i really like this one screenshot of augustus, dion, and frazie because it's so evident that augustus has jumped in to the world of psychics, embracing a part of himself that he neglected for so long...without acknowledging the impact on dion and frazie. in his sheer delight, it's like he's forgotten that he spent their lifetimes warning them about the evils of psychics, how they harmed him and his mother, and like in the recap video, would regularly sit his children down to tell them "horror stories" around the campfire about how psychics are their enemies. it was done out of a semblance of protection, but there's also his own hatred being instilled due to the harm he suffered that was then transfered to dion and frazie.
it's such a stark contrast in their demeanors. augustus is being able to flourish while dion and frazie have had zero time to conceptualize the change in their father or consider any positive feeling toward psychics. he's responsible for how they view psychics, how they internalized his beliefs (frazie with a sense of added shame because she *is* psychic and had to hide that aspect of herself because augustus wanted no part in it), how it distanced them from their little brother because raz kept acting in a way that seemingly harmed the family.
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I love how on Tumblr, "media literacy" has become "Um, just because someone writes about this doesn't mean they're endorsing this. I hate all these media puritans ruining everything."
I'm sad to inform you that knowing when and whether an author is endorsing something, implying something, saying something, is also part of media literacy. Knowing when they are doing this and when they're not is part of media literacy. Assuming that no author has ever endorsed a bad thing is how you fall for proper gander. It's not media literacy to always assume that nobody ever has agreed with the morally reprehensible ideas in their work.
Sometimes, authors are endorsing something, and you need to be aware when that happens, and you also need to be aware when you're doing it as an author. All media isn't horny dubcon fanfic where you and the author know it's problematic IRL but you get off to it in the privacy of your brain. Sometimes very smart people can convince you of something that'll hurt others in the real world. Sometimes very dumb people will romanticize something without realizing they're doing it and you'll be caught up in it without realizing that you are.
Being aware of this is also media literacy. Being aware of the narrative tools used to affect your thinking is media literacy. Deciding on your own whether you agree with an author or not is media literacy. Enjoying characters doing bad things and allowing authors to create flawed or cruel characters for the sake of a story is perfectly fine, but it is not the same as being media literate. Being smug about how you never think an author has bad intentions tells me you're edgy, not that you're media literate. You can't use one rule to apply to all media. That's not how media literacy works. Sorry! Sorry! Sorry! Aheem heem. Anyway.
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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Hot take maybe but I think Bertie would be FAR more likely to survive the first two months of Dracula than Jeeves would be. Bertie has a healthy sense of self-preservation. Jeeves consistently underestimates how dangerous a situation might get (Steeple Bumpleigh, the club book) because he’s overconfident about his level of control over any given situation. He'd handle Dracula masterfully if they faced off in England, but on Dracula's home turf? Much more doubtful.
I realize this might be a tough sell, so I will explain further (or it's not a tough sell, and I'm going to explain further because I want to). (criteria taken from @canyourfavesurvivecastledracula) Without further ado.
Would Jeeves and Wooster survive Castle Dracula?
Jeeves
Jeeves' survival will depend on how long Dracula finds him more entertaining than irritating. On that basis, I don't think he's long for this world. On the one hand, he has a huge wealth of knowledge about English society and culture that he can recite perfectly from memory. That should buy him at least a little time with noted teaboo Dracula.
On the other hand, he would be absolutely no fun as a vampire plaything. Jeeves cannot be got. Sneaking up on him while he's shaving will yield zero reaction (though that's at least good for his short-term survival--given that, although he DID take the crucifix from the old woman out of politeness, he certainly isn't going to wear it. The rules of fashion don't go out the window just because you're in a spooky castle). Then, although managing the whims of rich jerks is not an insignificant part of a valet's job, Jeeves usually does this by bending his employers to his will. Dracula is not the sort of employer this will work on. It'll just add insult to injury when on top of being impossible to scare, NOW Jeeves is telling Dracula that his favorite cloak is several centuries out of fashion and he's not allowed to wear it anymore.
Jeeves will 100% go exploring in the areas he was told not to go-- though to be fair, he MIGHT actually get away with this, what with his superpower of appearing in rooms without being seen or heard. Said superpower might save him from the brides as well (though this is by no means guaranteed). Since I find it doubtful that Dracula would come to rescue his annoying ass, not being noticed is his best defense.
There are a couple other things working in Jeeves's favor; the question is just whether they'll be enough to save him.
He DOES know shorthand, and could try to send coded letters. He might even have the foresight to squirrel away some extra stationary where Dracula can't find it. But could he get them posted? Would it even do him any good?
He certainly has enough cultural literacy to figure out what his new boss is pretty quickly. If he didn't chuck the crucifix out the carriage window, he might start carrying it around in his pocket.
Psychology of the individual, sure, but the individual in question is a 400-year-old vampire who lives in an isolated castle in a foreign country and is regarded as a terrifying mythological figure in the surrounding villages. Jeeves has never come up against anything this alien before, he's cut off from his normal resources, and opportunities to play people against each other are limited.
He probably has enough upper body strength from all that shrimping and fishing to climb the wall, so he COULD escape if he wanted to, if he survived long enough. It's just, again, that overconfidence, and also Dracula has a vast library full of rare old books that are entirely at his disposal. He's keeping his eyes and ears alert for potential escape strategies, of course, but I don't see him being as desperate to get out as Jonathan was.
There are just a lot of "depends on"s here, and I'm not convinced that luck would shake out in Jeeves's favor, all things considered.
Bertie
Bertie is so perfect for the job of Castle Dracula Prisoner it's like it was made for him. Think about it. Being held against his will in big manor houses comes more naturally to him than breathing. He's afraid of things that are scary. A lifetime of dealing with Aunt Agatha has made him the world's preeminent expert in "curl[ing] up in a ball in the hope that a meek subservience [will] enable [him] to get off lightly." He will NEVER go exploring in places he's been warned away from if nobody is forcing him to (Rev. Aubrey Upjohn's office notwithstanding. There were biscuits in there). He's both fun to talk to and easy to toy with (and extremely English). A+ prisoner. Dracula adores him.
In my opinion, Bertie is at Castle Dracula either because Aunt Agatha got some wires seriously crossed and thinks he’s going to meet an eligible potential bride (I mean, there are certainly brides there), or because Dracula has something Aunt Dahlia wants him to steal (far less likely, given that one of Dracula’s THINGS is famously not owning anything silver). Either way, he's shown himself entirely willing and able to escape down drainpipes if a sitch gets too scaly.
He DOES take the crucifix, and DOES wear it (which is what will save him during the shaving scene, because you KNOW he's going to jump a foot and cut himself like the dickens). He's read enough supernatural goosefleshers to be genre savvy about terrified old women cryptically pushing crucifixes into one's hands. I also think his sunny disposish endeared him to the villagers, and they were particularly vehement about urging him not to go. He doesn't speak German or Romanian, but he's empathetic enough to recognize Pure Terror. So by the time he actually gets to the castle, his imagination is already running wild and he's plenty aware that he is in imminent danger.
I think the biggest risk to Bertie will be the brides; whether or not he's susceptible to trances, if he thinks they're trying to marry him, it's against the code of the Woosters to turn them down. But that only becomes an issue if he comes face to face with them, which, luckily, I think is unlikely on account of the aforementioned "won't go exploring" (and if he did, Dracula would definitely rescue him).
I'm inclined to say due to his drainpipe-escape habits that he WOULD be able to climb the wall and MAY attempt to sneak into Dracula's room to look for the keys if his desperation grows to outweigh his fear. Whether he does or not, though, he does NOT have the stomach to attempt shovel murder, and therefore won't get magic brain fever, and may very well simply walk out the front doors when the people come to take the boxes away. OR he climbs his way out like Jonathan did. Either way.
When Bertie tells this story at the Drones later, Tuppy will say that no doubt it's been greatly exaggerated and all that probably happened was that he spent a couple months in an oldish house entertaining a weird loner.
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