Like I would think that the people and characters would constantly be boasting about it, and always showing off

And it would be worse if (Reader) showed favoritism to that one Nation, or characters that come from there or dress/act/etc similar to their culture

I think (Reader) would constantly ramble on about their culture, and days later the whole place is decorated in items remade by the characters to resemble their culture and make (Reader) more comfortable

And (Reader) always visits that Nation, and the always spends time with the Archons and other characters

That’s all I’ll write, so have a good day!

- 🍉ANON

Thanks for the request 🍉 ANON, I love hearing from you!

so, for those new to Genshin or haven't been in the fandom for a long time there is some important context about the nation's that I need to share.

Mondstadt is based on Germany

Liyue is based on ancient China

Inazuma is based on ancient Japan

Sumeru is a mix of ancient Egypt, India, Persia, and Mesopotamia

Fontaine is based on France

Natlan is is a mix of Pre-Columbian Latin America, Sub-Saharan Africa, and Oceania

Snezhnaya is theorized to be based on Russia.

The historians of Teyvat always debated over which nation/element came first. So, you having a culture similar to any of the seven nations would settle that debate. But then there wod be debate as to why that particular element was created first, so your culture closes one door and kicks another one down. You will be asked questions by said nosy scholars and historians, because merds will get answers even if it kills them.

The characters if that region would feel great pride in knowing that their nation and its element was supposedly the first to be made by you. The archons would handle the news with great maturity, and I'm kidding. The archon of that region you share a culture with would kind of brag about to the others in however way they see fit.

In order from most to least mature we have, Tsarita, Raiden, Nahida, Zhongli, Mavuika, Furina, and Venti.

Now, as humans in both Genshin and reality, we are more drawn to people we have a connection with. You favoring characters from. The region that shares a culture with you would be something you do unconsciously, not even seeing it as favoritism, but instead as connecting with those culturaly similar to yourself.

When it come the shrines, the one in what they consider your "home" nation, who be decorated upto the nines with traditional furniture, rugs, etc. In the other shrines, there would still be the culture of which ever nation it's in, but also some elements of decoration from the nation they assume is your "home".

Your rambles about your culture back home is what the nerds like to hear. Everyone sees your real life culture as an ancient culture that was the founding blocks for the nation that closely resembles it. The characters will let you ramble on, some take notes, some ask questions, and some don't understand but listen along anyway because they know it makes you feel better.

Your hang out days in your "home" nation is a real treat for the characters as you and them can bond over clothing, custooms, food, etc. The characters outside your culture will be more than happy to listen and follow you as you drag them around the city to show them your culture.

Overall, it makes Reader a little less homesick, gives characters more understanding on how to make you happy, and gives at least on archon bragging rights.

[happysparklingshadows]

𝙱𝙶𝟹 𝙻𝚊𝚍𝚒𝚎𝚜 ✿ 𝙿𝚛𝚊𝚒𝚜𝚎 ✿

Note: I am still writing A Certain Hunger but I have been very scared about publish it because it has taken so long to write because of some personal issues with my family and work! I hope you like my headcannons about Bg3 woman. They have infested my brain 😵‍💫

Lae’zel 

-Not one to really give or receive praise in a context outside of battle.

-She would compliment you in her husky tone occasionally if you did impressive work against an enemy. But praise for being around? No. 

-Lae’zel grew up in a culture that refuses kindness or praise. “It only makes us slower. We think of our greatness more than being great; I will not fall for that. I know my greatness in the screams of my enemies.” 

-However, over time, and after being introduced to Faeyan culture, she slowly learned that praise was judged as encouragement or care for others. Especially after staying with you to choose her future, she learns the importance of praise but uses it very sparingly. 

-“You did well.” She would say after you kill some goblins. Or the time she mentioned that she liked the “strength” you showed when you got beaten to your last hit point. 

-She was never good at taking praise. She didn’t like being called a good girl; it implied you were superior to her somehow, and she didn’t like being called anything other than Lae’zel. 

-“Champion, You were so strong tonight. It made me shiver.” You told her once as she was sharpening her sword. She stops abruptly and stares ahead of her momentarily, and she starts sharpening again. She got flustered very easily with those words.

-She does say in sex, though, “You take me so well, my scent still on you from last time. Screaming you are mine.” To you in sex. She likes to praise your good behavior as her mate, but she doesn’t think it is praise. She is stating a fact. You were good at taking her????

-She isn’t the best at giving or taking praise, but nothing is better for her when it is earned. She loves to hear your approval of her, and she tries her best to do the same for you because beneath the coldness was someone who couldn’t imagine a world without you. Didn’t want to. 

-I believe after the end of Act 3 in the game, she would call you “good girl” if you told her you liked it and explained how it made you feel. She won’t develop it independently, even with how well she knows you, but she wants to make you feel good. She isn’t above proving herself to you or changing small things, like what to call you in bed.

Karlach

-Fucking loves it and loves giving it both. 

-She calls you baby (girl or boy) whenever she is pleased with your behavior, and she kisses you whenever the urge comes over her, which is a lot. 

-Karlach has no shame or embarrassment to praise her beautiful Girlfriend. 

-Karlach had helped you once with her strength; you had asked them to hold you up as you wanted to grab a honeycomb. Her solid and big hands grabbed your waist gently and lifted you up like you were nothing; it made you feel flustered and turned on.

-“Gods, I don’t think I have ever met anyone as strong as you, Karlach! That was amazing!” You said without a filter when your feet met the ground again. You looked up to the now-flustered barbarian. “Seriously,” you say as you touch her bicep innocently to investigate your girlfriend's muscle, “What were you fed as a child? Rocks and nails?” 

-Which ended up with you pushed against that tree and fucked beyond belief. 

-The night came over you that night under the tree. You lay naked in the grass with Karlach. You hear the turning of mechanical parts in her chest as you look up at her, resting your chin on her breast, “You are so beautiful. It is just a privilege to love you, Karlach. Truly, I can’t believe we haven’t known each other longer for how much you have taken from my heart.”

-Karlach is a soft girl sometimes, and saying something like that to her would make her stare at you with tears in her eyes. She softly cries, not believing what you are saying. She chuckles at her own tears at such a nice thing. She sniffles and says, “Thank you, baby, I can’t- ah, I can’t find the words to tell you how much that makes me feel. I love you. You are the best love I have ever known.” 

-You kiss her skin softly as you cuddle closer to the tearful tiefling, “I love you too. So greatly… it’s good to know it is mutual.”

-“It is, baby, it really is. Tonight is such a beautiful night.”

Shadowheart 

-Shadowheart doesn’t admit it, but she has such a big praise kink. 

-It started when you two met when you noticed how she would look away when you thanked her for saving you, or she would blush when you told her how great she was beside you in a fight. 

-But she was slow with her love and couldn’t be won over with some simple praise. It takes time to win her trust, let alone her heart.

-She finds her need for your praise as something she needs to hide. It was a vulnerability to exploit if she let it show. It is how she is used to being. She tries to hide her happiness with praise, but it is hard. 

-But, when you two start seeing each other seriously, she takes that shit to the heart every time. 

-“Good girl.” You said in passing when she healed you without being asked. It caused her to blush and feel a heat wave through her.

-She was happy to make things easier for you when she was in love with you and away from Shar. She doesn’t need anyone's approval anymore, no more sacrifices to be enough. She was enough to you. It made her feel comfortable. 

-Shadow wasn’t scared to praise you back. She is similar to Karlach in that way. She has no shame when she is happy with you to tell you that or give you a look that communicates that she will treat you to something more. 

-One night after she had abandoned Shar, she was still very lost and felt not herself. Even her hair isn’t the same as what she remembered. She didn’t remember much. It killed her, and you came to your shared tent. 

-“Shadow, I want you to know I haven’t met someone with so much bravery before.” You say to her as she sits across from you, saddened and quiet, and you come closer to her. “You were scared and did what you thought was right, and it was right, without knowing how it would end up. You dared to do something that terrified you. It inspires me, my love.” You finish as you touch her hand, you move a hair out of her face that still looks at the ground. She had red cheeks, and her breath was hitched. She needed to hear that. But she couldn’t find words to speak. “My brave cleric.” You say as you touch her cheek tenderly with a finger, rubbing it up and down and moving it away. “I think you will find your nerve again. Give it some time.”

-She, of course, finds it again and is her typically goofy brooding self again. And she remembers those words when she is afraid. She reminds herself that you find her brave, so she must act bravely. 

-The praise you give her keeps her sane even if she will never admit it. 

Minthara 

-Praise is not something to take or give lightly to Minthara. 

-Minthara is 230 years old (45ish in human years), and you are way younger than her by a hundred(s) of years. She sees you as someone who has yet to mold into a fully well-rounded person, and she likes to see herself as some kind of mentor and lover. 

-Minthara smirked at you when you did something she liked in the company of your party; she would back you up on almost any decision you made. If you kill or attack someone without asking questions, she will give you a nod and a “Good kill.” 

-Minthara doesn’t hate when she is praised by you. It gave her a reasonable confidence boost that she needed right now. But she scoffs at it and doesn’t like overly affectional praise or one that doesn’t feel earned. 

-She thinks the best praise is in sex with your moans and begs to her. She worships you, eyes devouring you as much as her mouth did to your clit. Her fingers toying and occasionally pinching your nipples, she moans into your body as she tastes your essence. She loves hearing how good she is doing and how great you feel; she keeps her path of getting your cum on her lips. 

-Minthara kisses up your body when she is done. She links her hips with yours with firm thrusts against you, and she says down to you, “Good girl, that’s right, move with me.” 

[kanmom51]

Are you sure?

A few thoughts for now.

Do we talk about the layering once again?

We got this official explanation for the name:

Layer 1 -

Them dealing with "unexpected events" and dealing with them discovering "what was "Sure" for them".

Interesting choice of wording.

What's "Sure" for them... in the situation. But see, that can take on many meanings as well.

What to eat, how to sleep, what to do in the situation can be one explanation. Another can be to do with how do they choose to behave in the situation in front of the camera. Do they allow us to see sides of them we weren't privy to until now?

And this all coming out right after JM's Muse, and SGMB (yes JM, we get that you love someone very special and want to hold their hand...and go on trips with them and hug them and....so much more).

So, more than one layer within that description alone?

We also got this for the press release:

So is that all the name is about?

Two friends in funny situations having to decide what to do?

Knowing those two...

I am kind of feeling that the answer to that is an astounding NO!!

Is the "are you sure?" a question asked by them, asked of each other, or perhaps it's also a question we, the audience, will be asking ourselves while watching those two's "undeniable chemistry" if indeed all we are seeing is just an "endearing friendship" !!!????

(To which my answer, even without seeing it yet, would be: Heck nah!!)

Yep. There you go.

LAYERS.

Next...

Let's talk about the numbers for a second.

Yeah, I know some of you don't love the topic, but t'i's what t'is, I'm going there, cause I wanna.

8.8.2024

8 Episodes.

19.9. last episode released.

Let's talk about every one of those and all of them together.

The number 8.

8

on repeat.

8 can represent eternity.

Have we seen them use this motif before?

8 is also considered a lucky number in Korean culture.

It is considered a symbol of wealth and prosperity.

But we are getting 8.8.8 (either from the full date or the partial date and number of episodes) - so, 888 Angel number.

Yeah. I went there!!! I did have help from a special someone who guided me there (not sure they want their name mentioned, so I'll keep it to myself atm, lol).

Twin flame.

Power couple.

New heights.

Wealth... legacy...

Tick, tick, tick to all of the above.

And what about the last episode release date?

19.9

Do you see it?

I do.

1- 18 (9+9)

Or dare I say...

11-8

You might ask me:

Are you sure?

Huh, see what I just did there?

🤣

I think that anyone that denies the importance of numbers and dates to those two is ignoring not only their cultural background and context but them as well, as they have showed us time and time again that numbers are a thing they do. So, could this be intentional? Hell yes, it could.

But you know, even if they didn't mean all of this with the dates and numbers, it's kind of amazing how the universe always aligns for them.

So bottom line, either it's their choice, and that says so much, or it's the universe aligning for them, which would be wow, but then again, it seems to always align for them. Oh, so yeah, not wow, but WWWWWOOOOOWWWWW then!!!

[throw-down-enjoyer]

Organ donation, compassion fatigue, and Japanese perspectives on brain death

I don’t think Shidou’s sin was actually a crime (as in, it was perfectly legal) and I’m going to explain why. This is essentially a very long Kirisaki Shidou Is Not An Organ Harvester post

To start: Shidou’s sin was convincing the families of braindead patients to donate their relatives’ organs. He confirms doing this in his T2 voice drama, and the way he words it makes it clear he thinks of it as murder. (He does say that this is only half of his sin, but we’ll get to the other half later.)

You know, I… continuously tried to persuade the relatives of braindead patients who were against organ transplants.

“In order to save the life of someone you don’t know, please let me kill your family member,” I told them.

It doesn’t even take much thinking to realize how cruel that is, but… I didn’t realize that until the very end.

Translation used: https://youtu.be/9xmokVJ-6x4?si=VgcIp5LCdNnUwqUW

Brain death is the irreversible, complete loss of brain function, meaning there’s no chance for a braindead patient to ever come back. Because of this, some people may feel that removing life support from a braindead patient doesn’t constitute murder. It definitely doesn’t constitute murder from a legal perspective, but it makes sense why someone might think of it as murder— especially in Japan.

Japanese perspectives on brain death

In evaluating Shidou’s case, we have to consider the cultural context within which it was written. Many people in Japan do not consider brain death as human death, and brain death cannot be declared without consent from the family and the intention to donate organs. In fact, braindead patients are not removed from life support until their heart stops beating. Shidou isn’t being dramatic when he frames his words as basically saying, “please let me kill your family member.”

Brain death is a very contentious topic in Japan—Doctors are put under scrutiny for declaring brain death and performing organ transplants. It’s important to know that in Japan, brain death only exists in relation to organ transplants. And only certain designated hospitals will do this. Even more so, if a person writes an advance directive asking to be taken off of life support in the case of brain death, doctors are not required to follow it. And many of them don’t, out of fear of the patient’s family lashing out at them.

Only in 2010 was Japan’s Organ Transplant Law revised so that organ transplants could be performed without prior consent from the brain dead patient (now only requiring consent from the family).

Here’s a couple of scholarly articles on the topic if you’d like to read more about it.

https://doi.org/10.1186%2Fs12910-021-00626-2

https://doi.org/10.1353/nib.2022.0019

Another very important facet of this discussion is how low organ donation rates are in Japan. To give you an idea, here’s a chart showing the per million population of donations after brain death (DBD) and donations after cardiac death (DCD) in a few different countries.

Sourced from this article, which has some other interesting statistics as well: https://doi.org/10.1016/j.tpr.2023.100131

As you can see, Japan’s rates are astronomically low in comparison to other countries. This helps to contextualize why Shidou had to try so hard to persuade families to donate, and why he later became extremely desperate when his wife’s life was on the line.

I’ve seen a lot of people confused about Shidou’s crime, and many speculations about him doing heinous things such as organ harvesting or purposefully botching surgeries—but I think this is because we’re approaching the case with a western perspective. As we know, many (if not all) of the Milgram prisoners represent a controversial social issue. Brain death is not nearly as divisive in western medicine as it is in Japan, so it’s easy to overlook the idea that all Shidou actually did was take organs from braindead patients. Perspectives on brain death in Japan have changed a lot in the past couple of decades, but it’s still quite controversial; because of this, I truly believe that this is the point of contention behind Shidou’s case, and there’s nothing more sinister secretly going on.

Compassion fatigue

Compassion fatigue is commonly thought to be the manifestation of secondary traumatic stress and burnout, caused by caring for others who are in stressful situations. This commonly affects people who work in healthcare.

I believe Shidou experienced compassion fatigue from working in the hospital, as he exhibits some of the symptoms—in particular, a reduced sense of empathy and a detachment from others.

I feel that Throw Down makes a lot of sense when you view it from this angle.

Lyrical analysis on Throw Down

Shidou expresses that he no longer remembers what it feels like to take away in order to give.

Pomegranates represent death in Greek mythology, and I believe that’s what they represent here too. Shidou has become desensitized to death; the pomegranate no longer has any flavor.

If it’s not needed, I’m not interested

Shidou only thought about what was physically necessary to keep a patient alive, and remained emotionally distant.

They’re dead either way, so it doesn’t really matter to him.

Now slowly close your eye, put your regret on display

Wish for being there for someone

With the same expression no matter who comes

This is the part that most makes me think of compassion fatigue—Shidou had difficulty expressing empathy for grieving families and had to fake it.

I don’t feel scared because I don’t know

Shidou didn’t understand what it was like to be in that situation. But now that it’s happened to him… he understands. And, looking back, he understands how unkind he had been about all of it. This is why he considers himself to be a murderer, why he truly believes that he has killed many people.

Ethics is a delusion

This is a line that definitely struck me as odd for awhile, but I think it makes sense in the context of his situation. His sin was not illegal—but is it ethical? That’s what all of this—whether you forgive him or not—hinges on.

The other half of Shidou’s sin

Going back to what I said earlier, Shidou’s sin wasn’t only convincing families to donate their relatives’ organs. His sin is also transplanting his son’s organs in an attempt to save his wife.

I believe that Shidou’s family got into a car accident, which resulted in his older child experiencing brain death and his wife being left in critical condition (and the younger child presumably died immediately). Considering the views surrounding brain death in Japan, it would have been difficult to find a donor, so Shidou became desperate enough to transplant his son’s organs. Since he’s the father, there wouldn’t have been any issues with receiving consent for the transplant.

Some people believe it’s the other way around—that he transplanted his wife’s organs into his son—but I believe otherwise, for multiple reasons.

In Shidou’s T1 voice drama, he expresses relief at the fact that his judgment is being determined by Es, who is a child. This makes sense if he feels that he killed his son.

Instead of being told by the law that I won’t be forgiven, I wanted a child like you, Es, to tell me that.

I feel sorry that you had to be given this role. And, I truly apologize for being so insistent about sentencing me to death as well… But, you’re perfect. You’ll give me the ending I’m most suited for.

Translation used: https://youtu.be/C4MiQ3V3YjQ?si=hPmlUkc6BfdcacNg

Additionally, a few scenes in Triage…

As stated before, I interpret the pomegranates to represent death. Shidou brings home three pomegranates, one for each of his family members. He later hands his son a price tag from the pomegranates—a representation of Shidou sentencing him to death.

And at the end of Throw Down, an organ tag falls out of the flower person. The name seems to read “Rei Kirisaki” and has XY marked, probably indicating that the donor is male.

Not to mention, it’s much more plausible for the flower person to represent Shidou’s wife rather than his son. When the person falls apart, there’s a shot of a red rose—the flower most known for representing romantic love—falling out of them.

Final thoughts and conclusion

To summarize: Shidou used to routinely try to persuade the families of braindead patients to donate their relatives’ organs. Despite that the prevailing thought in Japan is that brain death is not human death, Shidou did not think of it this way.

Shidou’s family later got into an accident; he transplanted his braindead son’s organs in an attempt to save his wife, but it was a failure, resulting in her death. This situation made him reflect on his past actions—he did not consider it murder before to discontinue life support on a patient, but now that he did it to his son, his perspective has changed. Everything he has done is within the confines of the law, but he is now burdened with immense guilt and thinks himself a murderer. Not just in regards to his son, but to all of the patients that he had pulled the plug on.

Side note: I don’t think having low empathy is inherently a bad thing (I have naturally low empathy), but in this context it would make sense for Shidou to feel bad about lacking empathy.

Side note 2: Shidou is a surgeon, so it is entirely possible he personally performed the transplant on his wife. Operating on family members isn’t illegal or anything, but is widely considered to be unethical and not really a good idea.

Well, that’s all I had to say—Feel free to either add on to this theory or debate me on it. This post ended up quite long, so thank you for reading!

[aroaceleovaldez]

I HAVE BEEN REMINDED OF SOMETHING i think i've made a post about it before but maybe it's just sitting in my drafts. idk, whatever, I will ramble again. Said thing that reminded me was a tiktok by madison_murrah about how the PJO TV show doesn't get the balance between mundanity and magical correct for pjo and I want to expand on that cause while a.) it totally is a problem in the show and i take issue with it, b.) it is also a problem in later books and i ALSO take issue with that too and i would like to elaborate on it

this got long so ramble of the day below the cut:

so the thing is that PJO is actually pretty unique in it's approach to hidden world modern fantasy. like, hidden world modern fantasy is a decently established genre with a ton of examples, but there's a reason why PJO stands out so much, and that's because technically it's NOT "hidden world." There is very intentionally no distinction between the mundane world and the mythological, at least in first series. They 100% overlap. And you do not necessarily need to be "special" to see the "mythological world-" some mortals are totally naturally clear-sighted, a lot of kids are clear-sighted, and it's like 50/50 for if mortals can become clear-sighted. In fact, most demigods aren't immune to the effects of the Mist, all that really matters is if you're actually thinking about being able to see through it. And there's a reason for that!

In general, this format of the "hidden world" modern fantasy serves two purposes: One, as the series is meant to introduce people to Greek mythology and explain why it is relevant and how it can be relatable in modern contexts, it intentionally juxtaposes myths against modern concepts: Medusa runs an apparently average garden statue store. Procrustes runs a mattress store. The entrance to the Underworld is in LA at a record store. Circe lives on an island paradise that's secretly dangerous. Hydras are like chain donut stores that seem to pop up on every corner. Perseus and his mother struggle in Perseus' childhood but get a happy ending. Calypso has an island paradise where the challenge for the hero of our story is being tempted to leave behind his goals. The plot of Sea of Monsters is blatantly the Odyssey, and it's about Percy trying to get to his best friend (who he shares a literal psychic link to) who is in danger of getting married to someone awful (a literal monster) to help you understand Odysseus trying to get back to Penelope and how important to each other and in sync they are. Battle of the Labyrinth is Theseus and the Labyrinth and it's Percy/Theseus trying to protect his home and his people and fellow kids (like Nico) from the dangers in the maze. These are all supposed to help us understand what is actually going on in those stories.

We also still see how Greek mythology influence shapes and influences western culture in general in their world (which is supposed to be our own and so uses real-world examples) - in government, in architecture, in pop culture - Mythomagic is clearly supposed to be your standard TCG like Magic The Gathering. And in general there is no distinction between where the mythological ends and mundane begins - Camp Half-Blood is both a magical training space for demigods and your run of the mill underfunded summer camp, complete with cheesy camp songs and t-shirts and crafts. Olympus is located on top of the Empire State Building which is operating completely as normal except for when a demigod asks to go to a non-existent floor. Your best friend with a muscular disease in his legs is secretly a satyr. Your brother with down syndrome is a cyclops. Your teacher in a wheelchair is secretly an immortal centaur. Your crappy algebra substitute is a literal fury. But also they're still your teachers. The satyr is still your best friend, the cyclops is still your brother. And that brings me to the second aspect of all of this (which i have talked about before [here] and [here]) - the other purpose it serves is that it is an extension of the overarching disability themes that form the core of the series.

The entire reason that meshing of mundanity and magical is so intertwined is entirely because it's part of the disability metaphor, specifically inspired by early 2000s parenting/teaching concepts for children with disabilities, particularly learning disabilities, as trying to reframe disabilities as "superpowers" to empower kids (and still exists in some more modern forms - like referring to disabilities as "being differently-abled") (I talk about it in my previous post on the subject but this generally fell out of favor due to many kids/students finding it belittling of their struggles) - this is why we get the description of ADHD and Dyslexia being framed as "demigod superpowers." In the series this structure is intentionally made to encourage kids to reframe how they view disabilities in general as not something negative but something interesting and fantastical that they may be more open to engage with - and PJO does this in a really nice way where a lot of the disability struggles are still acknowledged and treated sympathetically. Kids still get bullied, Percy and Annabeth struggle in school or with reading/spelling, they grapple with both internal and external ableism. The entire reason for the titan war in the first series, at least from the demigod perspective, is criticizing flawed systems meant to support disabled people that don't do their job effectively or let too many people fall through the cracks. The Mist "hiding" the "mythological world" from mortals (and even some demigods) is about how most abled people (and some undiagnosed people) don't recognize disability struggles until it affects them personally. None of these things are glossed over! It's handled with nuance and care! The series says "you can be disabled and you can be like these fantastical heroes - not in spite of your disability, but alongside it. Neither negates the other." The series was explicitly made so Rick's disabled son could see himself in a hero and learn about mythology for school. Those are the two pillars of the entire franchise: Disability and learning about mythology.

So, when you mess with that "hidden world" structure, the entire thing falls apart and it immediately doesn't feel right, because it's no longer serving either of those two purposes when it needs to be fulfilling both. Late-series Riordanverse has a tendency to compartmentalize the mythological and keep it entirely sectioned off from the mundane. Think about first series and even TKC versus later series - how many mortal characters are there? what do they do? are they just in the background or do they interact with the main cast frequently? are they more than just family or an extension to the main cast? First series we see Percy's classmates frequently, Percy talks about his mundane experiences at school, multiple mortal parent characters (and other mortal characters like Rachel) are active participants in and vital to the plot. We even see a lot of background mortal characters. In TKC, not only are all the magicians technically mortal, but also Sadie's completely mundane best friends help her out. Now think about HoO, or ToA, or even MCGA. Think about the mortal characters in those series. How important are they? Out of the important ones, how much are they in mundane situations versus being almost entirely involved in something mythological? How many aren't related to any of the main cast? How many aren't actively working for a god? The answer is basically zero! Why is that? Because Rick stopped letting the mundane exist. The entire draw of the main series is that Percy does continue to live this mundane life and that adds to his mythological life and makes the balance and meshing between them interesting, but basically all mundanity ceases to exist by HoO. Camp Jupiter is an isolated entirely magic town. Percy and Jason's schools are full of mythological beings as basically the only people they interact with. The Tri's headquarters is an entire giant building in New York City that they completely control that just so happens to ALSO be directly across the street from the local Oracle's house, because even where Rachel lives isn't allowed to be mundane anymore. Why is Olympus just at the top of the Empire State Building versus the Tri having an ENTIRE building? That feels weird and unbalanced, particularly given the difference in importance between those two! Because one is playing into that balance of the meshing of mundane and magical and the other isn't! The show continues this trend. It doesn't allow any of the mythological to exist within mundanity like it functions in the books, which creates a completely different atmosphere and doesn't allow those spaces or scenes or characters to serve their actual narrative purposes, either making it easier to understand mythology contextually or what disability metaphor or representation is occurring there.

It's part of the problem with show!Percy being too mythologically-savvy - Percy is supposed to be the mundane lens unfamiliar with mythology that the audience is learning by proxy through. That's the entire point of the series! If you have Percy already know everything because he's already too ingrained into this mythological environment from the start, and he just exists in this entirely magical world where he understands everything immediately then the literal target audience of the entire franchise (students being introduced to mythology) is left behind! That's part of why the pacing of the show feels so bad! It's rushing through every scene that's more or less the same as the books, particularly anything mythological, because the show is assuming you've already read the books and already know enough mythology to know what it is and what happens and that you don't want to see it again, so it rushes through. The show doesn't explain things that it presumes you already know - worldbuilding, character decisions, basically any mythology, etc, so it doesn't even bother with it.

Later books in the franchise do this too - as long as it's tangentially Greco-Roman mythology, or if it's anything to do with the main series like a reference in TKC or MCGA or etc, it's not going to elaborate much if at all. HoO speeds through Jason's introduction to CHB, and the only reason we get much introduction to Camp Jupiter is because it's actually new. We're no longer trying to contextualize or learn about mythology, it just all becomes set-dressing and references thrown at you rapid-fire as filler. By late HoO and into TOA and TSATS and such, we're not longer even within the realm of pretending like we're adhering to mythology at all. Why is Iris a vegan? Why is Rhea a hippie? Dunno, don't care! Literally doesn't matter! Why are the pandai panda/elephant-monsters and the troglodytes frog-monsters when that's not part of their actual history at all? Well a.) literally just word associations and b.) possibly a little bit of racism (they're supposed to be humans from India and northern Africa, and you made them monsters. cool. okay. and their plotlines totally aren't horrible within those contexts. awesome. please try thinking literally at all next time, thanks). We're not even bothering to look at mythological instances anymore for a basis, a lot of it's written like we're just going based on the first results on google (hi Menoetes and the cacodaemons - the latter of which is not even spelt correctly once in the entire book - which is weird because they do say "daemon" so they know the word. Not that the cacodaemons are mythologically accurate at all because then they would be humanoid. Instead they seem to just be inspired by the things from Doom). None of it serves the purpose of the narrative at all; we're literally just making random choices, some of them quite distasteful! In large part due to refusing to acknowledge the actual contexts of the myths and how that might translate into something similar or equivalent a modern setting to help conceptualize it - something the first series did inherently by design. And we need this! A.) So that you're less likely to make bad decisions because you are inherently thinking about the historical and cultural contexts of these things and how to compare/explain it, and b.) because the audience for later books/the other series and the show is going to be the same as the first series! Those nonsensical references may be at best cameos to people who are already familiar with them, but if your intended audience is new to mythology then making references like that is just going to leave people out of the loop! You don't shift your target audience in the middle of a franchise!

Later books in the series and the show are failing to understand what the first series was actually doing narratively and how it was approaching these subjects and its audience. When you fail to do that, it completely messes up the general worldbuilding and the core themes and intentions of the franchise as a whole. Once you lose touch with that you might as well just be writing a completely different franchise. You need to approach it from the same lens or else it will feel completely off, because otherwise you've lost all base touchstones that make the series what it is.

[perseidlion]

I'm new to the KAOS fandom, and I honestly love the way the show is riffing off myth.

I've seen some rumblings of some people thinking they're changing too much. But, uhhh, the show definitely never promised they'd be sticking close to myth by its whole *gestures broadly* deal. Also like...WHICH version of the myths? There are so many and they changed, sometimes drastically over time. KAOS is just really continuing the tradition of remixing these characters and the stories.

I feel like the people who are saying this takes it too far probably have a superficial understanding of Greek and Roman mythology. Cause if you really dig into it, these stories are weird, contradictory, raunchy, violent and tragic.

I was a Classics major for two years (before I decided I couldn't learn Latin or Greek which was required to study primary sources, so I switched majors.) And let me tell you, KAOS is VERY accurate to certain portrayals of the gods. Not all, of course, but many.

Zeus is absolutely a horndog dick who sleeps with all sorts of people and spreads his seed everywhere. I mean, he straight-up disguised himself as other people to have sex with their partners. Animals, too!

Hera is incredibly petty and vindictive and transforms people into all sorts of things as punishment. She was especially hard on any of Zeus' lovers she caught, or his kids from different mothers.

Everyone was doing adultery all the time.

Hades wasn't a meek corporate type, but he also wasn't a devil analogue as he often gets interpreted as in pop culture. He's definitely a big ole grump and doesn't seem to have a soft side, but he's not often portrayed as evil. Zeus is not God and Hades is not Satan. That's really applying a Judeo-Christian framework to Greek mythology.

The myth of Orpheus and Eurydice was always more about grief and not being able to let go than about the power of true love.

The gods gained obedience and worship through fear. They absolutely punished people who didn't worship they way they wanted them to.

The gods were a giant, powerful, highly dysfunctional family with lots of petty grievances and grudges.

The Greeks had no concept of gay or straight. They conceptualized sex and sexuality as acts, not an identity. They were more concerned about who was the passive person in a sexual encounter (for reasons of class and manliness) rather than what gender their partner was. So it makes sense that this modern retelling would have a similiarly open an undefined concept of sex and sexuality.

Greek myth is full of people who change genders or who swap back and forth through magic or prayer, or were both male and female at the same time. Caeneus in the show, is based on a real myth of someone AFAB who wished to become a man.

(sidenote: Misia Butler is so damned charming and handsome.)

It's also important to remember that the religion of the ancient Greeks lasted a very long time and changed over that time. There was also this really interesting dichotomy between the gods of plays and myths and the gods they worshipped in a religious context. That was one thing that is really hard to wrap your head around when you're studying Greek and Roman myth, especially when you're studying it alongside plays and epic poetry.

The gods of the stories who were being vengeful and petty and the gods they sacrificed to and worshipped were not the same - and they were. Sort of imagine it like Christian peoples' perceptions of Jesus vs Jesus in pop culture. Like, if you studied Dogma or Good Omens or something alongside the Bible and didn't distinguish between religion and pop culture, you'd definitely be confused.

So there are all these competing stores, some benevolent and holy, some raucous and scandalous. KAOS very ably continues in that tradition by remixing and recontextualizing the source material for a new audience.

They do some reaaalll weird thing with timelines, though! They squish together myth and pick and choose different versions and inspiration. But honestly that doesn't bother me because it's all done deliberately and not out of ignorance. They're changing what they've changed to serve the story.

Plus it's great fun. It's one of the most creative shows I've seen in ages. Go and watch it! As a bonus, it's also hella queer.