#motivations are complicated and a product of history

[miirshroom]

Been working on another Elden Ring breakdown of notable observations in a specific location. With all the corpses strewn about, sometimes it feels like solving a murder mystery, or in general some other kind of "whodunit" puzzle. Then I remembered that the story trailer for Elden Ring has always pointed at basically that.

Means, motive, and opportunity are the three main indicators of suspicion for an investigation. For the breaking of the Elden Ring in particular we are told the means explicitly just for making it to the end: Marika's Hammer. We are also told in the item description who did it: Marika. In this way bypassing the need to guess a perpetrator based on opportunity. So all that remains is the motive.

That is what the game is asking the players to do. Maybe even more specifically, this is what Ranni is asking the players to do. Review all of the evidence scattered throughout the Lands Between to figure out Marika's motive for Shattering the Elden Ring.

It's a "whydunit" story.

[everythingannoyingpjo]

Octavian: Final Thoughts

I don't actually think this is the last time we will discuss Octavian on this blog. However we've had a lot of good discussion about his character so I wanted to finalize my thoughts on the subject so that I have a reference I can look back on going forward.

Facts

Octavian is not 100% Evil:

Octavian is a child.

Octavian is a product of the culture he was raised in.

Octavian has reason to believe that the attack on New Rome was legitimate.

Octavian has reason to believe he is doing what the gods want.

Octavian is Definitely Guilty of:

Warmongering

Seeking power.

Being a jerk.

Octavian Might (Not) Have:

Killed Gwendolyn

Blackmailed Hazel

Prophetic Abilities

Been manipulated by Gaea

Intentionally allowed Bryce back into the military despite his questionable history.

Octavian's Narrative Function

An entrenched power for Percy, Hazel, and Frank to overcome. (But they already had the giants to overcome and didn't need a secondary antagonist.)

To make Hazel, Percy and Frank's quest more difficult. (His only opposition was in not giving them very much money and a crappy boat, but that could have happened whether Octavian was present or not.)

To make Reyna appear more sympathetic. (I feel like this could have been better handled a different way.)

To create a sense of urgency. (Again, there are other ways.)

Conclusions

Octavian Doesn't Make Sense

His actions, implied or directly stated, contradict his motives.

This could be because he's "complicated."

This could be because he's a plot device and Rick never intended him to be a "Real Character."

Octavian is Frustrating (Because)

He could have been "complicated."

Now I will never have the satisfaction of piecing his mysterious pieces together.

No one likes him.

I know how it feels to be unliked and the butt of everyone's joke. I don't like seeing people treated that way unless their truly irredeemable.

He doesn't make sense.

I can't even enjoy disliking him because he has no substance.

He serves no larger purpose.

The story would have been just as good as, or even better, without him.

Final Conclusion: Octavian is a poorly written character and an unecesarry plot device. We all cry for the villain he could have been. RIP.

[criticalcrusherbot]

Embracing Imperfection: Helluva Boss and the Complexities of Fandom Engagement and Storytelling

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

Helluva Boss has been the subject of extensive discussion, particularly in regard to the relationship between Stolas and Blitz. Many critics have labeled it “toxic” or “problematic,” but these critiques often miss key aspects of the show’s design. Helluva Boss is not concerned with presenting a sanitized version of reality, nor is it trying to offer simple moral lessons. Instead, the show revels in exploring the depth of relationships, inviting viewers to engage with the content in a thoughtful and nuanced way. The relationship between Stolas and Blitz serves as a perfect lens through which to explore the show’s broader narrative approach—one that champions emotional depth, encourages active fandom participation, and challenges the expectation of moral clarity in media analysis.

1. The Strength of the Writing: Character Depth and Emotional Complexity

The writing in Helluva Boss stands out for its nuanced approach to character development. Rather than offering idealized figures, the show presents characters with distinct flaws, vulnerabilities, and strengths. These characters are fully realized, with personal histories and emotional landscapes that shape their actions and decisions. This is evident in the complex dynamic between Stolas and Blitz, but the show’s attention to character development extends across the entire cast.

The relationships in Helluva Boss do not follow a simple narrative arc of resolution; instead, they unfold in ways that reflect the unpredictable nature of real-world connections. Stolas, for example, is not portrayed as a one-dimensional figure, but as someone whose privilege and past experiences influence his relationships in profound ways. Similarly, Blitz’s emotional distance and the walls he puts up are a result of past trauma, adding layers to his personality and interactions. This depth makes the characters feel real and relatable, rather than adhering to traditional tropes of good versus evil.

What sets the show apart is its focus on emotional growth. The dynamics between characters evolve as they experience setbacks, learn from their mistakes, and face the consequences of their actions. This development is not always linear or neat, but it is authentic, reflecting the complexities of human nature. This focus on growth rather than perfection is one of the key strengths of Helluva Boss and provides a rich ground for storytelling.

2. Fandom Engagement: A Show Designed for Active Participation

One of the most distinctive features of Helluva Boss is its approach to fandom engagement. The show does not present a definitive moral stance or a neatly wrapped conclusion to its character arcs; instead, it creates a space for viewers to interpret, discuss, and become emotionally invested in the story. The characters, including Stolas and Blitz, are written with enough depth and ambiguity that fans are encouraged to form their own opinions and engage in discussions about their motivations, flaws, and relationships.

This active participation is a crucial part of the show’s appeal. Rather than dictating how viewers should feel about the characters or their interactions, Helluva Boss leaves room for diverse interpretations. Fans are invited to analyze the nuances of the show, contribute their own theories, and reflect on their own emotional responses to the content. This interactive storytelling model is not just a product of the show’s indie origins, but a deliberate design choice that fosters deeper engagement.

Take the relationship between Stolas and Blitz: instead of offering an unequivocal answer to whether their dynamic is “toxic,” the show encourages viewers to explore the emotional intricacies of their connection. It presents the complications of their relationship without oversimplifying them, and in doing so, opens the door for discussions about what love, power, and vulnerability look like within the context of their unique world. This level of engagement ensures that the show remains relevant and resonant with its audience, creating a dynamic where the viewer’s interpretation is an integral part of the experience.

3. Beyond Moral Analysis: The Role of Ethical Frameworks in Media Critique

One of the most common criticisms of Helluva Boss is its portrayal of relationships, particularly the dynamics between Stolas and Blitz. Critics argue that their connection is problematic or harmful, often using the term “toxic” to describe their interactions. However, focusing solely on whether a relationship is “toxic” overlooks the deeper thematic and narrative goals of the show. Helluva Boss is intended for an adult audience, one capable of critically analyzing media beyond simplistic moral labels.

The show does not strive to present a black-and-white view of relationships or behavior. Instead, it introduces characters who navigate complex emotional landscapes shaped by their own histories and experiences. Stolas’s interactions with Blitz are colored by his position of power and privilege, while Blitz’s emotionally guarded nature stems from his personal trauma. These dynamics are not meant to present a model for ideal relationships, but to demonstrate the challenges people face when trying to form connections with others who carry their own emotional burdens.

This nuanced portrayal rejects the idea that media must present characters as either “good” or “bad” to be valuable. In real life, relationships are rarely defined by clear moral judgments. People make mistakes, act out of fear, or struggle to understand one another, and Helluva Boss reflects this. The show does not need to provide moral clarity because it trusts its adult audience to engage with its characters on a deeper level, understanding that the value of a story lies in its emotional complexity, not in offering a simple moral lesson.

4. Character Development Beyond the Central Focus

While Helluva Boss often centers on the relationship between Stolas and Blitz, this does not mean the show neglects its other characters or dismisses their importance. Rather, the current storyline prioritizes Stolitz as the A plot, leaving room for other narratives to unfold in future episodes. Characters like Millie, Loona, and Octavia have already been given significant moments of development, but their full arcs are either just beginning or have yet to take center stage. The structure of the show allows for this gradual exploration, ensuring that these characters’ stories are not overshadowed but are given the time and attention they deserve. Whether or not viewers are invested in Stolitz, the groundwork being laid for the broader ensemble demonstrates that the scope of Helluva Boss is designed to grow beyond its central relationship.

The focus on Stolas and Blitz, however, is not a limitation but rather a reflection of the show’s narrative structure. Their relationship is emblematic of the broader themes of Helluva Boss, which explores issues of class, emotional vulnerability, and power dynamics. The complexity of their connection serves as a focal point for these themes, but it doesn’t exclude the possibility of further development for the other characters. In fact, the nuanced portrayal of the central relationship sets a strong foundation for future arcs, where all characters can continue to grow and be understood more fully.

Conclusion: Helluva Boss and the Celebration of Emotional Depth

At its core, Helluva Boss is a show that thrives on emotional depth, character evolution, and the richness of its storytelling. It doesn’t offer easy answers, moral clarity, or idealized representations of relationships. Instead, it invites its audience to engage with its characters on a deeper level, exploring the complexities of their interactions and personal growth.

The relationship between Stolas and Blitz serves as an ideal lens through which to examine the show’s broader themes, but Helluva Boss is about more than just its current focus on their dynamic. It is a series that encourages viewers to think critically, to question moral absolutes, and to embrace the multifaceted nature of human connection. By allowing its characters to evolve and its audience to participate in that evolution, the show sets itself apart as a unique and thought-provoking work of animated storytelling. It’s a space where emotional engagement, not moral judgment, is at the heart of the experience.

[hyakinthou-naos]

Hey, hope this is ok. I need some reassurance.

I've never felt a God's presence (except a vague warmth/peace when meditating about them sometimes I guess), much less talked directly to them (as in hearing them answer) and with so many people, esp on tiktok and here, talking like they have a private relationship with the Gods, a close friendship, even dating I just... I feel lesser I guess? Like so many people were chosen but not me and that must be a problem on my part. Like the Gods prefer everyone else over me. Like I'm not doing enough, even though I'm doing what I manage to do, given my limitations. I'm jealous of people who do communicate directly to the Gods. Part of me doubts them but part wants to believe them because it would be so shitty to lie about something like this and I don't want to believe these people are shitty. I don't believe non harmful hallucinations are all that common either, which would be the other explanation.

From what I understand you don't have this kind of direct communication either and I wanted to ask - how do you prevent yourself from feeling bad seeing all these people who (claim they) do?

I'm struggling here :( It's already hard for me to keep a consistent practice because of executive dysfunction and chronic illness and other stuff and this makes it harder. Feeling like I'll never be at everyone else's level of connection makes it harder.

Sorry for the vent-ish ask. You don't need to answer but I'm already glad if you read. Thank you.

Dear Anon,

Thank you for your ask, I am so sorry to hear that you are struggling. I want to tell you right off the bat that you are not lesser than any other worshipper - you are not less preferable to The Gods - and you should not feel any guilt around your spiritual/religious experiences. I would like to say the following to you, but also to the wider HelPol/Pagan community:

PLEASE Do Not Trust Spiritual Influencers on TikTok.

I cannot claim to know the legitimacy or the intentions/motivations behind every individuals actions regarding divine experiences, but I can say with confidence that most of the spiritual content on TikTok is dripping with lies and exaggerations.

Now, as someone with a mental health degree (I don't talk about my education often but I do have a bachelor's in Social Work and a minor in Psychology) I can also say with confidence that just because someone is lying doesn't mean they're necessarily a "bad person" but you don't have to be a "bad person" to have bad motivations.

Bad Motivations Can Include:

Lying for Financial Gain: This could be selling a product, selling a service, or trying to monetize on being an "influencer".

Lying for Attention: Many people do not have supportive friends, families, or communities - so as a maladaptive coping mechanism they will lie to get the attention they are lacking in their personal life.

Lying for Prestige: Some people don't feel important in their own lives, so they will lie so that other people will think that they are important.

Lying for Fun: In the age of the internet, the ability to make others believe something you know to be false can give someone an adrenaline or a dopamine rush. This is why "trolling" is still so popular.

And, not a "motivation", but still an explanation of why someone might "lie":

Mental Health Concerns: This could be a severe mental illness, a delusion, a hallucination, or conditioning from trauma.

People are weird and wonderful and diverse - and that diversity includes people who will lie (consciously or not) for a variety of reasons.

I speak about this openly as you mentioned, but I do not - nor have I ever - had any direct communication from any entity, deity, or spirit. Everything I know about my Gods (outside of myth, tradition, and history) I have learned through divination, ritual, and intuition.

Answering how I prevent myself from feeling bad when I see so many people "experiencing" something I can't - is a little bit complicated.

When I began my journey into paganism 11 years ago, TikTok didn't exist - Instagram was only 2 years old - and Tumblr had been around for a little under 5 years. My early knowledge came, mostly, from books. I wasn't comparing my experiences to those of others - because the only "others" I could compare myself to were limited to one high-school friend and the authors of the books I read. That kind of experience as a modern pagan doesn't really exist anymore because of how much the world has changed, but I wish it did. So, by the time I got to where I am now, the idea of comparing myself to others was so foreign. And as someone who grew up with the early internet - I learned very quickly that very little online is 100% real and truthful.

If you want to connect with your deities in an honest way that also feels real - you might enjoy trying one of the following (some of these might sound silly and/or childish - but if you truly want to grow as a pagan, you must throw away the idea that childish = bad):

Go outside at night and spin, put your arms out wide and spin and spin until you're dizzy (but not sick). Then lie down on the ground and close your eyes. That whirring sensation? That unreality of gravity? That is the Earth. That is Gaia. That is Demeter.

Listen to the rainfall on a stormy night. Sit somewhere you can hear the drops hitting the ground. Look and wait for a flash of lighting. The following thunder, that sound that you can feel in your bones that makes you jump, That is Zeus.

Write a letter to a friend, or to a loved one, or even to yourself in the future. Pay attention to how emotions become thoughts, thoughts become words, and words become writing. Communication - Language - Thought. That is Hermes.

I could go on- but at the end of the day, people are going to tell you that The Gods are "otherworldly"; but they're wrong. The Gods are of this world - The Gods are this world.

I hope that some of this has helped?

Eirene, peace and farewell,

- Aön

[ryin-silverfish]

Hello ryin! I saw in a recent post of yours that you dislike the "class warfare" reading of the Havoc in Heaven arc in JTTW and would honestly love to hear more about your thoughts on that! Your takes have been really interesting.

Thank you!

My biggest problem with the "class warfare" reading is, first and foremost, what it has been historically used for.

Like, after the Havoc in Heaven opera and movie came out, the propagandists absolutely ate it up; SWK was associated with Mao Zedong and used to promote Mao's personality cult, and soon after, the White Bone Spirit story would be interpreted as this fable for the Sino-Soviet split.

Whereas Havoc in Heaven was intended and viewed as a metaphor and love letter to the victory of Chinese revolution, the White Bone Spirit story was interpreted in the context of the horrific fuck-up that is the Great Leap Forward, where the party were starting to doubt its leadership, and the path to the future seemed an uncertain and arduous one——much like the pilgrimage.

So, in the new twist on the "class warfare" narrative, Tripitaka and Pigsy became the poster-boy for "party members who were easily captivated by revisionist ideas" and needed to see how wrong they were, the WBS became the personification of Khruschev, imperialism, capitalism, revisionism...you name it, and SWK the Mao expy who could do no wrong yet was unfairly blamed by everyone.

Came the Cultural Revolution era, SWK would then become a sort of hero and role model for the Red Guards, smashing down all that was considered archaic and backwards, tearing down older authority figures and perceived "class enemies" alike, all the while emboldened by Mao's saying that "To rebel is justified" (造反有理).

Yeah, no, fuck that shit.

Terrible historical baggages aside, it is also a reading that reeks of presentism, and Lin Geng, a renowned professor of literature, had done a thorough takedown of the "SWK as peasant rebel" idea in his 西游记漫话.

Namely, it neither fits the circumstances of Havoc in Heaven, nor SWK's backstory and motivation. He's not rebelling because his monkeys are oppressed by the Celestial Realm, he's doing it because he feels personally slighted.

His mindset is also not that of a traditional peasant; compare and contrast that with Zhu Bajie, whom the author argues is very much peasant-coded in terms of his obsession with going back to Gao Laozhuang, his rake, and his comedic ignorance that stems from urban stereotypes of rural farmers.

To paraphrase Lin Geng, "Not all rebellions and rebel narratives in Chinese history are peasant ones, and we shouldn't just cry 'peasant rebellion metaphor!' the moment we saw a rebellion in fiction."

Lastly and more personally? This reading also tends to remove SWK's depth as a character. The representation of the Mind can be both heroic and flawed, capable of great feats and fuck-ups alike, but the representation of The Revolution has to be heroic and his opponents, whether celestial or demonic, must be evil oppressors and political boogeymen.

Like, the demons in the novel are representations of the mental obstacles a person will face on the path to Enlightenment, but they are also capable of being funny and very human characters, and not all of them wanted to eat Tripitaka.

The Celestial Realm is a satire of the imperial bureaucracy, sure, but the novel is also a product of its time and cannot magically promote 20th century ideas of revolutions and political reforms 500 years before they were a thing. Besides, SWK can still get help from them on the Journey and their relationship is more complicated than "oppressed rebel and oppressors".

And that's exactly why I dislike the "class warfare" reading: it creates a simplistic opposition of good and evil, and tries to squeeze the work into a narrow political framework that is neither nuanced nor accurate.

[muwitch]

The moon for your rookery

TY SO MUCH FOR THESE <3 answering these epic tarot rook asks I am, as matter of fact, vomiting words here again, so going under the cut!

Lucius [SD]

Where do I even unpack with that one…

The jig is on, the cat is out. Most of Luc’s problems and personal quests are tightly tied to him being a Radonis’ nepo baby [one of several but alas]. And it wouldn’t be so bad actually, if he wasn’t also half rivaini, which in a highly ancestral society is not always looked positively upon. Besides we are speaking Tevinter.

By his birth he is put down in a rat race he despises, yet desires to win so desperately just to prove everyone and especially the absolutely absent father figure wrong, and do so with gusto. He adopts quite a machiavellian approach to his own life and how he works toward that complicated goal. He joins Shadows out of late teen rebellion and for the longest time is not there really for the cause, there is an ulterior motive lingering in the back of his head. That is a blindspot he later forgets about and it bites him in the ass years after. Painfully.

He’s an altus mage. He generally tends to think of larger categories and despite them being of “greater good” it takes time for him to narrow them down to see not only calculation and statistics where it should be people. He radicalises pretty easily. He knows there’s collateral damage, always. And he thinks he’s ready for those sacrifices to be made. Exitus acta probat.

He’s (not by choice) a bloodmage - occasionally - and it ties with a certain will to sometimes impose cruelty both on others and himself. It requires a sort of forceful detachment in important matters. It also comes with crushing feelings of guilt and self-resentment he constantly tries to justify. Magic is a tool, right?

From all of the above Luc has this bivalent nature where he has no idea where he actually, truly belongs, because he’s already quite detached from Rivain and despite living in Tevinter since age 5, always constantly reminded he is not fully a vint. Not in a certain sense. He’s a Shadow Dragon, but has to lie to his comrades 24/7 about his identity in pretty little words. And he thinks he’s doing the right thing by doing so, protecting them from himself - from all that comes of him really being himself with all the luggage - but mostly protecting himself. All that pia fraus is a direct product of his upbringing. He’s all tangled in that complicated web of self-lies he’d build over the years that he forgets himself that omnia mea mecum porto.

On the brighter side all the “good” values per se come from his mother. They take root and survive in small rebellious acts long enough to sprout when he’s ready. Despite his efforts to convince himself of being what he is, he still has lots of compassion and understanding to people around him. And is not immune to making connections, to value honesty (toward himself of course, but at least he’s ready to reciprocate as deep as the situation dictates) and things that are humane in their nature. He wants and  tries to be a bigger person, something better, something lighter, something others can look up to. Once, twice, slowly trying to right the wrongs that already happened. (Not like there isn't a certain influence in his inner circle about that).

Watch him be bitten in the ass again for it.

Gwyn [GW]

Ah, my sweet Fereldan child. Daughter of two hailed heroes. Heiress to the teyrnir of Amarantine. Current king-consort’s niece. Beloved and cherished and protected from a younger age. THE disney princess. 

Gwyn is no stranger to a little bit of entitlement because of her heritage, and, specifically, her family history, aka Warden Cousland’s beef with First Warden(s). Gwyn thinks, a bit naively, because she’s barely 19, that she just knows better. It’s the teen maximalism at its best and worst in her, taking her own experience at Vigil’s Keep and her mother’s style of managing the Wardens as ideal. 

She also thinks because of that she, Gwyn, knows how to handle shit, especially concerning wardens, she has this natural ego, this belief she HAS TO step up and do things. Which is a polar sort of entitlement to that of Luc’s. She feels this responsibility which neither of her parents wanted her to bear, and a bit of dreams of heroics.

Combined with competence acquired by training at home and all the runaway hot girl shit, makes her think only she could handle certain things. She has to learn to rely on others as much as she relies on herself, not only inspiring them to be self-sufficient, but actively engaging to let them reach out to her and share the burdens that are too heavy to carry alone.

Due to runaway reasons, while we are at it, she’s more on the same page with peasantry than actual royalty she technically belongs to by birth. Her dislike of Fereldan post-Blight politics and her mother’s involvement in it, she transfers the same approach to authority to other places, which is, in hindsight, not the best strategy to have. She purposefully hides her family name by going as Gwyneth Thorne for those reasons and from time to time it bites her back, but not as painful. (But only until South gets blighted and she has THE experience firsthand).

Despite her mature image, Gwyn’s whole motivation for the Rook business is to help cure her parents. As simple as that, and she’s so single minded about it, she forgets to focus on other things. Forgets that she’s still a child with a gaping weeping hole made by her parents absence. One she’s desperately trying to stuff with something for years. She forgets she needs to let herself be vulnerable, open. Not some fearless brave warrior a Warden should be, not the effective leader, but just a person. When she lets herself cry for the first time that’s gonna be a revelation.

Also, she’s Fereldan, that lot comes with the funniest bundle of biases. Despite her education Gwyn would be either spouting the pup nonsense as much as harding, or be a surprised picachu for the whole year Varric drags her around as they track Solas. She easily forgets things are not what they were “back home” and when calculating she should probably consider cultural differences instead of assuming - she’s working on it, honestly.

And the funniest bias she’s is with the griffons, because not only did Wardens AGAIN conceal things, fuck them up, but she also wants one for herself. She earned it. No she wants one now, Davrin, we gonna bag the weeping howler, get me bow. 

[bananaproved]

Top 6 shelved dramas that I would still really like to see

Ranked in no particular order, selection based on my personal tastes.

1) The Prisoner of Beauty

Plot : Adapted from the novel "Zhe Yao" by Peng Lai Ke, it tells the story of the arranged marriage between Wei Shao (Liu Yuning) and Qiao Man (Song Zuer). The fun thing about this marriage is that they both hate each other for complicated family reasons (in the novel Qiao Man's family is directly responsible for the death of Wei Shao's father), so they start they relationship by trying to make the life of the other a living hell. Ultimately, their relationship will develop as they are impressed by each other's ingenuity and discover common interests. There is also an important "let's protect the empire and the common people" plot behind the romance.

Why I wish I could see it : It looks good !! The main duo of actors are both really good looking, but the production in general looks really high budget, with good costumes and sets. I would love to see that. Just look at this trailer !

Why I am not seeing it any time soon : Song Zuer :/ bestie :/ tax evasion is bad !!

Can we have some hope ? : Not really, at this point of time, no c-actors caught for tax evasion managed to make an actual comeback in the industry (even really popular ones like Deng Lun or Fan Bing Bing). Song Zuer is still being investigated, so maybe we can hope to see her name cleared but it's a little unlikely because they don't investigate people just for fun. However Song Zuer was involved in a lot of high budget projects so I am sure a lot of people are really motivated to try to airdrop at least some of her projects if they have the possibility.

2) The Fated General

Plot : Classic high-budget historical drama telling the story of real life historical figure Huo Qubing (Zhang Ruoyun) during the Western Han Dynasty. It follows his military feats that got him the reputation of being one of the best military generals in the history of China.

Why I wish I could see it : First, the cast is incredible. We have Zhang Ruoyun (famous for being really good at choosing his scripts), Mao Xiao Tong, Bai Yu, Li Hongyi, Xu Yue, and others. It's really an all star cast except the drama was shot in 2016, before some of them became really famous, so it can be really interesting to watch ! Plus it's a really high budget drama, most of the outdoor scenes are shot in real landscape and not in a studio and it globally looks really good. For a better impression, look at this nice looking MV based on the different trailers of the show :

Why I am not seeing it any time soon : In 2019 (I think ?) the censorship rules changed concerning historical dramas and established the fact that dramas were forbidden to "distort" certain historical facts. This kind of put an end to traditional historical dramas as they became a way more risky investments, and stopped this one from airing as it already took some liberties in terms of storytelling. Huo Qubing is also a semi-controversial historical figure so it is not helping.

Can we have some hope ? : It's been 7 or 8 years and the regulations concerning historical fiction only got more restrictives in China so I would say no.

3) Immortality

Plot : I'm sure everybody knows the plot of Erha so I don't need to write it but just in case the important tags are : xianxia, dangai, shizunfuckers, reincarnation, blood spitting, stairs, ...

Why I wish I could see it : Outside of the obvious reasons (gay people on my screen, Luo Yunxi spitting blood), it's also produced by the same people involved in the production of Till the End of the Moon and Shui Long Yin, so I have I hopes for the artistic direction of the drama. Also for dmbj fans : did you know Liu Chang played a guest role in this drama ? Idk what he is doing here but I would love to see it.

Why I am not seeing it any time soon : We are all aware of the famous 2021 dangai ban, but in general the chinese government is not a big fan of massive and really agitated fandoms (in the way The Untamed fandom was), so Immortality is in a pretty bad position.

Can we have some hope ? : Yeah !!!!! Hyx TOMORROW !!! Believe in your dreams !!!

For real : Two options. 1) On a random morning of the year 20XX you wake up to danmei fans in your tl losing their marbles bc the 6 first episodes of hyx were randomly airdropped during the night with no promotion and no warnings. You cry some tears of joy and immediately go watch Luo Yunxi spit some blood on screen. 2) After many years hyx is still not out but there were so many leaks that the fans managed to recreate the entire series from scraps and now you can watch it in full. Look, they already started :

4) Night Wanderer

Plot : Zong Yin (Ni Ni) is a forensic expert living in Shanghai in 2021. She met, in her own apartment, a man, called Sheng Qing Rang (Deng Lun), claiming to be the owner of this apartment but in 1937. Together they discover that they can travel to their respective time periods through their shared apartment and start to develop a strong relationship, first as confidence and progressively as lovers. However, the situation get complicated as the Battle of Shanghai broke out in 1937 putting both of their lives in danger.

Why I wish I could see it : First, for lesbian reasons as I would never miss an occasion to stare at Ni Ni for 36 episodes (Wang Yuwen also has a supporting role here and I really like her ! Double win !). Second, it's actually a really nice and original plot for a CDrama and I have full confidence in both actors' capacity to pull off a really good performance to go with it. Look at this trailer ! It looks so promising !

Why I am not seeing it any time soon : Deng Lun !!! Tax evasion is bad !!

Can we have some hope ? : Even less than for The Prisoner of Beauty as Deng Lun is 100% proved to have committed tax evasion. There is often rumors about him coming back to acting but it's unlikely.

5) Winner is King

Plot : Based on the novel "Sha Po Lang" by Priest, set in a steampunk version of the Liang Dynasty. It tells the story of Chang Geng (Chen Zhe Yuan), a young man living in a random countryside village, who discovers after a raid on their village that the closest people around him were hiding a big secret about his identity. He also discovers that the people around him are not who they pretend to be, especially his yifu (adoptive father, played by Tan Jianci), and realizes that his life will never be the same.

Why I wish I could see it : Outside of the reasons already mentioned in hyx's case, Winner is King is also directed by the same director as Guardian and a Journey to Love. I really like his work and he proved that he was able to do really good things even with a really low budget, so now imagine with a decent amount of money ? It could be great. Also I really like the idea of an ancient china steampunk but I am too lazy to read the book.

Why I am not seeing it any time soon : Same reason as hyx and all the other dangais </3 Also I am not sure of how advanced the production was when it was stopped, because I feel like there are not as many content leaks.

Can we have some hope ? : If we can manifest hard enough the end of the ban, it is possible.

6) The Love of Hypnosis

Plot : During the end of Qing Dynasty, a (patriotic) young man named Yen Shen (Jing Boran) meets a fragrance shop owner named Lu Man Sheng (Liu Yifei). Man Sheng has the special ability/ mission to relieve the hearts of people suffering because of love, but it does not mean that her own romantic life is easier to deal with. Together they fall in love and have to navigate the really troubled times of the end of Qing Dynasty.

Why I wish I could see it : If you are familiar with Liu Yifei and Jing Boran acting I'm sure you can see the potential of this pairing ??? Just the poster has more on screen chemistry than some pairings have in 40 episodes. At this point the plot could be written by a cat walking on a keyboard and I would still have hope for a good chemistry. Also the drama has Liu Mintao in a supporting role and I am in love with her so it's a plus.

Why I am not seeing it any time soon : First, there are some copyright issues with the original manhwa author. Second, the second male lead, Zhao Lixin, got more or less canceled a few years back for political reasons (sorry I don't have the details).

Can we have some hope ? : I would say maybe a little. Copyright issues can be solved and I've heard that Zhao Lixin is still shooting in dramas, meaning that there is hope for some of his stuff still being released.

That's all <3

Sorry for depressing information maybe ? Next time I promise I will make a post about dramas I am looking forward to and that are likely to be released sooner or later. 

[tessarionbestgirl]

"Aegon is injured and Aemond may or may not have something to do with the fact". This is what Aemond's actor said regarding ep 5. Therefore, we don't know for sure what Aemond wanted or didn't want to do at Rook's Rest so we are again in for a guessing game. And this is one of my problems with the show. They think they are being oh so mysterious and whatnot with this kind of "storytelling" but the truth is that it's just extremely frustrating. The characters have very little screentime (aemond has less than 3 minutes per episode ffs), a lot of important events are just skipped and what little we see is unclear and ambiguous so I have to guess or create headcanons. Like, sorry, but I'm not interested in this. Idk, this show and everything related to it just leaves me annoyed, confused or even angry. What's your experience regarding this?

I understand the annoyance and frustration over this aspect of the show because big part of my dislike for Fire & Blood comes from exactly that same reason. Is a fake story book that I don't even know if half of it is true or not with countless inconsistencies regarding war events and ambiguities about characters motivations.

And a adaptation can only be to a extension better or worse than the source material. So Ryan and his team, have in hands a complicated situation. I know he says to the public that he approached the material as being green propaganda. But he is lying, a lot of things he does with TB to me are prove of that. A lot of pr for House of the dragon is all about what they want you to believe for now what their intentions are. So if we take a lot of what they say in face value we are being lied to. So any HC you and I could created base on that is just end feeling like a betrayal and pointless.

But the final product speaks for it self more than the actors or Ryan or Sarah. Because they did lay ground for the conclusion of the story to be " in war there is truly never a winner" and one of the core of the story from George idea is to end with you questioning who was the right side or the dance.

They say for exemple the it was recorded dubious if Daemon or Aemond actions are intentional or not. But we also see they feeling guilty over it. S1 had a big discussion on the fandom over Daemon taking Rhaenyra to the brothel was intentionally done to tarnish her honor or not, and this season we see him feeling guilty over it, same with B&C same with Aemond and Luke's situation.

Whatever, if this is intention to adapt the the questionable reality of book or make people speculate who is justified or not. That end up just add to a theme on the show,in witch, is about how the intentions don't matter and will not matter in the end. Viserys all him wanted was have a peaceful family life but as Alicent said "he intentions died with him" and that goes for all characters.

Aemond always felt he deserved the crown more than Aegon, maybe he wanted to hurt his brother but he is willing to pay the price of killing his own brother and become the monster that history eventually will paint him to be? That is what they are trying to say with Heleana asking him that and Alicent growing fear of what her son is becoming.

So I will say that my problem with this subject is way less annoying in the show than in the book and while in part I find fun to speculate over those dubious thing they do, I also feel uncertaint over what they will do with those characters, this season I am very scared of the possible out come for Alicent as character. And I certainly despite the fandom discourse that is generated by the "open in the air" scenes. I think that is the factor that frustrating me the most. Because there was a time where was fun to engage on public conversations about media. But HOtD fandom is so toxic and lack any media literacy that even end up affecting how I sometimes interact with the fandom and watch the show.

And that is a big irony of it all because I sure despite Ryan intensions and how he will end the show. The fandom will not change their mind of who is the true winner/justified and what the story is about.

[msnihilist]

what do you think about rook's character in ben 10 in general?you know I never really liked that he was this serious and workaholic partner from beginning to nearly the end,in Wikipedia says he's kinda ben's other best friend too but they hardly had a memorable scence for that together maybe except 1 or 2,and also he has scenes where he mocks ben seriously which I didn't like,idk it feels like his character is so unexplored he had more potential to him since he was ben's partner replacing gwevin in OV so just wanted to know your opinion👍🏻

I've already put all of my thoughts about Rook into my fics. Namely, Separately (S2-era Rook, who would disrespect Ben's boundaries purely for his own curiosity and then feels like shit for it), In All The World... (pre-canon Rook, and how/why I think he grew to idolize Ben and become a Plumber), Cross Your Heart (and Hope to Die) (puts Rook through absolute hell to break him down into one of the rawest character studies I've ever done), and Diamonds Are Forever (post-canon fic that explores the kind of person Rook is and how Ben has changed who he wants to grow to be/how Rook defines himself without Ben around).

But I know that's a lot to read, so here are the SparkNotes:

Rook mellows out a lot by season eight. This change is incredibly noticeable if you watch two episodes back-to-back.

Ben and Rook are very close, and this is something else you can see if you watch season one and then season eight to compare.

I think Ben and Rook had plenty of memorable scenes/moments. Their fake fight in season one, Rook being pushy during Showdown and later apologizing for it, "I don't always get him, but he's cool." "The feeling is mutual.", Rook physically holding Ben back from attacking someone (twice, lol), Rook fighting Lord Transyl's mind-control to warn Ben, "I have worked with Ben long enough to know that when he foolishly charged headlong into a trap, I should have foolishly charged after him.", Ben meeting Rook's family, literally all of their interactions in The Vengers, "Ben! I made a wisecrack!", acting like proud parents after Young One's tail fell off, Rook's promotion to Magister (and their successful fist bump!!), "It has been an honor to fight at your side," (Rook using his final words to tell Ben how important their partnership has been to him and that he doesn't regret a thing just does something to me), etc. If you don't think they're as iconic as Ben and Kevin, that's fair, but they do objectively have plenty of relationship-defining moments.

Rook has scenes where he mocks Ben. In early seasons, this is a character flaw. In later seasons, this is a product of the Omniverse writers thinking it's funny when the punchline to a joke is, "Ben's an idiot." If I held it against Rook, I'd have to hold it against literally every character... So I ignore it, lol.

Here are some episodes that I think do a good job of exploring Rook's character.

S2E6: Bros In Space

S2E7: Arrested Development (not a character-heavy episode, I just think Rook is really funny in this one.)

S3E2: Tummy Trouble

S3E8: While You Were Away ("You have become a hero while you were away," just makes me grin like an idiot every time.)

S3E10: The Frogs of War: Part 2

S4E2: The Ultimate Heist (I loved the scene towards the end where Albedo called Rook out on his willful ignorance.)

S4E8: OTTO Motives

S6E1: Catfight (Another one where Rook is really funny.)

S7E2: Rook Tales (Rook's fight with Kundo is iconic as hell to me. "You taught me everything you know. But we are not in your training hall anymore.")

S8E6: The Final Countdown

S8E10: A New Dawn

Rook is not an overly complicated person. He's a solid guy who gets character development and learns to loosen/open up. He's not as nuanced as Kevin. He doesn't have the history with Ben that Gwen does. But Rook is not a bad character by any means, and his bond with Ben feels earned.

But if you still aren't impressed with Rook, you can always rewatch UAF :p

[justforbooks]

With her book The Return of Martin Guerre (1983), the historian Natalie Zemon Davis, who has died aged 94, attracted a wide readership and inspired future historians. It came out of working as a historical consultant on a film of the same name released the previous year, starring Gérard Depardieu and Nathalie Baye, and directed by Daniel Vigne.

Martin Guerre, a peasant farmer in the 16th-century Pyrenees, left his wife Bertrande to go on a journey, only to have his marital role usurped by an impostor who “returned” pretending to be him. After some years of cohabitation, Bertrande denounced the impostor, her testimony seemingly confirmed by the return of the real Martin Guerre. The impostor was duly tried and executed.

The film-makers’ questions about period detail and behaviour intrigued Davis. But other aspects of the movie genre troubled her, so she went back to the archives and wrote up her own compact account of 120 pages.

A gripping narrative and a lesson in method, Davis’s book raised questions about the reliability of evidence and the motives and worldviews of peasant men and women from a faraway place and time. It is an example of a microhistory, where historians turn away from the big canvas of kings, queens and battles to understand ordinary lives, often through a highly localised case study.

The Return of Martin Guerre was one of a series of works including Society and Culture in Early Modern France (1975), Fiction in the Archives (1987), Women on the Margins (1995) and The Gift in Sixteenth-Century France (2000). Davis’s trademark was the longer essay or biographical study, often focused on marginal or misunderstood personalities, all spiced with a sharp attention to issues of religion, gender, sex, class, money and power. Historical records for her were never dull: she once described them as “a magic thread that links me to people long since dead and with situations that have crumbled to dust”.

Born in Detroit, Natalie was the daughter of Helen (nee Lamport) and Julian Zemon, a textile trader, both children of east European Jewish immigrants to the US. While studying at Smith College, Massachusetts, at the age of 19 she fell in love with Chandler Davis, a brilliant mathematician and socialist activist; they married in 1948 and went on to have a son and two daughters. Her first degree, from Smith (1949), was followed by a master’s at Radcliffe College (1950).

Her life with Davis was productive and fulfilling but also complicated her early career, as his principled stances against McCarthy-era restrictions on political expression led to both him and her being barred from a number of posts, and from travelling abroad. This she needed to do for her doctorate on 16th-century France.

After finally gaining her PhD at Michigan University in 1959, Davis went on to hold positions at Toronto, moved in 1971 to the University of California, Berkeley, where she was appointed professor, and in 1978 to Princeton, retiring in 1996. She became only the second woman to serve as president of the American Historical Association (1987), and the first to serve as Eastman professor at Oxford (1994). In 2012 she was appointed Companion of the Order of Canada, and in the US was awarded a National Humanities Medal.

Davis helped establish programmes in women’s studies and taught courses on history and film. Her AHA presidential address, History’s Two Bodies (1988), summed up her thinking about gender in history. It was also the first such address to be printed with illustrations. Her book Slaves on Screen (2002) was one of the first in-depth treatments of this topic by a professional historian.

In her last two books, Davis returned to the exploration of mixed identities. Trickster Travels (2006) was about the 16th-century scholar Leo Africanus, whose complicated Jewish and Muslim roots in North Africa she expertly unpicked. Listening to the Languages of the People (2022) focused on the 19th-century scholar Lazare Sainéan, a Romanian-Jewish folklorist and lexicographer who published one of the world’s first serious studies of Yiddish, but had to abandon his Romanian homeland for Paris in 1901.

At the time of her death, Davis was completing a study of slave families in colonial Suriname: it is hoped this will appear under the announced title of Braided Histories. In this way she continued to explore unconventional topics, going against the grain of Eurocentric history and looking instead at the boundaries of identity and belonging in very different settings.

Visiting many universities and research centres in her retirement, Davis encouraged younger scholars by conveying the potential of history to inspire empathy and hope for change. While at my own institution, the University of Amsterdam, in 2016, she made it her main aim to talk to students rather than to other professors. In 2022-23 she presented her latest work in online seminars, and wrote and corresponded actively until shortly before her death from cancer.

Chandler died in 2022. Natalie is survived by her three children, Aaron, Hannah and Simone; four grandchildren; three great-grandchildren; and a brother, Stanley.

🔔 Natalie Zemon Davis, historian, born 8 November 1928; died 21 October 2023

Daily inspiration. Discover more photos at Just for Books…?

[lakemojave]

hey, i wanted to ask you, how did you get your start? i having been thinking about starting streaming/making videos for a while now, but i was always nervous about it. any suggestions. for a beginner?

I just answered the one about video essays so I'll talk about my streaming history!

4 years ago I was in college with a couple games I really wanted to play but I couldn't really balance it well without justifying a strict schedule and some kind of productive motivation. I decided streaming would be a good way to play some games every week, be social, and produce something in the process. When I graduated I made the push for affiliate, met some streaming buds, built a community, and that was that! There's some complicated stuff in the last couple years but the foundation of my channel was just a desire to play games and hang out with people, maybe make some people laugh, share the stories I like

[thistransient]

- So I went to the Taiwanese trial class with my friend. It was taught by a little old lady who was nice enough but gave me some mild flashbacks to those harrowing weeks with the Mandarin teacher of a similar age. Most of the session was her explaining the history of 台語 in Taiwan, with a side of trying to force the 8 tones and counting from 1 to 10 upon us via rote memorization. I felt a bit frustrated and not entirely thrilled, my friend was miffed that the school hadn’t explained the price they quoted was for the trial class only. We’ve decided to give it a pass and try a different school, although our scheduled trial there is on hold on account of the teacher falling ill. In the meantime my friend has begun to contemplate taking group Japanese class instead (as his partner and her kid are Japanese), which is much more widely available. I am tempted. Do I need to start half-assedly learning yet another language? Probably not. Do I want to divert my energy from Mandarin to whole-assedly learn Japanese? Also not really. Is there a high chance of following through nonetheless? At least I’m self-aware about it...

- Job applications here largely require a photo, and I need a haircut but I’m afraid to go back to the place I went in August for the big chop. The guy started cutting it while wet, then broke out the blow-dryer and kept snipping til he was satisfied, but because my hair is curly and I do not own styling product more complicated than a comb, it reverted immediately to a vague dandelion shape and took several months to actually resemble the reference photo I’d provided. The thought keeps crossing my mind to simply shave my head entirely. I had it buzzed to a 3 some ten years ago after a dye-job gone wrong and did not enjoy my appearance. Of course I look different now, and hair grows back, but the struggle between wanting the catharsis and radical change (not to mention less mess in the shower drain strainer) of a head-shave, and fearing the hassle of growing it all back out if I do truly detest it is raging inside of me.

- After coming back from Korea I may have spent one whole day languishing in bed and eating spoonfuls of peanut butter as a meal before slowly reconvening daily activities. I have been meeting some friends and going out, but I end up needing one day of hermit-like recovery for every outdoor social endeavour. I have yet to implement any kind of proper schedule (beyond “try to eat three meals and go outside at least once”), leading my friends to recommend I start by contemplating my greater, overarching goals for life. Every few years I come round to the notion of attempting a STEM degree (which would require redoing undergrad, but, as they say, “the time will pass anyways”). I think it would be really engaging to do a program taught in Chinese, and possibly motivate me to overcome my deficiencies in the math department, which is what always puts me off the whole scheme. Scientific terms are so much simpler in Mandarin because they’re extremely 顧名思義 (just as the name implies); English really shot itself in the foot with all the Greek and Latin. I don’t even need to check the dictionary to figure out 光合 means ‘photosynthesis’... Will I actually follow through with this, and live out my days happily studying trees and avoiding small talk with humans, or will I continue to trundle through life intermittently trying to teach English between bouts of autistic burnout? When I put it that way, the answer seems obvious, but this is without factoring in all the bugs that live in trees... Also wasn’t I trying to convince myself to go to grad school for what, translation? linguistics? library science? something? just a few months ago? Maybe overarching life goals are a red herring at present, and I should just get a job first and then see what kind of things I’m interested in when I have consistent disposable income to pursue them at length.

- I am, at the ripe old age of my mid-30s (I’m rounding up since my birthday is next month- again, so soon??) being forced to reconsider what it means to like someone. Perhaps on account of being socially inept and spending all of my formative years in Catholic school, I took for granted that it was that painful, infatuated pining one feels for attractive strangers or casual acquaintances who generally don’t reciprocate. In the past couple years I began to experience the strange phenomenon of having great affection for friends I’d gotten to know slowly and who became increasingly physically appealing as time wore on, but I wrote this off as Mystery Emotion X because it lacked that frantic obsession I was accustomed to. Now I suspect this may simply be a healthy manifestation of romantic attraction. I’ve often struggled with exactly what identity label the intersection of my gender, attraction pattern, and neurodivergency might land me under. I think the plot is thickening... but I will put off pursuing further clarity by going to the BDSM bar instead.

[richmond-rex]

The Yorkists were dysfunctional but they were far from the only ones? William the Conqueror's sons, Henry II and his brother Geoffrey, Henry II and his wife & sons, Edward II and Isabella of France etc are some among the long list of royals with incredibly destructive relationships. And while Henry V and his brothers were close, Henry V was hardly on shining terms with his own father. Not to mention the conflicts between Henry VIII's children. And that's just limited to England - the royal families of the rest of Europe had their own fair share of dysfunction. So the Yorkists were dysfunctional, but ultimately, it definitely wasn't limited to them lmao - history is shaped and littered with dysfunctional royal families. That's, to put it bluntly, fairly common - there's nothing specifically "wrong" with them lol. The comparison between the York brothers and Henry IV's sons makes sense, but ultimatey it's a very broad comparison: there were several differences in their respective situations that makes it difficult to see them as direct parallels.

Not to mention the fact that Edward IV, apart from his execution of Clarence (which occurred after he'd forgiven him twice for actions that multiple royal brothers across history had gotten imprisoned or immediately executed for) got along very well with most of his direct family and his wife's direct family during his life and was very generous and affectionate towards them? Several contemporary reports prove this. I don't think it's particularly fair to compare him to Richard III, who disparaged his brother, executed multiple in-laws, and imprisoned and murdered his nephews lol. And Margaret of York is a different situation altogether, as she was a political player from another nation. That automatically gives her different motivations from the rest of her family, and this conflict of interest was very common with princesses who married into different countries. Her situation wasn't as simple as an aunt turning against her niece lmao, that's reducing a complicated international situation to a domestic squabble and severely minimizing Margaret's political agenda and political power in the process.

This got long but I guess what I'm trying to say is that the Yorkists of that particular generation were very dynamic and glamorous people and did ultimately destroy each other (although imo that belief tends to equalize the situation of 1483 when the responsibility mainly lay at Richard III's feet) but apart from Richard III, I don't see them as singularly horrifyingly dysfunctional. Their conflicts were pretty common across royalty across all ages, and I guess it's a compliment to them that their drama just seems more interesting lol

Hi! I'm not sure if you're dialoguing with Pollard or with the last anon (hopefully they'll read this ask) but I see your point, the combination of hereditary monarchy and arranged marriages was hardly conducive to harmonious families. However, it's possible we're not understanding exactly what Pollard meant by 'functional/dysfunctional' — I would describe a functional royal family one whose members are effective in maintaining said family in power, regardless if they liked or were nice to each other. Many of the situations you described were actually the product of or the cause of various crises in the monarchy. For example, a friend told me that in regard to Henry II's family situation:

They were actually a break in the Angevin tradition- which favored more loose structures and depended on familial cooperation and occupied a weird grey area in the in-between in the Norman tradition of "predatory" (as Searle would put it) interactions within the family. Strickland also makes the case that Henry II's family problems were a product of that and the anxiety surrounding granting land/power to his sons [...] the Angevin family problems seem much less like an inherent feature than a bug from straddling two very different systems of ruling.

From what I understand, the thing about the Yorkist case, in particular, is that its 'dysfunctionality' led to the destruction of the family's position (not that similar cases didn't happen or almost happen in the past), that is, the members of that family were incapable of 'function' in a way that safeguarded their position of power. Royal families weren't just families, they were political firms, and it was utmost for their survival for their members to cooperate. I'm not really interested in discussing them from a psychological/personal drama point of view, though I understand there are people who are. I think historians like Pollard are more interested in discussing them from a political point of view.

[bakaity-poetry]

To this emphasis on plurality as a perpetual alibi, we can add another thesis from Spinoza. As Spinoza argues, we are more likely to hate or love an act that we consider to be free than one which is considered necessary. On this last point Spinoza’s affective economy intersects with one of the central points of Marx’s critique of political economy, that of fetishism, which could, in part, be summed up as perceiving the capitalist mode of production as necessary and natural, rather than the product of social relations. The naturalization of the economy, its existence as self-evident natural laws, makes it difficult for us to hate it, to become indignant. To this assertion we could add that the more complicated and distant the causes of our desire are, the more likely we are to see ourselves as free, as autonomous. We remember the encounter, the love, that made a given song desirable or the case of food poisoning that made us hate a particular dish; these desires and joys are not opaque to us. In contrast to this, we do not think about the history of wage labor, the destruction of the commons and other alternatives that are the prehistory of our day-to-day struggle to find a job. Nor do we perceive the fluctuations and transformations of capital as anything other than facts of life. We fail to grasp the history and politics of the shaping of our desire. Money appears to us as the natural object of desire, because the historical conditions of its emergence exceed our memory. Wage labor appears to be the only way to realize our striving, because the structural conditions of its determination exceed our grasp. The affective economy of capitalism is one in which it is easier to become angry and grateful at the deviations, the cruel bosses and the benevolent philanthropists, while the structure itself, the fundamental relations of exploitation, are deemed too necessary, too natural, to merit indignation.

Lordon makes a strong claim that capitalism must be considered a reorganization of desire, a claim that resonates well with neoliberal capital’s own self-presentation as a matter of motivation and desire. However, as his own remarks about the naturalization of capital make clear, it is not just desire that is reorganized by capitalism, but knowledge and the imagination as well. Our inability to imagine alternatives, to envision modes of happiness other than consumer fantasies, or “dream jobs,” as well as our inability to comprehend the current economic order as just that, an economic and political order and not a fact of life, are as much elements of our subjection as desire. Subjection must be found at the intersection of desire, knowledge, and imagination. The limits of Lordon’s focus, the focus on desire, are not, however, the limits of the intersection of Spinoza and Marx. As philosophers from Althusser to Negri have demonstrated, Spinoza develops a theory of the imagination that posits it to be both the site of our subjection to the dominant superstitions and the condition of our creation of different modes of thinking and feeling. Similarly, others have demonstrated that Spinoza’s theory of knowledge proceeds from the isolated and singular cases which make up experiences, experiences that are ungraspable in the singular mixture of the outside world and our own states, towards the common notions, the shared conditions which structure our world. Liberation, like subjection, is a matter of desire, imagination, and knowledge. Lordon has offered an important contribution to the intersection of Marx and Spinoza, the necessary incompleteness of which only underscores both the complexity of our subjection and the richness of Spinoza’s contribution to not only any critique of that subjection, but any construction of our liberation.

[fenway03]

While we're at it…

Duolingo has never been a platform that paid translators fairly. In fact, right from the start, they have shown zero respect for the translation industry and for the skills required to be a good translator. Their initial business model involved a crowdsourced translation service where they'd let language learners translate texts and then sell those translations to their clients (e.g., see this 2015 TechCrunch article).

Furthermore, the growth of Duolingo as a language-learning platform was only possible due to lots of naive language nerds who worked for free and helped create all those exercises through the company's Volunteer Contribution Program. That was a classic techbro asshole move on Duolingo's part: appeal to the good intentions of people with a passion for the subject/product, keep them motivated with lots of shallow talk about how their work will contribute to a brighter future where people have free access to knowledge and education, blablabla – and while all those well-meaning dummies worked for free, the people behind Duolingo were cashing in the big checks, getting investors involved, and planning the further commercialization of their product.

And make no mistake: The grand gestures they're now making, such as honoring those volunteers with fancy awards and VIP access to special events, and even the promised belated financial compensation to be distributed among all volunteers are just tiny drops in the bucket that won't hurt the company at all. And they won't undo all the exploitation that has been going on there for years. The partial switch to AI is just another non-suprising move following a long tradition of similarly profit-driven moves.

But they're not the only jerks out there doing this. Two more examples: Facebook (of course, eyeroll) and TED Talks. The latter's subtitles are also created by volunteers. And not only that: Many of those volunteers are actual translators (often with proper training and all) at the beginning of their career who unfortunately think that's a great way to build their portfolio and get some of that awesome exposure. But it is not. It's just a shitty way of helping all those rich tech companies get richer and further devaluing the translation profession. (If you happen to be a newbie translator reading this and looking to build your portfolio, do pro bono translations for people and organizations who really need your help!)

Obviously, this scheme is found in other fields as well, with people in creative industries being particularly vulnerable and gullible. Whenever someone promises your work will serve a greater good or provide you with career-boosting exposure, take a deep breath and then a close look at what kind of business or product you're about to support with your free labor. 9 times out of 10 you should be asking for real compensation.

And if you're a user of such products, 9 times out of 10 you should stop using them (and you should definitely stop paying for them).

But of course, life is complicated. Even if you should stop doing something, it's not always possible. Or at least not right away. (For example, I still use Facebook because of some non-public groups only found there.) But there's something you certainly can and must do: Pay more attention. Find out where your money is going, or, in the case of free services: Who will get your data, and how can they profit from them? Who's getting paid, and who's not getting paid? What's the history of the company or product? And do you really need it?

At least in some cases you will realize that you don't need the service or product at all.

AI in the form of large language models (LLMs) and generative algorithms used for tools like ChatGPT, Midjourney etc. increases this dilemma because it makes it even more difficult to find and use products whose creation didn't involve a lot of people getting exploited. And this will be the case for at least a while until the techbro hype has died down and people will learn to appreciate the value (well-paid) humans bring to a product or service. Lots of companies are currently trying to cut costs and corners by integrating these new AI models into their workflows. For some, it has already backfired (just ask the law firm Levidow, Levidow & Oberman about their little ChatGPT whoopsie); others will still learn this lesson the hard way. And of course, things will get reaaally fun when there's so much AI-generated content that the models will start ingesting too much of it, thereby poisoning themselves. Grab your popcorn, folks!

On a more serious note though: AI itself isn't the problem. It's an umbrella term that comprises a multitude of different methods and strategies, some of which are extremely useful (for example, in early-stage cancer detection). And there are many people, companies, and organizations that try to integrate AI into their workflows in a careful, cautious manner. You're already using lots of things in your daily life that wouldn't be possible without AI. Even your use of Tumblr is likely enabled by AI because fast internet requires smart routing of all that data traffic.

So from now on, when you look behind the scenes of how a tool or service gets provided, the mere fact that some AI is involved shouldn't be a disqualifier. You need to dig deeper. What kind of AI? What purpose is it used for? Does it actually help humans work smarter or does it force them to work harder?

There are problematic people on both ends of the spectrum: techbro bootlickers praising our AI overlords on one end, and uninformed luddites waving "boycott AI" signs on the other end. But a solution and a way out of this mess can only be found somewhere in the middle.

(Much more could be said about the use of AI/MT in the translation industry, how it's currently evolving, and how often people (unknowingly) support the exploitation of translators... Maybe in a future post...)

Heads up to not use Duolingo or to cease using it

In December 2023 they laid off a huge percentage of their translation teams, replacing them with ai and having the remaining members review the ai translations to make sure the translations are “acceptable” (Note how they use the world acceptable and not accurate)

Link to the tweet that informed me of this:

https://x.com/rahll/status/1744234385891594380?s=46&t=a5vK0RLlkgqk-CTqc0Gvvw

If you’re a current user prepare for an uptick in translations errors as I’ve already seen people in the comments say they’ve noticed

[thellawtoknow]

Counterfeit 101: Legal Perspectives, Prosecution, and Big Penalties

The Phenomenon of Counterfeit: Implications, Motivations, and ChallengesHistorical Context and Evolution Counterfeiting as a Crime: Legal Perspectives, Prosecution, and Penalties Types of Counterfeiting Crimes1. Currency Counterfeiting 2. Trademark and Copyright Infringement 3. Document Forgery 4. Counterfeit Pharmaceuticals and Goods The Phenomenon of Counterfeit: Implications, Motivations, and Challenges Counterfeit, the act of creating or distributing unauthorized replicas of authentic goods or documents, is a multifaceted phenomenon with significant cultural, economic, and ethical implications. It transcends industries, from currency and luxury goods to pharmaceuticals and digital assets, posing a pervasive challenge to societal systems worldwide.

Historical Context and Evolution The history of counterfeiting is as old as the concept of value itself. Ancient civilizations grappled with counterfeit currency, with unscrupulous individuals minting coins from inferior metals and passing them off as gold or silver. As economies and technologies evolved, so too did counterfeiting methods. During the Industrial Revolution, mass production enabled counterfeiters to replicate goods on an unprecedented scale. In modern times, the digital revolution has expanded the scope of counterfeit to include digital products, such as pirated software, fake social media profiles, and even fraudulent cryptocurrencies. Counterfeiting as a Crime: Legal Perspectives, Prosecution, and Penalties Counterfeiting is a serious criminal offense that undermines economic stability, endangers public safety, and erodes trust in commerce and governance. As a penal offense, it is addressed under various legal frameworks worldwide, with penalties designed to deter individuals and organizations from engaging in such activities. This essay explores the legal dimensions of counterfeiting, focusing on its categorization under penal law, the complexities of prosecution, evidentiary requirements, and the penalties associated with it. Types of Counterfeiting Crimes Counterfeiting encompasses various forms, each posing distinct challenges and threats to societal, economic, and individual well-being. This essay delves deeper into four major categories of counterfeiting crimes: currency counterfeiting, trademark and copyright infringement, document forgery, and counterfeit pharmaceuticals and goods, analyzing their impacts, legal frameworks, and enforcement challenges. 1. Currency Counterfeiting Currency counterfeiting is the unauthorized creation, possession, or distribution of fake money, and is considered one of the gravest forms of counterfeiting. It directly undermines a nation’s economic stability and trust in its financial institutions. Threats and Implications - Economic Disruption: Counterfeit currency reduces the purchasing power of genuine money, contributing to inflation and destabilizing monetary policies. - Loss of Trust: It erodes public confidence in a nation’s currency, affecting both domestic and international trade. - Criminal Syndicates: Counterfeit currency is often linked to organized crime and terrorism, as it provides a means to finance illegal operations. Legal Framework - Most jurisdictions classify currency counterfeiting as a felony. In the U.S., for instance, it is punishable under Title 18, Section 471 of the U.S. Code, with penalties including up to 20 years of imprisonment. - Internationally, the Geneva Convention for the Suppression of Counterfeiting Currency (1929) established frameworks for cross-border cooperation. Challenges in Enforcement - Advanced printing and digital technologies make it easier to produce high-quality counterfeits. - Detection requires sophisticated tools, such as ultraviolet light scanners and ink analysis. - Counterfeit money often circulates undetected in large-scale operations, complicating efforts to trace its origins. 2. Trademark and Copyright Infringement Trademark and copyright infringement involve the replication or unauthorized use of intellectual property, including branded goods, creative works, and patented inventions. This type of counterfeiting is widespread, particularly in industries like fashion, technology, and entertainment. Threats and Implications - Economic Losses: Counterfeit goods result in significant revenue losses for legitimate businesses and industries. - Consumer Deception: Consumers are misled into purchasing low-quality products, damaging trust in authentic brands. - Health and Safety Risks: In some cases, counterfeit goods, such as electronics or toys, fail to meet safety standards, posing hazards to consumers. Legal Framework - Trademark infringement is prosecuted under intellectual property laws, such as the Lanham Act (U.S.), which protects brand identity. - Copyright violations are governed by laws like the Copyright Act, with penalties including fines and imprisonment for willful infringement. - International treaties like the TRIPS Agreement ensure that member states implement minimum standards for intellectual property protection. Challenges in Enforcement - Online marketplaces and social media have become hubs for the sale of counterfeit goods, making regulation and enforcement difficult. - Many counterfeit operations are transnational, requiring international collaboration to dismantle supply chains. 3. Document Forgery Document forgery refers to the creation or alteration of documents such as passports, identification cards, contracts, and certifications, with the intent to deceive or defraud. It is often a precursor to other crimes, including fraud, smuggling, and identity theft. Threats and Implications - National Security Risks: Fake passports and identification cards can facilitate illegal immigration, terrorism, and human trafficking. - Financial Fraud: Forged contracts and certifications enable fraudulent schemes, resulting in significant financial losses for individuals and businesses. - Undermining Trust: The prevalence of forged documents erodes trust in official systems and institutions. Legal Framework - Document forgery is criminalized under penal codes worldwide. For example, Section 471 of the Indian Penal Code prescribes severe penalties for using forged documents. - Specific laws address related offenses, such as identity theft and immigration fraud. Challenges in Enforcement - Advances in technology, including high-resolution printers and photo-editing software, make it easier to create convincing forgeries. - Detecting forgeries requires specialized training and tools, such as holographic security features and biometric verification. 4. Counterfeit Pharmaceuticals and Goods Counterfeit pharmaceuticals and goods involve the unauthorized production or distribution of fake medicines, food products, or consumer items. This type of counterfeiting is particularly dangerous due to its direct impact on public health and safety. Threats and Implications - Health Risks: Counterfeit medicines often contain incorrect or harmful ingredients, leading to poisoning, therapeutic failure, or death. - Economic Harm: The pharmaceutical industry incurs billions of dollars in losses annually due to counterfeit drugs. - Public Safety: Counterfeit food products and consumer goods, such as cosmetics and electronics, often fail to meet safety standards, posing risks like chemical exposure, fires, or electrical hazards. Legal Framework - Many countries have enacted specific legislation to combat counterfeit pharmaceuticals. For example, the U.S. Food, Drug, and Cosmetic Act criminalizes the manufacture and distribution of adulterated or misbranded drugs. - The Medicrime Convention, an international treaty, aims to prevent counterfeit medical products and ensure the safety of the pharmaceutical supply chain. Challenges in Enforcement - Counterfeit medicines are often distributed through illicit online pharmacies, making detection and regulation challenging. - Law enforcement agencies require specialized expertise to distinguish counterfeit products from authentic ones. Counterfeiting, in its various forms, poses a multifaceted threat to society, encompassing economic, legal, and public health dimensions. Whether it involves currency, intellectual property, documents, or goods, counterfeiting undermines trust, endangers lives, and disrupts economies. Addressing these challenges requires robust legal frameworks, technological innovation, and international cooperation to ensure the safety, security, and integrity of global systems. Legal Frameworks Governing Counterfeiting Legal provisions against counterfeiting typically fall under the following frameworks: - Criminal Codes: Most nations explicitly define counterfeiting as a criminal offense within their penal codes, specifying elements of the crime and associated penalties. - Intellectual Property Laws: Trademark, copyright, and patent laws are integral to combating counterfeit goods. Infringements that involve intentional deception are prosecuted under criminal statutes. - International Treaties: Agreements like the TRIPS Agreement (Trade-Related Aspects of Intellectual Property Rights) and conventions against currency counterfeiting promote cross-border cooperation. Prosecution of Counterfeiting Crimes The prosecution of counterfeiting crimes involves multiple challenges, as these offenses often require technical expertise and robust investigative methods. Key aspects of prosecution include: - Jurisdiction - Counterfeiting often involves transnational operations, requiring international cooperation for prosecution. Treaties such as the United Nations Convention against Transnational Organized Crime facilitate jurisdictional collaboration. - Investigation - Proving counterfeiting requires extensive investigations, often involving collaboration between law enforcement agencies, forensic experts, and intellectual property owners. Investigative methods include: - Forensic Analysis: Determining authenticity of goods or documents using advanced techniques like spectral analysis or chemical testing. - Digital Surveillance: Tracking online marketplaces and dark web platforms where counterfeit goods are sold. - Burden of Proof - Prosecutors must establish the following elements beyond a reasonable doubt: - Intent: That the accused knowingly engaged in creating or distributing counterfeit items. - Deception: That the counterfeit was intended to defraud victims, whether consumers, governments, or businesses. - Evidence of Manufacturing or Distribution: This may include physical evidence (e.g., printing presses, molds) or digital evidence (e.g., online transactions). - Challenges in Proof - Sophistication of counterfeit operations often makes detection and proof difficult. Some of the key challenges include: - Identifying the supply chain, especially when counterfeit goods are smuggled across multiple jurisdictions. - Distinguishing counterfeit items from authentic ones when the replicas are of high quality. Penalties for Counterfeiting The penalties for counterfeiting vary by jurisdiction and depend on the severity of the offense. Common penalties include: - Imprisonment - Counterfeiting is often classified as a felony, with imprisonment terms ranging from several years to life in severe cases, such as large-scale currency counterfeiting. - Fines - Offenders may face substantial fines, calculated based on the value of the counterfeit goods, damages to victims, and profits derived from the crime. For example, intellectual property laws often impose statutory damages. - Asset Forfeiture - Courts may order the seizure of equipment, materials, and profits associated with counterfeiting operations. - Restitution - Offenders may be required to compensate victims, including businesses or individuals who suffered financial or reputational harm. - Corporate Penalties - In cases where businesses are involved in counterfeit production or distribution, penalties may include revocation of licenses, dissolution of the company, or exclusion from government contracts. Case Study: International Cooperation in Counterfeiting Prosecution The global nature of counterfeiting necessitates international cooperation. A notable example is Operation Pangea, an initiative by INTERPOL and the World Customs Organization targeting counterfeit pharmaceuticals. The operation involves coordinated raids, online monitoring, and public awareness campaigns, leading to the seizure of millions of counterfeit drugs and the arrest of perpetrators worldwide. Counterfeiting as a crime presents significant legal and societal challenges, requiring robust penal laws, effective prosecution mechanisms, and stringent penalties. By criminalizing counterfeit activities, legal systems aim to deter offenders, protect consumers, and preserve economic stability. However, the transnational and technologically sophisticated nature of counterfeiting demands continuous innovation in law enforcement strategies and international collaboration. Ultimately, combating counterfeit crime is a collective effort, involving not only legal authorities but also businesses, consumers, and global institutions. Economic Implications The economic repercussions of counterfeiting are profound. Globally, counterfeit goods account for billions of dollars in lost revenue annually, affecting businesses, governments, and consumers. Legitimate manufacturers bear the brunt of these losses, as counterfeit products erode brand reputation and reduce market share. Governments lose tax revenues, undermining public services and economic stability. For consumers, counterfeit goods often represent false value, as they tend to be of inferior quality, leading to dissatisfaction or even harm. Ethical and Safety Concerns Beyond economic damage, counterfeiting raises significant ethical and safety concerns. In the pharmaceutical industry, counterfeit medicines pose a direct threat to public health, as they may contain harmful substances or lack therapeutic efficacy. Fake personal protective equipment (PPE), counterfeit automotive parts, and substandard electronics further highlight the dangers associated with counterfeit goods. Ethically, counterfeit operations often exploit labor, relying on vulnerable workers in unsafe conditions to produce imitation products. Cultural Dimensions of Counterfeit Counterfeit also has cultural implications, particularly in the arts and intellectual property. The forgery of art, literature, and music not only undermines the authenticity of cultural artifacts but also challenges the concept of originality and creativity. In a globalized world, counterfeiting has created tension between cultures—some viewing counterfeit goods as a survival mechanism in underprivileged economies, while others see them as a direct assault on intellectual and cultural integrity. Technological Advancements: Double-Edged Sword Modern technology has played a paradoxical role in the realm of counterfeit. On one hand, advances in printing, manufacturing, and digital tools have made it easier for counterfeiters to produce convincing replicas. On the other hand, technologies like blockchain, AI, and machine learning offer robust solutions to combat counterfeiting. Blockchain, for instance, enables the tracking and verification of goods in supply chains, ensuring authenticity. AI can analyze patterns and detect anomalies in counterfeit detection systems. Motivations Behind Counterfeiting Counterfeiting thrives in contexts of inequality and consumer demand for affordable alternatives. For many counterfeiters, the practice is a low-risk, high-reward enterprise, especially in regions with weak enforcement of intellectual property laws. From a psychological perspective, consumers who purchase counterfeit goods may do so out of aspiration, seeking the prestige associated with luxury brands at a fraction of the cost. Others may be driven by unawareness or indifference to the ethical implications of their purchases. Legal and Policy Responses Efforts to combat counterfeiting have taken various forms, including stricter intellectual property laws, enhanced enforcement mechanisms, and international cooperation. Organizations such as INTERPOL and the World Trade Organization (WTO) have been instrumental in fostering global partnerships to tackle counterfeit trade. However, the effectiveness of these measures often depends on the political will and resource allocation of individual nations. The Philosophical Dimension: The Authentic vs. The Imitation On a deeper philosophical level, counterfeit challenges our notions of authenticity and value. What does it mean for something to be "real"? In an age where simulations and imitations abound, the boundary between the authentic and the fake becomes increasingly blurred. This question extends beyond goods to encompass human experiences, identities, and even relationships in a world where the "counterfeit" is often indistinguishable from the "original." Conclusion Counterfeiting is a complex and pervasive issue that touches upon economic, ethical, cultural, and philosophical dimensions of human life. Addressing it requires a multifaceted approach, combining technological innovation, legal frameworks, and cultural awareness. At its core, counterfeiting is a reflection of human ingenuity and desire, albeit misdirected. To combat its adverse effects, society must foster a collective commitment to authenticity, fairness, and integrity in all its forms. Read the full article