#idk how but their come back is to blame

[beanghostprincess]

I understand Garp, I truly do. But personally if my grandson were about to be executed just for existing after years of asking himself if he deserves to live, idk, I think I would've gone on a fucking rampage and had killed everybody

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[torra-and-the-toons]

Some notes on Nigel from my modern adult AU, where all their adventures were just them playing pretend as kids and now they're grown up.

I always liked the cancer theory for Nigel, so I went with that. (what can I say, I love angst...) He left because the US healthcare system is a joke.

I made this for outfits, but it kinda just evolved into random notes.

[foundfamilynonsense]

Y’know. Anakin was a real asshole in Ahsoka’s hallucination.

Like. She mentions something about what she’ll be able to teach her padawan one day, since all she’s being taught is how to be a soldier, and Anakin’s like “teaching’s not all it’s cracked up to be”

And like. Asshole move. And Ahsoka rightfully calls him out on it. And he goes on the whole “uuuh I was joking. Lighten up.” Literally a complete jackass.

But beyond how he answered the question, it’s a valid complaint Ahsoka is bringing up! Anakin’s teaching her how to live or die. But Ahsoka wants to be taught how to be a jedi.

What happens after the war is over (order 66 never happens) and she now has to navigate a galaxy without a war? The Jedi take teaching very seriously there’s no greater honor than teaching a padawan. And she’s not being accurately taught, so she will not be able to pass anything on to the next generation.

But Anakin brushes it aside because he simply does not respect her or her wishes. Like. He never wanted a padawan, despite teaching being foundational to the Jedi. And he only took ahsoka in because he started to like her and became attached to her. He doesn’t care about jedi legacy, not really. So he brushes her comment off with a joke.

But in the rest of the vision… idk it didn’t feel like we were supposed view Anakin as entirely wrong here. He wasn’t in the right, he was definitely channeling Vader and being an ass, but he was basically the reason Ahsoka survived the fall, right? Bc he was making her choose life? When Ahsoka wins against him it’s sort of like she’s both learned his lesson and moved beyond him. And then for the rest of the season he’s only talked about in positive ways.

And like. That one line ahsoka said was really powerful in relation to the entire point of the show. What does she have to pass onto her own padawan (Sabine) if she wasn’t properly trained herself? That is, perhaps, the only valid plot question asked in the entire show. And it doesn’t get an answer. It’s never even brought up again.

[coconut530]

BITTERSWEET REUNIONS

[deus-ex-mona]

when the slowburn makes the ship extra cute~~~

[youngyoo-apologist]

OG Choi Han they could never make me hate you cause if some random rich boy was yelling at me and telling me my family deserved to die like a day after it happened and all I wanted was to know how I could get help I’d beat him up too

This plus the added fact that the Harris Village people were the first people to take Choi Han in and take care of him after years and years in the dark forest. Like he’s obviously not going to be mentally stable after all that, and he was so young when everything happened to him like I cannot blame him at all. I don’t think I can ever hate OG Choi Han like ever, he’s flawed, he has problems, but I love him dearly. He deserves the world. This kid who had to fight for his life, was taken away from his family, and in the process had to give up parts of his own humanity to survive, and like went to war two years later, they could never make me hate u OG Choi Han…

Like yeah violence is bad I guess but OG Cale had it coming(saying this as an OG Cale fan, I love him, but he was mean as hell when he was younger!)

If I’m honest, I think they were both in the wrong to an extent. Like OG Cale shouldn’t have said all that no matter the circumstances, and OG Choi Han shouldn’t have beaten him up so much. But u say mean shit and you get hit, that is how it will work when you’re talking to the guy who just saw his entire village get murdered like idkkkk man

I understand where OG Cale was coming from, but he had many issues and while he wasn’t an awful person, he was capable of doing bad things because of his own internalized pain and emotions that he never got to properly process because of his emotionally distant childhood and relationship with his father who should have been there for him more when he was younger.

Okay speaking of his childhood, Deruth isn’t the WORST father in the world but there are a lot of things he could have done better. I think a lot of Deruth’s flaws come from his fear of failure and messing up. He’s scared of doing the wrong thing, and so he sticks to doing what he knows and using what he knows best. That’s why he uses his money, that’s why gift giving is his way of showing affection, he knows that it is one thing he cannot mess up.

The problem is that money and gifts is NOT what OG Cale needed. I think what that guy needed the most was a parent who wasn’t afraid to talk to him, to ask him questions. Not to say that Deruth gave up on OG Cale, but I think in a way he gave up on OG Cale by giving up on himself. Deruth didn’t trust himself to have the capabilities to talk to OG Cale, which is why he never did. It’s because that Deruth was scared, and didn’t trust himself, that he could never face OG Cale

If Deruth was able to trust himself a little more, and pull himself together, I don’t think OG Cale would have turned out the way he did. As a kid, he probably thought the only way he could help his family without relying on anyone(no doubt this whole ‘I have to do it myself’ thing came from the fact that he couldn’t rely on his father when his mom died, and instead was acting as a pillar of support for his father when it should have been the other way around) was to sabotage himself, the only heir. If he was shown to be unfit to be heir, then everyone else would have no choice but to direct their hatred towards him instead of his family.

If Deruth had talked to his son at least ONCE when he was a kid, asking him why he was upset or why he did the things he did, I think OG Cale would have told him. Why? Because he’s a kid!! A kid will obviously want to rely on his father, if he just had one sign telling him that he didn’t have to do it alone I’m 90% sure OG Cale would have said something.

Basically, while Deruth isn’t the worst father, he’s not really a great father either. I think he does do his best, but he has issues with communication lol

OG Cale and OG Choi Han are both complex characters and had their own reasons to behave the way they did. The thing is with people is that they’re complicated and have layers, so the situation with them would have layers behind it as well with multiple co-existing truths and stuff

[icewindandboringhorror]

I occasionally wish to reach out to old friends/acquaintances I haven't spoken to since high school/some other even earlier time in my life, but I have SOOO little social energy even for required tasks (like making dr phone calls or etc), I never have any leftover for extra ones, and it would be very odd to message someone I haven't spoken to in like 5 years out of the blue but then take 4 entire months to respond back lol.. My natural curiosity with nostalgia/collecting details of the past/etc. (literally if I were born a little earlier I would definitely do scrapbooking or something lol) is very strong, but, alas, not strong enough to beat out the Social Issues Demons apparently

[wonho-ssi]

[stupidrant]

i think the most we will get is PC release (if that) this year but that means we gotta deal with those trolls bc changing angrb0da’s skin color is such a big deal to these mfs and i still dont understand that sweet baby inc shit bcuz all the information im seeing is just bundled bullshit LMFAOOO i feel like her actual character gets overshadowed by the made up problems and no one actually talks abt HER as a character or even analyses her fr (outside of here ofc) lol sms abt to make a banger with her and atreus istg

[iheartbookbran]

I feel like with this whole Liam Payne situation and the resurgence of 1D content (which I’ll be lying if I said I haven’t been enjoying) it’s easy to forget what a real tragedy this is—because obviously I don’t know any of these men personally nor will I ever, but the 5 of them where still incredibly important to me in a very dark and yet very formative period of my life, and they deserve that recognition on my part at least. Growing up I very rarely thought about how the 1D members were very close in age with me, only a couple of years older, yet while I was living the last years of my childhood protected by my parents, they were literally plucked from their homes, overworked to the bone and thrown to the wolves.

Liam became an abuser and an addict, there’s no denying that, but it’s very hard for me to think that the boy I used to eagerly watch videos of everyday when I was a teen started off that way—and this isn’t me trying to put my nostalgia above the pain of his victims at all, I’m just pointing out how the cycle of abuse perpetuated by the industry can only end up ruining lives. Liam’s life absolutely did not have to end the way it did. Ultimately Maya Henry and the rest of his victims don’t deserve to be blamed for this, they should receive nothing but compassion and empathy from us, and so should Liam’s family, especially his son.

I think I will, bearing that in mind, allow myself to mourn Liam, and the girl I used to be and that he was such a huge part of. I can never be that girl again, I’ve lost and gained too much over the years to ever be her again.

I will also allow myself to mourn the rest of the 1D boys too, because while I don’t want anything bad to ever happen to them, they aren’t those boys anymore, the pedestal they used to occupy no longer exists in my heart, but a part of my love for them will always be there.

[pink-lemonadefairy]

siren without seunghan SM eat shit you fucking suck i hate you

[f1owermoon]

sorry i just. need to rant for a second

[nerdyfangirlingbooks]

I've had a stupid merlin au idea stuck in my head for days now and I know I'll never get around to writing it the way I want it written but I kinda wanna try anyway even though I am 100% of the target audience

[loumauve]

I snapped today at work, and by snapped I mean I politely commented on a help desk ticket by summing up an mess of an (type of) issue that's come up for at least the fourth time in the 2+ months I've been managing user accounts, and asked the person responsible to fix it (himself for once) because last time I fixed his mess-up it took me two whole days to work out the details with at least four other colleagues from different departments and I really don't want to do it again. there's other shit that needs doing, I've been working 10+ hour days for most of this week already, so I need to cut down not add on more.

(good thing tho - at least we managed to fix the issue where the dataset of a newer employee got mixed up with another one of the same name and therefore wasn't able to apply for any of the access/accounts she needed. technically not entirely my area but it does impact us not being allowed to create an account for her so I figured I might as well track that issue down. took three days and at least three other people, but hey - it should all work out now. yay for that)

[despite-everything]

the knowledge that ted has helped guide richmond to be a healthier and more supportive place and now we're seeing nate returning to the fold after being forgiven by beard the way ted had forgiven and offered a second chance to beard himself and jamie has a support system and rebecca has been growing more self-assured and open and keeley has been able to achieve so much and roy has become a great coach and an even better man and and and and-

and. all the foreshadowing about ted going back to america. learning that not only was ted trying to give michelle space, but that he's been afraid of hurting his son the way his dad hurt him - acknowledging that and being open about his pain with his mother. do i think that ted is going back to kansas? yeah. but i'm scared that his time in richmond will have changed him so much that he won't be able to step out of his life there so easily anymore. he's always been a coach, yeah? he's there, and so supportive, but at the end of the day he's on the sideline. but not only has ted been helping encourage openness, forgiveness, and growth around him, we're seeing it within himself. and it hurts to think of him leaving that behind, even if it is to be there for his son. but maybe he's ready for it. i don't really know. but seeing how much love he's brought into richmond and then seeing that love returned back to him makes the idea of leaving heartwrenching