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omegalomania · 1 year ago

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so im sure everyones fully well aware of the magic 8 ball site fob is using to promote a contest to win some tickets to see them in nashville. the little 8ball widget theyve got in browser is also modeled on the physical 8ball that they had in the vip merch packages for tourdust's first leg, which is cool! but of particular note is the way that, to fill out the contest form, you have to pick your favorite fall out boy songs. and the sheer breadth of what is allowed is...interesting? it's not cohesive by any means, but it is really wild the selection of songs they have here because not all of them are fob songs. in fact, quite a few of them aren't.

i went directly to the source code and got a full list of all possible songs that you could input (which you can check for yourself by right-clicking and selecting "view source"). i'm going to list them here for archival purposes, with a few notes/explanations cause some of these are WILD.

there are 187 songs total listed.

bolded songs indicate songs that are demos or never received an official release

italicized songs are songs by other bands

underlined songs indicate songs that are covers

songs with an asterisk beside them (*) indicate they are from patrick's solo catalogue. two asterisks (**) are for pete's.

additional commentary by me will be [in brackets]

20 Dollar Nose Bleed 27 7 Minutes in Heaven (Atavan Halen) 7-9 Legendary A Little Less Sixteen Candles, a Little More "Touch Me" A Nice Myth [one of the earliest fall out boy demos, found on their first ep, and only the casette version at that] Allie* Alone Together Alpha Dog America's Suitehearts American Beauty/American Psycho (song) American Made Art of Keeping Up Disappearances As Long as I Know I'm Getting Paid* Austin, We Have a Problem Baby Annihilation Bad Side of 25* Bang the Doldrums Beat It Big Hype* Bishops Knife Trick Bob Dylan Bounce [this is a song that came out on then-Decaydance labelmates The Cab's debut record, Whisper War, which patrick produced. he has writing credit and also is credited with background vocals (and also shows up in the music video)] Caffeine Cold Calm Before the Storm Centuries Champagne for My Real Friends, Real Pain for My Sham Friends Champion Check Your Phone** Chicago is So Two Years Ago Church City in a Garden Coast (It's Gonna Get Better)* Coffee's for Closers Cryptozoology* Cute Girls* Cyanide** [this is a nothing,nowhere song that pete did some spoken word parts and backing vocals on] Dance Miserable* Dance, Dance Dead on Arrival Dear Future Self (Hands Up) Death Valley Deep Blue Love* [song patrick did for the indie short film "spell"] Demigods Disloyal Order of Water Buffaloes Don't You Know Who I Think I Am? Electric Touch [the (in?)famous taylor swift song patrick featured on] Eternal Summer Everybody Wants Somebody* Explode* Fake Out Fame Less than Infamy Favorite Record Fellowship of the Nerd [this is an alternate title for world's not waiting, as far as i can tell] Flu Game Flu Game [yes flu game is listed twice for some reason] Footprints in the Snow [demo from the Llamania ep] Fourth of July From Now on We Are Enemies G.I.N.A.S.F.S. Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows) Ghostbusters (I'm Not Afraid) Golden Grand Theft Autumn/Where Is Your Boy Greed* Grenade Jumper Grow Up and Be Kids [this song is on The Cab's sophomore album Symphony Soldier, which release after they left decaydance. nonetheless, pete does have some writing credits on it. give it a listen and you'll hear for yourself in the first 10 seconds or so] Growing Up Hand Crushed by a Mallet [this is a remix of the 100gecs song of the same name; patrick did some vocals for it] Hand of God Have I Got a Gift for You* [song patrick did for the horror movie black friday] Headfirst Slide into Cooperstown on a Bad Bet Heartbreak Feels So Good Heaven's Gate Heaven, Iowa Hold Me Like a Grudge Hold Me Tight or Don't Homesick at Space Camp Honorable Mention Hot to the Touch, Cold on the Inside Hum Hallelujah I Am My Own Muse I Don't Care

I Got Nothing, But You Got Something [this is the one that really perplexes me. there's no evidence of this song actually existing, other than an unverified genius post and an article on a single fandom wiki. it is inexplicably listed here despite its very existence being questionable at best.]

I Slept with Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me I Wanna Dance with Somebody (Who Loves Me) I'm Like a Lawyer with the Way I'm Always Trying to Get You Off (Me & You) I've Been Waiting [this is technically a lil peep song with fall out boy as a feature] I've Got a Dark Alley and a Bad Idea That Says You Should Shut Your Mouth (Summer Song) I've Got All This Ringing in My Ears and None on My Fingers Immortals Irresistible It's Hard to Say 'I Do', When I Don't It's Not a Side Effect of the Cocaine, I Am Thinking It Must Be Love Jet Pack Blues Just One Yesterday Lake Effect Kid (song) Lake Shore Drive [this is a song patrick covered on the piano at wrigley, first night of tourdust] Love from the Other Side Love Will Tear Us Apart Love, Selfish Love* Love, Sex, Death Lullabye Mad at Nothing* Miss Missing You Moving Pictures My Heart Is the Worst Kind of Weapon My Songs Know What You Did in the Dark (Light Em Up) New Dreams [this is a bonus track on pax am days, a naked rayguns cover] Nobody Puts Baby in the Corner Novocaine Of All the Gin Joints in All the World One of Those Nights [another song from the cab's whisper war. this one has patrick doing vocals very prominently] Open Happiness [this was a huge collaborative piece done for a coca cola commercial. patrick was on it along with big names like cee lo green, janelle monae, and labelmates travie mccoy and brendon urie] Our Lawyer Made Us Change the Name of This Song So We Wouldn't Get Sued Parker Lewis Can't Lose (But I'm Gonna Give It My Best Shot) Past Life [llamania ep] Pavlove People Never Done a Good Thing* Porcelain* Pretty in Punk Rat a Tat Reinventing the Wheel to Run Myself Over Roxanne Run Dry (X Heart X Fingers)* San Diego [this is a blink-182 song that patrick did some writing for] Saturday Saturday Night Again* Save Rock and Roll (song) Sending Postcards from a Plane Crash (Wish You Were Here) She's My Winona Short, Fast, and Loud Snitches and Talkers Get Stitches and Walkers So Good Right Now So Much (For) Stardust (song) So Sick [this is a song patrick has exclusively covered live, so it's a fascinating inclusion] Sober [another blink-182 song patrick did some writing for] Sophomore Slump or Comeback of the Year Star 67 Stay Frosty Royal Milk Tea Sugar, We're Goin Down Summer Days (song) [this is a martin garrix song patrick lent some vocals to] Sunshine Riptide Super Fade Switchblades and Infidelity Tell That Mick He Just Made My List of Things to Do Today The "I" In Lie* The (After) Life of the Party The (Shipped) Gold Standard The Carpal Tunnel of Love The Kids Aren't Alright The Kintsugi Kid (Ten Years) The Last of the Real Ones The Mighty Fall The Music or the Misery The Patron Saint of Liars and Fakes The Phoenix The Pink Seashell The Pros and Cons of Breathing The Take Over, the Breaks Over The World's Not Waiting (For Five Tired Boys in a Broken Down Van) This Ain't a Scene, It's an Arms Race This City* Thnks fr th Mmrs (song) [for some reason the site specifies song here, despite that not being necessary. the only other times this distinction is relevant is when songs share a title with their albums, i.e. save rock and roll] Thriller Tiffany Blews Twin Skeleton's (Hotel in NYC) Uma Thurman Untitled 1 (Colorado Song) Untitled 2 (Jakus Song) [both of these are recently released tttyg era demos] W.A.M.S. We Didn't Start the Fire We Don’t Take Hits, We Write Them [this is a song that famously was only ever performed live. we don't have a studio recording or even a demo, as only live versions exist] We Were Doomed from the Start (The King is Dead) West Coast Smoker What a Catch, Donnie What a Time To Be Alive What's This? When I Made You Cry* Where Did the Party Go Wilson (Expensive Mistakes) Wrong Side of Paradise [llamania ep] XO You're Crashing, But You're No Wave Young and Menace Young Volcanoes Yule Shoot Your Eye Out

in conclusion i have no idea who compiled this list. it doesn't include every song patrick and pete have ever touched (notice the lack of gym class heroes, cobra starship, and hush sound discography) but it has a really weird selection of songs. i mean, blink songs patrick wrote on?? its bizarre.

anyway do you think if we mass request swing me by the rafters they'll have to do it

#fall out boy #tourdust #*making poasts #trying to format this conventionally BROKE THE POST so i did my best #i burned my grilt cheese typing all this up pls appreciate it #the weird break in the middle is cause otherwise it wouldnt post. mea culpa.

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sporesgalaxy · 7 months ago

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Pacific Rim isn't anti-nuclear in the same way Kaiju movies usually are. The resolution is facilitated by the detonation of a nuclear warhead and a nuclear reactor power core. So........what's up with that?

I mean, it's deeply American, obviously, but what else? Why does it not feel particularly pro-war in the same way, say, a typical MCU does? What does it mean that the Kaiju are prompted by human activity (carbon pollution "practically terraformed" Earth for the invading aliens), but are ultimately not a true manifestation of Nature's Wrath (not even from Earth)?

What arguments is Pacific Rim making in the place of the typical kaiju movie anti-nuclear-pollution, wrath-of-nature fare?

I stream-of-consciousness rambled about this for multiple paragraphs and don't feel like cleaning it up much. Basically: I think Pacific Rim is a commentary on the myriad problems with political responses to climate change over the years.

•••

So, in the Great American Kaiju Movie, two nuclear blasts save the day rather than creating all the problems. Despite the fact that at least one of those nuclear blasts still probably did a lot of collateral.... I do wish Pacific Rim had focused a bit more on collateral, and the environmental damage caused by both the Kaiju and, inevitably, the Jaeger project AND Wall of Peace. Food rations are mentioned once-- but surely metal and construction equiptment rationing must also be in place to allow for wall construction! I want my environmental messages shoved violently down the audience's throat, damnit! But I digress

I think an important detail to consider in the Kaiju/Nuclear discussion is how Mako and Raleigh's Jaeger's nuclear power generator is what really allowed them to save the world, multiple times.

The history of politics around nuclear power plants vs nuclear warhead production is interesting, especially in the typical kaiju movie thematic context of man carelessly abusing nature. The argument in defense of nuclear power plants is that, despite the need for extremely rigerous and long-term nuclear waste disposal considerations, there is a lower volume of waste created by nuclear power plants in relation to the energy provided by them, when compared to other modern methods of energy generation like coal power. So, in theory, nuclear energy could be a beneficial power source for minimizing environmental impact.

In the Kaiju movies I've seen, nuclear power is only ever addressed as an extension of the inherently unnatural and harmful abomination of the invention of.the nuclear warhead. It's understandable, the environmental devastation caused by radioactive pollution is massive, and its something a nuclear power plant is very capable of doing if enough goes wrong.

So, what do the Jaegers represent within this conversation? what does the Wall of Peace represent? Here's my thought: they represent (more) active versus passive solutions to the growing threat of climate change. Jaegers represent the way that active work against climate change is only funded as far as it is beneficial to the image of the government.

Yes, the Rift was found to be impossible to blow up with nukes, but it's pretty clear that the world governmemts were putting more money into the publically popular and flashy Jaeger program than they were putting into researching the increase in Kaiju frequency and a permanent solution to the issue. Because of the complicity the world fell into once Kaiju and Jaegers were Rock Stars, the root of the issue with Kaiju goes unadressed for an entire generation, in favor of defeating each Kaiju in impressive and propogand-izable ways.

Only once the problem becomes too big for the propoganda-friendly Jaegers to manage do the world governments start looking for alternate solutions, and the Wall is immediately shown to be too little too late. As soon as it stops being useful for propoganda, the government loses interest in truly solving the problem, and begins investing in moving itself inland and leaving poor coastal populations to die.

The kaiju are only able to be defeated in Pacific Rim because a group of people separate from the government comes together and searches for a solution to the root of the issue-- the Rift being open in the Pacific at all.

Nuclear power is therefore not posed as a solution to war against fellow humans, but is used as a solution to a collective human effort to fight the exponentially speeding destruction of the Earth. The Jaeger pilots and everyone else working in the resistance HAVE to be willing to do anything, willing to take drastic active measures, in order to stop the destruction of the Earth's climate. Yay :)

#syd writes an essay #adddna

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soracities · 2 years ago

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what are your suggestions for starter poetry for people who dont have strong reading/analysis backgrounds

I've answered this a few times so I'm going to compile and expand them all into one post here.

I think if you haven't read much poetry before or aren't sure of your own tastes yet, then poetry anthologies are a great place to start: many of them will have a unifying theme so you can hone in based on a subject that interests you, or pick your way through something more general. I haven't read all of the ones below, but I have read most of them; the rest I came across in my own readings and added to my list either because I like the concept or am familiar with the editor(s) / their work:

Staying Alive: Real Poems for Unreal Times (ed. Nick Astley) & Being Alive: The Sequel to Staying Alive (there's two more books in this series, but I'm recommending these two just because it's where I started)

The Rattlebag (ed. Seamus Heaney and Ted Hughes)

The Ecco Anthology of International Poetry (ed. Ilya Kaminsky & Susan Harris)

The Essential Haiku, Versions of Basho, Buson and Issa (ed. Robert Hass)

A Book of Luminous Things (ed. Czesław Miłosz )

Now and Then: The Poet's Choice Columns by Robert Hass (this may be a good place to start if you're also looking for commentary on the poems themselves)

Poetry Unbound: 50 Poems to Open Your World(ed. Pádraig Ó'Tuama)

African American Poetry: 250 Years of Struggle and Song (ed. Kevin Young)

The Art of Losing: Poems of Grief and Healing (ed. Kevin Young)

Lifelines: Letters from Famous People about their Favourite Poems

The following lists are authors I love in one regard or another and is a small mix of different styles / time periods which I think are still fairly accessible regardless of what your reading background is! It's be no means exhaustice but hopefully it gives you even just a small glimpse of the range that's available so you can branch off and explore for yourself if any particular work speaks to you.

But in any case, for individual collections, I would try:

anything by Sara Teasdale

Devotions / Wild Geese / Felicity by Mary Oliver

Selected Poems and Prose by Christina Rossetti

Collected Poems by Langston Hughes

Where the Sidewalk Endsby Shel Silverstein

Morning Haiku by Sonia Sanchez

Revolutionary Letters, Diane di Prima

Concerning the Book That Is the Body of the Beloved by Gregory Orr

Rose: Poems by Li-Young Lee

A Red Cherry on a White-Tiled Floor / Barefoot Souls by Maram al-Masri

Deaf Republic by Ilya Kaminsky

Tell Me: Poems / What is This Thing Called Love? by Kim Addonizio

The Trouble with Poetry by Billy Collins (Billy Collins is THE go-to for accessible / beginner poetry in my view so I think any of his collections would probably do)

Crush by Richard Siken

Rapture / The World's Wife by Carol Ann Duffy

The War Works Hard by Dunya Mikhail

Selected Poems by Walt Whitman

View with a Grain of Sand by Wislawa Szymborska

Collected Poems by Vasko Popa

Under Milkwood by Dylan Thomas (this is a play, but Thomas is a poet and the language & structure is definitely poetic to me)

Bright Dead Things: Poems by Ada Limón

Teaching My Mother How to Give Birth by Warsan Shire,

Nostalgia, My Enemy: Selected Poems by Saadi Youssef

As for individual poems:

“Wild Geese” by Mary Oliver

[Dear The Vatican] erasure poem by Pádraig Ó'Tuama // "The Pedagogy of Conflict"

"Good Bones" by Maggie Smith

"The Author Writes the First Draft of His Weddings Vows (An erasure of Virginia Woolf's suicide letter to her husband, Leonard)" by Hanif Abdurraqib

"I Can Tell You a Story" by Chuck Carlise

"The Sciences Sing a Lullabye" by Albert Goldbarth

"One Last Poem for Richard" by Sandra Cisneros

"We Lived Happily During the War" by Ilya Kaminsky

“I’m Explaining a Few Things”by Pablo Neruda

"Stopping By Woods on a Snowy Evening" //"Nothing Gold Can Stay"//"Out, Out--" by Robert Frost

"Tablets: I // II // III"by Dunya Mikhail

"What Were They Like?" by Denise Levertov

"Those Winter Sundays" by Robert Hayden,

"The Patience of Ordinary Things" by Pat Schneider

“I, too” // "The Negro Speaks of Rivers” // "Harlem” // “Theme for English B” by Langston Hughes

“The Mower” // "The Trees" // "High Windows" by Philip Larkin

“The Leash” // “Love Poem with Apologies for My Appearance” // "Downhearted" by Ada Limón

“The Flea” by John Donne

"The Last Rose of Summer" by Thomas Moore

"Beauty" // "Please don't" // "How it Adds Up" by Tony Hoagland

“My Friend Yeshi” by Alice Walker

"De Humanis Corporis Fabrica"byJohn Burnside

“What Do Women Want?” // “For Desire” // "Stolen Moments" // "The Numbers" by Kim Addonizio

“Hummingbird” // "For Tess" by Raymond Carver

"The Two-Headed Calf" by Laura Gilpin

“Bleecker Street, Summer” by Derek Walcott

“Dirge Without Music” // "What Lips My Lips Have Kissed" by Edna St. Vincent Millay

“Digging” // “Mid-Term Break” // “The Rain Stick” // "Blackberry Picking" // "Twice Shy" by Seamus Heaney

“Dulce Et Decorum Est”by Wilfred Owen

“Notes from a Nonexistent Himalayan Expedition”by Wislawa Szymborska

"Hour" //"Medusa" byCarol Ann Duffy

“The More Loving One” // “Musée des Beaux Arts” by W.H. Auden

“Small Kindnesses” // "Feeding the Worms" by Danusha Laméris

"Down by the Salley Gardens” // “The Stolen Child” by W.B. Yeats

"The Thing Is" by Ellen Bass

"The Last Love Letter from an Entymologist" by Jared Singer

"[i like my body when it is with your]" by e.e. cummings

"Try to Praise the Mutilated World" by Adam Zagajewski

"The Cinnamon Peeler" by Michael Ondaatje

"Last Night I Dreamed I Made Myself" by Paige Lewis

"A Dream Within a Dream" // "The Raven" by Edgar Allan Poe (highly recommend reading the last one out loud or listening to it recited)

"Ars Poetica?" // "Encounter" // "A Song on the End of the World"by Czeslaw Milosz

"Wandering Around an Albequerque Airport Terminal” // "Two Countries” // "Kindness” by Naoimi Shihab Nye

"Slow Dance” by Matthew Dickman

"The Archipelago of Kisses" // "The Quiet World" by Jeffrey McDaniel

"Mimesis" by Fady Joudah

"The Great Fires" // "The Forgotten Dialect of the Heart" // "Failing and Flying" by Jack Gilbert

"The Mermaid" // "Virtuosi" by Lisel Mueller

"Macrophobia (Fear of Waiting)" by Jamaal May

"Someday I'll Love Ocean Vuong" by Ocean Vuong

"Still I Rise" by Maya Angelou

I would also recommend spending some times with essays, interviews, or other non-fiction, creative or otherwise (especially by other poets) if you want to broaden and improve how you read poetry; they can help give you a wider idea of the landscape behind and beyond the actual poems themselves, or even just let you acquaint yourself with how particular writers see and describe things in the world around them. The following are some of my favourites:

Upstream: Essays by Mary Oliver

"Theory and Play of the Duende" by Federico García Lorca

"The White Bird" and "Some Notes on Song" by John Berger

In That Great River: A Notebook by Anna Kamienska

A Little Devil in America: Notes in Praise of Black Performance by Hanif Abdurraqib

The Book of Delights by Ross Gay

"Of Strangeness That Wakes Us" and "Still Dancing: An Interview with Ilya Kaminsky" by Ilya Kaminsky

"The Sentence is a Lonely Place" by Garielle Lutz

Still Life with Oysters and Lemon by Mark Doty

Paris, When It's Naked by Etel Adnan

#ask #anonymous #beginner guides

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winterdaphne2 · 5 months ago

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Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.

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gothic-thoughts · 10 months ago

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Slow on the Internet

(idek how i found this pic of him but im SO glad this shit exists😭)

(AGED UP) Yuji Itadori x Black Fem Reader Fluff

Streamer!Yuuji, Shy!Reader, RoommateAU, Friends2Lovers

CW: oblivious Yuuji 😭😭, yuuji talking to his twitch chat, reader speaks some Japanese 🤝🏾 Yuuji speaks some English, not proofread

Word Count: 1701

any Japanese is written in Romaji and confirmed by DeepL

It was 10 pm, Itadori was sitting in his gaming headphones on his stylish armchair, playing a popular game while Spotify was quietly playing a mellow song in the background.

"Guys, the stream's gonna be a little quiet, I don't want to wake my roommate."

Itadori tried not to make too much noise, talking quietly to his audience.

- Which one?

- Is it (Y/n)??

- Megumi or the American girl you brought on a while ago?

- The girl??

"Yes, I’m talking about (Y/n). Megumi's out for the night. Uh, for those new to stream, a couple streams ago..." Yuuji laughs into his hand, "Like 3 streams ago, I forced my roommate, (Y/n), to make a... commentary vid with me."

- You should force her back fr 👀👀

- Bring her back, yall were cute

- You guys chemistry was adorable, u sure she's just a roomie??👀👀

He laughed at the comments, a little embarrassed at the idea of having chemistry with his roommate, but it was sweet of them to think that. He shook his head and laughed, trying to brush it off as a friendly relationship.

"Shut up, it’s a normal amount of chemistry! I like to think we have a cool dynamic.”

- UR TELLING ME U DON'T LIKE HER??

- denial isn’t healthy, Itadori

- but does she want to STAY ur friend??

It was flattering how invested they were in a relationship between him and (Y/n). He wasn't sure what his chat was implying, surely they were teasing him. There was a little part of him that liked and even agreed with his chat's implications. He was glad they were taking so much interest in his friendship with (Y/n). It was sweet.

"I- what are you guys saying?" He laughed nervously, his cheeks red.

- THAT SHE LIKES U DUH

- U LIKE EACH OTHER??

- ITADORI UR FUMBLING

"You really think my roommate likes me? Really?"

- YES

- The only she could make it more obvious was if she kissed you like r u srs 😭😭

- Does she take or borrow ur stuff a bunch?

"Oh yeah, all the time." He laughed, nodding. "Like she'll use my body soap and won’t give it back unless I ask. Sometimes she'll even just take my clothes and leave them somewhere in her heya (room); sore wa wakaranai (I don't get that)."

- Bro cuz she likes u

- YUUJI WHAT

- She got it bad too. Both of u do

- AND U FRIENDZONED HER??

His heart was beginning to race a little as his chat spoke and said all these things. He laughed nervously, but he didn't deny any of their comments. He wondered if all these things actually were happening because she did have feelings for him.

"No, no I didn't... did I?"

- How do u curve a goddess BY ACCIDENT?

- Rejecting someone by accident is crazy

- She is fine asf lowkey

He shivered a little as his chat continued, making him begin to feel a little bad for keeping his feelings to himself and even stupid when realizing that he wasn’t reading her feelings correctly.

"I don't know, I mean.... it never crossed my mind that she really liked me. Maybe... but she just did small things."

He rubbed the back of his neck, not sure what to say. "I didn’t think she’d like me, I thought she was just doing it cuz she’s still fairly new to Japan. Aside from the fact that she’s out of my league."

- is it because she's older than you?

- I dont even think ur age gap is even that big smh

- how old is she anyway? U look about the same age

- Ik ur 21 but how old is (Y/n)?

"How old? She's 23, but still..."

He rubbed the back of his neck, his face red. He just didn't know what to say so he just laughed nervously. They kept describing her and it made him feel bad, thinking that he had been doing this to her, hopefully she still liked him so he could try again.

- ONLY 2 YEARS AND U STRESSIN BOUT AN AGE GAP???

- If you don't GO CONFESS LIKE AN ADULT😭😭

- Ur both young adults so age is just a number fr

- Yuuji, don't piss me off 🙄😤

Itadori couldn't help but laugh the more he read, unable to deny the comments that his chat was making. It felt like his chat had read his mind.

"Okay okay, wakattyo (i get it)! She likes me, I might like her, age isn't an issue. What am I supposed to do though?"

- Talk to her wat 😭😭

- UH TALK TO HER??

- Ask her out duh.

He laughed and read the comments. His chat was making it so simple.

"Come on guys, it can't be that simple. I live with her! What if she doesn't feel the same and things end up being awkward?"

Itadori jumps out of his chair, his heart beating out of his chest when he hears the only other person in the house knock on his bedroom door. Shit. Of course. He then realized he had his stream on the whole time so she definitely heard everything. He got up and walked over to his door. He cracked open the door, peeking through with his cheeks still red.

“Hey, Yuu.”

"Hey... did you hear nandemo (anything)?"

"Hear what?" (Y/n) furrowed her eyebrows, "You on the phone?”

He paused and smiled, "Uh, yeah. Yeah, I was just making sure I wasn’t being too, um, loud. I thought you were asleep.”

“I was, but I woke up wanting something sweet. I'm running to the konbini, nani ka hoshi mono wa?"

“Yeah, sure.” He paused, thinking of something, "Can you get me some ichigo pocky?"

“Honto ni? I was gonna get the same thing.”

He laughed, her answer surprised him. "Really?"

“Yea. Alright, I'll be right back."

He smiles, waiting for her to come back. He had so many thoughts, so much to process about the stuff his chat said and his own feelings for her. He waited for her to come back with the strawberry pocky.

- Well???

- Did she seem to like u??

- What she say?

“There's really no reason for me not to like her, ya know? I'm starting to think I like her back, really like her, she’s so sweet." He rubbed his neck, feeling guilty, "You guys were right, I've been rejecting her by accident. When she gets back, I want to tell her."

- YAAY

- LETSSGOOO

- THATS MY BOY

- GAMER BF + SHY GF FTW

The comments made him smile even brighter. The chat called her his girlfriend, but he didn't want to get too ahead of himself. He could only hope she'd respond positively.

"Shut up guys, I'm not her boyfriend.... well, yet hopefully."

20 minutes later, she walks into his room with snacks and a few drinks in a bag. He didn't expect her to come back so fast but it made him grateful. He was smiling wide as he took off his headphones and paused his game again, realizing how cute she was when she was just being herself. (Y/n) pauses in his doorway with wide eyes and a dropped jaw.

“Are--” She lowered her voice, “Are you streaming?”

"Uh, heh yeah. Uh, my chat they made me see something. It has to do with you."

“Oh god...” She chuckles and waves shyly at the camera, walking over, “They don't want me on another stream, do they?”

His chat was blowing up with comments, excited at the appearance of his roommate again. "Shut up guys, I swear. It wasn't planned. Anyway, you don't have to come near the camera.”

“I don’t, good; I was freaking out already.” She laughs.

“Do you mind if I keep streaming while we talk?"

“Uh... sure, why?” She hands him a soda and the boxes of pocky then backs out of the camera, “You making me nervous~”

"Yeah, sorry. They've really grown to like you, so they're excited to see you again."

“I was only in one stream!”

"I know, I know, but they really liked you. So every time you show up again, they get really excited because they love seeing more of you."

“I didn’t know I had fans; is that what you wanted to tell me?”

He sighed, "No, it's not. There's something else."

“Mkay...?”

"Alright.” He takes a deep breath and stands, hoping he doesn’t make a fool of himself, “So chat made me realize that I’m a biggest idiot in the world. I... I like you, (Y/n).”

“You're...” (Y/n) chuckles uncomfortably, “You’re joking? Kore wa jyooku desu ka?”

"No, no. I mean it. They helped me realize that you liked me so I wanted to tell you that.”

“But I thought you didn't like me.”

"Yeah, well, I thought I didn't, I realized it after they pointed out how we treat each other. And they were right.”

“So you were rejecting me... by accident?!”

“I just thought you'd stick around me cuz you’re still a little new to Japan!"

“Yuuji, I've lived here for like 5 months now!”

“Yeah, but I thought, like... I don’t know!”

“God, you be so clueless sometimes.” She sighs deeply, “Since I know now, finish your stream and we can eat the snacks and maybe, uh, eiga o miru?"

Itadori froze. “Movie? You... want to watch a movie with me?"

“Seems like the only thing to do this late at night," She chuckles, "Everything but the convenience store is closed this late."

"Hell yeah, I’d love to!”

(Y/n) laughs, “Mkay, lemme know when you’re done.”

(Y/n) leaves his room with the bag of her sweets and closes the door. Yuuji sits back down in his chair with a wide smile on his face as he starts playing his game again. He was so focused on finishing it for his stream and going to watch the movie that he wasn’t reading the chat’s confused and riled comments. He finally looked over at them and laughed, pausing the game:

- ITADORI IF U DON'T END THE STREAM

- GO BRO

- END STREAM

- STREAM TMR TF

------------------------------------------------------------------------------------------------------------------------------------------------------

(a/n): unfortunately not sponsored by strawberry pocky cuz 🤤🤤

#jjk #jujutsu kaisen x black reader #x black reader #black reader #x black fem reader #black writers #jujutsu kaisen #black fem reader #yuuji x reader #jjk yuuji #yuuji itadori x reader #itadori yuuji x reader #yuuji fluff #itadori yuuji fluff #yuuji itadori fluff #yuji x reader #itadori yuuji

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slugtranslation-hypmic · 8 months ago

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I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)

#not a translation #analysis asks

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thistledropkick · 11 days ago

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I've been seeing a lot of AEW fans who aren't sure how to watch the upcoming Wrestle Dynasty show, so here's a brief explanation!

Wrestle Kingdom, Wrestle Dynasty, and NJPW's big "mystery card" show New Year Dash are all included with a NJPW World subscription at no additional charge! All you have to do to watch them is subscribe to NJPW World.

A 30-day NJPW World subscription is $9.99 USD. The subscription will allow you to watch shows as they're streaming live, and watch them in the archive after they've aired. It also gives you access to the rest of the videos in the archive.

You can subscribe whenever you want - you'll get 30 days of membership starting when you subscribe. Just be aware that the subscription renews on Japan-time, so if you only want a month, cancel a day early to make sure the time zone difference doesn't get you.

All three shows will have live English language commentary. To change the commentary language on any match, click the gear button on the bottom left corner of the video and select English audio.

The app should default to English. The website is also available in English - If it doesn't default to English for you, just click the button on the upper right corner to switch it to English.

You can subscribe in the app, but I don't know if the app stores add any additional fees, so I'd suggest subscribing on their website to be safe.

Shows taking place in Japan will of course happen on Japan-time, which tends to be late night or early morning in the US.

Wrestle Dynasty is scheduled early to accommodate American viewers - it starts at 1 PM Japan-time, which is 11 pm EST / 8 pm PST. If you want to watch the livestream, I suggest hitting play about 5 minutes before the show is actually scheduled to begin - sometimes the service gets overwhelmed right as big shows start and everyone starts watching all at once.

The other shows air at more standard times in Japan, which means later at night from the US, so if you want to watch them live from the US you'll have to wake up early or stay up late. But you can also just watch the archived shows later.

Wrestle Kingdom is New Japan's biggest show of the year, and absolutely worth watching. It will air on 1/4, the day before Wrestle Dynasty. Each year of NJPW is structured like a season of a TV show, and Wrestle Kingdom is the climax of the different stories from the previous year. You can think of it as the "season finale" for NJPW's 2024 season.

New Year Dash is New Japan's annual "surprise card" show. It will be on 1/6 this year. New Year Dash functions as the first episode of a "new season" of NJPW, by introducing new storylines for the new year. There are always some big surprising events, and it's likely that at least some wrestlers from AEW will show up for it this year.

#aew #wrestle dynasty #wrestle kingdom #Don't be too intimidated to give NJPW a try #It's an incredibly easy promotion for English language fans to follow

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pascalcampion · 1 year ago

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Winslow Homer 1836-1910. American

When I see an unfinished sketch, or an image that feels drawn by a hand, I experience beauty. I don’t know why. I think it is beauty. It is a feeling I appreciate. I want to hold on to that feeling, Or at least draw it out. It feels like a musical note that doesn’t end. It’s dynamic, not static. It feels pure but I am not sure why. Is the experience of the emotion detached from the image? It needs to be right? Otherwise, everybody would be feeling that same emotion. So,what is it? What is it about a drawn line that makes people feel that,

I look at Homer’s watercolors and I am always caught off guard by that feeling of beauty and awe. Is it the fact that I see a boat, I feel the heat,I sense the passage of time and yet, I am fully aware that my brain is deceiving me? That I am not seeing any of it but just imagining it? I wonder if I read his work through my knowledge of life and that is what creates the feeling of beauty?

Homer's work helped me realize that a body of work is a conversation the artist is having with themselves. Exploring the world and trying to make sense of what is important to them. Homer’s work starts with illustration of war and nostalgic life style images. As he progresses in life, the need for plot devices fades away. It frees his mind to focus on what keeps drawing back to art. Homer still paints everyday scenes but the emphasis is on the relationship between nature and man. The power of one, the place of the other. No commentary, just observations

Themes that were present in his earlier work but hiding by the needs of traditionally accepted beauty, the works that sell. The funny thing is that Homer was broke for most of his life. He only became comfortable in his mid fifties when he would focus on these conversational paintings. Technically,his work gets better, pictorially, it becomes simpler, more bare. There is something reassuring and inspiring about Homer's path. The older he got, the stronger his work became. It seems to go against the thought that artists are like athletes. They go through their heyday first and live to remember them. Homer's path is more like a wine that gains in character as it ages.

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thebibliosphere · 11 months ago

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Hi! How are you doing? Sorry to bother you, but i dont know many scottish people and idk who to talk to about this book I found on audible. It's called Imogène, by french author Charles Exbrayat. Do you know him /the book? I've started reading it but I had to pause because, while being sold as a "humorous spy story" I find the protagonist, a "very proudly scottish" woman, to be... an offensive caricature? Like she acts like a fool, honestly. This book contains some interesting points about sexism (it was published in 1959), and ridiculous british habits (such as employees forced to give money for princess anna's birthday or being socially scorned). I'm sure the shared dislike / distrust the protagonist and her british colleagues feel are (were?) realistic. But she is so extra, and the story keeps telling how lonely she is, even after working 20 years in london. She has No friends, most acquitances dont talk to her for various motivations, her bosses hates her ... idk I feel this book is actually mocking scottish people? Or scottish women??? I was SO there for a "strong woman protagonist who gives cutting remarks to her boss or peers", but this looks wrong. Idk. I didnt know whom ask for inputs. Maybe i'm reading too much into it. Feel free to ignore this mega rant. Have a good day!

I think cultural and historical context and time of publication-- which was almost 70 years ago --are important factors to take into consideration when we look at fiction through our current expectations.

I can’t speak to the book as I’ve never read it, but speaking as a Scots woman who worked for an English publishing house for a while, being made to feel alienated by my boss and others due to being Scottish was unfortunately still something going on in 2011.

I’d get lots of “Oh but you sound so eloquent” remarks regarding my thinned-out accent (something I did on purpose to avoid being told to “speak properly” which was also something I heard a lot in school if I ever used my native Scots language instead of “Queen’s English.”) and one time my boss referred to me as “their civilized Scot” to an American author, whose Scottish romance book I was supposed to be fixing the dialogue on.

The phrasing was along the lines of, “Don’t worry, you’ll be able to understand her. Joy is our civilized Scot.”

The author laughed and made another derogatory comment about how they just loved Scottish accents even if it was unintelligible a lot of the time. I kept my mouth shut because I didn't want to lose my first career job.

I kept my mouth shut a lot in that job.

In that regard I could very well empathize with the character being lonely and not engaging with anyone, even after 20 years.

The proud Scottish woman can be a bit of a caricature, but that doesn't necessarily mean it is intended as mocking.

Again, cultural/historical context matters.

I wasn’t alive in 1959, but I know there was a lot of Scottish media about the time that leaned into the stubbornness and pride of Scots women both for humor and to make societal commentary on the fact that women were strong and more independent than they’d ever been following two world two and a lot of men weren’t happy about it and wanted them to go back into their boxes. As a result the mouthy, proud Scots woman became a mockable caricature that turned women into shrill, over proud scolds.

Get back in your box or we’ll make fun of you, basically.

So is this book being mocking, or is it employing popular tropes of the time, knowing that audience will understand what it means and that the female protagonist is being subversive despite what others expect from her?

I can’t say. Again, haven’t read it. It could be utter dogshit and making total fun of my culture. But I do think when looking at older media we need to put our thinking caps on and think, “How would the audience of the time, 1959, have viewed and engaged with this?”

Expecting a “strong female protagonist” as we know it from media today isn’t going to work with media that’s almost 70 years old.

Hell, the “strong woman protagonist” wasn’t even something any piece of media could agree on when I was growing up in the 90s.

Times change. Literary tropes and preferences change. It helps to keep that in mind.

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callahanisms · 4 months ago

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pretentious(?) cinephile patrick zweig.

call it a college au i guess

technically, he's a business student. he's just minoring in cinema studies, which was your major. you always hated the business school kids that came into your literature class (because film is literature) and thought it would be easy. and then they'd be surprised that they were failing because they didn't do the readings and when they participated, it was with shallow commentary. you don't even want to recount how many racist, misogynistic, queerphobic things were said in the class (in general too).

which is why patrick zweig pisses you off.

patrick zweig actually loves film. and unlike the other business boys, he understands that wolf of wall street is a cautionary tale.

"i wouldn't want to end up like him." he said. "doesn't mean i can't enjoy the movie."

patrick zweig actually has good taste in film. okay, maybe not "good" taste because "good" is always subjective. he's a bit of a film snob. you can't believe that he likes Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. you really hated the movie, mostly because it felt like an eternity. that might have also been because you were high watching it. sometimes weed has that effect.

at first glance, he seems like the kind of guy to dismiss foreign films because of subtitles. except you learned that he regularly consumes—and seeks out—foreign cinema. he grew up on foreign cinema.

"my dad's big into french films. that's how i started watching them." he explained to your french cinema professor.

you swear he's in every cinema studies class possible. and he recognizes you too.

"excited for this semester (y/n)? i'm looking forward to the syllabus."

now, patrick being patrick, he mostly skims the readings. rarely does he closely read. he finds himself getting distracted easily. and it's not really helpful with the multiple times you've worked with him whether it's as discussion leader or doing a group project.

there's the rare occasion you've seen patrick zweig in business class. and to say the least, he looks miserable. sometimes, he's so bored that he's doing the readings for your class.

"why don't you switch majors?" "because business school is just to appease my parents."

you don't 100% believe his answer. or maybe he's right in thinking that it will appease his parents. you're not all too knowing about his home life. you guys just have class together. until...

"wanna smoke?"

a joint before your screening. you guys were watching Spike Lee's School Daze for the race and american film class. he's never seen it. you have. maybe the colors will pop even more if you took a hit.

"sure."

so you guys find the smoke corner and light the joint. you inhale and make small talk. patrick zweig isn't the asshole he seems to be. he carries himself with such douchebaggery that it seems to be a defense mechanism. and you learn during that smoking session that he isn't really pretentious. he's just really passionate.

"i hate Prometheus." he says. "what? how can you hate Prometheus? Prometheus is so good! it's like right up your alley!" you cough as you inhale. "listen, i may be a film snob. and sometimes i can be an asshole about it. but ridley scott is a bigger asshole than me." patrick takes the joint to inhale. when he blows, the smoke sort of billows around him. it frames his frankly gorgeous face. "lean into the haunted house of the Alien franchise. don't try to turn it into something deeper when it already had such interesting themes."

School Daze was a watch. patrick had a lot of thoughts, but he seemed to barely express them in class. he saved it for his letterboxd review.

"you have letterboxd?" "duh." he glances at you as you guys are walking to the bus stop. "what's your username?" "ppzweig." "you can't be serious. that's so immature of you!" but also so on brand for patrick zweig. "i made the account a long time ago okay! i'll follow you back if you follow me."

so you do follow him.

you learn quickly that patrick reviews for nearly every movie he watches. the exception are rewatches (if there isn't anything left to say) and films that just didn't really interest him or were terrible. oh and you see through his reviews that he really hates tarantino. actually very surprising! patrick always had something to say though. you loved terrorizing him when he walked into class.

"hey so why did you rate Alien: Resurrection four stars?" "what happened to hello? how are you?"

side note: i did make a top 10 list of films that i think patrick would have. idk how character accurate this is but he strikes me as such:

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)

Trainspotting (1996)

Night of the Hunter (1955)

Citizen Kane (1941)

Amélie (2001)

A Clockwork Orange (1972)

Boogie Nights (1997)

Taxi Driver (1976)

The Wolf of Wall Street (2013)

Lady Snowblood (1973)

#also i didn't put ratatouille in here sorry #but patrick would love ratatouille #YES i made a fake letterboxd account for him #challengers #challengers 2024 #patrick zweig #patrick zweig x reader #x reader #male reader #female reader #gender neutral reader #challengers au #college au #josh o'connor #challengers x reader #challengers x you #challengers x y/n #cinephile patrick zweig

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odinsblog · 1 year ago

Text

One About The Atmosphere: Want to change minds? Stop trying. Change the atmosphere instead.

Donald Trump in 2016 greets a screaming horde of ecstatic white christian nationalists

Minivan was a nice enough guy. He was easygoing; a happy guy with a frequently deployed smile. I don’t recall much anger from him, nor many strongly held opinions. I wouldn’t call him a philosophical type. No deep late night talks with Stove Minivan is my recollection.

This is the sort of dude I’d hang out with at a party, if there were a party we were both at, but not one with whom I’d maintain a relationship if we both graduated and then moved to different places—which I know for a fact, because that’s what happened. We drifted.

So then what happened is twelve years or so later I got on The Facebook, and Stove Minivan was there, too, and before long, we were friends again, he and I, and so were me and my other college friends, and them with him, and … look, you know the drill. It was The Facebook.

Minivan was no longer a pre-med student at a small northern liberal arts college. He was a doctor—a general care practitioner, if memory serves—in a smallish plains state town, very much like many other towns in the great plains or elsewhere in the country, I imagine.

Anyway, before long I noticed something about Minivan. Even though his feed was full of pictures of him and his lovely family, and he was smiling in them just the same as he always had in college, he was angry.

He was *enraged*

What was he angry about? The Demonrats.

Minivan was absolutely enraged about everything the Demonrats did. He also was out of his mind angry about Killary, and Obummer, the leaders of the Demonrats—or at least they were the front for the real leader of the Demonrats, who even back then I believe was George Soros.

What did the Demonrats do? Oh my heck, what *didn’t* they do? Mostly they hated America and American security and American economic strength, it seems. They engaged in corruption and bowed to foreign powers a lot. They shredded the dignity of the presidency, that’s for sure.

Minivan’s worldview wasn’t particularly coherent, if you want to know the truth.

I couldn’t help to notice that the Demonrats weren’t actually doing many of the things that Minivan thought they were doing.

And I noticed other things.

For example, I couldn’t help but notice that a lot of the policies Minivan supported were directly *causing* the sorts problems that made Minivan so angry.

And I couldn’t help but notice that well-sourced information enraged him more than pretty much anything else.

There was a lot of linking to sites I’d never heard of, like Breitbart and Newsmax, and of course plenty of Fox News. There were a lot of memes. There were a lot of conspiracy theories (a big birther, was Minivan).

Some of his posts contained subtle bigotry. Most of the rest contained not-subtle bigotry. Several of them contained slogans and statements that were, very simply, neo Nazi and white supremacist memes and shibboleths.

There was a lot of commentary accompanying these posts from Minivan, who was saying shocking stuff for a small-town family doctor … the sorts of things that it seemed to me would make people not want to use this person as a doctor, or or sit next to that person on a bus.

I hadn’t heard of Alex Jones, yet, but Minivan sounded a lot like Alex Jones, word for word and beat for beat. He’d even start his posts like a right-wing radio host: Sorry folks, but you can’t even make stuff like this up—ironically, accompanying things that had been made up.

This was all pretty distressing to those of us who had known Minivan back in the day, before he had become so obsessed with Demonrats.

So, a lot of us, myself included, did exactly what The Facebook wants.

We engaged with him.

At the time my belief was, you defeated bad ideas with better ideas, by confronting the bad ideas directly with the better ideas. Debate was for changing minds. You presented your ideas, they presented theirs, you countered, they countered, eventually everybody saw the truth.

But the intention was that I’d change his mind, with facts presented logically, delivered calmly and patiently.

This was my belief.

What happened confounded me, but perhaps you can predict it.

Minivan escalated any correction, however calmly stated or bloodlessly presented, into scorched earth territory. He rejected all proofs by rejecting the source outright as irrevocably tainted by bias, or he’d spiral into non sequitur, spamming our feeds with more misinformation.

He would claim he never said things he had just said, even though the statements were still there for anybody to read, one comment earlier in the thread.

He’d claim that I said things I'd never said, as anyone foolish enough to read through our conversations could discover.

He demonstrated a complete dedication to his ignorance and anger, and a total disinterest in anything like observable truth that contradicted his grievance.

It was confounding and unfamiliar behavior to me, at the time.

At the time.

All of it was larded with grievance, a sense that people like him had never wronged anybody, and everybody else had done nothing but wrong people like him.

The bigotry and authoritarianism grew.

And all the time, on Facebook, he and his family kept smiling their perfect smiles.

I’ll admit that over time my interactions stopped being polite and bloodless, and I’m not particularly sorry for it. I told him some things about himself he seemed not to know, but which I thought really ought to be said.

I have a bit of a penchant for sarcasm, which you may have noticed.

I employed this skill, and you can feel how you want to about sarcasm, but I think it helped convey the correct posture to take toward someone who says the sorts of things Minivan was saying.

The correct posture being "you have proved yourself to be a person who should not be taken seriously, and your positions do not deserve even a modicum of respect."

I found this a more healthy message to convey about Minivan to anybody watching, and I still do.

Eventually he blocked me, and he was out of my life forever. It was the right choice, and I'm very glad he did that.

I’ve pondered the incident since, as it’s become more and more relevant to “the way things are.”

A few things had become clear over time.

Minivan was not somebody whose intentions could be trusted. He was not operating in good faith, and I believe he well knew it, because many of his favorite sources of information have written instruction books on how to engage with people in bad faith.

Minivan was not debating; he was using debate to inject his counterfactual beliefs into the discourse, which were designed to further marginalize already marginalized people while simultaneously cloaking himself in self-exonerating grievance.

More, he was exerting an active effort to not know things that could be easily known, and to demand to be convinced out of deliberate ignorance, not because he was interested in having his ideas challenged, but because he demanded a world in which he got to decide what was real.

Further still: Minivan *learned* from me. The effect of telling him he was using one or another logical fallacy was not to sharpen his reasoning, but to teach him about the existence of logical fallacies, which let him (incorrectly) accuse others of those same logical fallacies.

So Minivan was deploying the language of logic, in ways that betrayed a total lack of understanding about what those fallacies were, granted, but in ways that likely made him seem more knowledgeable and reasonable to a casual or sympathetic observer.

He learned to ape our phrases and arguments, in much the way he’d learned to ape the style of Alex Jones and all the various Breitbart and Newsmax contributors he used to inform himself.

And these days it occurs to me: I hear a lot about "groomers."

We were not changing him by engaging with him thoughtfully.

We certainly weren’t changing him by engaging with him in kind.

Rather: we were making him better at what he was doing, and we were validating his world view—to himself and others—as one that merited engagement.

And week after week on Facebook, Minivan kept smiling and smiling and getting angrier and angrier, at us and Obummer and all the other Demonrats and liberals and every member of every minority group who dared to fail to ceaselessly assure him that he was right about everything.

I don’t miss Minivan's black-hole-sun smile. I think of it as my first hint of MAGA: politically overrepresented, socially coddled people, often living outwardly happy privileged lives, while seething inwardly that other people might be getting anything, anything at all.

Indeed, soon enough, another figure would come on the scene, whose behavior matched that of Minivan almost exactly, a perfect avatar for this spirit of aggrieved bigotry and supremacy that seemed to be moving through my former friend.

And sure enough, as I saw, there were millions and millions of smiling seething people who loved him.

And that guy became president.

Nobody believed he would. And then he did.

Because Stove Minivan, it turns out, wasn’t some weird outlier.

He was part of a growing new normal, a group of people who had been offered a chance to immigrate from observable reality and enter a dark world of constant hostility, misinformation, and self-loving grievance.

It's an invitation they leapt at, to which they cling even now.

It's a constituency immune to proof, angered by equality, cheered by cruelty, who blame others for the foulness of the shallow puddle of reasoning within which they have demand to be seated, even though we can all see them fouling it themselves, every day.

And afterward, a huge number of those shocked by this development decided the proper reaction was to accommodate it, in the name of unity—a belief, it seems, grounded in the idea that what you choose to get along with isn’t as important as getting along no matter what.

I’ll finish with the question that all of Minivan’s former friends would eventually ask, whenever they gathered together long enough for the subject to arise.

"What the hell happened to Minivan?"

Here’s the answer, I think: nothing.

Nothing happened to Minivan. Nothing at all.

He was always that guy, and he always thought the things he thought.

What changed was that he was given a lot of language with which to express those ideas, and access to enough other people who thought that way too, that it created a critical mass of permission.

The permission allowed him to change his attitudes and actions, and created a lot of other people willing to accommodate and normalize his antisocial anti-reality behavior, rather than reject it out of hand.

In college you could be pretty conservative, honestly. It was a pretty conservative place. But you couldn't behave like Minivan later would.

You’d be understood to be a far-right extremist, and people would then treat you like a far-right extremist.

Which is what you'd be.

I think it just wasn't possible for Minivan to be what he later became, because the atmosphere wasn't conducive to the possibility.

But then the atmosphere changed.

If we want to change it back, it's worth thinking about how atmospheres change.

(source)

#politics #republicans #donald trump #overton window #stove minivan #authoritarianism #deplorables #trumpublicans #maga

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