#myth of the lost cause

[socialjusticeinamerica]

Debunking the myth of the Lost Cause: A lie embedded in American history...

[doloneia]

as an academic i believe every lost greek epic is a tragic loss of valuable material that could have provided modern scholars an immense amount of insight into homeric tradition. however as an odysseus enjoyer, i think the telegony was kinda cringe and ooc

[what-even-is-sleep]

thinking about Bodkin again bc I mean,,, ALL THE SYMBOLISM OHHHHHGH. i NEED some tumblr film analysis hobbyists to watch this show and tell me all the themes n such

[justinspoliticalcorner]

S.V. Dáte at HuffPost:

WASHINGTON — It took decades for defenders of the Confederacy to rewrite the history of the Civil War to recast Southern rebels’ treasonous attack against the United States as an act of honor and courage. It took Donald Trump a mere fraction of that time to accomplish the same feat for his Jan. 6, 2021, coup attempt. In a mere four years, that day’s effort to end or, at the very least, suspend American democracy with a deadly assault on the Capitol, incited by Trump himself, has for a large swath of the country instead become a peaceful protest whose participants have been persecuted by Trump’s political opponents. “What they have in common is that in both cases a story is propagated that a portion of the population wants to hear because it absolves them, or those in their in-group, of a transgression of not just the law, but of commonly held moral principles,” said Gabriel Reich, a Virginia Commonwealth University professor who has studied how the history of the Civil War and Reconstruction is taught in schools.

“Liberal democracies really struggle with bad-faith actors who manipulate existing rules and norms to their own benefit,” he added. Tom Joscelyn, a counterterrorism expert who served on the staff of the House Jan. 6 committee and was a co-author of its report, said he still finds it hard to believe that people could watch what happened that day unfold on television and then still accept Trump’s version of it. Unlike children growing up in the South in the 1940s and 1950s, for whom the Civil War was generations in the past, Trump’s followers and allies are rejecting readily available evidence of contemporary violence. “All you need is the images and the videos from that day, his own words, and what you saw with your own eyes, and it was clear that he had crossed some bright lines,” he said. “All of that should have been disqualifying, and it wasn’t.” [...] “These people have been treated really, really badly,” he told Time magazine last month. “They’ve suffered greatly, and in many cases they should not have suffered.” [...]

From Protecting Slavery To The Honorable ‘Lost Cause’

When America elected the leader of a party dedicated to abolishing slavery as president, 11 Southern states decided to secede and started a war against those that remained. That these rebel states would lose was likely inevitable, given the Union’s industrial might and population advantage, and 700,000 deaths later, they did.

Yet within a few short years, an effort to reinvent that loss and the motivations behind it began. Confederate sympathizers and segregationists in academia, the media and politics cast men like Robert E. Lee — officers in the U.S. Army who had taken up arms against the United States — as tragic American heroes. And the reason behind the war, the preservation of human slavery, was replaced with a principled defense of “states’ rights” — even though slavery was plainly cited in the states’ own articles of secession. “They made sure that teachers, including university-level historians, taught that story as historical truth, while simultaneously suppressing other points of view from the media,” VCU’s Reich said. It took decades of repetition, replete with the construction of statues and memorials to the leaders of the failed insurrection, but this “Lost Cause” myth eventually became an accepted narrative, primarily in the South but to a lesser extent all over the country. So much so that some U.S. military bases in the first half of the 20th century were named for Confederate officers.

Trump’s propaganda campaign to redefine Jan. 6, in contrast, has taken place at lightning speed. On Jan. 6 itself and in the days immediately afterward, the early consensus was that Trump had incited the attack on the Capitol and that he was wrong to do so. Republican congressional leaders blamed him in floor speeches. Trump himself on Jan. 7 read prepared remarks warning members of his mob: “To those who broke the law, you will pay.” Trump’s former United Nations ambassador, Nikki Haley, expressed the conventional wisdom at the time that Trump was finished. “I think he’s lost any sort of political viability he was going to have,” she told Politico on Jan. 12.

Four years later, Trump is about to return to the same White House he left in disgrace. His new administration will be stocked with those willing to repeat and spread his continuing lies about the 2020 election. And he has promised not only to pardon those prosecuted for taking part in the Jan. 6 attack but to prosecute those who tried to hold him and his followers to account.

The Triumph Of The Repeated Lie

That Trump was able to return to power, despite everything, was perhaps foreseeable because he never lost the loyalty of the Republican primary voting base. Indeed, the day after his coup attempt had failed, the overwhelming majority of the 163 members of the Republican National Committee gave him a sustained ovation when he called into their winter meeting in Amelia Island, Florida. Three weeks later, then-House Speaker Kevin McCarthy, at the time the country’s highest-ranking elected Republican, visited Trump at his South Florida country club, effectively signaling that Trump remained the party’s leader. Two weeks after that, Senate GOP leader Mitch McConnell, while lambasting Trump for his behavior leading up to and on Jan. 6, nonetheless voted not to convict Trump for inciting the insurrection following his House impeachment for that offense. A conviction would have been followed by a vote to ban him from federal office for life.

By April, the RNC was again holding fundraising events at Trump’s Mar-a-Lago club, putting donors’ money into his personal bank account. Officials acknowledged privately that Trump remained their biggest fundraising draw and that they had to go along with the fiction that the 2020 election had been stolen because their voters believed it to be true — even though the only reason for that belief was Trump’s lies. And by the end of 2021, following the release of conspiracy theorist Tucker Carlson’s “documentary” claiming that the Jan. 6 insurrection was actually a “false flag” operation by the FBI, Trump began calling those under prosecution for taking part in his coup attempt — even the hundreds convicted for having assaulted police officers — “hostages” and “political prisoners.” Republican candidates for offices large and small in increasing numbers made pilgrimages to Palm Beach to win his endorsement. Journalists similarly made the trek — not to ask about his unprecedented attempt to thwart the peaceful transfer of power, but about his candidacy to regain the presidency in 2024.

The new “Lost Cause” myth for Jan. 6 was complete.

4 years ago today, Donald Trump (along with the right-wing media and several GOP politicians) helped incite the violent Capitol Insurrection fueled by his lies about the 2020 election outcome.

4 years later, the man who helped incite the violent domestic terrorists to storm the Capitol with the intent to overturn Joe Biden’s win (and failed to overturn it) is sadly headed back to the White House with no punishment served for his actions.

During the four years, MAGA cultists have pumped out history revisionist narratives about the day by recasting the domestic terrorists who stormed the Capitol as “patriots”, akin to the Lost Cause mythology that upheld the traitorous slavery-protecting secessionists who broke away from America as “heroes.”

See Also:

The Beautiful Mess: Grieving 77 Million Insurrectionists on January 6th

Robert Reich: A day that shall live in infamy, as should Donald J. Trump

[tommy-288]

One of the biggest things I hate about the Lost Cause Myth (the whitewashing is horrible) but also the name?? Like if it was such a Lost Cause why did you continue fighting? Or even attack Fort Sumter? Like….

“Men, we’re going to lose this war, and the south will suffer for years. It will be horrible, violent, and the casualties will be incomprehensible. But let’s go on ahead and declare war anyways…”

[terresdebrume]

Body update: it turns out that after about a year (ish) of trying to eat more healthily and avoiding fast food, my body cannot handle some of the meals I used to enjoy anymore

I had a burger last week at DND and was sick, and I thought it was bc the burger particularly greasy, but then when I ordered from my usual place today (less horrendously greasy but still, you know, a fast food burger) I actually kinda stopped enjoying it three bites in and had to put in some effort to finish it x)

Oh well

[duxfemina]

I feel about Pompeius Magnus the exact same way I feel about Hector of Troy and I feel like if you know you know

[impossible-rat-babies]

puppets bunker and ddos attacks have never been so much fun

[thesungod]

I always wonder what Apollo's definition of "lovers" is because he keeps including Daphne in that and I have never seen a version of the story where she's even remotely interested in him. Aside from RR's assertion that Eros' arrows are based on the potential for real love or something. In fact- the most common version of her myth I've seen by FAR states that Daphne had already taken a vow of chastity to Artemis before Eros and Apollo even encountered her. Like Eros specifically picked her to send Apollo after because she had sworn to remain a virgin and then gave her a lead arrow just to rub salt in the wound. Does that count as a lover

“I have never seen a version of the story where she's even remotely interested in him”

You cooked him💀

But seriously: that’s a good question.

I suppose we could make the educated guess that when Apollo says “lover”, he means “person I’ve been in love with” and not “person I’ve had a relationship with”.

Which is kinda sweet if you think about it, lmao

edit: anyone who’s rightfully put off by Rick’s version of Apollo and Daphne may be interested in this follow up ask!

[ananke-xiii]

I'm fatally drawn to series that explore the themes of destiny&time but I'm also fatally left disappointed/traumatized/unhappy about their endings. Well, 80-90% of the time, to be honest: there are exceptions.

Loki (the Disney+ series, I know nothing about the MCU) is one of them. Compared to other shows , they've spared us (me) the "they're happy in their afterlife" and they've cut straight to the chase: after Loki's sacrifice life, in general, can go on but everybody's personal life is a little sadder. It's tragic and bittersweet and there's grief and people need some "waiting time" to heal. I appreciated the honesty. And they actually show us that: "let time pass".

Loki's sacrifice is also a thing of beauty: it's the closest representation of the original meaning of the word that I can think of. Or, at least, it manages to give it justice. Today's general understanding of "sacrifice" is giving up something for the sake of a higher purpose (a glorious purpose). However, "sacrum facere"'s original meaning was to offer something profane to a deity and make it sacred in the process. So it's kinda cool that in Loki we see its reversal: Loki, a god, offers something up (not exactly himself but the bonds he had created with the people in his life) to a bunch of human beings.

But the cool thing is that he is "burdened" with glorious purpose and he finally... surrenders? I mean, he accepts his Destiny but more importantly he accepts that his calling is not as he had imagined it and in accepting it he's able to co-create it: he can decide what kind of god he wants and needs to be. "I know what I want. I know what kind of god I need to be… for you. For all of us".

I can't shake the feeling that the writers were influenced by the works of James Hillman, specifically "The Soul's Code" because this is exactly that: no "nature vs nurture" dilemma but full recognition of one's individual energy.

Loki's sacrifice is not just a sacrifice for the benefit of others so that life can go on. It's a "sacrum facere" to himself too (sort of god to god lol): a part of him needs to be "made sacred" in order for him to become the kind of god he needs/wants to be for "all of us".

In other words, Loki's finale is one of those sad, beautiful endings that somehow also manages to give that little hope that change is possible. Not necessarily pain-free but possible nonetheless.

[thebellekeys]

I saw your post about the Confederacy in vampire media, and thought of TVD. For instance, they had Tyler wear a Confederacy uniform at the end of season 1 with Bonnie witnessing it and not saying anything. Also you mentioned that Damon was a Confederate soldier, although it was addressed in season 1 and season 7 that he didn't want to because he disagreed with what they stood for but was a part of it until he had the courage to stand up to his dad. Also Stefan describing being in the Confederacy as inspiring made me uncomfortable. I don't think he was as supportive of it as his father considering he defended Damon's decision to leave and his behavior later in the show, but I didn't like how it wasn't directly addressed later. Overall if the show was going to write about this time period it should've been written with much more sensitivity, especially since these are all major characters affiliated with this topic.

I mean, I don't really care that Damon didn't want to be a Confederate. In my post, I was focused on the fact that the show was founded on Confederate propaganda. Doesn't really matter if Damon "hated" being a Confederate. He was one, and he was depicted in uniform to boot. The show did not condemn or critically engage with the Confederacy through its narrative. It therefore adds to the Lost Cause mythology by making their male lead an "unwilling cavalier".

Sensitivity was missing, sure, but also critical engagement. And you can tell that was intentional, given the whole "Gone With the Wind" bit at the end of season 2.

[durnfordorama]

confederate soldiers were fighting for slavery and they knew it

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[thetreetopinn]

Sources for Somerton's Plagiarism from Hbomberguy's Video (as much as I could get)

I went back through Harry's video, focused entirely on the sources James Somerton pulled from in the hopes of creating as much of a comprehensive list as I could--though my Google-Fu is not very strong. I did however find something I thought was forever lost and that made me very happy--specifically the magazine Midlands Zone containing the column by Steven Spinks that Harry poignantly used as an illustration of gay erasure... while Somerton uses it to sound like HE is waxing remorseful about the very subject.

This is not a complete list, I'm sure. For one thing, I was only able to attempt to pull sources that Harry himself mentioned in the video. Surely there's so very much more out there. I expect there to be a great deal more internet archeology to unearth just how much writing and culture Somerton has stolen like he's the British Museum of Natural History but for gay people.

- - - - -

Harry's list of mentioned youtubers:

Alexander Avila - https://www.youtube.com/@alexander_avila Matt Baume - https://www.youtube.com/@MattBaume Khadija Mbowe - https://www.youtube.com/@KhadijaMbowe Lady Emily - https://www.youtube.com/@LadyEmilyPresents Shanspeare - https://www.youtube.com/@Shanspeare RickiHirsch - https://www.youtube.com/@RickiHirsch VerilyBitchie - https://www.youtube.com/@verilybitchie

Harry created a convenient playlist of videos by these and other people he wants to bring to everyone's attention.

Please give them your support.

- - - - -

Midlands Zone Magazine - Column by Steven Spinks

After a great deal of searching, I found an archive of the "Midlands Zone" magazine, where you can read through past issues dating all the way back to February 2014. I have also found the issue from which Somerton took Spinks' poignant discussion of gay erasure: Overall archive Specific Issue - Pages 16-17

It will not allow you to download it, but you can read it exactly as it appeared in print form.

- - - - -

My best effort to find the exact book or article Somerton lifted from to be able to get attention to the original writers

Tinker Bells and Evil Queens By Sean Griffin

The Celluloid Closet By Vito Russo Wikipedia article about the book Wikipedia article about the documentary My weak google-fu could not find where you can access the book or documentary. Check your local municipal or university library for book or documentary, or if you know a good source for one or both, please reblog with it added

Camp and the Gay Sensibility By Jack Babuscio

The Groundbreaking Queerness of Disney's Mulan By Jes Tom Personal site with links to social media accounts

Why Rebel Without a Cause was a milestone for gay rights By Peter Howell

Why "The Craft" is still the best Halloween coming out movie By Andrew Park

Opinion: From facehuggers to phallic tails, is 'Alien' one of the queerest films ever? By Dani Leever

Women and Queerness in Horror: Jennifer's Body By Zoe Fortier

[Pride 2019] We Have Such Sights to Show You: Hellraiser and the Spectrum of Queerness By Alejandra Gonzalez

Revealing the Hellbound Heart of Clive Barker's 'Hellraiser' By Colin Arason

Queering James Cameron's Aliens (1986) By Bart Bishop

Demeter and Persephone in space: transformation, femininity, and myth in the 'Alien' films By David Greven

Fears of a millennial masculinity: Scream's queer killers By David Greven (Scholarly site, unable to access original work, offers a way to request a full copy of the text in PDF)

Queer Subtext in Stephen King's It - Part 1: 'Reddie' Character Analysis By Rachel Brands Rachel is the very unfortunate lady who found out she was being stolen from because she supported Somerton through Patreon and saw one of his videos early with her writing--lacking any form of citation or credit

How 'It: Chapter Two' Leaves Richie Tozier Behind By Joelle Monique

When Horror Becomes Strength: Queer Armor in Stephen King's 'IT' By Alex London

Why Queer People Love Witchcraft By Amanda Kohr

'The Favourite' Queers The Past And The Present By Giorgi Plys-Garzotto

(Wuko) Crush (Mako x Wu) By MoonFlower on YouTube

5 Terrible Movies With Awesome Hidden Meanings By J.F. Sargent

The Radicalization of Sexuality: The Queer Casae of Jeffrey Dahmer By Ian Barnard

Netflix's 'Dahmer' backlash highlights ethical issues in the platform's obsession with true crime By Shivani Dubey

The Possible Disturbing Dissonance Between Hajime Isayama's Beliefs and Attack on Titan's Themes Original Article by "Seldom Musings" (Author has made all posts not related to Attack On Titan private and has retired from the blog)

Everyone Loves Attack on Titan. So Why Does Everyone Hate Attack on Titan? By Gita Jackson

- - - - -

The following people are otherwise named in the video. There are no direct citations of articles or books by them in said video. I am unable to guarantee that I have identified the correct individual.

Darren Elliott-Smith Michaela Barton David Church Claire Sisco King Amanda Howell Jessica Roy

- - - - -

Telos announced and cancelled a film likely based on this book: The Final Girl Support Group - By Grady Hendrix

- - - - -

I refrained from including certain sources.

First off only focusing on Somerton's work.

Secondly not including anything that might be visible enough to not require amplifying their voice (I cannot speak for all of those I have found links to, but journalism is frequently a thankless job).

Thirdly any source that is of a nature that is antithetical to the very existence of the queer community, such as the right-leaning source that didn't make it into Somerton's video, but Harry was able to identify as a source he had considered using.

If you feel I have missed a mentioned source--or you know of a source from material that was not covered in Harry's video--please do not hesitate to reblog with added details.

- - - - -

Please share this information far and wide, and please add to it if you find more material that can be positively identified and linked to the creator/writer.

[tommy-288]

How to successfully deal with a person who subscribes to the Lost Cause Myth.

1. Show them the facts, debunk them on why the myth is a myth. But make sure you site your sources and put it into simple terms.

2. If they're still in denial, tell them to stop being in denial.

3. If they're still in denial, pull out your Springfield model 1861 and shoot them.

4. Hide the body.

5. Move to a different country and change your identity.

6. If you go to prison that's a you problem.

I hope these steps helped.

[imastoryteller]

20 Plot Twist Ideas That Will Shock Your Audience

One of the most effective tools in a storyteller's arsenal is the plot twist. A well-executed plot twist can leave your audience reeling, questioning everything they thought they knew about your story. It can turn a good story into a great one, leaving a lasting impact on your readers or viewers. In this post, we'll explore 20 plot twist ideas that will shock your audience and elevate your storytelling game to new heights.

1. The Unlikely Hero:

Turn the tables by revealing an unexpected character as the true hero. This can be someone seemingly insignificant or even an antagonist who redeems themselves at a crucial moment.

2. The Double Agent:

Introduce a character who initially appears loyal to the protagonist but is secretly working against them, only to later reveal their true intentions.

3. The Long-Lost Sibling:

Uncover a secret sibling, separated from the main character in their early years, and use their sudden appearance to shift the narrative.

4. Time Travel Paradox:

Play with time travel to create a paradox that forces the characters to confront alternate timelines or unforeseen consequences of their actions.

5. The Mastermind:

The story's villain is revealed to be a puppet in a larger scheme, controlled by a mastermind who has been operating behind the scenes.

6. The Supernatural Twist:

Introduce a supernatural element, like ghosts or mythical creatures, that the characters and audience believed were mere myths.

7. The Doppelgänger:

A character's doppelgänger appears, causing confusion and chaos as they try to determine who is the real one.

8. The Reversal of Roles:

Switch the roles of the protagonist and antagonist halfway through the story, making the audience question their allegiances.

9. The Untouchable Hero:

Create a seemingly invincible hero who unexpectedly meets their match, forcing them to reevaluate their abilities and tactics.

10. The Forgotten Past:

Unearth a character's forgotten or repressed memories, leading to a shocking revelation about their true identity or past actions.

11. The Betrayal Within:

One of the protagonist's closest allies betrays them, throwing their entire mission into disarray.

12. The Hidden Identity:

A character is not who they claim to be, and their true identity is revealed, impacting the story's direction.

13. The Inception Twist:

Blur the lines between reality and illusion, leaving the audience guessing what's real and what's a dream or illusion.

14. The Time Loop:

Trap your characters in a time loop where they're forced to relive the same events repeatedly until they can break free.

15. The Shapeshifter:

Introduce a character with the ability to change their appearance, creating doubt and suspicion within the group.

16. The Truth About the Mentor:

The mentor figure, who initially seems wise and benevolent, is unveiled as the story's true antagonist.

17. The Lost Artifact:

The much sought-after artifact or treasure turns out to be a fake, and the real item is something entirely unexpected.

18. The Pseudo-Death:

Fake a character's death to shock the audience and later reveal they were alive all along.

19. The Prophecy Reversed:

Subvert the traditional hero's journey by defying a prophesized destiny and taking the story in a different direction.

20. The Unreliable Narrator:

Reveal that the narrator has been lying or misrepresenting events, casting doubt on the entire story's accuracy.

Conclusion:

These 20 plot twist ideas are just the beginning, and by incorporating them into your narratives, you can leave your audience stunned, shocked, and eager for more. Remember that the key to a successful plot twist lies in its execution, so take your time and craft a twist that seamlessly integrates into your story, making it an unforgettable experience for your readers or viewers.

---

+ If you find my content valuable, consider Support This Blog on Patreon!