#like historical pieces are not truly a problem

[nevoadecaipora]

.

[foone]

Look if there's one thing, just one thing, that I wish everyone understood about archiving, it's this:

We can always decide later that we don't need something we archived.

Like, if we archive a website that's full of THE WORST STUFF, like it turns out it's borderline illegal bot-made spam art, we can delete it. Gone.

We can also chose not to curate. You can make a list of the 100 Best Fanfic and just quietly not link to or mention the 20,000 RPFs of bigoted youtubers eating each other. No problem!

We can also make things not publicly available. This happens surprisingly often: like, sometimes there'll be a YouTube channel of alt-right bigotry that gets taken down by YouTube, but someone gives a copy to the internet archive, and they don't make it publicly available. Because it might be useful for researchers, and eventually historians, it's kept. But putting it online for everyone to see? That's just be propaganda for their bigotry. So it's hidden, for now. You can ask to see it, but you need a reason.

And we can say all these things, we can chose to delete it later, we can not curate it, we can hide it from public view... But we only have these options BECAUSE we archived it.

If we didn't archive it, we have no options. It is gone. I'm focusing on the negative here, but think about the positive side:

What if it turns out something we thought was junk turns out to be amazing new art?

What if something we thought of as pointless and not worth curating turns out to be influential?

What if something turns out to be of vital historical importance, the key that is used to solve a great mystery, the Rosetta stone for an era?

All of those things are great... If we archived it when we could.

Because this is an asymmetric problem:

If we archived it and it turns out it's not useful, we can delete.

If we didn't archive it and it turns out it is useful, OOPS!

You can't unlose something that's been lost. It's gone. This is a one way trip, it's already fallen off the cliff. Your only hope is that you're wrong about it being lost, and there is actually still a copy somewhere. If it's truly lost, your only option is to build a time machine.

And this has happened! There are things lost, so many of them that we know of, and many more we don't know of. There are BOOKS OF THE BIBLE referenced in the canon that simply do not exist anymore. Like, Paul says to go read his letter to the Laodiceans, and what did that letter say? We don't know. It's gone.

The most celebrated playwright in the English tradition has plays that are just gone. You want to perform or watch Love's Labours Won? TOO FUCKING BAD.

Want to watch Lon Cheyney's London After Midnight, a mystery-horror silent film from 1927? TOO BAD. The MGM vault burnt down in 1965 and the last known copy went up in smoke.

If something still exists, if it still is kept somewhere, there is always an opportunity to decide if it's worthy of being remembered. It can still be recognized for its merits, for its impact, for its importance, or just what it says about the time and culture and people who made it, and what they believed and thought and did. It can still be a useful part of history, even if we decide it's a horrible thing, a bigoted mess, a terrible piece of art. We have the opportunity to do all that.

If it's lost... We are out of options. All we can do is research it from how it affected other things. There's a lot of great books and plays and films and shows that we only know of because other contemporary sources talked about them so much. We're trying to figure out what it was and what it did, from tracing the shadow it cast on the rest of culture.

This is why archivists get anxious whenever people say "this thing is bad and should not be preserved". Because, yeah, maybe they're right. Maybe we'll look back and decide "yeah, that is worthless and we shouldn't waste the hard drive or warehouse space on it".

But if they're wrong, and we listen to them, and don't archive... We don't get a second chance at this. And archivists have been bitten too many times by talk of "we don't need copies, the original studio has the masters!" (it burnt down), or "this isn't worth preserving, it's just some damn silly fad" (the fad turned out to be the first steps of a cultural revolution), or "this media is degenerate/illegal/immoral" (it turns out those saying that were bigots and history doesn't agree with their assessment).

So we archive what we can. We can always decide later if it doesn't need preserving. And being a responsible archivist often means preserving things but not making them publicly available, or being selective in what you archive (I back up a lot of old computer hard drives. Often they have personal photos and emails and banking information! That doesn't get saved).

But it's not really a good idea to be making quality or moral judgements of what you archive. Because maybe you're right, maybe a decade or two later you'll decide this didn't need to be saved. And you'll have the freedom to make that choice. But if you didn't archive it, and decide a decade later you were wrong... It's just gone now. You failed.

Because at the end of the day I'd rather look at an archive and see it includes 10,000 things I think are worthless trash, than look at an archive of on the "best things" and know that there are some things that simply cannot be included. Maybe they were better, but can't be considered as one of the best... Because they're just gone. No one has read them, no one has been able to read them.

We have a long history of losing things. The least we can do going forward is to try and avoid losing more. And leave it up to history to decide if what we saved was worth it.

My dream is for a future where critics can look at stuff made in the present and go "all of this was shit. Useless, badly made, bigoted, horrible. Don't waste your time on it!"

Because that's infinitely better than the future where all they can do is go "we don't know of this was any good... It was probably important? We just don't know. It's gone. And it's never coming back"

[myusuchaa]

ikemen villains: my recs and route/suitor rankings ʕ•ᴥ•ʔ

disclaimer: these are my opinions based on the current released routes in both ENG and JP. i tend to love dark psych thrillers, lots of angst and pining, great banter between characters/lively convos, and a captivating plot, so that's what influences my ranks~ will update with future releases

figured I’d post my thoughts here!! in case anyone is a bit newer to ikevil and is curious OR if anyone has similar interests as me I’d love to squeal about them with you!! ♡

₊˚ପ⊹ROUTE RANKINGS

rank is based on: written flow, plot, descriptive language and emotional pull, uniqueness

1. Elbert

2. Alfons

3. Roger

4. Ellis

5. William

6. Liam

7. Harrison

₊˚ପ⊹SUITOR RANKINGS

rank is based on: how much I fell for them, their likability, personality traits, inner monologues from his side stories, overall character story, their interactions with others

1. Elbert

2. Alfons

3. Ellis

4. Liam

5. Roger

6. Harrison

7. William

₊˚ପ⊹ROUTE RELEASE TIMELINE

Beginning trio (JP/ENG): William, Liam, Harrison

Aug. 1st (JP/ENG): Elbert

Nov. 14th (JP): Alfons

Mar. 19th (JP): Ellis

Jul. 23rd (JP): Roger

my thoughts & recs on each suitor's route (no spoilers)

William: such an interesting take on love. maybe because of his curse but his route is up there with feeling the most historical, period-piece fantasy like (along with elbie and roger imo). he's a very unique LI i honestly felt like his route would do well as a 3 episode anime OVA ヾ( ˃ᴗ˂ )◞ i recommend him if you like a more undefined approach to love, contractual partnership, mature and refined guys and not-so-innocent MC's

Liam: a precious bb ahh, and his VA is so amazing at emotional inflections! liam really shines in being attentive to kate and to the other crown members, i loved how he treated her in his route. i recommend if you don't mind self-deprecating guys, if you like drama and whirlwind romance, and if you enjoy a relationship built on assurance.

Harrison: the best soft opening to ikevil imo. quite a tame route with very real world problems as opposed to dark fantasy. if anyone stays true to his self, it's harry! he has some funny one liners too lol. i recommend him if you like intelligent sarcastic LIs, you like noir crime vibes, and if you don't want a heavy read.

Elbert: i mean he is my oshi for a reason! every time i read his route i fall more in deep love.. the localization team did an amazing job w the translation. i think his POV stories are the best. they add so much to his qualities and i feel really boosts his story. i recommend his route if you love yearning, emotional understanding, tragedy, dark psych thrillers, and slow (but dramatic) burn stories

Alfons: i used to hate him with a passion... until i loved him. his route truly is the definition of "fuck around and find out" keeping you on your toes. i loved the depth he has and how dubious they made him. i recommend his route if you like word/roleplay, morally grey characters, if you like having to guess at things without ever being told the answer, and a "we shouldn't be doing this but.." kinda feeling

Ellis: this man had me doing mental gymnastics to understand his true motives and i looooved that. visuals are also top tier. what i noticed is his route really focuses on his time with kate and has a bit more of a mundane (as mundane can be in ikevil) plot compared to other routes. this let his interactions with kate shine. i recommend ellis if you like hidden duality in a suitor, puppy boys that will do anything for you, a love that feels like a warm blanket, and you're ok with no real character growth (conditional love)

Roger: honestly i put off his route cus i wasn't interested at first but by the third chapter i was like WOW this is a breath of fresh air. the writers showed UP for part 2, i love the new plot points introduced, and his interactions with kate are sooo good. i loved his letters too! i ended up finding him extremely supporting and with a slight gap moe which kept me interested. i recommend this route if you like stories that are plot AND character driven, back and forth banter between MC and LI, and a shojou traditional charismatic love!

[enigma2meagain]

RWBY Relic Pieces in Volume 1, Symbolism of the Pieces, and How It Ties To the Broader Narrative.

Did a quick searchup on the symbolism of chess pieces, and taking what I saw into consideration (note that this is very abridged, and possibly not entirely correct):

CRDL and the Black Bishop

Bishops are representative of religion, as well as spirituality, morality, and wisdom, and a direct reference to Cardin's mythological reference, the Cardinal of Winchester. In regards to the broader narrative that RWBY sets up, he can be considered V1's partial representation of the institution of Huntsmen, more specifically the deeply flawed and darker side standing opposite to the better/neutral aspects of Huntsmen that RWBY/JNPR represent, due to being a racist bully who stands against Grimm, yet also willfully persecutes and harms the people he's supposed to fight for, such as minority groups like Faunus and (given Jaune at this point is basically a civilian in huntsmen's clothing and training wheels) the people depending on the circumstances. Also acts as a form of foreshadowing to the other deeply flawed or outright bad huntsmen we'd come to see later in the series, as well as highlighting the lack of wisdom and morality that can blight the institutions that Huntsmen are supposed to be, represent and protect.

The Black pieces in chess always move second, which highlights how the Huntsmen are a highly reactive organization, and how this severely limits their ability to truly tackle the bigger problems regarding threats like the Grimm, Salem, society's deep internal problems, and in the bigger picture, Ozpin's divine mission.

JNPR and the White Rook

Rooks are representative of the land, being symbolic of the fortress that guards a city or land and its royalty, and how they essentially "guard" the other pieces, as well as representing stability. The majority of JNPR come from civilians compared to the likes of RWBY, with this becoming completely the case after Pyrrha's death and Oscar's inclusion, and they're shown consistently throughout the series as having the strongest connections to civilians on a personal level. They also frequently as the bedrock and stabilizing influence, through Jaune, Nora and Ren's friendships and roles as supporting characters. Being white pieces also highlights how as time goes on, they would develop an increasingly proactive role through the questioning of the narrative told to them by the metaphorical "royals" (in this case, Ozpin's secret circle) and the latter's failure to actually protect them.

This is especially notable in regards to Jaune, Nora, and from a story perspective Ren, given how the former consistently questions Ozpin and his inner circle's shadier actions throughout most of V4 - V8, and Nora and Ren were failed miserably and made orphans due to the lack of huntsmen and the society around them failing to protect them, while putting them into a situation where their only recourse is to become part of the system that failed them.

RWBY and the White Knight

Knight pieces are representative of the medieval military, fitting given the status of Huntsmen, as well as being considered adventurous, valorous, and unpredictable due to their unique fighting style allowing them a level of unpredictability that other pieces don't have, fitting of how RWBY are the main proactive force to pushing Ozpin and the true nature of the secret war against Salem out into uncharted territory, forcing them to actually change and grow.

Knights are also often historically drawn from nobility, much like how every major character in RWBY has some kind of tie to Remnant's most illustrious groups or some kind of major player (Ruby and Yang being part of major Huntsmen lineages, Weiss being a rich heiress to the most powerful corporation in the world, and Blake being effectively the Princess of the Faunus, as well as having ties to the most prominent civil rights activists and movements in all iterations of the White Fang).

Much like JNPR, they are far more proactive compared to the royals they serve, actively pushing the latter outside their comfort zone in a two-pronged attack alongside JNPR, but the series also strives to highlight and deconstruct the messier aspects of their relationship as huntsmen (and thus a form of warrior caste/mercenary, with the following tension in that relationship with the people they are trying to protect) and how the unpredictable nature of their changes results in as much positive and messier forms of change, for better or worse.

This got way longer than I thought it would.

[toastofthetrashfire]

My Top Shows 2023

Doing this at the last minute but here goes--the top 10 shows I watched in 2023!

*Note: I rate my shows on a letter scale cause I don't like narrowing it down to a specific number. (S-standout As-Strong Bs-Fine Cs-There's some problems Ds-ooof)

1. Oh No! Here Comes Trouble

This one instantly became an all time favorite. It covers themes about grief and loss in a deeply empathetic and humanizing way along side the supernatural elements. I don't know if it's because I've experienced loss myself or because it's a universal experience, but I love shows like this that help you understand what it means to grieve and heal in a familiar yet new light. It reminded me a lot of Natsume Yuujinchou (another favorite) in that respect.

Aside from the larger themes, you have a distinct directing style, quirky sense of humor, well-rounded cast of characters, and excellent acting (the lead actor was also in Your Name Engraved Herein and he's just as standout here). In addition to all that, the show gives us a main trio of characters whose strengths are deliberately not their wits. This is used for humor but also to make more meaningful points about connection, empathy, and different ways of thinking (yes, I headcanon the main trio as neurodivergent).

Rating: S+

2. The Eighth Sense

This show! Another piece that is deeply rooted in exploring trauma and loss. This time within the framework of a romance. I'm usually pretty hesitant with stories that bring disability into romance, especially mental illness. There's a tendency to lean into the idea that love cures all and other not so great tropes. The Eighth Sense does a great job balancing that line, giving us romantic beats without wading into them uncritically. In the end, healing and love are things we choose not something guaranteed, but there's still an immense hope in that. I'm an giant sucker for shows that tackle both queer and crip experiences with nuance and grace, and the Eighth Sense hit that mark for me (so much so it even had me writing a little meta). On top of that it has beautiful cinematography and visual choices.

Rating: S

3. Moonlight Chicken

A beautiful show all around! P'Aof constantly knocks it out of the park with every show he directs, but I felt particularly strong about Moonlight Chicken. I adore the way it centers on themes of home and community. It even inspired some meta and a bit of personal reflection for me on what it means to choose home as someone who is queer and disabled. The show gives us the messiness that comes with navigating new and old relationships and somehow also the simplicity of it all. And of course, the show includes a Deaf character and handles his story with nuance and clear care.

Rating: S

4. Shadow

Singto, Fluke, and Fiat in a queer horror show--sign me up! It wasn't as scary as I expected, more psychological (which is good because I am so picky about what types of horror are too much for me vs what I enjoy). I loved the way the show played with time and reality and drew upon various religious practices to create a unique atmosphere. I also adored the attention to small details that make the piece ripe for analysis. I will probably be eyeing clocks and tech in many shows to come. It's also a show that is bringing up themes about queerness, mental illness, domestic violence, and historical trauma. I'm continually drawn to pieces that are queer and crip, so I suppose it's no surprise that this one drew me in too.

I know this show was divisive, about as many people thought it stuck the landing as didn't. I happen to land in the former category. I adore media that makes me stop and think, and given the amount of meta the show had/has me writing, I'd say it well and truly tickled my brain. The show didn't always go where I most wanted or expected but I think that challenged me even more to really think about what the show might be trying to do (my thoughts on that here, spoilers though).

Rating: S

5. Our Dining Table

Japan does a lot of things well, but I'm particularly fond of their slice-of-life. Our Dining Table fits right in there with food and found family at the center. It's warm and cute, but has a depth beyond it's soft exterior, delving into loss, loneliness, and what it means to be fully seen by those around us. All of this tied up in a queer bow. It was easily the show I was most excited to watch each week when it was airing.

Rating: S

6. Mysterious Lotus Casebook

Another one I fell in love with this year! While it has plenty of tropes, cutting through the core of all of this is the growing friendship between the main trio, especially between Li Lian Hua and Fang Duo Bing. Their relationship and personal growth as characters was really beautiful to watch, on top of it just being a fun show with a great balance of humor and drama. Plus Fang Duo Bing's mom 😍

Rating: S

7. One Room Angel

Another solid entry out of Japan. As much as I love Japan's bright slice-of-life offerings like Our Dining Table, they also excel at stories that don't shy away from heavy or complex emotional themes. And I'm noticing as I tackle this post that I really resonate with heavy themes. One Room Angel has it's lighter moments and own quirky humor. But it also tackles depression and suicide as it explores the journey of finding enough connection and meaning in life to keep moving forward.

Rating: S

8. I Feel You Linger in the Air

I Feel You Linger in the Air was such a beautiful show! I'm so happy we got a historical thai bl this year and that it was so so lovely. I really liked last year's To Sir With Love but it does have it's Lakorn/soap style that is a bit more of an obstacle for me. IFYLITA certainly has it's drama, but it feels more tightly drawn. Throw in a little time travel and beautiful love scenes and it was a delight to watch.

Rating: S

9. My Beautiful Man S2, Eternal

When I watched the first season of My Beautiful Man I liked it but wasn't exactly sold. I read a bit of meta from the community which changed my tune a bit. But it wasn't until watching season 2 and Eternal that something really clicked. I immediately went back and watched season 1 after finishing the film and oh boy did I fall in love. Not only do S2 and Eternal give us great character growth and forward motion to Hira and Kiyoi's relationship, and they feel like a natural expansion of the first season in the best way possible. What can I say, I love the whole series!

Rating: A+

10. Kiseki: Dear to Me

Kiseki: Dear to Me feels like an outlier to me. It's hard for me to put my finger on just what made it click for me, but I was so into it when it was airing. I recognize that plot wise this show is a bit of a mess, but at the same time it hit something just right in my brain. Perhaps it was the emotional intimacy the actors portrayed? They did a fantastic job drawing me in. Apart from that I couldn't take my eyes off of Ai Di's impeccable fashion choices, and the many many cameos were quite fun.

Rating: A+ YMMV

A few close contenders:

My School President (S) *split airing 22' and 23'

Tokyo in April Is... (A+)

Laws of Attraction (A)

Bed Friend (A)

The End of the World with You (A)

Me, My Husband, and My Husband's Boyfriend (A)

If it's with You (A)

Our Dating Sim (A)

Love Tractor (A)

The Warp Effect (A) *split airing 22' and 23'

The New Employee (A) *split airing 22' and 23'

La Pluie (A-)

Midnight Museum (A-)

[allwaswell16]

All the One Direction fics I read and enjoyed in August 2023. You can listen to my podcast to hear me talk about each of these fics as well as an overview of what was posted on ao3 including the fics on this month’s fic roundup which you can find here! Please let the writers know if you liked the fics by leaving kudos and comments! Happy reading!

Fanfictional Podcast #53 |  ko-fi | fic recs

—Louis/Harry—

🌴 De amore ex tempore by @persephoneflouwers

(M, 101k, historical) the Middle Ages AU where Harry is a philosopher, whose thoughts happen five centuries too soon and Louis is a painter, whose art happens five centuries too late. & Or: the Time Travel AU where alternate versions of themselves live simultaneously in different realities and their paths collide every time, until somehow, they converge into one.

🌴 Gemma's Dad (Could Use A Guy Like Me) by @lululawrence

(NR, 82k, age difference) Louis wasn't planning on getting home and learning that Gemma's dad had gotten the house in the divorce and was dealing with things by focusing on work, the house, and his newly planted garden. It becomes obvious early on that Harry is a bit lost and Gemma is worried about him. To help both of them, Louis is more than happy to help Harry find himself again.

🌴 We Don't Need No Piece of Paper (From the City Clerk) by @2tiedships2

(M, 26k, a/b/o) In a matter of months, he would be bonded to an alpha his dad had chosen for him. Someone that Harry knew nothing about. Not even his name.

🌴 you give me feelings that i adore by @alwaysxlarrie

(T, 7k, a/b/o) 5 times Louis scents Harry's things and the 1 time Harry returns the gesture.

🌴 A Social Construct by YesIsAWorld / @louandhazaf

(E, 7k, established relationship) Five times Harry and Louis try to lose their virginity and one time they finally do. Part 4 of Swallow My Words

🌴 Rode Hard and Put Away Wet by @kingsofeverything

(E, 6k, Texas) Louis heard the same rumours in London, New York, and L.A., and he put them all to rest, but in Texas? Series Part 7 of Tiny Penis Fics

🌴 Trying to Find the Words (To Say For Ages) by @insightfulinsomniac

(E, 6k, uni au) As best friends and roommates, it’s really not a big deal when their on-campus housing provides Harry and Louis with an unusual, intimate bathroom arrangement. 

🌴 Come All Ye by @justanothershadeofblue

(E, 6k, historical) It's the summer of 1971, and Louis just wants to get out of town for a minute or a day. When his buddy Zayn says they should head down south and check out this radical new music festival, Louis is only too happy to agree.

🌴 Every Bit of Mine by skipper / @skipperxao3

(M, 3k, dark) Harry is an enigma. Louis still loves him.

🌴 every night with us (is like a dream) by moon_rose25 / @darkinfinity

(T, 2k, famous/not famous) A look into the life of a professional football player dating a physical therapist.

🌴 Everything Is Batter With You by red_panda28 / @red-pandaaa

(T, 2k, established relationship) Harry comes across a fun baking TikTok and convinces Louis to do it

🌴 No (Birth) Control by @haztobegood

(E, 2k, a/b/o) An unfortunate situation left Harry without contraceptives a day before his heat.

🌴 in my head we can love forever by @beardyboyzx

(E, 1k, girl direction) Harry might be a bit in love with her roommate.

🌴 Nights Like These, We'll Remember by @fallingdefenceless

(T, 1k, meet cute) Louis and Harry meet at a summer music festival and sparks fly.

—Rare Pairs—

🌴 The Light Out In The Madness (Hold Tight) by @lalalaartje

(E, 46k, Niall/Louis) When Louis ends up with Niall as a roommate after a messy break up with Harry, he considers it truly life saving. They become fast friends and while Louis is sceptical about Niall's idea to start fake dating to take revenge on Harry, it can't be that bad, can it?

🌴 Ask Him by LinksLipsSinkShips / @fxckingprincesspark

(T, 2k, Niall/Lewis Capaldi) When Lewis Capaldi gets pressed for information on who he's dating, he admits it... he's been seeing Niall Horan. The only problem? He jokes so much that no one believes him.

[brf-rumortrackinganon]

Will we never see the day the Harkles get what they deserve rumour tracking anon? I'm losing faith and I'm really tired. They are saved from all those scandals that demand their answer just with this one incident. I cannot anymore

I know, anon. It's really frustrating to see them keep getting away with it, almost as if they're constantly rewarded for bad behavior.

Some things that have helped me (bolding for emphasis to break up the giant chunks of text):

Taking breaks. Just walk away from it. A day, a weekend, a week. There isn't a whole lot happening in the BRF to counteract the Sussex shenanigans so Harry and Meghan are dominating the news There are no tiara or glam events. No tours/foreign visits. No projects being announced. 3 out of 7 senior royals are on medical leave and the ones who are working don't generate the same kind of headlines, attention, or coverage. Take a break from all this - maybe do a deep dive into another royal family or read historical books about the BRF (especially ones that pre-date the modern House of Windsor) or non-text books (like Angela Kelly's books or Chris Jackson's photobooks).

Spend time pursuing a creative hobby. I find that doing something creative helps keep my mind from wandering to the Sussexes and the nothingness coming from the BRF too often. Some of my creative pursuits: baking and cooking new recipes, DIY and craft projects (I love going to Goodwill, thrift stores, and architectural salvage places for home decor and furniture. Also, I'm not saying you need to pledge allegiance to Catherine, The Princess of Wales in every aspect of your life, but I'm also not not saying that Kate's Ring is an excellent accent color for an end table), learning how to make craft cocktails (it was a pandemic thing), and organizing decades and decades of family photos.

What I also find a cathartic is fanfiction writing. I've had dreams of being a writer since I was Princess Charlotte's age but listen. I cannot stick to a plot for the life of me, because I always want to know "what happens next." But let me tell you. It is hugely cathartic to write a fanfiction novel where a Meghan-like evil witch gets everything she deserves and a Harry-like tortured prince is redeemed by the pure love of an ordinary American girl (okay, that one was pre-Oprah before we all learned how truly messed up Harry is) or where a revenge fantasy where a Harry-like spoiled brat loses everything when he treats his saintly Kate-like girlfriend abominably and when he tries to win her back, she's fallen in love with a Henry Cavill-like swashbuckling Real Man or where the Harry-and-Meghan-like entitled spoilt prince and his wife try to overthrow the saintly and universally loved heir but the Queen swiftly, immediately, justly, and properly handles them with eviction, termination, and worldwide embarrassment. You can do everything to your characters and you can make them suffer in a way the real Harry and Meghan may never.

Find trashier, more trainwreckier drama to get stuck in. Bravo, anyone? A new season of Vanderpump Rules has just started, Summer House is about to start, and two of the villains from OG Vanderpump Rules (Jax and Kristen) have a spinoff series that's about to launch.

Changing your perspective. There's a famous leadership quote about problem-solving: How do you eat an elephant? One bite at a time. In other words, you have to take big things (big problems) one at a time, piece by tiny piece. So yes, the big "elephant" is that the Sussexes look like they have everything - they still have titles, they still have massive million-dollar deals, they've got the Olive Garden, the BRF isn't stopping their PR. But also look at everything they don't have anymore:

They can't use their HRHs.

Their RPOs were taken away.

Their royal charities and patronages were taken away.

Charles isn't paying them as much money, if he's even paying for them.

Everyone is blaming them for hastening Philip's and The Queen's deaths.

They were evicted from Frogmore Cottage.

It took six months for the palace website to add Prince/Princess titles to Archie and Lili but it was instanteous to change George, Charlotte, and Louis to "of Wales."

Charles calls them "Harry and Meghan" or "my other son and his wife."

The family doesn't want to be seen with or around them. Even Eugenie seems to have abandoned ship these days.

William isn't taking Harry's calls.

Lili doesn't have a webpage on the royal website.

Harry's military titles and honors have been revoked. All he has left is the merit-based rank he "earned" as an enlisted soldier. (Which is being generous.)

Their Spotify deal was cancelled early. (Scobie admits this in Endgame.)

No more social media birthday greetings/shout-outs from official royal accounts.

Nothing has come out of Netflix except a whinefest docuseries that no one has taken seriously. Everything they've pitched gets shot down and Meghan isn't getting the talent she wants for her movie.

The only awards they're getting are the ones that they pay for - no Grammys for Spare's audiobook, no Emmys or Golden Globes for their documentaries or the Oprah interview, no Pulitzers or Literary Awards for their books. No Nobel Peace Prize for their recordbreaking humanitarian aid work.

They got the knockoff Kennedys (William got the real ones).

Meghan isn't "in" with A-List Hollywood. The celebrities she's been namedropping haven't had commercial box office hits in at least a decade. She isn't hosting or presenting at award shows.

Meghan isn't getting the lucrative influencer sponsorships and merching she wants, which is why she papwalks in parking lots.

Their foundation is a joke and their philanthropy/giving is increasingly under scrutiny for things that don't make sense.

Their "good deeds" are actually ulterior motives designed for maximum PR and celebrity bandwagons, rather than actually helping underserved communities.

There is actual, open, frequent speculation that their children aren't even real and that has to hurt as a parent.

The British press doesn't take them seriously.

They're a comedy punchline, and not just for satire. The Golden Globes made fun of them. The whole world laughed at them after the "car chase."

Harry's lawsuits aren't going well. He's now trying to relitigate a court finding so he doesn't have to pay his fines.

Elton John isn't flying them anywhere anymore. Oprah and Gayle have cut ties. Ellen DeGeneres seems disinterested. Tyler Perry noped out.

Harry's balding is atrocious. (I mean, really. In the overhead camera angles of The Queen's funeral, his bald spot jumps out at you from a mile away. Not even William's bald head stands out that much.)

They/Archewell bleed staff faster than a flesh wound.

Andrew -- ANDREW! -- still has a royal residence, still has RPOs, still gets papped with members of the royal family, still gets friendly press coverage (on occasion), still gets to wear/use some of his honors (like the RVO at coronation).

Eugenie got to have her own personal social media while Harry and Meghan got a "business" account.

The Sussex wedding was overshadowed by so much drama that still persists to this day (thanks for the Markle v Markle lawsuit, Sam!).

Spare made everyone realize Harry is as bad as Meghan and it's not all on her.

Harry's "Hero Harry"/Queen's Soldier PR persona has been completely and thoroughly shattered. Everyone knows it was just a publicity facade now.

Harry isn't even getting the "William's brother" edit anymore - that's now Mike Tindall.

They were erased from most of the Platinum Jubilee - their only official event was the service of thanksgiving. They didn't even get Trooping - Meghan had to arrange for a pap to take her picture to show us they were at Trooping.

They were erased from the Coronation - Harry got lumped in with the extended family (vs the line of succession, order of precedence, or working royals) and didn't get into any of the official programs, memorabilia, or portraits.

They've been shunned by most of British aristocracy - no invite to the Grosvenor wedding later this year.

No royal christening for Lili, and it's exceedingly more and more likely that the BRF hasn't met her yet.

The British media/press actually shows up and will be the first to defend the BRF against Sussex allegations when it really matters.

There are accusations of stolen valor against Harry because he seems to be supporting American military more than British military.

Harry's African charities, of which he is the figurehead, are in crisis with the discovery of SA and other allegations.

Supposedly Harry's role with BetterUp has been downgraded/demoted.

Invictus Games is going through some serious money issues. There's talk of cutting Harry and Meghan loose because they aren't/can't fundraise, and you know they won't go down swinging.

I'm sure there are more, but my point is that even though it looks like the Sussexes are getting away with things, they really haven't. after all, it's death by a thousand cuts...or eating an elephant piece by tiny piece -- it builds up over time.

Also I just realized that the Kate's Ring paint chip linked up earlier shows it being more of a teal or an inkier blue. It isn't - it's more of a cobalt blue or a royal blue.

[artaphant]

Corsetry design for creating a hoop skirt, best attached with webbing and buckles to avoid cutting into the waist.

Skirts!

Horsehair- sewn into the lower layer to give waves into a gown

HANG AND ALLOW FOR STRETCH ON A CIRCLE SKIRT then resize before designing.

Bodice!

Not always a corset or boned bodice

Boned bodices place boning along the seam lines to keep the fabric smooth and long. Will not change the shape of the bodice like a corset though.

Buy your bodice for the construction, not the style. Most measurements are made for a B cup- you're better off making a higher bust and taking in to fit.

SLASH AND SPREAD- great for adding poofs to sleeves.

References- Cosplay panel. Also the book "The Cosplay book of Ballgowns"

Corsets! W/ Cowbutt Crunchies Cosplay

Expect to have 3+ mockups before the finished product.

Check out the Facebook for Truly Victorian to get community help too.

Mockups should use cheaper fabric, usually muslin so you can draw on it and it won't tear. And add bones to the mockups! Heavy duty zip ties work well.

Middle's issue- the spacing is off in the lacing. The cup should be bigger.

Wrinkles are the best indicator of a problem, when in doubt try ripping a seam for how the fabric moves.

Prewash fabrics!! And follow the grain lines on the fabrics. Mark each piece, stay organized or things will go together upside down and you will cry.

Contille fabric is the standard for corset fabric. Get it all from a coset specialty store, farthingales is Canada based and good for gown supplies too. Some of those places will let you buy boning to length w/ tips and coatings.

Featherlite will not work for anything don't do it.

Bone casing- super helpful in setting in the bones where you need. Twill tape can also work- also good for hoop skirts.

Busk- front hooks to open the corset and will have a bone and seam included.

Corset flossing?

DO NOT MACHINE SEW AFTER THE BONES ARE IN STEEL V STEEL IS NO GOOD.

Magnets and buckles into a corset for armor pieces!!!

Bernadette Banner- historical costumer with scoliosis for good tips.

Foundational sewing books are best starts and "old lady" blogs. THREADS MAGAZINE- get the online archive for resources from 1970's on super helpful.

[astriiformes]

hello!! this is kit. happy birthday!!! you don't have to answer all of these but

🎞️if you could change one scene from any of the movies, which one would you change and how?

⏲️what time period would you want marty to travel to and what would you want him to do? for fun or for something serious?

💫if you have any bttf related wips, here's the oppurtunity to ramble about them! (<-PLEASEPLEASEPLEASEPLSEPLSPEL)

Thank you!!

🎞️ - If you could change one scene from any of the movies, which one would you change and how?

Oof, just one scene is difficult, because the thing I'd like to change most would be how Jennifer's plot was handled in the second movie, and that requires a bit more overhauling. I think you could still make it better with a little tweaking though -- maybe she doesn't get knocked out and is simply told to stay watch the DeLorean, which still ends up being a problem when she tries to lure someone away from it, or something like that.

I guess that still modifies more like two scenes, but you get the idea! Anything to make her feel like she's got a little more agency. Because I like her a lot and it bothers me that the BttF movies aren't even that terrible at writing women (Lorraine and Clara are both really interesting characters!), but sidelined her anyways.

⏲️- What time period would you want Marty to travel to and what would you want him to do? For fun or for something serious?

Already answered this one but since there are plenty of time periods to choose from I will simply pick another. As someone who studies the history of science, I think that Doc and Marty could get up to some peak shenanigans in Enlightenment-era America (thinking late 18th and early 19th century here) when everyone was obsessed with the phenomena of electricity. I want to unleash Doc Brown on the people that thought lightning rods defied the will of God.

💫- If you have any BttF related WIPs, here's the opportunity to ramble about them!

OH BOY DO I

So, four years ago I started a diptych of stories I am yet to finish but that are some of the fics nearest and dearest to my heart, surrounding the idea of Marty being transgender. (I once called them my love-letter to transmasculinity, which is a little dramatic, but genuinely a bit how I feel about them)

The first is from Doc's perspective, and deals with the fact that, when Marty was first born, the version of him who'd been visited by 17 year-old Marty back in 1955 must've had an absolute heart attack at first. It features a very confused Doc and (eventually) a younger Marty figuring some important things out about himself, and is probably about half-written at uh. Almost 9k words.

The second, companion piece is from Marty's perspective, and set post-trilogy, dealing with him navigating questions of identity as someone who is trans and who now grew up in a different timeline. It follows his relationships with the important people in his life, his dueling existential crises, and the isolating feeling that maybe there's no one who understands you in the entire world -- and the relief that comes from learning that you're wrong.

I've done a truly monster amount of research for these fics--including having a librarian friend help me track down digitized historical documents during lockdown back in 2020--and am contemplating diving into the historical queer archive where I currently work for a second round, though we'll see what I can find. Regardless, I really want to finally finish these stories now that I've circled back around to having a lot of Back to the Future feelings again.

(Also to show the BttF fandom that I'm a much better writer when I'm not churning out only-mildly-edited 1-2k fics every day for a writing challenge, rip, although I'm honored people have been enjoying those ones, too! Just, you know. I can do better.)

[kryptonbabe]

to a degree, if taste in art did not reflect a personality it would render the art meaningless. it's supposed to evoke a feeling. if there is nothing inside you that speaks to the art, it truly is just pure consumption and nothing beyond that.

Here are the posts about this for context. Yeah, of course one's taste in art might reflect aspects of their personality. That being said what we consider a personality is vast and multifaceted, your taste in art can reflect your fears, your desires, your past experiences (positive and negative), your views of the world - these can be intimate, or surface level. However I should say it at once: our actions and how we affect each other in real life are the only mesures by which we should be judged. To ponder over a disturbing theme is not the same as commiting a disturbing act. As Susan Sontag says in Regarding the Pain of Others: “Nobody can think and hit someone at the same time.”

Art can speak to facets of our psyches that are surface level, based on a recent experience in school you might look for a book on fishing, you never fished, you don't even intend, but your teacher talked about it in such a vivid way it spoke to you, so you borrowed a book, read it and never thought about it again. What motivated you then? Empathy for the dear teacher, a fleeting desire to experience that, a sudden curiosity?

On the other hand, art can speak deeply to us, as I felt when I first read Light in August by William Faulkner, a book dealing with parental abuse and race prejudice to a mixed race person, who was not a "good" person by the way. Still, my own past, as a mixed race person with some traumatic experiences made me really connect to the character, the book is also beautifully written despite its violence. Books like the Xenogenesis series by Octavia Butler also explore disturbing themes of violence and abuse in a graphic manner, and still, they can speak of a message that does not endorse these subjects. And I am fond of that kind of fiction, they open paths for me to understand my own traumas, intrusive thoughts and other undesirable feelings that have been part of my life for a long time. I developed coping mechanisms that take advantage of the fact that we are imperfect beings and there's acceptance in that. This is my experience however, there are no wrong ways to enjoy or appreciate art, even if those reasons are aspects of yourself that you're not proud of, a bad memory, a bad thought. According to E. H. Gombrich in his book The Story of Art:

“I do not think that there are any wrong reasons for liking a statue or a picture. Someone may like a landscape painting because it reminds him of home, or a portrait because it reminds him of a friend. There is nothing wrong with that. As long as these memories help us to enjoy what we see, we need not worry. It is only when some irrelevant memory makes us prejudiced, when we instinctively turn away from a magnificent picture of an alpine scene because we dislike climbing, that we should search our mind for the reason for the aversion which spoils a pleasure we might otherwise have had. There are wrong reasons for disliking a work of art.” The art objects he's talking about of course are not relevant, the focus is on our approach to a piece of art and how our prejudices can alter our perceptions of a given work.

I have't even touched on the matter of curiosity, the unconscious and the historical context of transgression in art - which is so interesting. We could talk about for instance if the philosophers and writers (Epicurus, Hume, Dostoievsky) who pondered about the problem of evil and wrote about it were all deranged human beings, if the researchers / teachers of literary studies who dedicated their lives to understand works of Marquis de Sade are all perverts. Why were they thinking about these things? Why would they dedicate so much time to make sense of those awful works of art. But then, why shouldn't we think about these things? They might be frightening, painful, uncomfortable aspects of life, but they are not going away any time soon. We do live in a society after all... and in that way we feel like part of its mess. We are not evil by nature like that silly Thomas Hobbes used to think, but we do have the potential for it and we often act on it, why? That is the place of science, philosophy and yes... art to answer. Until we find out, we keep trying.

So yeah, art can and will reflect characteristics of our existence, collectively and individually (as in what we can call personality), on the surface level as momentary interest or deep and emotionally, or yet as curiosity, intellectual concern, it might be instead an unconscious parts of our being (the Jungian shadow-self), who am I to pick and choose what moves others, people I don't even know and never met, towards any given art work? I don't even fully know my own self.

Sorry for the long ass answer, now let me just finish with another Susan Sontag thought, also from her book Regarding the Pain of Others: “Someone who is permanently surprised that depravity exists, who continues to feel disillusioned (even incredulous) when confronted with evidence of what humans are capable of inflicting in the way of gruesome, hands-on cruelties upon other humans, has not reached moral or psychological adulthood.”

[shouldhavestayedawayfromhere]

The Satanic Bible – book review

Sooo I finished reading the Satanic Bible by Anton Szandor LaVey this week, finally. I have a couple of thoughts on it, so I thought I'd share them for those who have, and maybe more importantly, for those who haven't read it. (I'm quite opinionated, so if you're a big fan of his work, consider scrolling)

Firstly, my overall opinion on this books is that it gets progressively worse the more you read. It starts out with some interesting philosophical takes – much of which are not LaVey's own, as I learned. The only truly original part of this book is LaVey's system of magic, which calls upon powers that LaVey does not even believe in, and the deeply rooted despise that he has for Christians, the left-hand-path(LHP), and pretty much anyone who practices magic differently than him.

Imo, LaVey is not a philosopher, nor is he a religious leader. He called a new kind of Satanism into life only to abandon it after it started to evolve on its own (like every religion does). His attempts at being progressive failed miserably. He tried hard to be better than Christians by being inclusive and scientific, but that doesn't hide the fact that he doesn't know what he's talking about.

His magical concept is male-centered and heteronormative, some might even say sexist. His understanding of asexuality is extremely limited and in my opinion (as an asexual), quite controversial and insensitive. LaVey's approach to magic is to stress the fact that he doesn't really believe in magic, so his religion will appeal to the modern and progressive masses. He makes his satanism look scientific by claiming Satan does not exist, but still claims to be speaking for him. Also a bold claim to make.

Yet, when the satanic movement was over and people no longer cared about his edgy ideology, LaVey ditched his own religion, said he didn't wanna be associated with it anymore (he's the founder lmao) and called his fellow satanists "weirdos" and "freaks".

In an attempt to be liberating, he pushed yet another dogma onto people, centering his concept of magic almost entirely around sexuality. And the worst thing yet – LaVey was full of hate and faux pity for 'outsiders'. His work pushes a strong we-vs-them agenda. Wether it's satanists versus Christians or RHP vs LHP, it's ridiculous. LaVey actively slanders and makes fun of people who follow the LHP. He could educate on the topic. He could explain how white and black magic don't exist, how everything is balanced, how dark and light coexist in nature and justify his choice of the RHP that way. But instead, he incorporated his despise for white-light religions & practitioners into his satanic rituals. Rituals which leave nearly no room for any kind of spirituality.

LaVey says himself in the satanic Bible in the chapter about devices used in Satanic rituals: "Satanism is a religion of the flesh, rather than of the spirit". And I couldn't have said it better. His religion has nothing to do with growth and spiritual development. It leaves you exactly where you are, but hey, you can use magic to get money, luck or sex! LaVey didn't believe in Satan, nor any other higher being, yet he used them for his greedy desires and fetishes. He focused in on a minor part of what Satanism really is and got stuck there.

LaVey Satanism, as I see it, it a blunt sexualization of the occult and it holds no spiritual value to me. I don't see TSB as a piece of spiritual educational literature. Rather as a historical and cultural classic that may be of use to understand the evolution of modern occultism. But it's nice to be able to say that I've read it.

My words are a bit harsh here and there, so I wanna clarify that I don't have a problem with anyone choosing to practice this religion respectful of others.

[unholyverse]

waterparks // alternative press spring 2023

(full article text under the cut:)

TO THE MOON

With their new album INTELLECTUAL PROPERTY, WATERPARKS are diving deeper than ever before. The result is an exorcism of deep trauma and the sweet afterglow of catharsis.

STORY: Alessandro DeCaro • PHOTOS: Jawn Rocha • Styling: Josh Madden

Between international flights, jet lag and no days off in between, it is a miracle that Awsten Knight isn’t face down in a pile of pillows. For the past two weeks, Knight and his band Waterparks have been head down in a run of massive shows throughout the U.K. supporting British rockers You Me At Six as well as a series of intimate appearances at record stores with some of the band’s most die-hard fans. It was a landmark run for a group who have hit the road relentlessly the past year-and-a-half, with sold-out North American and European headlining tours, a top slot at the 2022 Sad Summer Festival and even a “bucket list” opening slot for My Chemical Romance. Their latest milestone? They played to 10,000 people — their largest show in the U.K. region — at London’s historic Alexandra Palace. Exhaustion should be Knight's baseline, but instead, he's as chipper as ever when he hops on Zoom back home in Los Angeles. There's only one problem. The bandleader has been on vocal rest for days leading up to this very interview.

“Dude, my voice feels so shot,” Knight confesses from his living room couch. “We did 12 performances back to back, then combined with really short cut-up sleep on the flight, 1 just feel, ugh.” Sleep deprivation aside, Knight is almost at a loss for words (not from the vocal rest) but because the experimental pop trio he formed 12 years ago have unlocked another level of fandom where new listeners are still flocking by the droves. “It turns out there are a lot of people [in this world].” Knight quips, referring to his newfound fans. But in reality, global domination doesn’t really seem too far off.

Knight barely has time to slow down. The band are set to release their fifth studio album, INTELLECTUAL PROPERTY (out April 14 via Fueled By Ramen). But the self-professed workaholic has never known any other way. “It's a really hard mentality to shake,” Knight reveals. “When we were a local band, we didn't have any family connections in the music industry, and no one cared, so you had to take on every role. Even though we are not local anymore and get to play arenas with our favorite bands, if I'm not actively doing stuff to push the music, then I don’t know if anyone else will."

In some ways, Knight fears downtime or stillness because that's when he feels like his brain will start to turn on him. He admittedly functions better when he's working on something creative, whether that’s writing a new song or simply designing streetwear for his clothing brand hii-def. “It's not necessarily the most healthy thing in the long run, but people have worse coping mechanisms,” he laughs nervously.

But Waterparks remain his main focus. The trio, which initially formed in 2011, began to truly put the pieces together the following year when Knight enlisted his now-best friends, guitarist Geoff Wigington and drummer Otto Wood, to round out the lineup. “Otto loved classic rock and bands like La Dispute and Touché Amoré, whereas Geoff was all about EDM," Knight recalls. “We all had different tastes, but at the core of it, it's guitar and drums.” Their individual musical backgrounds helped craft the genre-less sound they have now cultivated.

"THE BIGGEST REASON I didn’t want that pop-punk label is that I know exactly what we are capable of." - AWSTEN KNIGHT

It wasn't until 2016 when Waterparks finally released their debut album, Double Dare — an intentional choice. “I always felt like if no one was looking at us, why put out a large body of work? I wanted to do cool shit as opposed to oversaturating and waiting until enough people [actually] wanted to hear it.” There is a common adage that you have your entire life to write your first record and six months to write your second, to which Knight agrees, and from there, the band began making records like clockwork.

With those albums came carefully curated eras — a moment in time with a clear aesthetic, theme and overall mission statement. While always writing music from a subversive and experimental perspective, it was when the band released both FANDOM (2019) and Greatest Hits (2021) that they began to stray from the confinement of genre and inaccurate labels. Knight himself spoke out vehemently about being boxed in by the term “pop punk. “I learned [during that time that] you can’t control everybody, and you can only frame the narrative so much,” Knight explains. “Obviously, we grew up loving and still loving blink-182, Green Day, Sum 41 and Good Charlotte, so it’s in our DNA to a degree, but I just don't want that label because it’s so synonymous with the past and what cynical dickheads or mega naysayers say is just for preteens and kids. However, the biggest reason I didn’t want that label is that I know [exactly] what we are capable of and what our output is.”

Take, for example, the breakbeat madness of the FANDOM single “Turbulent” or the distorted experimentation of “Numb” from Greatest Hits. Nothing is off the table for Waterparks. The group join a cohort of other trailblazing acts like Bring Me the Horizon and Paramore, who both successfully pivoted away from the late Warped Tour circuit in favor of mainstream appeal without losing any substance. “There's a song for everybody, and I once tweeted that anyone who doesn't like Waterparks just doesn't like Waterparks yet,” Knight says confidently.

If you have yet to be on board with the band's music, you've at the very least been entertained by — or seen — Knight's fiery social media presence.

It's undeniable that Waterparks’ meteoric rise has stemmed from the bandleader’s unofficial side hustle as a social media celebrity. And at times, his online presence can feel truly monolithic in scale, something Knight has attempted to analyze over the years in many songs, including the aptly titled “You'd Be Paranoid Too (If Everyone Was Out To Get You)" When asked if his status as an extremely online figure has influenced the band’s latest album, INTELLECTUAL PROPERTY, Knight isn't entirely sure but reveals that he has had to set boundaries nonetheless, as someone who's regularly met with constant praise and vicious internet trolls. “I try not to let it influence things too much [lately], and with therapy, I've learned that you can only control yourself. However, that doesn’t mean I'm not still vulnerable in the music that I write.”

He tackles the subject on INTELLECTUAL PROPERTY with closer "A NIGHT OUT ON EARTH" and parts of the song “RITUAL,” where he recalls when he felt things were “caving in" around him due to the pressures of constant attention. “There are people who listen to Waterparks who aren't on Twitter. and then there are those who view the band in this bubble where it's just them and the people who reply to the tweets,” Knight resigns.

But beyond the topic of social media, Knight gets admittedly “introspective” on the record. When asked to discuss the overall lyrical themes and concepts behind INTELLECTUAL PROPERTY, he takes a deep breath and delivers a warning: Things might get a little turbulent.

“There is a love story throughout the record that is expressive to and for other people, but the album itself has to do with overcoming, unlearning and growing past religious guilt,” Knight explains. “It's something that I've struggled with for a long time.” On “FUNERAL GREY," he delivers the punchy line “baptized in my spit,” which is a playful twist on a weighted subject. The theme of religious guilt doesn’t just apply to the overall lyrics of the record but also extends to the album's striking cover art, which at first glance appears to be an image of a blue frog over a red backdrop; in actuality, it possesses a much more poignant meaning.

“Frogs have always been one of my favorite animals,” Knight reflects. “However, when I learned that frogs were seen as dirty and unclean in a biblical context, it was interesting to me that something that I saw as so good, natural and beautiful could also be seen as a bad thing through a biblical lens.” In other words, the concept of shame plagued the charismatic bandleader for as long as he can remember, and INTELLECTUAL PROPERTY was the moment for Knight to finally face his trauma head-on and “come to terms with himself” once and for all. That explains why a majority of the new songs possess “hypersexualized” energy — a conscious rebellion against a conservative past. “Growing up in church, you're taught that everything is so wrong and bad. I always felt like shit, so [this album] is the breakaway from that specifically.”

By overcoming his religious guilt, Knight was able to tap into an evolved sense of self-worth that he’s since applied to his very own love life, which he details on the album's stripped-down ballad “CLOSER.” “My concept of love has changed throughout the years, and that song is about [looking at the past] and realizing that when I was younger, it was maybe more of an obsession. Now I'm taking it apart and learning more about love and the way I present the current version of myself to other people.” Inversely, there is the alt-radio-ready anthem “BRAINWASHED,” where Knight admits that he still wrestles with the idea of true love, constantly making sure that he’s not just wrapped up in the “honeymoon phase.” Knight jokes that this track and “FUCK ABOUT IT” which features a guest vocal spot from blackbear, are “polar opposites,” as the latter couldn't be further from the “hyperfixation” he details in “BRAINWASHED.," once again proving that he feels the most comfortable when inserting juxtaposition wherever he can.

"I've learned that you can ONLY CONTROL YOURSELF. However, that doesn’t mean I'm not still vulnerable in the music that I write." - AWSTEN KNIGHT

Beyond the emotional clarity that Knight gained during the creation of INTELLECTUAL PROPERTY, it's the album's sonic risks and exploration that he is the most fired up about. Though Knight wanted the band to return to their more guitar-driven and organic roots for certain parts of the LP, much of the record ventures into eclectic territory, with hyperpop, trap, synthwave and even subtle elements of hard rock and nu metal. “RITUAL, ‘A NIGHT OUT ON EARTH, ‘REAL SUPER DARK’ and ‘ST*RFUCKER' are the craziest instrumentals we have done ever,” Knight exclaims. “I love the idea of taking something like a guitar or my voice and making it sound entirely like something else” “A NIGHT OUT ON EARTH,” however, is what Knight describes as “the biggest production flex,” and it most definitely shows. “There's fucking elephant sounds in there and weird Batman villain-sounding horns — it's evil and heavy, and not to mention, the outro is just game over,” he says.

Beyond production, Knight pushes his voice and stretches the idea of what constitutes a strong hook on INTELLECTUAL PROPERTY. With “END OF THE WATER (FEEL),” Knight is at his most “bombastic,” in a “cartoon-like” state, weaving falsetto melodies that are meant to shock. “I always make a mental note when I hear a song that makes me go…" He pauses, imitating an explosion. “For me, that's when I hear some high-ass vocals that I'm not expecting.” Even on the first day of demoing “END OF THE WATER (FEEL)” in his home studio, Knight was already so confident in the song that he called longtime producer and collaborator Zakk Cervini and “essentially” forced him to come over to his house right then to help finish it. “I also want the record to show that I had a mustache [during this time], too,” Knight laughs.

With collaboration on the brain, Knight is the first to admit that for many years, he was precious about his art and was hesitant to work with others. However, during the COVID-19 pandemic and quarantine, Knight changed his mind, which was evident on Waterparks’ previous album, Greatest Hits. This time around, Knight, who's an outspoken fan of the U.K. boy band One Direction, finally got a chance to live out one of his dreams by working with esteemed songwriter Julian Bunetta, who co-wrote beloved One Direction classics like “Olivia,” “Infinity” and “Best Song Ever,” among others. “I flew to [Julian's] place in Nashville, and we ended up making five songs together, two of them being ‘FUNERAL GREY" and ‘BRAINWASHED,” Knight recalls. And while he still plans to keep the majority of his music close to his chest long term, he won't rule anything out. Knight would undoubtedly jump at the chance to work with everyone from Post Malone and Damon Albarn to Donald Glover and Toby Keith.

"I'd rather make the coolest f*cking thing, RATHER THAN HOLD BACK and make something that wasn't that good." -AWSTEN KNIGHT

Now, with the band's new LP incoming, there raises the question: Does Knight feel a sense of relief after both exorcising his deepest traumas and inviting listeners on his journey to self- discovery? "I still feel pressure with it," Knight concedes. “It would be a lot easier if only strangers heard this, but everyone in my whole fucking life is going to hear this album, so that's what makes it strange." But he's never let any awkwardness or controversy hinder the artistic output. "I wasn't not in trouble when I put out a song like [2018's] 'TANTRUM' where I listed a bunch of dudes I wanted to kill, calling out by name," Knight acknowledges. Though his lyrical choices have sometimes resulted in strong reactions, even within his close circle of friends, Knight can't help but accept that he is meant to be unapologetic. "At the end of the day, I'd rather make the coolest fucking thing, rather than hold back and make something that wasn't that good."

Pressures of lyrical vulnerability and transparency aside, INTELLECTUAL PROPERTY is Knight's attempt to "normalize” the catharsis he finds within songwriting, which ties into the album title itself. "Intellectual property is the mental space you give to something in your head. The 'property' may be the thing that you are struggling with. By materializing it and giving it its own world, it's actually a great way to express it and then, eventually, expel it,” he explains. "I want this album to go to the fucking moon." ALT

[decepti-thots]

(I’ll preface by saying: huge JP fan who has no problem with people not liking it)

Anyways I’m actually super curious…

How are most JP fics “boring”? 🤔 I’ve always found their dynamic to be more entertaining than most, given the dichotomy of their characters.

So I’m curious as to how you’ve wound up at “boring” of all the possible reasons to dislike it. 🤣

I'm going to be a bit blunter here than I usually would be on the topic, as I was directly asked. So I'll cut the uh… negativity? I guess? For those who prefer not to see folks talk shit about a ship they like, lol.

First and foremost Jazz/Prowl is basically just… essentially made up and purely based on fanon inventions/additions, and made up fanon stuff is usually not of real interest to me without a very strong hook somewhere in the actual canon material. It is 99% fanon by volume that draws on little to no canon material of any kind but just... years of fanon, reproducing itself and mutating almost like a fanfic game of telephone, all developed in fandom echo chambers. Which renders the characters in the vast majority of fic a) largely unrelated to any canon material I like in a meaningful sense and b) tbqh, the kind of generic stuff found in a lot of typical, large dudeslash fandoms where the characters are… they're Dudeslash Fandom Archetypes with a gloss of paint on top, you know? People come in, look for which character in a fandom fits their favourite m/m trope the most, and then squish the character down to fit into that pre-existing archetype.

And the thing is, J/P has historically made a certain kind of sense for this, because the appeal was basically that… they didn't HAVE that much canon material? In the Marvel G1 comics, they have a little more specific characterisation and canon, but the G1 cartoon is not exactly a character exploration piece ANYWAY, and for Prowl especially he is a blank slate you can functionally project an OC onto. Which like, that's fine! That makes a lot of sense even if it's not what usually draws me into something.

My issue has become that if I read one more G1-fanon-soup fest mistagged "IDW" I'm gonna scream. I like IDW Prowl (and IDW Jazz too!) for the fact that these characters have specific, strongly delineated canon personalities, arcs and dynamics, and both of these characters- Prowl especially, but both of them!- have like. Things about them which are true, and which J/P fic not only tends to ignore but actively treats in a loooot of cases as somehow Inferior To Our Fanon and something to be "fixed" with idk, the power of Extremely Generic Dudeslash Tropes. I've been in many a fandom with Migratory Dudeslash Fandoms writing fic. J/P is extremely rote to me as a result, if nothing else.

It warrants mentioning that J/P fandom is where one does find a lot of examples of just undeniably racist treatment of Jazz in fic, both the truly inexcusable phonetic accent bullshit and also a lot of bad decisions around tropes. I don't think this is a function of the ship, per se, but that its specific persistence in J/P fandom (bc trust me: this has been a point of criticism for A Long Fucking Time) is in part due to it having this long entrenched fanon-to-fanon game of telephone going on? It would be better to talk about the fandom's issues there outside ship talk so I'll leave it at that, but I can't deny it has not… helped my feelings. TBH. And I know that's where a lot of the resentment you will find in the fandom obviously stems from.

IDK. It's just. It's usually fanfic of itself, you know? J/P largely feels to me, in most cases, like fanfic of fanfic of fanfic, and I come to TF fandom for fanfic of a canon. So. Yeah. Not a fan. At all.

[the-martyrfication-of-the-matron]

Okay so I am gonna rave more about how cool I find your mech to cyberpunk au concept because it truly is one of the smartest things.

Objectively speaking, mech stories are incredibly pro-military and pro-capitalism and generally have a parallel to WWII somewhere in there. The original mechanism concept comes from Japanese media post WWII after their rather extreme defeat via America. (Per Propaganda) We were the alien invaders with the super advanced technology, and they were the human resistance defending their home and rights. Then the concept flew from there

I am mentioning all of that because it lays the perfect groundwork for a cyberpunk dystopia. There is nothing better for technological advancement than war, and there is nothing more catastrophic to the people than those profiting off the war. Cyberpunk stories originate from America during the end of our highly protested Vietnam war and gained its highest popularity during the Cold War. When America was advancing a lot in technology and the people were suffering from it. So its themes are incredibly anti-war and anti-capitalism.

Having a mech to cyberpunk transition is actually pretty historically accurate in the most nerdy way. A time of extreme pro-war and pro-capitalism prosperity that is eventually taken too far and then leading to a time of anti-war and anticapitalist dystopia is so perfect. Cause it gives reason as to why the world is currently what it is and is just a good ground work.

haha tytytyty

I am getting really giddy over every praise you give it haha.

I love shoving politics into my personal projects, because it just IS that deep. Like politics is in everything, even if people say it's not.

I've had to trim this post down a lot because i was rambling, but.

I just find the juxtaposition of 'robots = power' and 'robotic parts = a lack of it' with the genres really interesting. Something in the hands of a government is an object of authority, but when distributed to the people it's an object of exploitation.

Especially because Mechs are an external piece of equipment. Once you're done with it, you can step out. If it's causing you problems, you can just stop using it. However, cyber-prosthesis is often integrated into their actual bodies - even removeable parts still have a connective part embedded into the person's flesh. It's not just a fun little suit, it's a part of their body, and if it causes them grief they have to fix it, they often cannot afford to walk about without a limb, whether for practical reasons or because they live in a high-crime area and any visible disability marks them as a target. but, even though it needs to be fixed, they are often not able to do so themselves, and they have to rely on the companies they buy these parts from to help them.

but they won't.

mechs are belonging to the government, are fixed or replaced because it benefits them, but no one truly relies on them. Cyber-prosthesis belong to the people, they have to pay to get things fixed and themes often put the casual person as impoverished, even though they are so reliant on them. And often they're marketed to people who don't initially need them, to expand the group of people who will be paying these companies regularly until they die.

I have more to say but migraine is giving me blurry vision so i can't actually read back what i wrote. i hope you get my point haha.

[mejomonster]

Genuinely. Red white and royal blue was gorgeous.

It's healing.

Fucking phenomenal.

It's hope. It's a future worth having and wanting, even when you feel trapped in the past (like prince henry), when you feel like you might fall off a cliff if you take the leap (Alex saying he loves him, trying to win an election that changes the whole direction a country goes and if people like Alex can even fucking exist safely, Henry's life being determined by if the populace can accept or discard him when the existing historical powers only seek to repress, the fucking WAY this movie goes opposite to so many romcoms and so much "soft bl" type stories by being so overtly fucking political is good actually. It's fucking great. It's like this, Florida is telling kids they can't know gay people exist and this movie is saying we can fucking be politicians, we can be in love, we can change the world, we can be what children aspire to in making their world better and kinder to all. It's like. The message. The message to make a son of a president bisexual and in a spotlight in a current world where they're making laws we can't even be out. Cause that's rhe world we want. And we know it's not the world we may have and we may lose that right at any time but we're fucking brave and we are going to fucking exist and we DO want a world where we fucking get to be us as loudly and happily and joyfully and hopefully as everyone, and where we Matter and can do so much fucking good by existing and trying our best.

And then like. They cast Uma Thurman as the president! God!

And like. they PLAYED CANT HELP FALLING IN LOVE. THE SONG. THE SONG!!!!!! listen I never read twist and shout that destiel fic, but I know culturally it's SUCH a song, it's a song i remember singing about lovers and so many people think fondly of their loves with THAT song and it was so perfectly and beautifully used in this movie.

The decision to be clear about queer sexuality in this movie. Superb. Fucking phenomenal, like the whole movie. So often queerness is sanitized, downplayed, considered inherently "unsafe" (which leads to the laws attempting to harm us), and so to make the romance as sexual as any straight movie fucking THANK YOU. To make it romantic, to not shy away from that either, to not lessen its impact as inherently so romantic and sweet and intimate, the hands. The hands, a trademark of any good queer romance, such a beautiful use of hands as the reveal of emotion and love. I loved the care and tenderness put into it. And the realism oh my fucking God! The awkward conversation about making love! Sweet! Real! Real love is silly, awkward, imperfect and not smooth and so wonderful BECAUSE of that. Because real life isn't perfect but it is because that's the person that makes your world feel brighter and brings a smile to your face even when they say and do silly things! Queer people deserve it, we deserve that in our stories on our screens I loved it all.

I loved rhe writing and direction. To absolute pieces. I've seen cheesy shallow romcoms and while I admit there's good aspects to them, they're not for me. This was for me. And this had a lot of layers under the romance. Henry had a whole fucking personal arc I think a fuck ton of people cab relate to. The way him leaving is akin to people who've left me because they could NOT leave the closet the way I could. The way Alex having healthy parents changes SO much of this story and how healthily HE communicates and how much easier it is for him to act and solve problems, and how that support helps Henry respond to him and answer. And stand up for Himself once it's time to. And that says so fucking much about what parents can do, siblings (Henry's sister was amazing versus his brother), about how secure attachments can be healing, about how communicating more really can solve a fuck ton. Truly. It's truly the biggest key to getting through stuff. How the political is so inherent in Alex's past, present, future, how the movie doesn't have to address anything But the romance plot while STILL addressing so much. A world where Henry is a symbol "people love for their symbol" who gets loved for who he is and the future clashing with the past, progress and healing and growth versus history and conservatism and regression. There's so much fucking going on if you just watch. It's all worth hearing.

Alex being a great brave bi disaster I wouldn't have it any other fucking way. They say BISEXUAL IN THIS FUCKING MOVIE. If little 12 year old mejo had a movie do that I could've avoided so much trauma and isolatoon growing up! If I could live in a world as a child with people who said the word bi out loud and that it isn't silent? If I could live in a world where a politician was aloud to be bi growing up? God that could have been a kinder hopeful world for little mejo. And that is the world now, at least in one movie, and I want that for the little kids now who are living in a world with lawmakers that hate them but also so many people like us, like the writer of this novel and script, who want those children to feel SAFE and like they matter and they are allowed to take up space and WANT GOOD THINGS.

And of course, on a shallower level, I loved Alex. I loved him as a representation of what America could be. Which in a way I felt like while you can't summarize a nation with a single person, that's in a way what Alex and Henry felt like. Values slammed into real living people, and of course with the excellent writing they become so much MORE than shallow symbols (but in a weaker story they couldve been). But like. Yeah. I see it. Alex is brave, he isn't afraid to change the world for the better and want To. He wants to put in the effort. Be involved. He's not shy, he's not scared to love or hate or embarrass himself and pull himself back up and try again. His ego isn't critical and he will go across an ocean and at LEAST communicate and have a discussion and only take a real answer. His mom is HIS MOM and he's still got the guts to tell her who he is and his ideas (romantic AND political) and he was raised in the kind of loving family id hope many people get, a family that he knew would never imprison him or hurt him or reject him. He and Henry are not alike for their status as political figures. Despite appearances. Henry is of the same generation and I think he wants to help and make meaning of his life by making it useful for others. In that regard they click. But Henry was raised in rules, respects those social norms, is aware of and respectful of history in a way Alex is not (and to generalize I'd say the average non rich American I know is probably closer to Alex than Henry in terms of respect for meaningless rules and following history for the sake of it being how things were always done), Henry may not even be like the average person in his country. He's removed from them, isolated from them, stuck in this system of the past, and so walled up inside this system he doesn't get the privilege to simply Not Care. To simply not notice it. Alex remembers what it's like to be completely removed from it. Henry has been aware of it ever since he was 4 and had memories. There's so much to say about how the structure of the characters themselves represent various structures in the world. Alex and Henry are more than that. As characters they're people Actively Affected by those systems. But this story is so fucking fascinating on so many layers and I'm so GLAD. Thank you

Thank you.

This is the kind of movie I fucking wanted. Like, Love Simon was a great movie for the time It came out. And for the audience it was made for: teenagers, Disney movie target audience, who deserved a nice sweet childhood style romcom for them. Who had a million ones for other teenagers, so here's one with coming out in suburbia and sweet romances without much pain. Here's a High School musical type movie for a new generation. And it was good. And frankly it still is, it broke ground as a movie with overt queerness made for teenagers. And still it's probably one of the only ones, I can't think of many newer queer stories MADE INTO MOVIES specifically FOR kids. There's Heartstopper, but that's a standout, thank God for heartstopper too. And Heartstoppers a show so it has more time to do more for teens, show more characters and complications of teen life. I appreciate it deeply. But back to Love Simon: it's a one off. I think teens need 100 more movies like it. But adults? We also deserve 100 queer romcoms. And more movies like THIS, like Red White and Royal Blue. That are more then a quickly written poorly produced hallmark quality movie. That you sink your teeth into and could write essays about. That a straight person Says Pride and Prejudice is one of the BEST romance movies and we can say cool, here's 10 queer romance movies that are just as phenomenal. Anyway that's what this fucking movie is to me. You can disagree, tastes differ, totally valid babes you do you.

but OH MY GOD THEY PLAYED CANT HELP FALLING IN LOVE AND THE STORY IS TOLD BY A BISEXUAL DISASTER WHO EMBODIES SO MANY WONDERFUL QUALITIES I ASPIRE TO HAVE AND HOPE TO SEE MORE OF IN THE FUCKING WORLD.

And like. Henry. I'm gonna go read the book for him in case it's got more. I really think the movie did so many cool things with his personal character arc. That comments on family dynamics, the closet, the trauma of the past (and in many areas the current political regression and harm), the way historic systems control and damage people (both people inside and the entire wider populace they influence), the way things even in the Best circumstances can be truly Imperfect because that's the real world. In the real world, you can fall in love and there's nothing to do but try your best to keep being with each other as the world puts obstacles you'll never destroy in your way (and some truly awful ones). And like. The fact that Henry gets a happy ending. Talk about queer fucking happiness. Talk about wish fulfillment, but without sparing my feelings first. The movie made me feel the very Real fear and threat first. The reality that people like Henry leave all the time and sometimes nothing can last forever without being a danger to the person involved, the reality that their conversation in Henry's room was so fucking high intensity to My fucking heart. And I've stood there. I've been them. The election too, I figured a movie would fear being political (you know lol despite being queer). But movies nowadays, they do fear. They fear saying they care about it, when for fucks sake there's places we can visit and not have the right to exist so fuck That. And it's a fictional election. But my hearts in my throat and I bet Alex's is too. Alex is safe if his mom loses, he's a rich politicians kid. But I've Sat on election night and lived through trump winning. And knowing that meant women losing their rights and safety, queer people losing their rights and safety, knowing every Single election people sit there and wonder if anything will be okay tomorrow. For ordinary people. For people like Alex if his mom never became a politician. For his mom, his dad, his abuela. And in a way sure the movies heavy handed. Frankly I'm gonna forgive it, I could give a fuck about heavy handed. I liked the Barbie movie, but that movie sure was gentle for being called "very feminist." Women are getting arrested for abortions. It's not very on the nose or heavy handed when that's not even really a major issue (not that it needs to be, a movie about a doll wasn't ever expected to be heavily handed political). But this movie? The presidents a main character. To avoid politics would be Expected of a romcom, but shitty. So yeah why not lean in and be heavy handed. They don't have to say it, because this movie is an optimistic future where people like Alex are fine. But there's a weight to what if his mom loses, what if Alex can't hold hands next time he goes to a certain state. But I hope the people who watch this movie, one day, don't even feel those stakes. Because they don't have to. Because the world's like it was for Henry, kind and accepting. Because more of the world is that way then not.

And I'm glad it ended happy, but real if that makes sense. It's an optimism I can carve out eventually, you can. Eventually. If we keep trying.

If anyone saw Fire Island, another great queer movie, that one also didn't shy away from political. It's a romance too, and it was frank about queer communities and people and us with each other versus how the wider world is in relation to us. I appreciated with Red White and Royal Blue another movie that felt like that. That felt a bit closer to honest, rather than sugar coating both our identities and our experiences in the world to make it easier to palette. There's a time and place for sugar coating it (teen movies that aim for kind to us like Love Simon are a good place) but there's also a time when I don't want anyone straight coddled. I want them to see us make love and KNOW it's love. I want them to see us for who WE are, even the degree that we are different and that the world Does make us endure hoops and pains it never forces on straight people, and make them Care about us and learn to relate to us if they want to enjoy our romance. They wanna care about us falling in love? They can care about what we have to go through and be brave about and empathize with people who don't always flirt like they do or follow the same path. I'm fucking over the Moon that this movie asks its audience to view life and love and the whole world from the perspective of an optimistic political bisexual young man. Even if you're nothing like him, try to connect. And likewise, Alex is being asked to try to understand a man who has his own very Different experiences to Alex. Henry again, asks the audience a second time to relate to a man both they and Alex cannot relate their own life experiences to. Even further, if Alex is assumed straight when you go in and you learn to accept hes bi, then Henry makes the audience also reach to accept Henry is gay. Idk if straight people consider that another hurdle lol as they both seem hurdles to straight people I've seen. But also Henry is old money, royalty even, and fuck I know absolutely no one who can personally connect to that or even knows someone in their social circle who's fucking royalty. But Alex is asked to connect and relate, and so are we, and hopefully we grow and expand a bit as we do. And maybe that's part of what we're supposed to leave this story with. That the world is wide and beautiful and full of so many experiences and there's value in them and in trying to understand their values and pain and hoping for all of us to have a kinder world we're allowed to exist within. I don't know. I'm too tired to know all this movies got to offer.

But as I said. Red White and Royal Blue is fucking phenomenal.

[zwoelffarben]

Ya know, I've been thinking about it, and I think the main problems I have wit the phyrexian invasion plan is that Phyrexia straight up ignored it's biggest strength in favor of a hyper-miltaristic show of force.

Like, the thing that caused the fall of Mirrodin was given the Oil an uninterrupted decade to worm its way through the local ecosystem and power structures until it reached a critical mass and was able to overwhelm the singular plane's ability to resist.

Engaging in open warfare on infinite fronts flies in the face of the far superior strategy of just, send several hundred oil probes to then nearest dozen or so planes in the multiverse and letting the oil cook. Then once the oil has got a plane well and truly phyrxiafucked, repeat.

How much neater would that have been as a saga? Watching as planes at various stages of phyrexianization fall, the oils changing slightly to adapt to the planes. I cringe at the mechanics a phyrexian kaladesh would present to the game, but I'd love to see what Kaladesh's aether, energy that is not mana, would do to the oil story-wise. Similarly, seeing the way color combinations of the guilds of ravnica or shards of alara react to and shape the oil in unique ways. Hell, take us to a plane we've never seen that's already fallen, and we have to piece together what the plan was like pre-phyrexia through the fromsoftian flavortext and environmental storytelling.

All of that, told over several years and dozens of sets, the heros eeking out minor wins against a slew of losses until they find a solution, a vaccine for compleation. Have a block where the vaccine is tested out, and the phyrexians experience their first loss, because they can't subterfuge properly against an opposition they cannot corrupt from within. Then they lose again and again, and as their planar terratory starts to shrink to these mounting victories, it puts Norn in the position where, we'll never be as powerful as we are now: it's time for a hail mary. And that's when the events of All Will Be One happen.

As is, the story we got, being the war of infinite fronts was an unforced error, which is in line with historic and contemporary fascist states, see WW2 era Germany and Japan as well as modern day Israel; but is, from a storyteller's perspective, a really unsatisfying as part of a narrative. Like, girl wasn't even backed into a corner when she made an objectively bad decision: She was just that stupid.

But wotc-hasbro doesn't have the paitence to do subtle years long storytelling anymore. It's all tentpole blockbusters and UB now. Sigh.