#it really is a great book! racist in its own way of course (see: the title) but for the time and circumstances honestly pretty equitable

[trillgutterbug]

being back on my hbo war bullshit rn (jk im never not on my hbo war bullshit) seems like a good time to mention the very cool jacob vouza, a native of guadalcanal. from 1916 onwards he was part of the island's constable force, aka the system of policemen and law enforcers run by the colonial government, which was a scattering of primarily british and australian military and bureaucratic personnel, such as coastwatcher martin clemens (who wrote a great book about his experiences spying on the japanese).

the pacific (the hbo show, i mean) has a good number of narrative faults, but one of its most egregious content faults imo is its complete lack of acknowledgement of the native solomon islanders who were not just instrumental to the american victory, but utterly indispensible. without their knowledge of the terrain, their protection, guidance, and supplying of the coastwatchers who provided pivotal intel on japanese troop/air/naval movement ("forty bombers heading yours"), and their constant rescuing of stranded american troops (particularly air and navy men, including 26yo jfk) and white civilians, it is genuinely questionable how much longer or worse the war might have ended up being.

jacob vouza (whom martin clemens described as incredibly loyal, cheerful, brave, a fierce individualist, and tremendously skilled in bushcraft) had retired from the constabulary pre-war, but rejoined a year later when the japanese landed on guadalcanal. he helped clemens escape into the jungle, then eventually helped him reach the american lines safely. afterwards, he oversaw a network of native scouts and participated in regular spying missions, gathering information on japanese troop movements. on one of these missions, he was apprehended by the japanese, who found a tiny american flag in his possession. they tied him up and interrogated him. he refused to give them any information on the americans, despite being tortured for hours with beatings, stabbings, hanging, and being forced to lie on a red ant hill with open wounds. eventually, having bayoneted him in the limbs, face, throat, and stomach, the japanese left him for dead. he chewed through his bindings and escaped into the jungle, where he made his way for three miles through an active battlefield to the american lines. upon reaching the marines, he refused medical treatment until he could personally deliver a message to clemens and the commander of the 2nd battalion 1st marines. despite being unable to stand and barely able to speak through the wound in his throat, he informed them that the japanese were massing for a huge, imminent assault on the critical american-held henderson airfield. he described the japanese numbers, positions, and weaponry. he also dictated a final message to his wife and children, which clemens wrote down with one hand, while holding vouza's hand with the other. his warning came only about ten minutes ahead of the japanese attack, but that was just enough time for the marines to assemble a successful defense in the correct place.

vouza was quickly rushed to field surgery and received a massive transfusion (tangentially, this was in the time of a segregated american military, in which it was illegal for black and white soldiers to provide one another blood transfusions; although vouza was not considered black per se by the american military, it's nonetheless a notable element of the cultural landscape at the time), which saved his life. later, he was awarded a number of medals from both the american and british governments, including the silver star. in 1979, clemens successfully campaigned to have him knighted. following vouza's death in 1984, clemens also organised the installation of a commemorative memorial in his hometown.

it's remarkable (derogatory) to me that the pacific (the show), despite its amazing dedication in general to accuracy and exhaustive detail, didn't say a peep about jacob vouza (or any native person whatsoever), despite spending most of episode 2 re-enacting this specific battle. his actions weren't just a footnote, but genuinely the crux of the american victory. he was a very incredible person, one of the many examples of contributions native solomon islanders made to the war effort, and we should remember him accordingly!

[knightotoc]

Just finished IWTV book, so now I can say the differences between the book, movie, and show. The movie is quite accurate to the book, while the show is more original. I love them all quite a lot, but I think the show is my favorite since it's the most romantic. Long post with spoilers below the cut.

book:

The depth of Louis' interiority, especially his thoughts about religion, can only be found in the book. I am also ex-Catholic so this is high-key my shit. Especially knowing Anne Rice went back and forth later in life. I can relate. Louis wants to talk about his feelings with other vampires, but Lestat and Claudia aren't interested, which is the main reason Louis is attracted to Armand. Where is the Brideshead Revisited crossover?? Louis get in a bisexual love triangle with the Flytes for me🙏

I learned in the Matt Baume video on Anne Rice that she wrote IWTV while grieving her daughter, who died of leukemia just before her sixth birthday. This feeling of grief, reflected so clearly in Claudia, is the most moving and unique aspect of the book, far more than anything between the adult characters.

One reason this feeling is watered-down in both adaptations is that in the book, Claudia is only 5/6, the age of Anne's real daughter. In the movie she is 10 and in the show 14. Of course it would be impossible to find a 6 year old actress who could act with the maturity of an 80-year-old woman. But the character is even more pitiful and bizarre as a little child than as one nearing puberty.

In the book, Lestat is shown to have survived the murder attempt pretty early on, and he keeps jump-scaring Louis and Claudia on their adventures. I prefer the movie's version where they hold off on this reveal. Though of course I always love to see him, lol

In the book, I got the impression that Lestat and Louis are both bi, but Lestat prefers men and Louis prefers women. Still, their motivations aren't driven by sexuality in a straightforward way. For example, Lestat's ideal prey is a young man, because he loves to destroy their potential. Louis feels something like love for a few women characters, because he feels empathy for their misfortunes.

The adaptations soften/change Louis' status as a slave-owner; in the movie, he frees his slaves, and in the book he just flees. As much as Louis is a soft-hearted quasi-feminist, defined by his guilt and regret, he is still racist and close-minded in most ways. This seems realistic to me.

I did think it was interesting and cool that the enslaved people can tell Louis and Lestat aren't human, while the other plantation owners and even Lestat's dad have no idea. But we don't get their perspective, just Louis' racist assumptions.

Yeah in the book Lestat has a dad! It is rather confusing since Lestat explains nothing, but it creates some great melodrama. I guess I have to read the next one and hope for a backstory reveal.

Fun spooky detour into Eastern Europe! I hope the show goes there in season 2.

Louis and Armand's discussions are really cool. I especially loved Louis' monologues after Claudia's death. There wasn't room for these discussions in the movie, but I feel like it'll be a main focus in season 2 of the show.

movie:

Like I said, the movie is impressively accurate, and a beautiful work of art on its own. The best innovation is holding off on the Lestat reveal until almost the very end. This makes it look like their murder attempt really did a number on him, and it took decades and decades of rat-eating to even drag himself out of the swamp. I like that.

The movie also has a more exciting and ridiculous ending, in which Lestat attacks the reporter in his car and drives away to Guns N' Roses. The book ends with the reporter hurrying off to find Lestat himself. It's funnier and more awesome if Lestat is the one driving the plot and the car. Pleased to meet you :D

"How avant-garde." Best line in the movie, and it's not from the book!

Since the movie cut out most of the minor characters, there isn't as much evidence for Louis' bisexuality. Louis seems more like, gay but closeted. And Lestat seems more like, gay but misogynist, so he'll prey on women just for sport lol.

I'm a Fight Club guy so I love that this is, like, a reverse companion movie (this time, Brad Pitt is the pushover in a dangerous gay duo)

show:

This is the only version that is clearly gay. But this dynamic is the same: Louis wants to talk about things, and Lestat does not. In this case, the focus of these discussions is not vampirism or religion but their relationship. Louis points out that he is gay and Lestat is bi. Perhaps it's just because I saw this version first, but this is my favorite version of their sexualities. The show simply spends more time with this dynamic, and how it affects everything, including their interracial relationship and openness in society.

In the book, Lestat is a talented but soulless musician. He can play anything, but without heart. In the show, music is Lestat's one genuine connection to humanity (even if this connection just leads him to kill musicians who don't impress him). I believe later books go more into Lestat as a musician, so I'll have more thoughts on this later.

Since the reporter is cynical, old, and dying, this creates a much more compelling conversation within the framing device. He holds Louis to task with a forcefulness that rivals Lestat. It is a clever way of modernizing the story, since Daniel references their last interview in the 70s (when the book was published), and you are meant to wonder which version is more truthful.

Since Claudia is 14, she can pass as an adult, and she is able to go on her own rather disastrous adventure. It is exciting, terrifying, and sad, and a welcome addition for this character, though it is much different than the book's helpless, heartless Claudia.

The Catholicism in the show is flashier, but not as interesting as the book. For example, in the book, Louis is haunted not just by Paul's death, but Louis' failure to meet Paul's faith-driven monetary demands. In the show, Paul's ideas seem like more of an annoyance. Maybe there will be more religious doubt in season 2, but I don't really expect it.

In the book, it seems like Louis and Claudia throw Lestat in the swamp since it's faster and more thorough than fire. In the show, the oven they use is a major plot point, and Louis can't bear to put Lestat's body in it because he still loves him. Instead they throw Lestat in the trash, which is one of my favorite tropes (see: Maul in The Clone Wars, Soldier 1998). This is just one of the many ways the show complicates and deepens Louis and Lestat's bond.

I feel like the show is more believable and has more deepness in general, since it's a smart retrospective on an old franchise and a response to decades of vampire fun in pop culture. For example, in the show Louis has volunteer humans to feast upon, and it's very "safe, sane, and consensual," versus the universally predatory relationships in the book and movie. Because we all know now that if vampires were real, and they were hot and rich, they could get all the blood they want without hurting anyone. An ethical vampire like Louis isn't impossible anymore. Compared to other billionaires, he's a pretty decent guy.

So, I'd say the book has the most profound perspective on grief, the movie has better structure, and the show has the most complex romance.

[kendrixtermina]

Misleading Claims about Gaza I’ve seen flying around

So I want to speak to a set of claims I’ve seen flying around that, while not 100% lies, get presented in a hugely misleading way.

I, a rando with an internet connection, was able to find with a simple google & wikipedia search that they were severely taken out of context.

1. They threw a gay person off a roof

Never happened.

This is a clear echo off of roof-related execution done by ISIS meaning to conflate the orgs in the mind of an uneducated westerner who doesn’t know how ME political groups are different.

There was indeed one (1) case of a person being accused of being gay & then executed (not by being thrown off a roof) – but that was among a long list of other crimes, & their relatives say it’s a pretext/slander to cover internal hamas power struggle.

Not great, part of a larger tendency to be repressive toward some rival factions, but hardly „systematic persecution and executions of gays“.

While it’s not exactly Amsterdam, there is no systematic or legally encoded persecution. There are cases of ppl being shunned or kicked out by their family, but you can say the same about, say, Alabama.

I’ve come across various posts by LBTQ people who travelled there and were not especially harassed. One even wore a flag pin.

A common thing you hear is that ppl are too busy just surviving & ending their more general oppression to worry too much about stuff like holding a pride march.

2. It’s forbidden to teach the holocaust in Gaza

This should have you very suspicious if you’re aware how little control Palestinians actually have over their education system and how they’re often handed textbooks with pro-zionist curriculums that present the Nakba as good (!) - to the point that arab students in mixed town hear their teachers call them the „enemy“ & younger palestinian educators often have not heard of famous palestinian writers & poets.

Indeed the claim probably goes back to a single dispute about a single UN course on human rights where Hamas officials expressed concerns about a curriculum that might include the holocaust for fear of indoctrination & zionist propaganda.

(Not an unreasonable fear, if you’re aware of the racist textbooks issue.)

During the discourse, there was an individual Hamas official who made some statement to the effect that the holocaust was probably just another lie made up by the Zionist to justify taking their country.

The man hasn’t been in power for years, btw (a good thing, seeing as he seems ignorant & incendiary) – genuine L for that guy & Hamas for hiring him. Not defending him at all, that guy is an idiot. But its NOT a comprehensive ban on the subject at all (indeed many Palestinians you see online seem quite well-informed)

But note how the claim is often presented in a way to evoke western neo-nazis who have long been motivated to explain away the biggest argument as to why their ideology is a bad idea.

Can you really compare these situations, though?

Make no mistake: The holocaust defo happened.

But why do I know this? Because I’ve read books by survivors as well as accounts of US & russian soldiers who found the mess. I’ve been to Dachau on a school trip & the walls of the gas chambers still had nail marks on them. I’ve been to that house in prague where all the walls are covered in victim’s names. My grandmother saw the infamous auschwitz human skin lamp with her own eyeballs. Heck, her father in law narrowly survived by jumping out of one of those death trains.

Now, does an older arab guy in a besieged, impoverished enclave have access to that proof? It’s not like he can travel to europe & go to a museum.

Also, as someone who went to an european school, I remember being told precious little about the middle east and some of it was stereotypic bullshit. So why would an arab guy living under a much worse-funded education system know much more about european history?

He’s used to the zionists spouting 2+2 = 5 lies, propaganda & spin all the time, so if he doesn’t know a lot about europe, he might jump to the conclusion that this thing they use to justify the conquest of his home is probably a lie as well.

Quite different from an european neo nazi denying mountains of proof out of wounded pride. (or because he actually thinks it was nbd but can’t say so publicly)

It’s kinda like the way radfems refuse to believe that men aren’t making up all their problems...

Again, it’s an L for that hamas guy, kids have nothing to fear from learning accurate facts about foreign countries, I'll always be against censorship & pro free information.

But one (1) idiot politician saying something offensive does NOT equal the subject being explicitly banned from discussion in all gazan schools.

The claim also leaves out the context that since Hamas also provides schooling & welfare there’s a bit of a rivalry/power struggle between it & the aid orgs (golly gee, I wonder why a population utterly abandoned by the international community would distrust foreigners...)

Something that was very telling about the post is „liberate gaza so they can finally learn about the holocaust!“ like its this all-important thing - I mean, it IS very important… if you’re european or jewish, cause in that case it massively impacted your civilization and your own family history. But it wasn’t the only mass murder nor the worst by method (rwanda) or number (stalinist purges) & doesn’t have this magic objective value, europe isn’t the navel of the earth & the ppl aren’t wrong not to want eurocentrism shoved down their throats.

I do think everyone should be taught about the evils of discrimination but probably a more natural place to start might be the armenian genocide, since Palestine used to be Ottoman. Or examples of discrimination in the arab world (including against jews)

I mean in that instance the guy was most likely being paranoid & advancing some power strugle agenda, & I’d say he was in the wrong, but the touchiness & concern about indoctrination has a reason & one instance of complaining about one course does NOT equal a general ban on the subject in schools. (many of which, are, after all, run by international orgs)

Frankly, a people living in a walled ghetto probably already know more about the evils of discrimination than anyone who doesn’t.

Also, it’s very ironic for Israel to go accusing others of denying atrocities when even mentioning the Nakba can cost you your academic career.

There’s no Israeli teens going to Nakba Museum and indeed school books portraying it as good that are forced on the arabs as well.

Imagine if a Romani, Jewish or Polish person in modern day Germany were forced to look upon textbooks full of common Nazi apologia like „Hitler built the Motorways“, „But Dresden!“ and „We only lost WWI cause the socialists backstabbed us!“ (For the record, all of those are all bullshit.)

3. When Israeli settlers pulled out of Gaza, the first thing they did is raze the synagogues

Again, this is deliberately phrased to remind westerners or diasporic jews of neo-nazis throwing molotovs and the like (if only our governments did as much against those as they’re presently doing to slander anti-war protesters… ), to trigger immediate sympathy for Israel & portray gazans as a bunch of vandalizing hatecrimers.

As the previous claims, this is „very loosely based on a true story“ as in it technically did happen but there’s a lot of context missing, such as:

Israel demolished TONS of Mosques & Christian Churches during the Nakba, or worse, turned them into warehouses bars & factories.

Settlers did horrific violence to ppl in Gaza. In one example, a house was burned with a toddler still inside. Settlers mocked & harassed the kid’s grandfather

When they pulled out, they destroyed the entire settlement, infrastructure & farming equipment so the locals couldn’t use it

They even considered destroying the synagogues themselves but then left them as the only buildings standing & tried to have them declared unesco heritage (possibly a ploy to maintain a presence in the strip after all or leave a backdoor to return, creating a strategic incentive to destroy them so the settlers wouldn’t have an excuse to come back)

We are talking about blocky cement structures a new as the settlements, NOT historic buildings (unlike the destroyed Mosques & Churches)

religious symbols & cultic objects were removed when the settlers left. Obviously. Why would they possibly leave it?

So what do we have left?

Some people vented their rage at empty concrete buildings that had no religious items in them, had no history and were never going to be used again. - which they were somewhat justified as seeing as symbols of domination leaving their mark on „their“ home, like a cat’s territorial piss markings, so it might as well be interpreted as an act of defiance against colonial power.

Still technically vandalism against a religious building, not very diplomatic, do not recommend etc.

but at the same time rather different from the idea suggested by „the first thing they did is raze the synagogues“… for once thing, there was nothing else left to raze cause the Israelis already did it themselves, it was retaliation for Palestinian sacral buildings being trashed & a response to finding out that israelis would destroy good farm tools rather than let them have it, and it was an interchangeable concrete block empty of actual synagogue stuff. - whereas without the context you are probably imaging hooligans singling out the synagogues out of useful, intact buildings, a unique historic building being thrashed or the cultic objects & holy books being broken & desacrated, similar to historic cases of nazi arson or russian pogroms. That just didn't happen.

The double standard, too, is very telling: This act of vandalism means gazans are evil hatecrimers out to get all the jews & means they can't be negotiated or made peace with, but Israelis’ much more widespread & systematic destruction of churches & mosques is assigned no such interpretation. Golly gee I wonder why.

Again, the point here is NOT to portray local government as perfect & flawless (what government is?) or to say that none of this stuff was bad. But sporadic events are being inflated into nonexistent systemic patterns, as well as misrepresented to appeal to very particular tropes & cliches to blatantly manipulate ya'lls emotional reactions.

[dreaminginthedeepsouth]

The Golf Specialist. stevebrodner.substack.com

* * * *

THE APOSTLE OF THE NEW RIGHT

TCinLA

Sep 20, 2024

JD Vance has proven himself the kind of loyalist for whom nothing exists but the loyalty, with his actions regarding the lies about Haitians in Springfield, Ohio. There seems to be something missing inside Vance, something that being Trump’s vice president fills.

You can see it the way his chest puffs out, the way he tries to look tough for a minute before a smile breaks in his response to rally crowds. You can see this reaction over and over again in his love of the response to his “money lines.” He gets filled with the glory of the moment, the crowd’s response giving him such a powerful affirmation for his work as Trump’s attack dog, to the point it seems to be its own reward.

When one considers Vance’s effort to spread the racist lies about Haitian immigrants eating pets, continuing the spew the lies despite numerous fact checks, with the Wall Street Journal, documenting that Vance and his campaign knew from the outset what they were saying was a lie that they went on to spread anyway, that’s all the proof needed of Trump’s genius in choosing Vance: Corporal Six Months In An Air-Conditioned Trailer is a man for whom no lie is too brazen, no attack too low, no step too far in his pursuit of Eminence.

It turns out Vance may be even more broken as a human being than Trump is. A review of how he got where he is demonstrates he is someone who will do anything to achieve the eminence and power he believes he has been denied since birth.

There is irony in the fact that - on the one hand - Vance is a card-carrying member of the upper echelon of America’s ruling elite: Yale Law School graduate, New York Times best-selling author, Silicon Valley venture capitalist, United States senator. And on the other hand, he is now a vociferous conservative critic of that ruling elite, as the Tribune of disaffected Middle Americans/ It’s a role he claims by virtue of his birth in eastern Appalacia, his familys problems as documented in his book, by his upbringing in post-industrial Ohio. He said, “It’s the great privilege of my life that I’m deep enough into the American elite that I can indulge a little anti-elitism,” in one of his first major interviews following publication of “Hillbilly Elegy.”

But how populist can he really be, cozying up to billionaires in Silicon Valley? How does a Yalie attorney and former venture capitalist understand the lives of Trump’s blue-collar voters? This is a guy who owns two million-dollar houses and claims to be a credible advocate for the GOP’s economic populism?

Vance is a particularly good example of the kind of “empty person” who is attracted to authoritarian movements in the belief their true genius will be recognized therein. This is a familiar trope for some of the worst individuals who became involved with Stalinist Communism, Nazism and Fascism. Bernardo Bertolucci gave us a portrait of this kind of person in his film “The Conformist.”

What has been relatively unknown in contermporary politics is that Vance comes from what is now referred to as “The New Right.” For those unaware of this phenomenon, The New Right is a new movement advocating an illiberal and explicitly reactionary political order. While it uses the rhetoric of conservate populism, it is fundamentally elitist. Its goal is to replace the current ruling elite with a new, more conservative one - drawn of course from the ranks of the New Right.

Who are these people? Elon Musk is one, so is Peter Thiel. Also Marc Andreessen, as well as other Silly Con Valley Bros who believe their success demonstrates their worthiness to run more than a computer company. The goal is a to find someone who can lead a right-wing populist movement to political power, then carry out a top-down transformation of American society into an illiberal social order built around conservative values, even if those values remain broadly unpopular with the American people.

Consider that Trump is 78, in poor physical health and obviously “losing it” in terms of mental competence. Should he win re-election, he is unlikely to complete the term, either dying outright or being removed for failure of mental competency under the 25th Amendment.

Which would thus push JD Vance into the White House. Where he could reorganize the cabinet and bring in his New Right allies, installing them in the positions of power that would allow them to institute this plan.

In a 2023 interview, Vance said , “One of the ways in which I’m very much populist is that I think people need to have elected representatives who try to channel their frustrations into solutions that will make their lives better. One of the ways I’m very much not a populist is that I think every populist movement that has ever existed has failed unless it’s captured some subset of the people who are professionally in government. You can’t just run a political movement purely with voters — you need voters, you need bureaucrats, you need lawyers, you need business leaders, you need the whole thing.”

For those who were surprised - given his past criticisms of Trump - by his new-found belief in Trumpism and the MAGA movement, what he did in accepting the vice presidential nomination has been chalked up to either moral collapse or rank opportunism. But considered in light of the ideas presented in the writings of the New Right intellectuals close to Vance, it looks a lot like the first step in their much larger plan.

Patrick Deneen, a New Right Catholic philosopher and political theorist at the University of Notre Dame, has written two influential books that promote the ideas of the New Right.

In the 2018 book “Why Liberalism Failed,” that first got him noticed, he argued that small-L liberalism is inevitably self-destructive; that a political system based on expansion of individual rights and autonomy will inevitably undermine the traditional family, organized religion and local communities - the collective institutions that make political life possible.

In his 2023 book, “Regime Change,” Deneen lays out his vision of an ideal “post-liberal order” that drops liberalism’s protection of individual rights in favor of a social order that promotes “the common good;” this is a purportedly objective set of social conditions that “undergird human flourishing,” which is borrowed from Catholic social teaching. In this analysis the phony commitment of liberalism to egalitarianism gives cover to a corrupt - left-leaning - elite pursuing its own interests, at the expense of the interests of the downtrodden - right-leaning - masses. In this post-liberal social order, a new ruling elite will promote collaboration between “the few” (the New Right) and “the many” in pursuit of “the common good,” in a system governed by the same institutions, infused by a “fundamentally different ethos.” This would include aggressive trust-busting of corporate monopolies; a robust “pro-family” welfare policy to promote the formation of traditional families; strict limits on abortion; and limits on LGBTQ+ rights.

The major point is Deneen’s plan for transition from the liberal order to the postliberal order, which would require the creation of “a new elite” — a “self-conscious aristocracy” as he puts it - who could enter government, academia and the media, take them over and repurpose them to serve conservative and illiberal ends. Having replaced the old, corrupt liberal elite, the new elite would ally with and rule in the interests of the “many,” using their power to foster conservative values like “stability, order and continuity.” Deneen’s term for this is “aristopopulism” which — an alliance between a “genuinely noble elite” and the populist masses, who would together replace secular liberalism with a postliberal system based on a “forthright acknowledgment and renewal of the Christian roots of our civilization.”

Even a casual study of the past 150 years of social change led by “leading forces” - what ended up being called Communism and Nazism - is a good guide to what happens when those in the “leading force” take power.

Vance supports Deneen’s ideas. When he participated in a panel discussion at the launch for “Regime Change,” Vance identified himself as a member of the “post-liberal right,” and said he “sees my role and my voice” in Congress as “explicitly anti-regime.” Significantly, he appeared at this event alongside Heritage Foundation President Kevin Roberts - the man responsible for Project 2025. Asked how he balances the interests of “the few” and “the many” in practice, Vance answered, “Things in American society are so tilted toward the ‘few’ that I just focus on the ‘many,’ and let the rest of it figure itself out.”

Vance’s suggestion that Trump should ignore the Supreme Court if they step in to block the mass firings called for in Project 2025 is the kind of move that the New Right advocates.

All of this is clear when considering the thinking of Vance’s primary political patron and close personal friend Peter Thiel, who Vance met in 2011 at a talk by Thiel at Yale Law School, which Vance later called “the most important moment of my time at Yale.”

Vance later worked for Thiel’s venture capital firm, Mithril Capital and then founded his own fund with Thiel’s backing. Along the way, Thiel became a tutor to Vance, introducing him to the intellectual influencers shaping the politics of Silicon Valley’s right-leaning Bros

For the record, Thiel has said that “democracy” no longer supports “freedom,” and that allowing women to vote is why the conservatives he supports lose elections. He’s right about that, women are doing a great job of sending people like him back to mommie’s basement. Of course, he believes the 19th Amendment should be overturned.

For Thiel and the rest of the Silly Con Valley Retrogressives, “real political freedom” requires shrinking and eventually abolishing the centralized political state, replacing it with an “anarcho-capitalist” system governed exclusively by markets and social competition - a stateless techno-libertarian paradise in which the only rights are property rights. Under this new order, a “natural elite” - people like Thiel, Musk and Andreessen - would inevitably rise to the top. According to Thiel & Co., democracy existed to protect markets; once it ceased to do that, it is now expendable..

Vance and the people who have worked to put him where he is are united by their opposition to liberal democracy and their fundamental elitism - their belief America is and always will be run by elites, but is currently ruled by the wrong kind of elite. They recognize their ideas are not sufficiently popular to win broad-based political support; thus they propose an alliance between reactionary elites and the alienated masses, channeling popular frustration against the democratic order they hope to eventually replace.

This is only different from Leninism in how the new rulers will initiate the “dictatorship of the proletariat” andwhat it will look like.

The New Right is committed to identifying and cultivating that new conservative elite. Idiots like Charlie Kirk - who is probably not a current member - take their money to set up organizations like Turning Points Action to attract the future “elite” for recruitment.

This new elite will be made up of people who are steeped in elite culture and reactionary ideas, but who “understand the people” and can credibly claim to govern on their behalf.

In other words, they will look like JD Vance. As he said in an earlier interview, “Maybe the most important role that I have to play from the New Right’s perspective is to help build institutions and to get people engaged in politics who weren’t previously engaged in politics. It’s definitely an interesting thing, but it’s going to take a long time.”

Perhaps not that long if Trump and Vance win in November.

TCinLA

[macgyvertape]

Vampire Chronicle Movies liveblog/thoughts

Before watching both these movies I had only seen the 2022 show and seen a few posts about the larger fandom. It was very interesting to watch both as part of my "watch any vampire movie a person recommends to me". My commentary on it got long enough I've split it into it's own post

Interview with the Vampire (movie)

Huh going from the show where Louis is a black man to the movie where Louis is a white slave plantation owner with a dead wife & child fundamentally makes him a different person and the framing of the story different. 

I know the 90s were a lot more limited in what they could show of gay romance but no church/wedding scene at all :( 

Lestat still has a great sense of fashion sense in this. I haven’t read the book and don’t know the lore but I’m surprised there’s no mind reading or telepathy in the movie

Was Louis the original confederate vampire where fans are like "he isn't racist look at him free those slaves that one time" and ignore everything else? 

I found the graphic violence in show IWTV crossed the threshold of making me uncomfortable a few times, but it was interesting to read that some audiences found the violence and gore in this movie uncomfortable when I didn’t blink twice.

Claudia in the movie being trapped forever at an even younger age is more horrifying. She can’t even cut her hair and have that bodily autonomy

I’m shocked at how quickly and easily Claudia goes from “we should kill Lestat” to following through and “succeeding”. 

Lestat returning only to be set on fire by Louis protecting Claudia, this is so different than the show, and they escape a lot earlier than WW2. 

The comedy of Santiago’s ceiling walk felt so out of place 

Oh wow there’s a full female nudity scene in the theater performance, I was expecting just a standard vampire movie topless scene

The vampires busting in was so overdramatic with the music. Funny to see the sun room and recognize it it from WWDITS. 

What a fucking brutal way for Claudia and that other woman to go, I think this scene as Louis is walled up is the horror element I found the strongest, because it's just so emotional

Good on Louis for killing all those vampires. Santiago tried the "teleport behind him" and it didn't work at all

This scene between Louis and Armand is SO CHARGED

I think it's interesting what movies Louis watches; Nostferatu, Gone with the wind?, Superman

Random helicopter but I was shocked how weak Lestat was and how Louis was numb enough to just leave him

"I want what you have" a very different Daniel Malloy

Lestat attacked Daniel?! Very on the nose music "I'm a man of wealth and taste" this was not how I expected the movie to end AT ALL

Thinking of this alongside other media that’s gotten a remake where people’s entry point is the newer adaptation, its hard not to watch this and compare it to the show version. Of course the show version has a longer runtime to explore the characters and could be explicit vs the 90s queercoding, so it feels like apples and oranges to compare the two but I prefer the show versions especially with Daniel Malloy. A friend who doesn’t watch vampire movies said this reminded her of “A League of their Own” for similar 90s movie that was queer coded vs modern show remake that is open about it.

Queen of the Damned:

My roommate after seeing the trailer: "Oh no early 2000s really got to them (derogatory)"

"[The world] sounded better" then it's extremely mid rock

Lestat's singing is awful. I cant tell if it's the actor's fault or the directing. (Looking it up: seems the front man for Korn did the singing)

There's a paranormal group that knows about vampires?! What’s their survival rate?

I thought Lestat killed his Maker (but Lestat is also a lying liar who lies). Marius looks incredibly generic like just some dude, I think it's the short hair and this movie's cheaper costumes. 

Its very funny trying to picture this B movie level plot happening with the tv show

It took half the movie for Akasha to appear then her dance scene feels very male gaze. Disappointed she never really got any characterization

I thought the weird flying bit was sex but it was just flying

All of Jesse's lines sound so stilted, is her whole thing she studies vampires so much she’s horny for them?

Oh hey its Disturbed “Down with the sickness” the best music in this movie (aside from the fiddle bit)  even with only 10 second of “Ooh, wah-ah-ah-ah”

All these vampires attacking him onstage, wouldn’t that also break the masquerade?

The fight choreography this whole movie has been laughable

The movie is more interesting headcanoning Lestat’s desperate call out to other vampires as a need for Louis to notice him and come back

The best thing this movie did was the number of times vampires stood in the shadows and had their eyes glowing before walking forward

Jesse’s bra strap poking out during this dramatic feeding scene kind of kills the vibe

Why is Akasha so into Lestat she could do better, and the fact she has like 3 full scenes despite being the titular character is really disappointing

Rating: better than Morb but worse than Twilight (I like alt rock)

[powpowhammer]

I've mostly been reblogging Nibposting only with tags, but as @thenib draws to an on-its-own-terms-as-much-as-possible-given-the-circumstances close, I wanted to say how much I've enjoyed and learned from everyone participating in it over these past years. I was a founding Kickstarter, Inkwell subscriber, turbo ultra with extra cheese member et cetera, and got a number of my friends to sign up after seeing the magazine and so on. I've treasured every moment of it.

In my opinion, sequential art--the ten-dollar word for good old comix--is the best way to learn about something. And to think about something. And there's a strong case to be made that it's the best way to tell a certain kind of story, too. There are struggles and joys I never would've considered without the watchful eye and deft pens of Nib cartoonists, who I have just realized could have been called Niblings this whole time. Seeing the artists and writers enter and graduate from the political cartooning stable (Matt, I have your books. Looking forward to your future work!) as well as evolve as people like Pokemon reaching their stronger stages (Mattie L graduating into a certified hottie!) made me realize that it's been a movement and I've been here the whole time. I think it would take too long and be even more boring if I just kept naming names, but please trust me when I say that if you contributed to The Nib, I became your fan (or preened smugly as an already-fan). Every single person made me think and laugh.

The Nib ain't just millennial comic upstarts, neither. It really made me feel like it was a link in the chain when long-suffering old hands like Tom Tomorrow (if you see this, Tom, between me and my father we own all your collections!) and Ward Sutton (new Sutton Impact collection when?!) joined the crew. You even got Keef Knight, the one comic artist I'd trust to be able to moonwalk on command! And of course there's the star-studded webcomicker roster of contributors that makes you point and go "Hey, I know that guy!". And a special shoutout to Rob Rogers, who I watched the PPG dump like a foolish knave in a cautionary fable killing their golden goose. (Rob, my relatives STILL love getting those greeting cards you did that they stock in every jiggle. I hope you get royalties for those. And I love your book!) When I saw that he had strips up on The Nib I did a little dance. The Nib provided a brief country for old (not just old!) men (not just men!).

There's a pretty cogent piece of (cynical, perhaps accurate) criticism that political cartooning on the left is an inherently doomed effort, like talk radio. (We are always pouring one out for Air America.) That a medium that by its nature cannot communicate deep nuance and benefits from superficial appeal will be doomed when trying to advocate for a deeply nuanced tent in a world with deeply nuanced problems. Much easier to draw a dinosaur labeled TAXES (or DEBT) and call it a day, like the somehow-collecting-a-paycheck hacks in your racist uncle's favorite rag. But for a long time (longer than Air America, ha!) The Nib made it work, and by howdy. They got the nuance in there! The Internet (and its infinite canvas, thank you Scott McCloud for burrowing into my brain like an antlion) allowed for long-form comicking that pried open issues to their guts and took us to new places. And told even funnier jokes.

I think a whole new cohort of people around the world have become aware of the power of cartooning to send a message, to advocate, to educate, and of course to entertain even when nothing seems particularly funny. There were times when I needed the relatable-millennial-problems comics even more than the reminders-that-the-world-is-bonkers-not-me comics. And The Nib was happy to supply plenty of both. I will be following EVERYONE'S careers with... great interest.

I guess I'll let legendary @daygloayhole Ben Passmore's last panel for the site sign us off.

The Nib closes today, September 1, 2023. I hope you enjoyed it as much as I did.

(Thank you for everything.)

Here it is‚ the last comic for The Nib. Thanks for reading all these years!

[luxshine]

As I am rewatching It Chapter 1 because I needed to refresh a few things for an extra special video, I've realized one thing: Unlike the 1990 mini? It doesn't hold that well the passage of time.

I mean, yes, Skaagard as Pennywise is still amazing, and the kids act the hell out of the script. But the script? Lacks heart.

I am glad I didn't re-read It before watching the movie the first time because even if I had some complains originally (like, for example, the fact that they gave Mike's story and skills to Ben so Mike was literally just the token Black kid of the group, or the whole treatment of Beverly as damsel in distress), now that I am watching it with the book fresh in my mind, there are so many things that are just... wrong.

Eddie's broken arm due to It rather than the Bullies. Bill's obsession with finding Georgie, rather than finding Georgie's killer. Beverly's sexualization. Eddie finding out about the Placebo stuff not from Mr. Keene but from his daughter, who wouldn't have the authority to convince him enough to face his mother. Henry Bower's father being the town sheriff rather than the town red neck racist loser. Patrick Hocksetter dying quite early and in the way that Belch would be killed later on -ok, so that's not that important, but given how Patrick affected Henry so much, the order is important. Beverly zigzagging from the one who is not afraid of It to the one who just... stands there.

All that? Kinda bad, but still can hold on its own but then...

The Losers Club's friendship doesn't feel real. With the kids being so insistent that they're not having fun, that they should be in the summer outside rather than helping Bill with his crusade, it feels as if they're just with him because well, no one else will hang with them. Ben being the new kid in town becomes a stupid joke due to his liking of New Kids on the Block, but his joining the Club simply feels off as they never do anything as friends, like building the clubhouse or the damn.

And that's the thing that the mini had that the movie doesn't: In the mini, we see the losers hang out at the Barrens, and play like kids. YES, Billy is suffering for Georgie's loss, but he is still a kid. And his friends know that, and they are afraid too but they love Bill. So they would never, ever fight over being scared. And thus that stupid conflict at the last moment feels so off (I mean, why would Mike go back because It got Beverly since he knew them for all of two days?) And of course, since we never get the scenes where the kids are trying to understand what IT is, we never get the most important part of the mythos: It is stuck on the form they give him, and gets the strengths like say, the Werewolf healing factor, but also the weakness and this is why all the Losers are important, not just Bill. Because each of them have a talent: Eddie can't get lost, Ben can build everything he sets his head to, Mike is the knowledge keeper, Stan is the rational mind who helps them get back to the facts, Beverly is the brave one who never misses her mark, and of course, Bill is the leader, the heart. But since the movie changes Ben and Mike, and really doesn't do much with Beverly, and never even hints at Ben's or Eddie's skills, it's just... oh, yeah, they were together.

Even Henry and his gang lose their own togetherness. Like, why don't we see Victor and Henry in the final confrontation?

So yeah. I liked Chapter 1 when I first saw it... but now, with the book fresh in my mind and the real characters dear to my heart... I realize that yeah, adaptations are needed, and it could've been worse (HEllo, Tommyknockers), but seriously, it is not as good as it could've been with the great cast and production they had.

[thevindicativevordan]

On Kong Kenan/Super-Man

It should've been him. He should've been the Superman of 5G/Future State/right now not Jon, and he should be the one getting an HBO Max series not Val. Hell he should be getting a movie!

God this dude is literally the best legacy character Superman has ever gotten, wholly his own person with his own lore and status quo while still building on the idea of "Superman". I am so pissed at DC for essentially just dropping him after his ongoing ended, what the hell Lee? You keep trying to make the Wildstorm characters happen, I need you to get my man Yang another Kenan book.

Have to admit I was a bit nervous at first about whether or not Kenan would be a worthwhile character. Yang's New 52 Superman run had been a disappointment to me overall, with only the the arc where Superman has underground wrestling matches against forgotten gods really sticking with me. Now he was introducing a brand new Superman? Didn't feel like he had "earned" that yet. But from the first issue I was hooked on this new character.

Kenan was unlike any other member of the Superfamily. He wasn't kind or sweet, he was an asshole! He was a bully! He was fantastic! Right from the start Kenan was set up to undergo a very different kind of character journey than the other members of the Superfamily. Empathy, humility, respect for people weaker than himself, these are all traits most heroes wearing the S-shield already posses by the time they first don the crest, but not Kenan.

Like all bullies he was even a bit of a coward himself at first, trying to bail on the experiment meant to give him Superman's powers right as it begins. After "saving" Lixin (the kid he bullies and steals lunch from every day) from Blue Condor he demands all the money Lixin has on him as payment. He's not courageous or selfless either at the start, Kenan is as much of an opposite of Superman as you can get short of being Bizarro. Learning the appeal of these traits formed the basis for his growth over the course of his series.

Seeing Yang bring in a lot of recognizable "Superman" elements in the series, but with a twist, was also great. Kenan is the one who bullies "Luo Lixin" rather than the traditional Clark/Lex friendship of Pre-Crisis and Birthright. Initially Kenan develops a crush on intrepid reporter for Primetime Shanghai, Laney Lan, but she dismisses him as too young and Kenan eventually ends up pursuing Avery Ho (Flash) instead. Baxi the Bat-Man of China has a similar relationship with Kenan as the traditional Superman/Batman in terms of being vitriolic best buds, however Baxi is the one who has the most respect for authority while Kenan is the rebel. Kenan is a part of the "Justice League of China" which does not meet with the approval of the already established Chinese superheroes, the Great Ten. That contrasts nicely with the good relationship the Justice Society and Justice League have, as well as seeing Yang lampshade the "Chinese copy" trope and incorporate that into his storytelling.

One of the funniest differences is how Kenan chooses to immediately reveal his identity as Super-Man to the world by taking off the compliance visor he was forced to wear, contrasting with Clark's choice to hide his identity. He was so eager to impress people that he never gave any thought to the danger he could put himself or his family in by revealing his identity until it was too late, something Clark is well aware of and has taken great pains to keep his identity secret. Was a missed opportunity for DC to have Kenan comment on Clark copying him for once when he outed himself under Bendis.

But one of the most poignant differences between Clark and Kenan is the gulf in separation between their relationship with their parents. Clark has a loving relationship with Ma and Pa Kent, trying to live up to their lessons as best he can. In contrast Kenan's mom was believed to have died in an airplane crash when he was just a child, and he never really knew her. His father was distant from him after that and the two weren't really close despite Kenan's attempts to impress him. So Kenan lacks that strong connection while still clearly loving both of them.

Pa Kent's death is one of the most tragic examples of Clark's love for his parents, and I've always been a fan of takes where Clark promises his father to fight for the powerless on Pa's deathbed. Kenan gets a similar scene at the start of his career, his dad "dies" (after being exposed as Flying General Dragon, a pro-democracy "supervillain" from the Chinese authorities perspective) and wants Kenan to promise he'll fight for Truth, Justice, and Democracy. But because Kenan's dad never really bonded with him, Kenan doesn't know what those mean, and can only promise that he never wants to see people die, something his father takes comfort in at least. In classic comic book fashion it's revealed that Dr. Omen, Kenan's "boss" and the one who gave him his powers, saved Kenan's father, because she is Kenan's mother! Kenan's relationship with his parents forms a lot of the crux of his character arc, and seeing how Yang utilizes the classic Superman concept of family kept the storytelling exciting.

Yang's brilliant exploration of the concept of "Superman" through the prism of Chinese culture was a great way to differentiate Kenan as well.

I absolutely freaking love how he tied to the concept of Qi to the S-shield in particular. Connecting the shape of the shield with the way Kenan has acquired his powers along the path of the Bagua (eight trigrams used in Taoism that represent the fundamental principles of reality), with his octagon S-shield outline representing all eight principles together, was mindblowing! So was the idea of restricting Kenan's access to his powers unless he was actually acting in a Superman manner, that tied his character growth to his power growth in an entertaining manner. There were so many characters and concepts that meshed Chinese and DC lore together, like how Emperor Super-Man was Kenan's "Doomsday", they even recreated that iconic dual kill shot! The Chinese Wonder Woman Peng Deilan, being based on the Chinese Legend of the White Snake! There was even some Korean mythology referenced with the Aqua-Man member of the JLC "Dragonson".

Yang also managed to do a Superman Blue/Superman Red story with Super-Man Yin/Super-Man Yang!

Shameful that it took me a while to realize what Gene Yang was doing but once I caught on I was touched. You can tell how much Yang loved Superman and his mythology, and how he was excited to incorporate as much from Clark as he could, while still using it in a way that was solidly Kenan's. And not just Superman's mythology, but the history and lore of the entire DC Universe. I-Ching got to be brought in, fleshed out, and used as Kenan's mentor! The "Yellow Peril" villain from Detective Comics #1, the comic DC gets its name from was brought in and revamped as I-Ching's twin brother All-Yang! Hats off to Yang for taking a racist caricature and attempting to make him into something more.

This series was a beautiful attempt by Gene Yang to build a space for Asian heroes and villains where they could be more than stereotypes, Kenan himself being a defiant mold-breaker in every regard as the complete opposite of most Asian characters in Western media (a jock, a bully, loves his dad but not on great terms with him, a powerhouse as a hero, etc). So much thought and hard work was poured into this by Yang and his team of artist collaborators.

Especially the costumes, man Kenan had so many great looks. From his starting outfit (which is my favorite Superman variant not worn by Clark himself), to the one with the Yin/Yang shield he acquired later on, to his Super-Man Yin & Super-Man Yang outfits, Kenan looked damn cool. Part of me is bummed they didn't go with the Chinese character shield they toyed around with, but I loved how Yang used the "s-shield" as a plot point, so I'm not too broken up over it.

All that great work Yang did to build that space up has been more or less forgotten sadly. It was nice to see Kenan in the DC Asian Month Celebration issue. Avery is going to be in Justice Incarnate at least (unsurprising considering she was created by Williamson). So fucking bummed that Superman Family Adventures cartoon didn't happen, they were going to have Kenan and John Henry Irons in it! Would've been a dream come true for me to see Irons in animation again, and Kenan making the jump to outside media! Maybe that would've encouraged DC to let Yang keep writing New Super-Man, or at least encouraged them to use him elsewhere instead of allowing him fall into Limbo.

Unfortunately I'm not sure what the future holds for Kenan. Jon is being pushed as Clark's replacement in the comics, with DC keeping all the other contenders such as Kon benched. Calvin is leading the Justice Incarnate team likely due to the upcoming Coates reboot that will make Clark black. Val will probably get something once Taylor leaves Jon's book or once they officially announce the HBO Max show is happening. So where does that leave Kenan, my new favorite PoC legacy hero? Currently my only hope is that Yang is working on something for DC involving him. Yang left Batman/Superman, where I was hoping to see a Baxi/Kenan team up, to go work on "exciting other opportunities" per his Twitter. So fingers crossed that there's something in the works for Kenan!

One day I hope he gets his day in the sun again.

[zen-garden-gnome]

Long post about whiteness

I’m seeing a lot of false-start questions based on a narrow understanding of whiteness. Whiteness (and recovery from whiteness) can be tricky to unpack because it has a lot of layers that have been added over the years. So you’ll run into a layer and may be tempted to stop there, but it goes deeper.

1) Racial identity was a vague belief before it was officially named, but it’s not as old as many think it is. Prior to European Expansionism, travelers and merchants and militaries alike have generally referred to people based on their place of origin or their language. The idea of vaguely lumping hundreds of ethnicities together based on a handful of physical attributes started to kick up when Portugal began capturing and enslaving huge numbers of sub-Saharan Africans in the mid-1400s. As slave traders and “explorers” brought shiploads of captured, multi-ethnic Africans to Portuguese auction blocks to be traded all over Europe, what set these enslaved people apart from anyone else there (including other enslaved people) was a) the fact that they were to some degree darker than the Portuguese despite displaying a wide range of skin tones, b) were from Africa at the time, and c) were enslaved. When Christian militant and royal biographer Gomes de Zurara was hired in 1453 to write about the life and “accomplishments” of Portugal’s most famous slave trader, Infante Henrique aka Prince Henry the Navigator, he officiated, in writing, the idea that all these newly enslaved people were their own class of people with no differentiation between them. Here, race is a burgeoning social narrative invented to praise European slave traders, and this racial concept is defined in relation to slavery, African origins, and skin tone. Racial concepts appeared in tandem with racist concepts, because races began to be envisioned in order to excuse the abuse of others. The ideas of whiteness and blackness were birthed simultaneously, specifically around slavery, and they became deeply entrenched beliefs before they were ever officially named.

2. “Negro” became the first major racial term before “white” was widely used, binding the development of racial concepts even more securely with the practice of European slavery. In fact, race and racism became encoded in colonial-American law in 1640, when African servant John Punch ran away from his European buyers along with two European servants. He was eventually recaptured, as were his Dutch and Scottish companions. However, the colonial judicial system sentenced Punch to a lifetime of slavery, while the two Europeans had an extra year added to their initial servitude. This marks the first record of a Euro/American legal precedence for lifetime sentencing of enslavement based openly on race. John Punch’s African lineage and the other servants’ European lineage were the differences between their sentencing. Here, European origin was what freed a person from being of the “negro race” and therefore severely reduced one’s likelihood to enslavement. It was also the requirement for incoming settlers who wanted to be able to buy land. Only white people were allowed to develop inter-generational wealth, at a time when this continent was being carved up by land speculators for massive profits.

3. The concept of whiteness was officially named by Carl Linnaeus in order to rank Europeans as superior among other conceptual categories of people. It involved grouping hundreds of ethnic groups together to form white, yellow, red, and black races in he text “System Naturale" (1735). While primarily an introduction to our current taxonomy system, it included these racial categories. It was highly regarded by Europeans eager to cast themselves as superior because it a) created a popular “scientific” framework for excusing the most obscene (and profitable) crimes against humanity, b) officially outlined/invented the white race and identified it with everything good and the black race as everything bad, and then c) clearly defined Europeans as the basis of whiteness, “Homo sapiens europaeus.” Here, whiteness is coined to describe European ancestry, particularly in relation to ���grotesque” non-whites.

4. An individual’s personal ideas of whiteness fluctuates with time and circumstances. As governments, social institutions, literature, etc all work to redefine history and clean up their image, people have different/less information to work with, but the effects are the same. The popular spoken definition of whiteness is often simply a reference to a relatively pale skin tone caused by European ancestry. Obviously there are pale people in other places around the world who aren’t European and weren’t related to the slavery of European Expansionism, so pale skin isn’t enough. The relation to Europe’s capitalistic global expansion is key. But what about European countries who didn’t go expanding this way, or whose involvement is harder to pinpoint? After all, most of the trading of enslaved indigenous peoples from Africa and North & South America were carried out by the Portuguese, Genoese, Dutch, French, British, Spanish, and Americans. Well, the rapid enrichment and development of the rest of Europe for centuries to come was specifically made possible by all the labor, resources, and capital brought in by this period of the European slave trade. European ancestry links every white person to privileges and developments born on the backs of black and indigenous enslaved peoples. Furthermore, simply being white makes one safer from these kinds of exploits, and today it also makes one safer from the effects of generations of racial prejudices and resource extraction on the global scene. Which brings me to...

5. Whiteness tends to involve one’s relative freedom. Freedom of movement, both physical and social, without immediate threat of policing. Freedom to explore one’s ancestral history without being blocked by 500 years of forced removal, renaming, forced childbirth, etc. Freedom to exist without having to actually know or respond to one’s racial identity. This one’s really important. Whiteness involves not having to think about being white, usually in relation to living in a country/region whose laws and norms are defined and enforced almost exclusively by other white people. Since whiteness and blackness arose mutually around the European slave trade, blackness is inherently tied to a lack of rights/freedoms and whiteness is inherently tied to an abundance of them. That doesn’t mean that every white person experiences these equally, and there will always be exceptions to the rule. But the exceptions don’t make the rule, and after centuries of globalized white supremacy, whiteness has become a subconscious signifier of power for people all over the place.

The big take-away is this: whiteness is inherently toxic. There is nothing positive to defend in whiteness. It was born out of ugliness and it is ugly to its core. That’s why it feels so bad. It’s why “white pride” is always ugly. However, the solution is not to disconnect from our ancestry. All that does is leave us trapped here, in an ugly set of circumstances, with no concept of who we are except what we’re living in, now. The real work to be done is to connect with our ancestry before whiteness, with the ancestors who related to the land as a living entity, before the land was limited in social memory to a source of private capital, servitude, and empire-building. This land, this Earth, is the backdrop against which all our relativity is measured. From this place of relative security, understanding, and development of the spirit, we can withstand the reality of our more recent ancestors, and finally heal from the last 1000 to 2000 years of trauma.

I know I’ve said this before, but now that I have this huge post, I’ll repeat it: Dr. Daniel Foor’s Ancestral Medicine is a really helpful book and/or course for this whole process. It’s not the end-all be-all resource, but it’s a great start! I’m also always down to talk about this stuff. Hit me up. I need to be able to talk about it, too.

(I should add, while blackness was created by white people and therefore was born out of the racism of whiteness, blackness was forced on people, while whiteness was claimed by the takers. It’s no white person’s place to have an opinion about "black identity.” White people started race, so white people are responsible for deconstructing our own race--no one else’s. We cannot be “post-racial” while everyone else is still living the violent reality of racism.)

[bookshop]

i recently came across defining draco malfoy (in case you dont remember, its a piece from 2004 on livejournal written for idol-reflection i believe). and can i just say, this is probably my favorite hp essay? i read a lot of hp essays, and love a lot of them (some more now as im desperately searching the internet for the ‘fandom resources’ linked at the bottom, because some of the links are broken).

anyway, you might not see this because it doesnt seem like youve been active in a bit, or maybe youre just not at all interested in harry potter and don’t really care (or maybe youre the wrong person, and are currently Very Confused). but, do you agree with everything you said in your essay, in retrospect? is there anything you would change, given the chance to re-do it? thx <3

Haha, this is actually pretty wild because a) i am the right person and b) i've just in the last 3 weeks kinda fallen into one of those periodic H/D fanfic rereading binges I go into once every 6 or 7 years, so your timing is great.

Back in my HP fandom heyday I also read a lot of HP essays, so i'm really very flattered to get this comment. My essay (which is also on AO3, currently locked to users) was written before book 6, and while for obvious painful reasons i haven't reread it lately and won't be rereading it, i still remember the feeling of reading it for the first time, almost breathless at how much of the fandom's ideas on Draco were being validated through that book. Rereading the essay now, I was spot-on pointing out that "Draco’s biggest moments in the books are all defined by a lack of action," considering his climactic moment is his inability to kill Dumbledore.

It's clear, too, that I gave JKR far more credit for wanting to deconstruct her own established ideas about Slytherin than she deserved; I like many fans was hugely let down by her lack of real engagement in book 7 with the portrayal of Slytherin as the blanket catch-all house for Evil Children, and of course the way she treated Draco in the end was part of that. I still think it's utterly laughable, if not contemptible, that she began the story stating that all four houses needed to unite, and then ended up with every single Slytherin walking out to join Voldemort, lolol fuck her. 😂 I think, for me, that was the single biggest cop-out (among many) in the final book, because she did so much in book 6 to complicate Draco's identity and give him the possibility of redemption only to half-assedly throw it away in book 7, forget about him and every other Slytherin Harry's age, and revert to using him for plot expediencies. Just hugely disappointing.

i'm sure i probably wrote some gushing triumphant meta about draco on my LJ after book 6 came out. In retrospect, i'm not really fond of my general reaction to book 7 — it was posted very soon after i'd finished reading it, and i was running on the fumes of fannish enthusiasm. but i had been yelling for years at that point about JKR's maltreatment of Slytherin, so it occupied a lot of my attention in that review. It still does, honestly; i see Rowling's complete disinterest in deconstructing Slytherin's ideology and place within the rest of the wizarding world — her continuing to frame the entire house as a bunch of racist, power-hungry supremacists, while also still allowing all of the racists to resume their place in society after the war is over as though nothing much had changed — as a huge rosetta stone for what we now know is her larger pernicious position of centrist ambivalence. She was ultimately fine with Draco and his entire house being bigots, because in her ultimate worldview, a little bit of bigotry in the world is inevitable and ineradicable. Why bother trying? Why bother freeing the house elves? Why bother finding one non-racist Slytherin, much less, idk, opening Slytherin to Muggleborns who aren't shamefully hiding their identities? Why bother tearing down and rebuilding when you can just sloppily pave over and call it reformation and change?

Ugh, idk why I'm even bothering trying to explicate the mind of a disgusting bigot. Go read lettered's By the Grace instead of Harry Potter:

“Of course,” Bickford went on, “we will replant.”

“No,” said Kavika, “we won’t. If that tree was a symbol of this institution, does not the fact that a person was trapped inside of it for a millennia suggest that something is deeply troubled within the institution itself? The tree should not be replanted; the rot of it should be remembered and honoured.”

“Reveal will happen soon, and everything will change anyway.” Bickford’s voice was plaintive. “Can we not have just one thing remain the same?”

“No,” said Harry. “Kavika is right. And you’re right as well, Mister Bickford. Everything is changing.”

[sweetiebriar]

Don't look surprised or dismayed, this is a rant. I'm going to be deliberately mean, accusatory, and probably a little injuring too. Minors and sensitive people out, I guess? Anyway, I expect nothing from this post except to put my exasperation into words, let alone ❤️s unless perhaps you share my opinion. No comments allowed either unless you follow me so if you have something to say to me after that, there’re always reblogs (which I leave open) and asks (any insults or abusive language will be deleted immediately and the person blocked, of course). You have been warned.

So, a minute ago, Tumblr addict that I am, I was scrolling through posts looking for new blogs to follow when I came across a reblog comment from a user who was offended by a ship and its fans (no idea what fandom that was) because the characters included a minor and an adult.

Aaaand the writer in me just snapped and rose up. Still, it wouldn't have had to end in a rant, I could have just brooded in my corner as usual... if only the response that followed this reblog hadn’t made my hair stand on end just as much. And so, my legendary patience reached its limits. I'm not trying to make a fuss, but as a confirmed author, avid reader, and occasional shipper, I simply can't understand WHY people are always trying to apply the moral codes of today's society to works of fiction! Forgive me but it's crazy!

IT'S A FUCKING WORK OF FICTION, IT'S NOT REAL, I DON'T HAVE TO FEEL ASHAMED TO WRITE ABOUT WHAT I WANT!

There is such a desire for revolt these days, that others are desperate to create chaos wherever they can.

'Oh, this book must be banned because it contains racist remarks within; It doesn't matter that it was written at a time when these sort of remarks did not reflect the same offence as today and that it is a great classic!'

'Oh, this horror book certainly is outrageous since it depicts a serial killer who abuses his daughter; It doesn't matter that this man is a psychopath and therefore this is the behaviour one can expect from such a character!'

And when a fanfiction writer gets lynched online because she wrote in vampiric fandom where the main couple are brother and sister… They are bloody vampires! In the vampiric genre, incest is not considered an issue!

What the bloody, fucking hell! What do you not you understand in 'work of FICTION'!?

The fictional does not encourage reality or imitation, the fictional is here to make you dream, travel, and escape into an imaginary universe where the world as you know it would no longer exist. Authors shouldn't have to restrict themselves for fear of 'what will people say'. Writers shouldn't have to censor themselves because brainless idiots will take offence and trolls will just want to screw things up wherever they go. Inspiration is such a precious feeling that one should not put chains on the few souls who possess it. I'm tired of reading comments similar to this reblog, I'm tired of seeing passionate authors feeling their work being reduced to nothing because wimp people don't understand anything about freedom of writing! We defend freedom of expression, but we oppress authors about what they’re writing. This is absolute madness!

However, I really, sincerely understand that people can feel outraged or uncomfortable with certain subjects, but in this case, then go on your way. Nothing obliges you to read this story which could fascinate many others.

And I say the same thing about fans a bit too radical who destroy the canon of a story to just impose their own ideas and ships! This. is. not. normal! Of course, you can create your own world within a fandom (that's what fanfictions are all about), but you don't have to impose it on those who don't share your views, or even on the authors themselves. In the same way, one mustn’t blame others for liking something that they dislike themselves.

Yet, banning books for this or that a reason, bringing authors down for this and that thing; there is nothing modern about it! Nothing revolutionary about it! And there is absolutely nothing justified about it!

So leave works of fiction in peace! Unless it physically hurts others or morally/psychologically hurts an actual person/community, it’s perfectly legitimate! That I choose in my fictional story to address incest, abuse, paedophilia, murder, unbridled sexuality, cannibalism, suicide, mutilation, religious truths, profanity, or disease-type mental disorders etc, it's my right! And in particular, if these subjects concern fictional characters to whom moral human codes do not apply and do not have to be applied.

[theoriginalcarnivorousmuffin]

You wrote your opinions on the Order of the Phoenix, what about the Death Eaters? That's another way of saying Lucius, Bellatrix, and anybody else. I honestly feel that we're running out of HP characters for you to write your opinion and reasoning about, so yeah~

We honestly are. When people start asking me questions about Harry’s nameless and faceless classmates I feel like we’re scraping the bottom of my barrel of Harry Potter opinions.

Though, that said, this is still a very large ask if you want me to analyze very Death Eater ever or even the Death Eaters as a whole (which is worthy of its own post).

So, we’ll compromise, and I’ll just look at the two you name dropped.

Lucius Malfoy

To me, Lucius is by far one of the more intelligent Death Eaters. He’s the guy who makes them almost look classy. I say almost, because Lucius is still a racist domestic terrorist and as the series goes on Tom gleefully drags him into being less classy by the minute (his house becomes a POW camp and housing for the dregs of society, Lucius just sobs, trying to be thankful he’s somehow still alive).

Lucius is rich, sophisticated, and is probably the most politically powerful man in the country. He has a beautiful wife he has... a son (sorry Draco, but you do not live up to your father) the guy has it all.

Which makes it very surprising that he got dragged into this mess. But you see, Lucius is paying for that tragedy we call youth.

Also, as a caveat, I’m about to headcanon hard and will not bother to get into the details of why I think x, y, or z in this post.

Ten years prior to the start of canon, Lucius is a very young man, probably very charismatic, certainly believes he’s intelligent and probably gets decent grades, but nonetheless the kind of stupid you see in men ages 15-25.

He’s likely chafing under his aging father’s strict guidance, knows he’s not going to be Lord Malfoy for years yet, wants to get out there, prove himself, and make a difference for his country. More importantly for Lucius, there’s this hip, exciting, new thing that all his cousins and friends are getting into called “The Death Eaters” (yes, I don’t believe the Knights of Walpurgis/Death Eaters 1.0 ever happened, I think it’s ridiculous that fandom and JKR does, I could go into why but not in this post). 

The Death Eaters are led by the single handedly most beautiful, charismatic, man in Britain. (Yes, I headcanon Tom’s still blindingly attractive at this stage, because it makes much more sense to me but we’re not getting into that here.) A mysterious man by the name of Voldemort, Salazar Slytherin’s long lost heir, who has come to resurrect the wizarding world’s true heritage and purge the land of the muggle stain. (Yes, I do believe that no one, not even Lucius who is later given the diary, knew who Tom really was. I believe Regulus’ had only the vaguest idea, informed mostly by Tom’s use of Kreacher to place the locket.) This is the most exciting thing to have ever happened, the rallies probably consist of rich kids drunk out of their minds and maybe even high on a little wizard cocaine, and Lucius is down for it precisely because his father says “Lucius, this is stupid, please don’t embarrass the family.” WELL LUCIUS IS GOING TO EMBARRASS THE FAMILY, DAD! WHAT ARE YOU GOING TO DO ABOUT IT?!

And for a while, it looks like Lucius made the right choice. Things are happening, they’re actually going out and killing the mudbloods! Unlike Regulus, Lucius never has that “wait a minute” moment as he realizes that Voldemort’s actually far more efficiently eliminating pureblood families and sowing dissention in what was once a unanimous force among the Wizengamot (the other pureblood lords aren’t necessarily pro muggleborn, per se, but they get a bit queasy at the thought of blowing them up or Merlin forbid actually blowing up their own public venues wizards use). 

And then October 31st, 1981 happens, and it all comes crashing down. Lucius has to desperately lie his ass off, having only the flimsiest lie to rely on, has to hand out a shit ton of bribes, and manages to squeeze his way out of being imprisoned in Azkaban. 

I’m sure Abraxas looked at his son, with his tattoo on his arm that makes him another man’s slave, at the utter destruction of the Black family, and just shook his head going, “Clean up your mess, Dumbass Son”

And Lucius does to the best of his ability. While some will always suspect him of being a Death Eater, while some know it, he’s able to climb very high in influence in their ridiculously tiny community. Granted, I do think he messed up, and could never for example run for minister given everything (if Crouch can’t rerun then Lucius certainly can’t). He also shows us that in some ways he is not above the law, he’s very afraid his house will be searched without warrant in The Chamber of Secrets, and this is in part why he dumps Tom Riddle’s diary off onto Ginny.

However, he wields total control of the Prophet, has a seat on the Wizengamot, has the ear of the current Minister, is on the Hogwarts’ Board of Governors, and has his hands in pretty much every pie he can.

I imagine during this period Lucius grows up. He brushes the indiscretions of his youth under the carpet, gleefully leaving it all behind him, and the only real friend he maintains contact with from that period is Severus, the least zealot like of all of them. (Crabbe and Goyle Sr aren’t friends, they’re minions). 

Don’t get me wrong, he’s still a racist slime bag, and I don’t think he really regrets the domestic terrorism. He just regrets nearly getting caught and putting his entire family’s security on the line. He witnessed first hand what happened to the Blacks.

And then the worst thing happens: Tom Riddle rises from the dead. He rises, impossibly, from the dead when Lucius has his own hand caught in the cookie jar.

Lucius has been living a life of luxury and influence while his great master, the man he had pledged everything to, was dead. Worse, Lucius took what was described as a treasured item to be protected at all costs, and not only threw it away but sent it to Hogwarts where it caused massive havoc and was ultimately destroyed. 

And Lucius, I imagine, no longer wants to serve a master.

But he has no choice. And so begins Lucius’ descent into misery and hell as he’s given an increasing set of impossible, horrific, tasks in punishment that involve him watching as his wife and son are put through hell.

I believe Tom holds a special place in his cold, black, passive aggressive heart for Lucius Malfoy.

First, Tom makes Lucius’ house his headquarters. Oh, Lucius, you have a very nice, very large, estate? Why don’t you host your beloved, mad, cousin, her equally mad husband and brother-in-law? Oh, Bellatrix threatened to cut off your ear? Well, she’s just so passionate! 

Second, Lucius is told to go get the prophecy. Well, this is easier said than done. He nearly succeeds but then it all turns into the world’s largest clusterfuck that ends in two notable things. First, the prophecy is lost forever, shattered. Second, the government admits that Voldemort is truly resurrected. Both of these things are very bad in Tom’s book. And the blame can easily be put on Lucius’ head.

In response to this, Draco is now given an impossible task that Draco is too stupid to realize is designed to cause him (and his family) as much misery as possible. Draco is to assassinate Dumbledore. 

Likely, Tom was already informed by Snape that Dumbledore was dying. The blackened hand was too obvious a tell coming from too obvious a source for the pair to have hid it. I think trying to hide such information would have immediately blown Snape’s cover. So, Tom knows the man is dying, and doesn’t see fit to tell Draco this.

Instead, he tells Draco, “Kill Dumbledore as soon as possible or I deliver you to Fenrir Grayback.” Draco, however, is young and stupid, so he honestly thinks he is doing this to restore the family honor, earn glory for himself and for the cause, and is expected to do this entirely by himself. As a result, when Narcissa begs Snape to aid Draco, Draco blows them both off and only accepts help from Bellatrix because HE CAN DO THIS ON HIS OWN! DRACO IS A MAN.

This, of course, doesn’t work out either. Draco doesn’t deliver the killing blow, Snape does, but Tom decides to give him a pass.

Instead he moves on to his next plan which is making the Malfoy manor his torture chamber and POW camp. Even Draco, at this point, realizes this all kind of sucks. 

And then Voldemort finally dies a second time, and I’m sure Lucius just stares numbly at his malformed corpse, wondering if it will really take this time.

So that’s Lucius for you, paying always for his mistakes, and pretending he’s just as much of a nutcase as Bellatrix to fit in.

Bellatrix LeStrange

God, compared to the novel that is Lucius’ ridiculous life, I really don’t have much to say about her because I feel like there’s not much too her.

Bellatrix reminds me a lot of the Manson family, she gives off those same vibes. Point being, I think even before Azkaban (while Azkaban certainly didn’t help), she was insane and a little too worshipful of Voldemort.

I guess I can start there, I don’t think Bellamort is a thing, at all. 

Tom may have, probably did, have sex with her before he died but afterwards? In that body? Forget about it.

That said, I’m sure Bellatrix both wanted to have sex and is convinced she did have sex to produce whatever the hell Delphi even is. It just wasn’t with Tom, and probably was Rodolphous with a Halloween mask on his face as they got a little too into role play.

And there we go, I suppose, I can’t take Bellatrix seriously. You often see her portrayed as sexy femme fatale Death Eater, the most competent of all of them, if a bit of a sadist.

Oh she might be a very good duelist but she’s... Bellatrix.

She prances around in corsets, shrieking madly, and just what part of that is supposed to be femme fatale? I literally cannot take her seriously on any level. When I even try to write her seriously, in very serious stories, I end up with lines like the following:

"My lord, if there's anything you need… Anything from me, specifically, as a woman…" 

- Bright Eyes

That was my best attempt. That was the best I could come up with. It’s still something that belongs in a comedy.

So, I don’t think Tom really corrupted her. I think without Voldemort she still probably would have been blowing up Diagon Alley, just in a much less organized manner.

Even in canon she does ridiculous things. For example, Bellatrix, frankly, could have easily avoided prison.

For weeks after the dark lord fell neither she, her husband, Barty, nor her brother-in-law were arrested. Bellatrix in grief and utter disbelief that the dark lord could ever do something so mortal as die, said “remember that other house our lord mentioned, THEY MIGHT HAVE INFORMATION, LET’S GO MURDER THE LONGBOTTOMS!” They torture and kidnap Frank, demanding he tell them where their master is, THEY KNOW HE KNOWS. He doesn’t know. They go too far and torture the man into being a vegetable. “Shit, GET THE WIFE!” They go get the wife, do the same thing, with the same results.

They now have no information on the dark lord, two well regarded aurors tortured into brain damage, and are quickly caught and brought before the court with absolutely no “I was imperiused” excuse they can give out. 

How am I supposed to take her in any way seriously?

I mean, to end your life killed in a duel with Molly Weasley. That just says it all.

[megashadowdragon]

way to gaslight your own fans on the annabeth racechange in adaption

comments on youtube

I’m so happy you’re talking about this, Rippa.  I read Percy Jackson in the 5th grade.  It spoke to me, it influenced me, and I grew up idolizing Rick Riordan.  I read his statement yesterday and my heart dropped into my stomach.  I couldn’t believe this guy who had been such a great childhood inspiration had just basically called me racist for wanting the character to look how he told me she looked. I really don’t understand why having an actor that actually looks like the character they’re portraying is such a bad thing to these people, makes me even more surprised that Nami wasn’t race swapped in the live action One Piece show, and she’s a ginger. The thing is that race swaping a character for the sake of inclusion is insulting to both ethnicities involved. They're basically saying that the original white characters are either worthless, bad or defective and they need to change; and that the black race being use as a substitute doesn't have original heroes or historical characters worth exploring and that the only way for them to be worthy of attention is to give them the character/positions of previously established white characters.

I am beyond happy that you're tackling this, Eric. I've been a Percy Jackson fan since 6th grade. This is criminal like you wouldn't believe, this is not Annabeth. Annabeth is white with blonde hair and stormy grey eyes, a daughter of Athena. She ain't black and never will be, I've been reading Rick's books for years and this feels terrible. I know he's been going woke in his latest series, but I truly thought that's PJO fans were getting the show we deserved. Never again, I'm not buying any other book from this man ever again. Not even the new Nico book that he's writing.Show less

Rick is such a liar. On the one hand he admits that he was beholden to Disney’s hiring practices which is nothing more than a racial and sexual quota system. On the other he suggests it was an open casting and they were going to hire the best person for the job regardless of their intersectionality traits. Sorry, but you can’t have both. Unless of course he is suggesting that after the year-long auditioning process there was a possibility he was going to cast three blonde haired blue-eyed actors in the three main roles. I’m fairly sure that was an impossibility.Show less

The thing that's crazy is that there are characters of different races in the story. Especially in the sequel series. Niko and Bianca are from the first story and Leo, Hazel, Frank, and Piper are from the sequel series. All of them are major characters in the story My best friend is a huge fan of the books and was looking forward to seeing this series. But not anymore, because of the casting of Annabeth. She loves those books, but now believes that the author is a sellout. Also, if the show makes Athena black, I'm gonna be pissed.

Basically any white character (or even historical real life person) is free game to be changed for whatever reason. But any POC character is absolutely never ever allowed to be changed in any way, ever.

I have seen people try to defend changing annabeths race  by going annabeths race didnt have anything to do with her story  so its okay to change it and have her played by a black actor when would that logic apply to a character from a book series who was black but then in the adaption was played by a white actor if you would ocmplain you have no right to complain about someone getting upset if say a character who was white in the original story was played by a black actor ( the claim that they were just looking for the best available actor is bs for they wouldnt ever do this  in reverse where was say a character who was black in the books but then they had a white guy play him even if he was better than the black guy they would pick the black guy

no diversity/representation doesnt make it different

( its not different

lets be real here if say a black person and a white person tried to audition for blade ( who in the comics isblack) the black person should get the role ( I doubt that they would even accept/allow any white person to audition for the role 

I never saw leah act but it really doesnt matter if she is a good actress or not the fact is annabeth is white she is black the actress should match annabeths features  so it doesnt matter  whether or not leah is a good actress she shouldnt play annabeth just like a white person shouldnt play blade(Eric Cross Brooks) from marvel comics  regardless of whether or not he is a good actor ) no one would use the what if he was the best actor for the job argument for a case like that and the attempts to justify it by going but there arent many black characters makes me roll my eyes it doesnt matter ( make your own you dont get to complain  about a character being whitewashed then claim racism if someone isnt okay with blackwashing   ( one bad justificationto the other to misusing the term racism  )  I wouldnt be okay with miles morales being played by a white person )  we both know that the race change isnt because she is best actress for the job its because they had a problem with the fact that keeping it accurate to the races meaning the main characters would mostly be white ( which isnt a problem unless you would have a problem with most of the main cast being nonwhite)

[themoonwheniamlost]

Hello, lovelies! This is a response to a Lgbtmazight defense Anon, I just didn't want you to read the nonsense without a warning in front. Feel free to skip/scroll past this nonsense! It does contain some common arguments that I wanted to debunk!

what did you expect would happen when you decided to repeat the same things the worst of this fandom has cooked up without mentioning how wrong and sickening their behavior is? Did you think for a second before posting about the *server*? Do you know someone posted a list of "supposed" people on this server and people started asking for them to be "exposed" too? Some of these people are not on this server. some are not even remotely close to Len.

You gave these people a reason to continue harassing people. because this move was not about exposing a liar. If you look at the list which is still floating around, it was and is about shutting up the most vocal about racism in this fandom. I can't believe you can't see this. the truth is important, but also the person exposing the truth and their means and behavior is important too, especially in this case, because the people behind this call-out post are the "worst of the worst" . just see how they abused your mention of the server. and please don't tell me it's because they were hurt. If you don't already know the racist trolls of this fandom I don't really know what to tell you.

Hello Anon!

I would have thrown this ask away, however, there are some things here that I think would be useful to point out so please bear with me!

#1 - "Repeat the things the worst of fandom has cooked up,"

Worse than denying genocide? Worse than stealing sacred aspects of different religions to suit your own motives? Worse than lying to an entire community for over a year? Worse than encouraging the harassment of anyone who disagrees with you?

My rebuttal was worse than all that?

The answer of course is no. This is just another deflection attempt. It ties right into the way you try to make me feel guilty about actions that others have taken. Why on earth should I feel guilty about the actions other people have taken, to harm other people, most of which was sparked by one person?

I am not Len. I am not doing anything harmful So there is nothing I need to feel guilty for.

(Harmful and uncomfortable are two different things.)

I didn't name anyone. I haven't harassed anyone. I simply told the truth.

If the truth is that harmful to you, I would look at the way you construct your worldview. And also maybe the shitty person you're aligning yourself with.

#2 - "This move wasn't about exposing a lair"

You're right! This move wasn't just about exposing a liar. This move was about exposing a lying, cheating, stealing, dangerous person who has elevated themselves to a place of moral authority in our community. And I don't know about you, but I won't let that bullshit stand.

Bad people can say things about nice people, and those things can still be true. The schoolyard bully can say that the head cheerleader plagiarizes on essays, and it can be true. It does not excuse the schoolyard bully and it also doesn’t negate the cheerleader's plagiarism. They are both wrong.

I cannot control other people. I can't. Neither can you. I put out a statement and when I noticed a trend of that statement being abused, I put out a clarification. That's what I can do, so that's what I did.

What are you doing to better the situation? Trying to keep everyone quiet? Silencing many voices for the comfort of one? Have you read these words by Martin Niemöller?

"First they came for the socialists..." Even if you have, I would encourage to read it again. Silence makes you complicit.

#3 "The people most vocal about racism in this fandom,"

Don't you think it's weird that a group of White AFAB people are the loudest about racism? Don't you think it's weird that even in films with Black main characters and diverse casts, that Whiteness is still sitting at the head of the table in fandom? Don't you think it's weird that a group of White people are clutching so tightly to the role of being White saviors in this fandom?

Because its FUCKING WEIRD.

Grow up. Do some studying on how racism perpetuates itself, through whiteness. Read more books by PoC. Read more scholarship by PoC. Stop defending a Tankie. Stop blaming people you don't agree with for the wrongdoings of others.

Did you think for a second before sending this ask?

I'm glad I don't know who is behind this ask. Because all in all? You sound rude, self-centered, and surrounded by a haze of White superiority. I hope that gets better for you!

Have a great time of night/day! ���🐝💥

[yournameyn]

Feeling Deeply Chapter 5

Genre: Arranged Marriage Fic. Fluff turning into angst?

Pairing: Namjoon x OC

Summary: The story of two deeply feeling nerds who find themselves in an arranged marriage. (Details here). Our OC is called Brishti. It’s a Bengali name meaning rain. Namjoon calls her Rim (short for her pet name, RimJhim which means the pitter-patter of rain). She calls him Joon.

Warnings: NOT THE NAMJOON OF OUR DREAMS. Argument. Fight over tiny discrepancies that turn out to be a huge problem. Domestic violence. Not a happy chapter.

A/N: Have you ever felt this, reader? When you watch something and realise exactly what you need to realise in that moment? I’ve had that so many times - seeing my feelings mirrored in a show. That’s something that I’ve tried to have Brishti feel here. Also, this is how I see the natural progression of this Namjoon, the one who obliged to duty rather than his dreams. It took me a long time to write this but I love what’s come out. Let me know what you think!

Current Chapter: London, late 1963. Love fully blooms between Namjoon and Brishti. And yet, something’s not right. A visit to the ballet and a conversation brings forth realisations. The inklings that Brishti was trying to avoid transform into writing on the wall.

Previously in Feeling Deeply: Preface Chapter 1 Chapter 2 Chapter 3 Chapter 4

Chapter 5

The magic about new love isn’t really in romance or even in true intimacy. It’s in how violent new love is… and just how much time it takes us to feel it’s impact.

In the new love between Namjoon and Brishti, everything had been roses and honey, overflowing, swaying in a gentle breeze. They spent every second possible in each other’s arms. They had to tear themselves away from each other when they had to leave home. And even then, it hurt as though they were part of the same cloth.

Brishti had thought about how they had become woven, their souls an ornate tapestry. Namjoon had told her then about a Japanese tradition of weaving that was a sort of meditation and a kind of worship to a god called ‘Musubi’. The disciples say it is like being part of the cosmic tapestry. Being tied to each other.

“Just like we are… I felt a pull toward you and I followed it. I was scared… so full of doubts about who you were and how this was all going to go… I had promised myself that I would fulfil my duty… whatever happened ” Namjoon had said, petting Brishti’s hand gently, “And I… I still can’t believe it… It… you make me feel like I can… trust myself.” Brishti had looked at her genius then and wondered what a strange world it must be that made a man like Namjoon doubt himself, “Always, always trust yourself, Namjoon-ah.” and settled into the crook of his neck.

It was indeed a strange world that caused Namjoon to build an armour around himself. Because ‘London’ and ‘Lonely’ sounded just the same to him. His years alone in this strange place had been unkind, unrelenting. Brishti had been the only softness he had felt in a long long time. Armours built over years can break in an instant, though. For him, it was the moment when he and his wife had crossed the threshold to becoming lovers. High on the magic of new love, he had not realised it.

Sitting across from each other after that fateful evening, Namjoon and Brishti were both wide awake in the early hours of the next morning. Brishti buttoned up the shirt they never fully took off. Namjoon had tickled her with his toes. They propped their feet against the other’s to see just how vast the difference was (he melted seeing how small her feet were and hadn’t stopped playing with them since). Caressing each toe, he remembered something he wanted to ask -

“How did you know what Saranghae is?”

“Mm…” she stretched her arms, “I know what it means…” Brishti said.

“I know you know… from the way you… after I said it… You asked Yoongi about it?” Namjoon cautiously asked about the only other Korean Brishti knew. To his surprise, she nodded no, still denying him any information. Namjoon had to tickle her foot for the answer.

“Okay! Okay! Wait! Pleeeease!” Namjoon stopped and Brishti bent down to the bureau next to her bed and pulled out a textbook - LEARN HANGUL THROUGH ENGLISH. Namjoon looked more shocked than she had expected. “I asked Yoongi about the book-”

“You don’t need to Rim… I’m not learning Bangla, am I?” Namjoon said. He was touched but he didn’t want his love to do anything he couldn’t reciprocate.

“I would have asked you to learn it… if I wrote poetry in my mothertongue...” Brishti said. Namjoon was shocked. She went on, “You really think I didn’t know?”

Namjoon blushed and smiled and flopped over in Brishti’s lap. She brushed his hair as she explained, “You light up at the mention of lyrics and poetry, you keep a notebook by your side at all times, you’re moved by the things that people usually don’t pay attention to… I know you’re a poet, Joonie.”

Namjoon looked up at her and said, “No one has ever called me that…”

Brishti leaned down and kissed her gorgeous husband. “You are... From what I know, I bet all my books that you are a great one... And… I… I would love nothing more than to be part of your world of words, Joonie… It must be strange… to be understood but in a foreign language. If you would let me, I want to understand you in your language… Do you think that’s something maybe--”

He got up and all but jumped on Brishti, pinning her down to the bed with the cutest puppy-yell she had ever heard. “Yes! Of course, yes!”

They both understood that this was a proposal. The truest kind - a gentle request to explore Namjoon’s universe. They would later joke about how she proposed to him after a month of being married. Namjoon was completely delighted by this person with him, his person… one who really saw him.

He pulled her to him saying, “You’re the best part of my world, Rim...” and kissed her.

Each moment of love flowed through the next. When they had to be separated, they couldn’t wait for the next one, their moment again. On weekends they would visit museums and find their favourite paintings and sculpture or their favourite prehistoric relic and animal. Brishti hated the fact that Namjoon had to work overtime to compensate for these weekends and she often voiced how unfair it was.

In response Namjoon would just give her a peck and say, “As long as I have you, I’m happy.” This pricked her but she was too taken by the man before her to pay heed to it.

Namjoon was just about able to keep a straight face at work but everyone around Brishti was acutely aware of how much she loved Namjoon.

At one point, her colleague and best friend, Min Yoongi had yelled at her, “Yhaaaaa! Stop blushing?! It’s just a clock… what could be romantic about a clock?!” Sayuri-san, and she were hanging around Yoongi’s table when Brishti looked at his new flip clock and started blushing.

Brishti laughed along with everyone else but explained, “It’s involuntary… that’s what happens when you’re married to a poet.”

Sayuri-san corrected, “I know too many wives of poets to know that’s not necessarily true… It is true though, when you’re in love with a poet… Go on… tell us how exactly poet Namjoon makes you blush about a clock...”

Brishti blushed even more at that. Yoongi rubbed his arms and demanded, “Tell us because there’s some really weird things coming to my mind… like you guys have an exact time when...”

Brishti stopped his imagination, “No no no… it’s nothing like that… he loves digital clocks... because he loves to watch the time turn to 00:00… zero o’clock he calls it… and on days he feels sad, it’s like zero o’clock is always there to comfort him… like it’s a point when the whole world holds its breath and he can feel happy again… but these days… with me… he said he wants the clock to keep going after 23:59… he wishes time would stretch on… beyond 24:01…”

Yoongi sighed and sat back down, “You’re making me fall in love with Namjoon… ahhh that is beautiful. He should be published...”

“Imagine him saying this directly to you and you might know how I feel… I can’t stop talking about him...”

“Oh, we know. But honestly none of us care… your poet-librarian romance is getting us through our single-ness.” Yoongi reassured her.

The three of them continued to talk about the ways in which Brishti could repay Namjoon’s wordsmithing in graphic ways.

It was that evening, wasn’t it, when Namjoon had enveloped her back in the warmest hug as soon as he’d entered their flat. Brishti was in the kitchen when she heard him enter but hadn’t expected this. He kissed her neck while telling her the good news, “We got our first Korean client today… because of me… Mmmm… Why do you always smell so amazing?”

Brishti turned around and hugged him again, “That’s amazing! Namjoon-ssi! I’m so proud of you!”

“He’s from a wealthy family… so he can actually afford our firm… its not exactly the work I wanted to do--”

“It is a step toward that idea, right? It’s still good work, fighting for justice?” Brishti asked, stopping him from undermining his own work.

Namjoon nodded, “Yeah… He’s a dancer… Park Jimin. All the posh types know him as one of the best dancers in the Royal Ballet. They call him Jim… as if it’s too difficult to say Jimin?” Namjoon shook his head in disapproval. He began helping Brishti with the chopping and continued, “He was born in the UK and trained since he was 5... He got into the Royal Ballet but he’s been passed up to be a principal over and over even though everyone who has seen him dance apparently knows that he’s far far better… So recently he spoke to the director there... and of course the director made a racist slur and asked not to bother him with this again. He can’t even quit and work at another company because of the contract they have him on. There’s a non compete clause… meaning he won’t be able to dance with any other company. That’s all he wants… to be able to get out of that contract… I’m hoping to convince him to press charges on racial discrimination too. We’re not in the 20s anymore.”

When Brishti didn’t respond, Namjoon looked up at her. “That’s horrible… I’m so so glad you’re taking up the case. But please tell me what you ate when you were alone?” He looked down at the carrot he’d been failing to cut.

Namjoon scrunched his nose and admitted, “Canned food mostly.”

Brishti said, “I’m really really glad you’re getting to do work that you are passionate about, Joonie, you deserve it. Now, you should know how to cut a carrot.”

Namjoon pressed up against Brishti’s back. She reached back up to the nape of his neck and made him moan into her. Then… then Namjoon made her forget how to cut carrots.

He had these ways… Namjoon, with his touch, his voice, his languages both spoken and soundless. He was lighting new paths into her self. She loved learning him. Paths she didn’t know existed, that she’d been longing for.

The scars of the loneliness, emptiness that Namjoon had experienced had turned his longings into a kind of starvation. He needed to be nourished and also devoured. Brishti was just the creature to do it. He could feel her warm fingers trace rows of pleasure onto his skin. He felt them bear down and singe when the two of them had to move away from each other. He felt those ropes tug at him as the end of his workday neared. Namjoon closed his eyes each night at her touch, the feeling and fragrance of her body. He felt blooms of intimacy spring up like seedlings out of the soil of his skin. And deeper. In the earth of his soul. So he did the only thing he could. Reciprocate. Namjoon sowed his love, his desire, his need onto her, into her every night.

There were times, though, when she would feel his absence in the middle of the night and see him working in the dim light of a lamp. She knew he had to work hard to do what he wanted but she also saw he had to continually prove himself to people who weren’t even paying attention. The reason they weren’t paying attention was painfully clear to Brishti but she was yet to experience it’s full stab.

Namjoon wanted to shield her from it. He was counting on an armour that didn’t exist anymore to protect himself and his wife… the reason he liked his life again. Whenever she came out and switched on a brighter light, reprimanding him for straining his gorgeous eyes, he saw that it did prick her - this world and the unfairness he had to endure. She would say something small, an almost-complaint that alerted him… against her for some strange reason. She would say something that would be easy to ignore and yet would prick him, like - “I don’t know why they haven’t promoted you yet.” or “Why haven’t they taken up Jimin’s case yet? You’ve worked so hard on it.” Everytime she did that, he would have to pacify himself.

‘I’ve told her so much about the Jimin case… she’s just really invested’ Namjoon thought to himself. Just so he would avoid thinking, ‘I shouldn’t have told her.’

He would have to calm himself, give her a peck and try to convince her to stop worrying. “As long as I have you, I’m happy.” Namjoon would always say.

Then, Brishti smiled as she always did. While trying to understand why that sentence bothered her so much. After almost five months of exploring this wonderful man, some part of him still felt unfamiliar… like it didn’t fit in with the rest. Still, these things take time, she had heard from so many women over the years. Besides, she was blessed with a man far far above the norms. So, how could she prod? These are things Brishti had told herself - until the night she couldn’t stay silent.

The couple was coming up on their fifth month together and Park Jimin had gifted Namjoon a ticket to the final show of the season as a token of gratitude, for having heard his story.

Brishti was nervous about going to this kind of a gathering and had told her husband to meet her there.

She had enlisted the help of Sayuri-san to look appropriate for the event. Her slightly longer hair was clipped and her eyes were kohled. She wore a burgundy knee length fringe-ended dress that she had received from her gracious host, stylist and make-up artist - an inheritance of her brilliant life tucked into the black pearl beading and deco design. It was a big departure from the usual tie-die or band tees and jeans with her baggy coat. She had carried the coat but felt this strange sort of compulsion to stand in the cold air in the noodle strap dress, for him to see her.

She felt butterflies in her stomach and kept fiddling with the coat she had draped over her arm. It was electric when she saw him.

Namjoon looked gorgeous in a tux. All of Brishti’s nerves were soothed just by looking at him. He had brushed his hair back. Tall and dashing - better than any heathcliffe could ever be. And with his reading glasses, he looked like the lead of a romance novella that would make all the women swoon. Indeed she was swooning. Brishti was suddenly warm in the chilly, windy night. And when Namjoon saw her, blood rushed to her cheeks. Everything inside her was running helter skelter in a panic. Brishti felt everything drop in the few moments it took for Namjoon to reach the top of the stairs. Dolled up like this, outside of her element, she felt like an imposter. Some angel needed to be standing in her place. For the first time, feigning beauty, Brishti felt like she wasn’t worthy of her husband.

She was finally able to keep her feelings aside when he reached her.

Namjoon kissed her palm like a gentleman and whispered in her ear, “Let’s go home… I need a private kind of dance…” Brishti blushed. Namjoon put his arm around her and felt the chill that had settled on her skin. “Aren’t you cold? Why didn’t you wear the coat?” Namjoon asked. Brishti just shook her head no and the two of them walked in.

Brishti assumed that the ballet would be a welcome distraction from the storm that brewed within her. She had read up about the show, the piece they were going to perform -

Tchaikovsky’s venerated Swan Lake. The story of a young girl who falls in love with a prince who promises to save her but fails. Ofcourse there were finer nuances to the story but this was the basic plot. As the lights dimmed, Brishti felt pulled in by the music, the eerie beauty of it’s melody played in perfectly with the questions that were swirling around in Brishti’s mind -

Why do I feel wrong?

Is this what Yoongi was talking about? Anxiety…?

Why does Namjoon look so... different?

Why is he so quiet, so… distant…It’s like he’s keeping himself away from me despite being right next to me, arm in arm, like the true Namjoon is somewhere in a glass case? Deep deep beneath whatever this creature is who is next to me?

I’m thinking too much. No. What is this? Why am I feeling this way?

It’s the music… no its not just the music… something is fucking wrong because all I feel like doing is breaking that glass case that’s locked away My Namjoon and presented this fucking imposter. What the hell is going on?!

Brishti barely managed to keep it together. She kept her eyes on stage…

It was like seeing a moving painting being created by invisible hands and the music was the sound of the brushstrokes, amplified. Park Jimin was playing Rothbart, the owl-like magician who curses Odette into a swan until she finds someone who would promise to love her forever. The questions in her mind and the power of the spectacle before her forced her tears to keep flowing.

Namjoon saw Brishti cry and held on to her. But the more he tried to comfort her, the more uneasy she became, the more she coudln’t contain the tears in her eyes.

The curtain fell at the end of Act three when the prince realises he has been tricked. Brishti, somehow, mirrored his grief. The prince was cheated by Rothbart into believing that his daughter, Odile, was Odette. Rothbart relished his plan so despicably it made Brishti’s stomach turn. The prince had already declared to the ballroom full of people his vow to love and marry the maiden by his side - Odile, not Odette. Park Jimin played Rothbart so skillfully, so beautifully that despite being the villain, despite being covered from head to toe, he was the star. Rothbart giggled delightfully as he revealed to the prince that the girl in his arms wasn’t Odette at all. That Odette was waiting for her prince by the lake. The curtain fell as the prince felt the stab of betrayal and rushed to Odette.

Brishti rushed to where she did not know. She wanted to get away from Namjoon, from this feeling that she couldn’t understand, couldn’t explain. She was angry. She wanted to break something. Tears still flowing down her face, she found a corner that was hidden away in darkness. She went in. Brishti sat on the couch there, for what seemed like eternity, breathing heavily. Nothing made sense. It felt like her insides were twisting into each other. Suddenly, though, a door creaked open and out came an angel. A man, glowing, having just freshened up. He saw her, saw her fear and instead of pulling back in shock, approached with a strange kindness. He held her wrist and stayed silent for a moment.

His beauty was also a kindness to her. In that moment, Brishti could breathe a little bit better. He sat down by her knees, on the floor and when he spoke, his voice flowed like a tonic, “First time at the ballet? It’s overwhelming… I know. You’re okay. You are safe. Rothbart is not here. Talk to me… what are you feeling?”

The tears kept flowing. This man was different, she knew he understood what she was feeling like. She felt safe, but not as if she was with a saviour, rather as though she was with another victim.

“What are you feeling…” Park Jimin repeated. The pieces were falling into place in her head. This is Park Jimin, the man who danced as Rothbart. The man who should have danced the Prince. Who should have played Odette and Odile.

“I feel… rage.” Brishti trembled as she spoke. She could breathe again.

“Yes… Rothbart is… evil… I’m sorry-”

Brishti nodded her head no. “At the prince.”

Jimin was surprised. “Let it out. You can scream in here and no one would know.”

Brishti didn’t need another invitation, but her rage wasn’t a scream, it was a whisper - “I want to hit the prince. How could he not now? He couldn’t see that that girl was not Odette? Is he blind? The way she moved, the way she danced… which only means… it means that the prince knew… somewhere he felt doubt but he… He couldn’t fucking trust himself enough?! I don’t know why this is breaking my heart… Why can’t people trust in themselves?! It’s a pathetic fucking excuse and I can’t buy it… I just can’t. Why did the prince...” Her hands covered her face as she wiped her tears. She composed herself.

Jimin pulled out a kerchief. “May I?” Brishti nodded and he dabbed her face with care.

“The prince trusted his sight more than his soul. And now, Odette will die because of it. As always, the woman pays the price.”

“He dies too, you know.”

“What a waste…”

Jimin smiled, “Thank you… for watching the show, for feeling it so much.”

Brishti managed a weak smile, “Thank you.” Jimin stepped away and sat next to her, at a respectable distance. “I’m being lied to.”

Jimin nodded, “I know what that’s like. I feel that rage against the prince too. And still, we must be kind to our liars.”

Brishti clenched her teeth, “Why? Where’s the fairness in that?”

Jimin moves away, in a dejected kind of daze and pours himself a drink, “That’s the biggest lie, fairness. Cruel joke.”

Brishti walked toward the door. “I should go… Thank you.”

Jimin raised his glass to her.

Brishti wore her coat and walked toward the exit. She found Namjoon in a panic and suddenly felt like she could reach him. He looked so relieved to see her. She couldn’t help but feel awash with love as he crashed into her in the warmest hug. It was as if he was the one who was lost.

“Are you okay? Why were you crying?” Namjoon asked her as he stroked her head and held her in the hug for as long as she needed.

“I need to ask you something.” Brishti whispered as she pulled away. They began walking down the stairs of the theatre.

“Änything.” Namjoon replied.

“Your firm… they refused the Jimin case, right?”

Namjoon froze. His jaw locked up. “Let’s go home.”

The rest of the way, neither of them spoke a word. They entered their home in a cold silence. They washed the night off themselves and entered their bedroom, which was completely devoid of the heat and desire that usually filled it right up to the ceiling. What used to feel like an ocean, now felt like a vacuum.

When Namjoon walked in, Brishti reminded him, as kindly as she could,“I said I need to ask you something. You said, ‘anything’.”

“I’m sorry. I don’t want to talk about it.” Namjoon was cold again. Unfeeling. Unreachable.

Brishti tried her best to be calm… “When would you want to talk about it?”

Namjoon breathed in - “Why? Am I answerable to you?”

“Yes.”

“Well, we disagree. I don’t think I am answerable to you. What would you have done if I wouldn’t have told you about it in the first place?”

“I would still be feeling what I’m feeling… I would be even more furious though.”

“Fu- why would you be furious? I have to work there, I lost the account. I’m feeling hurt and disappointed in myself and instead of helping me, you’re angry?! What the hell could you be angry at?!”

“I’m being lied to. I’m being tricked.”

“What?!” the contempt on Namjoon’s face made her head throb. He was angry now.

“There are two Namjoons here. I’m being told there’s only one and--”

“That is some philosophical trash that you learned from one of your books. Real life doesn’t work that way. But how would you know?! You don’t have a real job. You have a hobby. A hobby of stacking books in order. You’re just plain lucky that someone is paying you for your hobby. That’s not a job. You of all people cannot tell me about the things I have to do to keep my job. I have tried my best to be as honest as I can be--”

“As honest as you can --”

“Listen to me!” Namjoon thundered. His loud voice might as well have been a punch. It rang through her body and rattled her bones. She had tears in her eyes but clenched them down as Namjoon continued yelling, “Enough… enough with the fucking tears. What the fuck are you so sad about?! I don’t need you to pity me. I don’t need anyone to feel sad for me. I have tried to be a good man - do you even know how much other men don’t even mention to their wives?! I told you everything. EVERYTHING. And now I’m being punished for it. Time and time again I tried to console you… even though I was the one hurting… I tried to be there for you and tell you… as long as I have --”

Brishti couldn’t take it anymore “Don’t. Say that.” She didn’t yell. Her voice was just above a whisper and yet it sent a chill down Namjoon’s spine. She wiped her tears. “I didn’t ask to be consoled. I was just… curious. If a few questions from me hurt so much maybe you should ask yourself why. I’m not lucky that someone decided to pay me for my hobby. It’s nice to know what you really think of my job. But whatever you think, I created my job. I created my life. I fought to come to london. I fought for the right to earn--”

“Oh please... spare me the feminist lecture...” scoffed Namjoon.

“Sure. Take up Jimin’s case.”

Namjoon felt the burn of white hot rage. He wanted to strangle her. He was so used to touching her… and she was his… in this bedroom, he had made her his. He wasn’t thinking. Namjoon strode toward her and held one massive palm over her mouth and the other on her neck and pinned her to the wall. “YOU WOULDN’T HAVE KNOWN ABOUT THAT IF I DIDN’T TELL YOU.”

It took him a few moments to realise what he was doing. Brishti was shocked and tried to scream but no voice came out. She was trying to get him out of his daze when he finally saw her, saw his Rim, horrified… by him. Namjoon pulled his hands back instantly. He saw a red bruise bloom where his hands were - on her face and on her neck.

“This is how you make your conscience shut up?” Brishti’s voice was hoarse. “You think this has nothing to do with your conscience? With the best part of you? The part that you made me fall in love with? Are you really telling me you don’t know that this is why you can’t write the way you used to… You’re killing my Joon and asking me to stay silent. I can’t.”

The searing anger still hadn’t died and it burst out of him, “Why are we fighting like this… over Jimin… why don’t you take up his case if you fucking love him so much?”

“What do you think I’m doing right now?”

“You… Why are you fighting for him against me?!” It was here that Namjoon realised his armour was gone. The idea of who he is... suddenly vanished. And the one thing that had made him feel safe, like his true self, was slipping away. “You’re saying… just tell me… you’re saying what I think you’re saying.”

Brishti did him the only kindness she had left in her, she explained, “Jimin wants to leave but can’t. He stays because he needs to dance. He stays because he cannot get out of his contract. You say you want to help people like Jimin, you roll your eyes at white people who can’t pronounce our names, you feel guilty for asians who have much less than we do… but then you also don’t raise an issue when your boss holds meetings in clubs where people of other races and dogs and women are not allowed. You work overtime for the privilege of weekends… You say you are trying but… as far as I know… you don’t have a non-compete clause in your contract, Namjoon.”

That hit him like an iceberg. Namjoon’s legs gave way and he just sat on the bed.

He watched as Brishti put on her coat and left, covering her bruises with a scarf.

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Chapter 6 - to be posted.

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☕ + wfa

i do not like wfa with ham, i do not like it, sam i am.

I have a lot of problems with Wayne Family Adventures. The idea for it is solid enough, but the execution is. bad. I've put my thoughts below the cut because this got long, so I hope you don't mind me going in depth on my feelings.

Duke Thomas as a POV character - I'm plagerizing heavily from my convo with @phamtai about this. Def check them out for more info and better insights than mine into the character. Duke is extremely well established in canon despite only having been around for a decade or so. Remarkably, it's taken until WFA to butcher his character. Duke in this series is too polite. He's too clueless. He's been presented as the Relatable Kid archetype that he doesn't fit. In canon, Duke has never not been self-assured. He's a relatable character, yes, but not because he doesn't know what's going on. He has experience as a hero long before the batfam became involved. And since then, he's bonded with them. WFA doesn't show his connection with Cass, his dynamic with Bruce or Jason, and completely ignores his conflicts with the family. In a supposedly family-focused product, those are damn near cardinal sins. He may as well be a totally new character. Duke has been watered down so much for the sake of this series. WFA could be a vessel to explore so many things about him that we don't see a lot of on the regular page. We could see a dive into the parallels between him and Bruce, the full psychological impact of losing his parents, epecially in contrast to Jason, how his world view and morals differ from Batman's, the daily consequences of his powers, or the fallout of his mourning independently for the friends he's lost. But those would be interesting angles WFA doesn't seem eager to explore. If you can't imagine a version Duke punching a cop just because they're a fucking cop, you're doing it wrong. Another issue is, unfortunately, Duke's role as the only Black batman member. I shouldn't need to explain why it's problematic to be showing his as constantly less knowledgeable and presumably skilled as the other bats. (No, it doesn't matter that Dick and Damian are drawn with dark skin. Dick has been written as a white man for nearly his entire existence. The person who retconned that is notoriously racist and has spent years defending her inclusion of sexual assault in her writing. I have no issue with Dick being Romani, but just changing the color of his skin is not the way to do it.) DC has recently had a push towards inclusion, on the page an behind the scenes. This is good, of course. Though if they really are committed to representation and inclusion, it needs to be an effort seen across the board. Faux pas like this paint a pretty obvious picture.

The Webtoon format is shit - Webtoon is a great platform for indie writers and artists. It's not my style of content, but I get the appeal. IMO, it's ridiculous to accept a professional comic publisher shitting out 12 page fluff pieces. Yes, the weekly comic format has been phased out for a reason. Yes, halving the workload is a possible way around that restriction. But there just isn't a good enough reason to do it. It's a pretty obvious ploy to seem "hip" and "get in with kids these days." It's lazy and frankly kind of embarrassing. For anyone who doesn't know, a standard comic book is usually 24-28 pages. This isn't an arbitrary number, it's part of the format for the art form. That length allows for necessary plot developments in a serial story line while also giving the characters, themes, and artwork time to breathe. Furthermore, it's what most comic readers have come to expect over the decades. Halving that wouldn't necessarily be a problem, there are plenty of examples of well made shorts out there, but coupling that WFA's love affair with single panels and splash pages is a major issue. Say you make a 12 page comic with 4-6 panels per page. You have 48-72 panels to work with. You can sit a compelling story into that, with or without heavy dialogue. But bring that down to 12-24 panels, and you have one of two options: either 1) ultra-compress your narrative or 2) reduce the plot to compensate. Ignoring the formatting choices, WFA is a convenient reason for DC to keep the worst of the status quo in the bat titles. There's no need to acknowledge criticism of Bruce's treatment of his family when they can simply point and say "Jason's throat hasn't been sliced open here! And look, Damian hasn't been left with the crushing guilt of his grandfather's death! We even let Tim exist as his own character!" WFA doesn't change anything, it shows that DC is aware of its problems but would rather outsource them than put in the work to fix it. There's a special kind of rejected feeling that comes with being told "I hear you, I just don't care.

Fandom isn't bad, but - Everyone is familiar with the incorrect quotes format by now. Sometimes they're funny, most of the time they tend to over-saturate. WFA is like if a incorrect batfam quotes blog was a comic. It's a steady supply of one-liners and references, sure, but it lacks any real substance. If that's what you like, I can't fault you for it, but it's not going to be everyone's cup of tea. The way the batfandom has piled onto the "this is the best thing ever" bandwagon is concerning to me. There has been good batfam content in canon, you just need to know where to look for it. The lack of critical analysis of the project and dismissal of critiques is always an alarming pattern, but the way WFA has come to be the odd face of the fandom is just bizarre. It's everywhere, as you know if you've ever tried avoiding it. Thinking about WFA being the default interpretation of these characters makes me nervous. They lack the depth their canon counterparts. I don't care if you enjoy WFA, I do understand the appeal of it, but for the love of the gods, take it down from it's pedestal.

WFA is... fine. It's yet to commit any sins too egregious, but, like all DC properties, it's a ticking timebomb. I won't be surprised when it goes off, and I can't say I'll be sad to see it go. Ao3 has better content, anyway