#this is really unfortunate for me because it's TRUE narratively

[prettyboysdontlookatexplosions]

medialog january 2k25

books

ling ma, severance - first book of the year an unfortunate dud! the most notable thing about this book is that it’s a pandemic story published in 2018, but this is also true of carmen maria machado’s “inventory” which is a much better story at like 15% of the length. by chance literally the day after i started reading this brandon taylor sent out a newsletter talking about first person narration devoid of interiority, which allowed me to be like, yes, that! that’s what’s so fucking annoying about this! a first person narrative that feels like a list of stuff that happened, instead of a glimpse into someone else’s consciousness. and i knooooow people would say that’s the poiiiint because the book is reeeeally about late capitalist anomie or whatever, which would also be used to explain the fact that the narrator has no personality or emotional life, like she’s just so disaffected and detached and blah blah blah, but the theoretical justification for this mode doesn’t have any bearing on the visceral fact that i just at no point cared about anyone in this story, because it’s impossible to care about a narrator who doesn’t care about anything or act like a human being (a species that famously cares about things lol). might also be impossible to care about a narrator with a trust fund… open to having my mind changed on this one though. other complaints: prose clunky, nobody else in this book has a personality either, palpably convinced of its own interest and importance in a way that feels very Litfic Does Genre Trope Without Wondering If Any Genre Writers Have Thought About This At All Ever (zombies as capitalist metaphor is like... even i know that and i hate zombie shit!) the pandemic stuff closest to being interesting but the page count is unforgivably focused on 1 million backstory flashback chapters totally divorced from the present day because god forbid someone who wants to tell an immigrant narrative figure out a way to somehow integrate this into the actual plot of their book or otherwise develop a character through scene and action… truly this reads like someone was trying to write an autobiographical novel and realized they couldn’t make it interesting/saleable so they chucked a pandemic narrative at it to capitalize on the twenty-first century genre turn. i don’t know if that’s what happened… but that is how poorly the disparate threads are woven together.

miranda popkey, topics of conversation - really liked this! like it more the more i sit with it. i had it already and it happens to get mentioned in that taylor newsletter i mentioned as being a different kind of first-person narrator, so i read it figuring at least it wouldn’t annoy me in the same way as severance. i was a little skeptical at first for two reasons: (1) the book is told through a series of conversations across a long span of years, which i was worried was a cheat to avoid having a plot; (2) early on lots of women and sex and power stuff, which is dangerous territory re: potential to irritate me. but it won me over on the second point quickly by undercutting what it had seemed to be doing in a refreshing way near the end of the first chapter, and by the end i was ready to concede point (1) because it had done a very good job of telling a story beneath the story it was telling; more than once i was kind of rolling my eyes like, okay, but, really?, only to find a little while later the book addressing precisely what had been my concern, which made me feel like i had been pleasantly tricked. the prose is unshowy but very self-assured with a good ear, and a few lines/passages burrowed under my skin. the narrator is self-critical without being self-indulgent… idk, it threaded a number of needles very well. impressed and pleased.

myriam gurba, mean - another one i started out wobbly on and wound up liking a lot. in this case, the cover/what i’d heard led me to expect a different, darker, tone than i found, and i wasn’t sure i was on board; funnily enough, at one point i thought, disparagingly, “eh, kinda zine-y,” and then something clicked and i remembered wait, i like zine-y, and that let me recalibrate and get sucked in. mean is a memoir, more or less, opening with a description of a rape-murder in gurba’s hometown and then switching gears to become a coming-of-age story in vignettes, with the reason for the opening scene eventually coming clear in a way that made me really admire what the book was doing formally as a way to talk about sexual assault; i was also reminded of the absolutely true diary of a part-time indian, a book i loved, both for its form and for, to some extent, its tone, or its willingness to combine a light touch and a sense of humor with some dark-ass material (although mean is not YA and goes much darker in both content and expression) & often incisive racial commentary. gurba is a really playful, funny, curious writer, and while i think she could have killed a few darlings, by the end her voice had really won me over. she is not opposed to pushing hard on the bounds of good taste, and i would say that most of the time i was with her because she was either honestly capturing the sociopathic awfulness of teenagers, including her own teenage self (people who self-righteously respond “well i actually never laughed at XYZ in high school…” this book is not for you and also you are annoying, and i say this as someone known in high school as a bit of a PC scold myself!), or else, for example, making jokes about her own sexual assault or other issues, and then there were some times where, like… ok maybe an illustrative example is that i saw a goodreads review that was like “i was loving this book until she used touretted as a verb, my condition is not a cute joke,” and i was like, on the one hand, i get it, but on the other hand, the prison rape joke didn’t phase you? the holocaust joke? (holocaust joke distinct from the chapter about how reading the diary of anne frank made her horny btw.) so… on that score tolerance will reasonably vary lol. given that a fair amount of the back half of the book is in fact about the aftermath of sexual assault, i really admired how the book refused any kind of redemptive arc, landing on a brutal note, but also avoided feeling oppressively downbeat by virtue of the ferocity of its own telling, which stands as its own proof of survival.

elaine castillo, how to read now: essays - not for me. none of the ideas here felt new if you’ve ever spent more than five minutes considering the relationship between art, race, & politics, and i didn’t feel like they were ever explored at a depth beyond (or… even equal to?) that which i would find on a random tuesday scrolling my tumblr dash. elegance of expression can be its own justification but stylistically this book mostly just convinced me that books are not blogs and should not sound like the internet; the lack of discipline which can be a feature in internet writing (not always! but can be) is always a bug in print (or, at least, i haven’t encountered the book to convince me otherwise). i was excited that the title of the first essay was “reading teaches empathy and other fictions” but then instead of unpacking the cultural ideology that associates any kind of moral education with leisure pursuits at all it was mostly about how the white straight male story is granted universality but others are not, which… you perhaps see what i mean about how this will not be revelatory for those of us enrolled in the continuing ed program at supernatural dot edu slash tumblr dot html. there’s a weird essay about going to new zealand and being like “wow imagine if native relationships were this good in the US?” which i found weirdly uncomfortable to read from an american who by her own admission is not well-versed in that region’s history. she opens an essay by being like “i know it’s basically boring to talk about how you hate joan didion” and then spends 45 pages doing that (including what i think is a misread of at least the tone of didion’s comment that writing is the act of a bully - i’m not a didionhead and would never defend her famously terrible politics, but a) she is i think pretty clearly being both hyperbolic and self-deprecating b) castillo takes this as the chance to be like “well i write to be vulnerable and connect,” which… perhaps this is self-indulgent self-deprecation on my own part but i have an instinctive and strong aversion to writers hyping up their own reasons for writing, lol c) this is objectively not a stance exclusive to white ladies bc zadie smith once said essentially the same thing except i think she used the word sociopathic lol)... and then in the end notes of that chapter she drops a casual rec for the “excellent” show our flag means death which… girl, be serious… you’re gonna write 300 pages about the dangers of reading without context and then simp for the slaveholder RPF show with no commentary whatsoever? it’s fine to like that show btw i might watch it myself one of these days but it’s just deranged to drop this without qualifiers in a book allegedly against the act of eliding historical reality for the sake of aesthetic pleasure and comforting fantasy! she also does two things that are unfortunately guaranteed to make me, personally, insane (characterizing damon lindelof’s HBO watchmen as an important statement on race in america and being kinda wrong about the odyssey) which i will address below the cut at the bottom of this post because i understand that my own need to talk about them is the result of my bad personality and also this is long enough already.

movies

no - this is a 2012 movie about the plebiscite vote that ended the pinochet reign, starring gael garcia bernal as the young ad guy the leftists rope in to helping them make the best use of their allotted 15 minutes of TV time. i really loved this, for a few reasons. first, an interestingly and well-made movie; the director is the guy who did spencer, which i hated, and i don’t know if it’s a matter of directing in spanish or what but it felt like two totally different worlds. second, some extremely funny and perhaps broadly relevant commentary on the purity-strategy tension in leftist spaces; i particularly loved the scene where our protagonist unveils the logo and the leftists are like, “oh, and the different colors of the rainbow represent the factions of the leftist coalition coming together, right?” and he’s like “uh huh. yeah. totes.” third, there’s a matter-of-factness to the way the movie depicts living in a military dictatorship — depicts oppression, depicts military violence against civilians — that felt refreshing and, ummm…. very un-American. perhaps very latin american. but certainly very un-American. something really fucked up happens and it feels bad and then you go home and play trains with your kid and you maybe don’t expect that everyone is spending 8 hours a day wringing your hands about How Is Anyone To Live Now. fortuitous timing for me personally maybe to watch this on new year’s day 2025. also gael garcia bernal is always the only guy in the scene wearing jeans and rides his skateboard everywhere. strong rec.

the shop around the corner - the philadelphia story baby jimmy stewart pilled me so bad that when i learned this both starred baby jimmy stewart and was directed by ernst lubitsch i was like, wow i GOTTA see that. two coworkers hate each other while falling for the anonymous correspondents that are, of course, each other all along… this does a couple things that mitigate the screwball romcom gender politics problem, my favorite of which is introducing the female lead in a scene that highlights her smarts and competence, which is important in a love story about a meeting of the minds. has superb production design, lighting so good even i was like “wow the lighting,” a great ensemble cast given a good amount to do in a way that makes the whole movie feel really suffused with tenderness and care even amidst all the screwball prickliness, and most importantly some incredibly funny jokes.

one way or another (todo modo) - this is a really weird italian 70s thriller whose plot is largely incomprehensible if you are not conversant in italian party politics of the 70s, which i am not, but it was still worth watching for the unbelievable Catholicism Is So Fucked Up vibes… the whole movie takes place in a catholic spirituality retreat packed with power-players, largely underground in the spookiest ass rooms imaginable… there’s a ruthless priest and a million political freaks… and then people start dying… kinda conclave meets and then there were none meets glass onion? tbh sassier and bitchier and more honest about institutional catholicism than conclave!

a complete unknown - most of the non-singing parts of this movie are Fine, I Guess, If You Like Biopics; some are pretty bad (why does this movie hate alan lomax so much… to say nothing of the women, through no fault of the two actresses doing their damned best…). the cast is reliably good, i was worried at first timmy was going to be giving SNL sketch the whole time but something shifted and he won me over and i thought he was good and especially that he was very funny in the too-rare moments the movie found itself a sense of humor, mostly on the topic of bob dylan being a weird freak pathological liar with no social skills or interest in developing them (valid and should have taken up way more of the runtime than it did!!!). lots of people have complained about how much of this movie is just watching bob dylan write down lines while playing his guitar but i actually think this is even worse than people are saying because what it does is almost entirely obscure dylan’s voracious cultural appetite and eclectic influences, which is a huge part of what makes him the artist of he is, and which he himself is the first to own (chronicles volume 1 — of 1 lmao — is in my memory almost entirely dylan talking about what he was reading and listening to and watching as a young person). however the reality is that none of this really matters to the viewing experience of the movie because the movie smartly understands it’s not going to be better at making a movie than bob dylan is at making songs, so it just never makes you wait very long before the next time bob dylan is playing a bob dylan song, and if you are a certain kind of person for whom the music of bob dylan has a certain kind of effect — which i am — what happens is that the opening notes of one of the best songs in american music history starts up and all cares over “screenwriting” and “gender” and such things fall away and you just sit there in a haze so grateful to live in a world where bob dylan gave us “girl from north country.” also, credit where credit is due: the movie looks very good, in a very standard hollywood way but well that’s a dying art it seems. i liked all the lens flares in the night scenes! they were pretty and evocative without being distracting!

juror #2 - i love watching a movie about people talking about a process while i wash dishes. bonus points for this one because of my wrongful convictions thing — i found it genuinely a relief to watch a courtroom drama in which we know the whole time that the logic of the court seems persuasive to many people but is wholly wrong. nicholas hoult!

jay and silent bob reboot - this is an objectively pretty bad and at times genuinely offensive movie that made me laugh so, so much. im sorry

presence - i was absolutely never not going to love a soderbergh ghost story; i like that it’s less a horror movie and more a family drama from the perspective of the ghost, and i like that steven soderbergh, who i first started feeling interested in because of how unusually willing he is (among our A-tier dude directors) to view women as potential protagonists, made a movie largely about a sad lonely teenage girl. camera work on the ghost POV very cool and for me very effective. a tight 85 minutes! they shot it in 11 days! i love you steven!

nosferatu - already said this was a miss for me, and the more i think about it the more i feel reasonably sure that it would have been even if i were not so dracula-pilled… idk. i agree with my anon who called it cold. there’s a fundamental distance between the storyteller and the story that, again, was part of what i enjoyed about the lighthouse, but just doesn’t work for me with a more traditional, more visceral (in multiple senses) tale. similarly to the line about how there can’t be an anti war war movie, because you can’t portray combat without glorifying it, i sorta feel like maybe you can’t tell a story where you want credit for giving your abused and disbelieved female protagonist agency and also have multiple scenes that are like, “ok now do the crazy possessed horror chick thing” lol. i also thought it looked kinda bad in parts and really muddy in all the moonlight scenes but i did see one review on lbxd that was basically like “this movie only looks good in IMAX bc regular theaters can’t get the blacks deep enough” so… maybe that’s true. on the bright side: nicholas hoult!

music

kendrick lamar, gnx - this thing happens to me often with music where anything presented as A Big Deal i have a hard time listening to because i keep being like no it’s not the right time… this is why for example i have never listened to a mitski album and also why until now i had never heard kendrick outside of his features with taylor (bad, not his fault) and the lonely island (p. good) and, ofc, not like us. but “squabble up” came up at the singles jukebox and i got really into one of the slant-rhyme runs near the end and the general personality of his flow so i decided to check out the album and would you believe? kendrick lamar, good at rapping. i like how this album is like kind of about having a god complex and sort of knowing you’re being crazy but also what if actually you kind of mean it? (people get mad if you say this kind of thing so don’t tell anyone but it’s actually similar to the pose i enjoy taylor striking on some of the wilder moments on TTPD, lol.)

girl pusher, gaslight gatekeep girlpusher - 20 minutes of very of-the-moment hardcore-adjacent punk, mostly too hardcore for me (literally, i don’t like music that’s all screamy) but the 3 songs that aren’t are real bangers.

ghoulies, shafted by the algorithm - 20 minutes of bright synthy punk where i have no idea what anyone is saying, kind of like matt and kim with less abrasive vocals? (remember matt & kim??? no? bc i’m old? well ok). not an album i’ll return you but i liked the vibe enough to chuck the whole thing onto my 2k25 rolling faves list and have been enjoying the occasional 2-minute infusions of pep!

underscores, wallsocket (director’s cut) - really impressed by this one, and also really enjoyed it. i keep seeing people call underscores hyperpop but either their earlier work (which i haven’t heard) is very different or i just don’t actually know what hyperpop is (very possible). to me it’s giving aughts indie, maybe a little emo but like the bright eyes kind, it’s giving saddle creek but made by a kesha fan. (does anyone else feel like we’re really in a post-kesha era in a way that is not being appreciated…) catchy, inventive, varied but cohesive, angry and funny, political & personal in the lyrics, sometimes at the same time. there’s a song called “johnny johnny johnny” which is an incredible banger about being groomed by an internet predator in middle school that really blew me away; would also rec “cops and robbers” just because it slaps. but even the quiet songs are good!

rosie gray, louder, please - flawless and sometimes even kind of interesting (although never that interesting) dance-infused pop (pop-infused dance? i think the first one but i’m no expert). pretty, fun, sometimes endearingly unsubtle — there’s a song literally called “party people” and another one where the refrain is “the best things in life are free,” also one called “switch” that rhymes “positions” with “submission.” dumb but thoughtfully and expensively so (or so it sounds, which is what counts). the way that people talk about feeling when they watch influencers swanning poolside in ibiza or whatever, that’s what listening to this album makes me feel like. vicarious luxury and all i need is a pair of headphones. another one where i don’t anticipate returning to the album as an album much but i rarely hit skip when a track shuffles my way.

zora, BELLAdonna - yoooooo this album FUCKS, like, SEVERELY!!!!!! saw someone rec this saying it was framed as a black trans revenge fantasy, which, i’ll be honest, turned out to have absolutely no bearing my listening experience whatsoever, but i am dutifully repeating because maybe you, too, will be intrigued enough to listen, and then discover that this album has BOPS. i am not really up to the task of describing this one — rap/hip-hop forward but with glimpses of both r&b and a pop (maybe even hyperpop?) sensibility, obviously broad in its influences (there are at least two likely refs to bodak yellow lol) while sounding like the clear work of a distinct voice, retro and futuristic by turns or sometimes at the same time. sounds really really cool and really really fun. sick flow, sick beats, a song called “sick sex”... strong strong overall rec here, this album rules.

single of the year so far is "IT girl" by jade (from little mix!!!) btw. if you care. really delivering on always low-key being the most interesting of the quartet in what she's put out so far, not all of it is my thing but she has a Vision and IT girl is a certified bop... really curious about where she goes next.

okay so petty grudge-holding below the cut:

first, the watchmen thing. to start with, she drops in the intro that she admires HBO watchmen, and like, did this alone make me read the entire book less generously than i otherwise might have? entirely possible. that is me owning my positionality as a reader. anyway. mostly here i just want to say that she specifically discusses the fucking 1922 movie about a black hero saving a grateful white crowd that made me the joker and drops that the name of the hero is “historically accurate” because he’s named for the first black marshal in oklahoma or whatever, which, ok. cute, i guess, if i didn’t hate this. what i hate, and what is not historically accurate, is: the existence of a film in 1922 (7 years after birth of a nation!!!!!) with a portrayal of american race relations that looks anything at all like the one in this movie. i mean it’s just crazy. and i find it first of all just inane because if you’re capable of writing this scene and thinking it feels plausible, you by definition do not have a good handle on the history of antiblack racism in america or how deeply it has resided at the core of american popular culture (among other things), and second of all genuinely kind of offensive because of the smash cut to Real Historical Atrocity that follows, underscoring the alleged “realism” of the scene. and it is insane to me to praise this scene for its “historically accurate” detail in a book, again, largely about the importance of bringing an understanding of historical context to your reading. it makes the author look a little bit like she only means that for stuff she already happens to know about or saw someone else talk about online. lol.

also the essay starts out being like “another day another jkr twitter meltdown” which does not help with the sense that these essays were blog posts that did not get sufficiently cleaned up for publication (is that true? idk. it’s how it reads though!). and it’s called “the limits of white fantasy” (but then is largely about how HBO watchmen is good lmao) and has a thing like “well rightwing types can appropriate symbols from harry potter and the hunger games and wherever else because those authors never cared about oppression they were just interested in its trappings.” first of all, leave my girl suzanne collins, cashing her checks blissfully offline, out of this. but second of all i actually think this is a substantively wrong diagnosis. jkr very, very, very obviously and sincerely cares about oppression. she is just catastrophically wrong about who is oppressing whom! but it’s extremely clear she thinks of herself as an actual victim of the actual injustice (in her head) of the woke trans mob or whatever. ditto antivaxxers using hunger games cues or whatever. they sincerely believe their rights are being infringed upon. sometimes people are actually wrong! sometimes people care a lot about morality and justice and are wrong about what those things are! i think this is in general harder for people to contend with than the idea that anyone engaging in such wack behavior just “doesn’t care”... but it is true. writing this out makes me think i undersold the insight potential value-add of naomi klein’s doppelganger, because she’s actually really good about recognizing that while these movements involve a lot of sociopath grifters at the top, the footsoldiers are people responding to ways they do in fact feel victimized (and sometimes actually are, e.g. i literally can’t remember if klein talks about this or not although i think probably yes but a lot of people in the alt-wellness/medicine space got there as a result of terrible experiences with healthcare that failed to address their physical and emotional needs).

ok also AND one last thing about this essay, she really gives the impression that she thinks damon lindelof is like the first person ever in history to politicize the figure of the vigilante/superhero… lmao? she praises the show for being about how actually community is necessary and justice can’t be done solo, which, first of all, just gonna throw this out there, there are ways to tell that story without being like truly the most police brutality apologia nonsense i have ever seen, and secondly, this is literally thematically expressed quite poignantly in alan moore & dave gibbons’ comic limited series watchmen in the scene where the guy acting as a lone vigilante who has taken the fate of humanity into his own hands nukes a bunch of new yorkers coming together to try to mediate some conflict. do i think that you need to have read watchmen to write an essay — not a BLOG POST on your DUMB BLOG, an ESSAY in a BOOK — about the politics HBO watchmen? i mean, maybe? is that so crazy? she says making hooded justice black is a radical reimagining of a comics character which is so funny because it makes hooded justice sound like he’s fucking superman or something and not a probable nazi who dressed up as a kinky klansman as part of watchmen’s commentary on the politics of superheroes lmao. like hooded justice is already a radical reimagining of the superhero mythos… because he sucks… and i guess in my heart no i don’t think i’m just being a weird watchmen stan (lmao) to say, “you actually can’t get a meaningful read on the politics of HBO watchmen without taking into account that the actual intervention being performed with this character is ‘what if this nazi was actually a sympathetic black man.’” do you see how that feels different? (also not for nothing but wrt the idea of HBO HJ being inspired by the movie about a black hero, again, in the comics HJ through his klan-ish costuming is already inspired by american iconography of heroism — arguably one he also saw in a silent movie that actually existed by the name of birth of a nation lmao!!!!! — which is part of the indictment of american hero iconography… i mean whatever. it’s so fucking stupid. btw her big takeaway from this character’s arc is that justice has to happen in community which is also funny because like you know who had a really strong sense of community? the klan.) do you see how it feels maybe extra different in a show whose ultimate thesis is something like “what if nuclear weapons were good if we gave them to a black lady cop who loves doing police brutality so so much”?

and… ok one LAST-last thing… in her informal endnotes, she cites “the watchmen universe” created by moore & gibbons, which… idk man. on the one hand i’m like, ok but it actually is mostly irrelevant to my textual beefs here that watchmen was in fact not intended to be a “universe” as we now use that term in the IP era and that the extent to which it has become one has been expressly at the disapproval of moore largely because of the fact that DC fucked him over so bad with this that it literally changed comics contracts going forward lmao. but on the other hand, if you like claim to care about the social context in which art was created, isn’t it not the best look to do not a single google and uncover the most famous example of the abominable labor practices of the comics industry? i acknowledge i could be indulging in pettiness at this point.

OKAY so that’s all on watchmen i think. the odyssey thing is smaller and less of a big deal, more just goofy. so she talks about the cyclops sequence and highlights how in recounting this story to the phaeacians odysseus is identifying certain arbitrary marks of “civilization” such as cultivating fields, and how he ignores the arguably very “civilized” acts we see polyphemus the cyclops commit, such as tending his sheep and making cheese. this is all fine and unobjectionable, even true, although i will say that, first, she presents this like these are insights she is bringing to her close reading of the text but i really struggle to imagine the person in the past several decades who would disagree with the fundamental thesis “the stories and myths and texts of ancient cultures served in part to delineate and reinforce their own social norms”; and second, she opens the essay with an epigraph from toni morrison talking about how she always admired how homer could make you feel sad for the man-eating cyclops, but then she doesn’t bring this quote up at all and talks about polyphemus’s sheep and cheese as though recognizing in them the marks of humanity is, again, a novel way to read the text? idk maybe i am just misreading her tone bc by this point i was very tired of how impressive she seemed to find herself but i found it odd because she’s like “see polyphemus is actually complicated but odysseus doesn’t see that” and i’m like well yeah that’s like what morrison was talking about… i have no idea how this would have scanned in ancient greece bc i’m not a classicist but neither are you so… anyway. i couldn't figure out her attitude on the odyssey (or this chunk of it) as a text, i guess.

so she takes us through the whole incident, including a cutesy reading of “nobody is blinding me” as like a metaphor for how power operates by making it impossible to name it, which, sure. have fun. and she closes on odysseus’s final boast along the lines of “if anyone asks tell them it was odysseus of ithaca son of laertes who blinded you.” and then she goes into this whole thing about how like… this is odysseus wielding his privilege basically, that he’s doing this because he’s so secure in his name and the power that grants him. she says, “It’s his confidence in his own context that is Odysseus’s greatest strength, his greatest privilege, and his greatest cruelty.” which… i guess kinda makes sense… if you ignore the part where namedropping himself is literally what GETS HIS ASS CURSED? he drops his name and instantly polyphemus is like “grandpa end that motherfucker” and boom, odysseus’s men are doomed to death and he is cursed to ten years at sea. like… it is literally not his greatest strength!!! it is the thing that gets his ass beat!!!! and notice that observing this, the BASIC LITERAL PLOT OF THE TEXT, does not require morally defending odysseus, or claiming homer was woke, or whatever. it is very obviously the case that the text does not think odysseus’s thing about his name is bad and he is being punished for it to learn lmao. i actually literally pulled my old fagles translation off the shelf to find what bernard knox had to say about this, if anything, in the intro, and he reads it as an expression (one of several) of the same heroic code you see achilles living by in the iliad, which includes the idea that you must take credit for your shit — even in this situation in which doing so puts yourself and your ship at great risk. this is not a particularly sympathetic reading to most modern readers! but it is one that takes into account the fact that this is the inciting incident for LITERALLY THE ENTIRE PLOT OF THE POEM!!! like it is crazy to quote that line and end the story there as if odysseus just walks away unbothered! the point of that interaction is not that he’s acting like a vanderbilt trying to get a table at a fancy restaurant, and it is not incidental what happens next because what happens next is THE ENTIRE STORY! and, like… it’s also not incidental because the fact of the matter is the world of homer is simply not a world where your name protects you, or achilles and agammemnon would not be hanging out in the fucking underworld. i’m thinking here about knox’s comment on the iliad that it was written in a century where athens spent more years at war than not, and how crucial understanding that is for understanding the world these stories were created in… i mean on the one hand whatever but on the other hand the essay collection is literally about the idea of reading things in context… so like… whatever. you could take the events in the text and then discuss their influence on 3000 years of western art and how that trickles down into values or whatever, i guess… but she didn’t do that so like :/

also then she says “he may be traveling, but he’s not a migrant,” which i just found goofy because i’m not really convinced the concept of A Migrant as she seems to want us to read it makes a ton of sense to superimpose onto the mediterranean 3000 years ago. (i feel like A Migrant requires the concept of… nations? borders? etc.?) happy to be corrected on this by any classicists who follow me.

also her didion essay is not as good a takedown as either didion's own takedown of woody allen or barbara harrison's takedown of didion. lol.

anyway. ok. that’s my grudges off my chest lmao.

[brltpop]

.

[intheholler]

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

[inkskinned]

okay if you're really cool about things, i can be honest with you. before you read further, decide if you're a girl's girl. if you're cool and actually cool or like not cool.

men don't talk in my book because i was fuckken tired of the way they're the center of every fucking story. i was tired of how every story takes a moment to let them talk. men can shut up for literally one fucking book.

unfortunately not everyone is cool. professionally what i usually say is i didn't want to add violence to the world. the only men in my book are abusers, so they don't get to talk. they don't get to take up space. they ruined my life, they don't get to have their words echo anymore.

because like, yeah! you find practically any story about a person surviving trauma and... there's a man at the center. men are often rescuing us from these things. a "good man" is always standing around, being a good man, proving to the victim that good men are the real men. that her experience was unique rather than universal.

the redacted text has not been taken well by all of my early readers. there is this weird, crouching growl that keeps occurring with men-of-a-certain-age. why don't we hear his side of the story?

when i sat down to write everything that happened to me, i couldn't look at the frank brutality of my abuser's words on a page and think to myself: i actually let him speak like that. i had to redact his words from the manuscript. i then left it redacted. no victim is going to read this book and hear the person who hurt them. it is a book for the victims to speak. abusers shut up challenge, forever. for eternity.

my father once told me, chuckling, i should just have a page of redaction where i let the man just finally talk. it is funny to joke about how we should make a whole page in my book about a man that hurt me. this was not the only time someone commented - it feels like you're hiding things. how do i know you're actually a victim if he doesn't get to speak?

there are books where women aren't even present. i even genuinely like some of those books. like, who doesn't like the hobbit?

i keep running into people defending this imaginary man. the default narrative is so true to some people that they will defend any man, just by virtue of the assumption - "if he's acting like that, you had to push him." certain people need definitive proof that you didn't accidentally make your partner into an abuser. they need to decide if you deserved it, because they want to be able to judge you.

which makes sense, i guess, from a hind brain perspective. if you can figure out "why" someone was cruel, you can protect yourself against it. if you defend the bully, the bully might side with you. i don't really know their explanation for feeling this about a character in a book. trust me, i wrote the guy. he is not going to protect you.

i guess i just - there was a time in my life where i desperately wanted anyone to defend me. where i could have really used someone saying holy shit are you okay instead of what did you say to make him act like that to you.

instead, over dinner, a friend-of-a-friend i just met is pouring herself wine. i heard you wrote a book, she says. she gives me the kind of chilly smile i associate with knives. i heard it's unfair to men.

[ohmygraves]

ghost, but as your fake boyfriend.

you were panicking.

your mother had called earlier, asking if you could come home for a few days. apparently, your brother had returned from overseas, and she called to let you know that every single member of your family would be there. a small family reunion, if you will. of course, she expected you to show up too, perhaps bring that boyfriend of yours you always told them about.

which was a problem because one, you don't have a boyfriend, and two, you have lied to your family for years and now it's come to bite you in the ass.

you didn't even know why you did it in the first place. perhaps the constant pestering and questions about "when will you get married?" is starting to bother you, especially when it came from so many of your relatives, wondering if you'd settle down already instead of being out there in danger all the time. perhaps you just want them to leave you alone and stop worrying about your wellbeing. after all, you're an adult, and it's just annoying to hear the same thing over and over again every single time when you went home for christmas.

so, you created this narrative of a "boyfriend", who you'd talk about when your parents called. a boyfriend who is tall, handsome, and loves you for who you are. a boyfriend who you'd live with and maybe plan on marrying too in the future. a boyfriend that is so much of a textbook nice guy that your family would approve of even if it sounds too good to be true.

you're not sure who to ask. soap would be your best bet, but he would be away on a mission at that date. which was unfortunate, he seemed really excited to play fake boyfriend with you. gaz just ran out of leave for this month, so he's out too. price is too old, your family would question it.

that leaves just one person...

"lt, can you do me a favor? please, just this once."

ghost turned towards you, leaning back and letting you explain. you told him that you need him to be your fake boyfriend for a family event.

unsurprisingly, he was very quick to stand up and leave you alone, not wanting to deal with your bullshit. still, you catch up to him, trying to convince him with whatever it is you could offer.

after a few rounds of convincing, tailing him for three days and nights, constantly pestering him, and some offers of the finest whiskey and whatever he wanted, ghost finally relented. it didn't take long for the two of you to fly back to your hometown two days before the family reunion, the two of you taking a week of leave from the base with very little trouble. you assumed that ghost had something to do with it.

before you arrived, you had to give him a rundown on what to expect, what questions will be asked and how to answer them for it to make sense in the web of lies you've created. he was definitely not thrilled, telling you that he got this... whatever "this" was supposed to be. you were nervous, hoping that things will actually go well.

surprisingly, ghost did keep true to his words. walking into your childhood home, he held your waist, keeping you close to him, even would act nicer to your nosy relatives (which, of course, was not surprising when you feel his grip got tighter around you).

dinner was quite cozy, everyone seemed to enjoy his presence and kept asking you if you two will end up married. ghost said something vague that made you blush, and while it embarrassed you, it got everyone to stop talking about it.

when the crowd dissolved, you took ghost to go see your childhood bedroom, closing the door behind him as you thanked him for doing you a good favor, and that you won't forget all about this. you didn't even realize that he stepped closer to you, too absorbed in gushing how successful the night has been, pulling you close and planting a kiss on your lips. it shut you up.

"... did you just kissed me?"

"mmhm. i reckon i deserve at least that, huh love?"

"i suppose you do..."

he kissed you once more. well, at least you won't have to lie about your fake boyfriend anymore.

[megaderping]

A while ago, I made a post going into parts of the missable Sae Palace arc text messages, such as these:

However, that post neglected to include a full transcript. I have since transcribed all of these texts, which occur on 10/30, 11/3, 11/7, and 11/11. You must not infiltrate Sae's Palace until after these dates in order to get these.

Transcripts below the cut! Crossposted to the P5 sub.

The first of these texts takes place on 10/30. You will miss this text if you infiltrate the Palace on the first available day.

--

Ryuji: Yo, Akechi.

Akechi: What is it?

Ryuji: You got any idea who the true culprit might be?

Futaba: Oh yeah! You said you saw a masked guy, right?

Haru: I wanted to ask about that too.

Futaba: Did you really see him? The masked guy's gotta be the true culprit, right?

Akechi: If this so-called true culprit is acting alone, then there can be no mistake about it.

Futaba: I see.

Yusuke: The next question is, who is that masked man?

Akechi: Unfortunately, I do not know that much.

Futaba: Ugh, you're useless.

Akechi: That is quite harsh.

Futaba: Aw, you're making me blush!

Ann: That wasn't a compliment...

Akechi: At this point, I have yet to even grasp any clues. But once this is dealt with, I will surely capture him. I promise you that.

We'll be counting on you.

Akechi: Perfect. Leave it to me. It may sound somewhat odd for me to say this, but I am an exceptional detective. I assure you, I will catch this culprit. Look forward to it.

Can you do it?

Akechi: Hm? Do you not trust me?

[The rest plays out the same as the other option.]

--

What's funny about this exchange is how the Thieves know Akechi's deal and are just playing along. It makes some of the reactions (especially from Haru and Futaba) read as comically passive aggressive. However, the more interesting texts start coming on 11/03, 11/07, and 11/11.

Starting with 11/03.

--

Ryuji: Goddamit. People're acting like we were the ones who killed 'em.

Yusuke: I have even heard them say we are assassins hired to deal with psychotic breakdown victims.

Ann: Ugh, that's obviously not what we're trying to do.

Akechi: This must be part of the plan to shift blame onto the Phantom Thieves. After all, the true culprit is the one killing the people on that ranking list.

This is unforgivable

Akechi: Indeed. I have no intentions of letting this slide.

This is total BS

Akechi: But that is the truth for the general public at the moment.

[Both lead to...]

Futaba: Man, this culprit guy really won't let up. I don't remember ever doing anything that'd make someone hate us THIS much.

Haru: He used my father as well...

Akechi: I cannot fathom what his motive may be... We will just have to capture and interrogate him.

Makoto: But before that, we need to change my sister's heart. That's our first step toward stopping him.

Akechi: I must agree. The true culprit will be caught, but before that we must deal with Sae-san. If ranking is being taken into consideration, perhaps I will be targeted too... Just kidding.

--

This tells us that Shido is deliberately having Akechi target high ranking targets on the PhanSite in order to terrify the public with abhorrent acts of violence, much like he did in April. It's a way to make people feel scared and more reliant on Shido to be the change that Japan needs. But if you secure the treasure as quickly as possible, you will miss this added information that really deepens how cruel he truly is by ordering hits just to paint a convenient narrative.

And this is definitely Shido's idea, because on 11/7 we get this gem...

--

Haru: Do you think the culprit could be someone at our school?

Yusuke: That seems somewhat sudden.

Haru: I mean, didn't they find a calling card in Principal Kobayakawa's office? I thought you had suggested that idea yourself, Yusuke.

Yusuke: That was just a generalization.

Haru: But if Mako-chan noticed what was going on with you guys, somebody else might have too.

Ann: So you think that "somebody else" is trying to frame us? What's gotten into you so suddenly?

Haru: Nothing has gotten into me. I just think there's a chance the culprit is related to Shujin...

You might be right. / There's no way.

[Both get the same response:]

Yusuke: What is all of this about? It's too soon to be jumping to conclusions like this.

Haru: Well, I was hoping to hear a professional opinion on the matter... What are your thoughts, Akechi-kun?

Akechi: The possibility is not zero, but it does seem a bit unlikely.

Haru: Why do you ask?

Akechi: A normal person would never do such a thing. They would have no reason to callously murder your principal.

Haru: And what if they weren't normal?

Akechi: Are you implying they kill for the sheer pleasure of it?

Haru: No, not like that. What I mean is, you need certain special abilities to navigate through that world, yes?

Akechi: Ah, so you're saying the culprit is a Persona-user.

Haru: Yes.

Akehci: I see... How perceptive. Truthfully, I was considering that possibility myself. But it is difficult to think they have ties to Shujin Academy.

Haru: Why?

Akechi: There would be no motive for them to carry out such a cruel plot. Clearly our culprit is acting behind the scenes to accomplish some grand objective. He likely has accomplices. It is even possible that he is being controlled by someone.

Makoto: Controlled? By whom?

Akechi: If I knew that, I do not think we would be in this much trouble.

Haru: I see... So even someone like you doesn't know, Akechi-kun.

Futaba: Looks like our genius detective's not so much of a genius after all.

Akechi: Haha, harsh as always. If there is one thing I know, it is that the culprit behind all of this is extremely shrewd. But don't worry. I will catch him, no matter what it takes.

I'm looking forward to that. / I wonder if you can do it.

Akechi: More importantly, we need to focus on changing Sae-san's heart for the time being. If we cannot do that, everything we have done will be for naught. We absolutely must succeed here.

--

There is so much to unpack here. By far, it's my favorite of these texts because of the light it sheds on Akechi's motivations and intentions. First, we have Haru pressing the subject. She clearly wants to squeeze answers out of Akechi. She's subtly putting him on the spot because she knows...

But Akechi lets slip that no, actually, he doesn't do this for pleasure. That actually, he is being controlled and that the true mastermind is someone shrewd that he intends to take down. Amidst all of Akechi's lies and platitudes during this part of the story, we see a crack in his perfectly prepared mask. In a way, this is the most honest we've seen Akechi outside of his Royal confidant and on 8/28 and 9/3. In a way, he's sharing little slivers of himself with the rest of the team (either begrudgingly or for reasons he doesn't fully understand) the way he already has with Joker.

And it actually explains a few things that happen later. Namely, the way he downplays the need to kill the other Phantom Thieves until after the election (keep in mind, he does intend to knock Shido down from his pedestal) as well as treating Morgana as "just a cat." Obviously, this doesn't absolve Akechi of his guilt, but it does make it clear that he isn't as remorseless as a lot of people believe, even if no amount of sunk cost fallacy is gonna undo the damage he's done.

Hell, when combined with his lamentation that he didn't meet Joker years ago in the engine room and his reaction to Morgana explaining changes of heart, these texts further solidify that his feelings toward both Joker and the Thieves are extremely complex and absurdly messy.

Plus we get Haru and Futaba both taking shots at him, which is fun and also extremely deserved. :p

Moving on, there's one final missable November text on 11/11. It goes as follows:

--

Akechi: So, about the investigation... It seems they have no evidence that can truly be called as such.

Ryuji: Well duh.

Akechi: However, it seems they have no intentions of changing their plans.

Ann: They're going to investigate at both Shujin Academy and Leblanc, right?

Akechi: Indeed.

Makoto: Hm. I can understand Shujin... But why Leblanc?

Akechi: The key is Wakaba Isshiki.

Futaba: Is it cause of my mom's research?

Akechi: Correct. Her study of cognitive psience is closely connected to this case. Of that, there can be no doubt.

Futaba: Then this guy's really the mastermind behind all of this?

Akechi: That would be the case. There can be no mistake... The one who erased cognitive psience from this world is surely the culprit behind everything.

Makoto: And getting rid of the research was the only way they could use its powers?

Akechi: How perceptive of you. Yes, that is the only logical conclusion. Both Sae-san and I were searching for clues about that research. But just as we were about to deepen our investigation, this commotion began. And to make things even more troublesome... There was only one person with strong connections to both Shujin Academy and Leblanc. And that person turned out to be the leader of the Phantom Thieves.

Yusuke: So the culprit had calculated all of this in advance?

Akechi: Heavens no. That would be impossible. This was a miracle created by the coinciding of multiple chance situations.

Ryuji: Dude, you hear that? He says you got miraculously bad luck. Don't that make you feel good?

I'm so lucky.

Ryuji: Y'know, shitty luck is still luck.

That's not funny.

Ryuji: C'mon, you gotta be able to laugh it off at this point.

Haru: Yes, your luck really is impressive.

Akechi: At any rate, that's the current state of things. And that's why we must obstruct the investigation at all costs.

Makoto: Yes, that's our intention.

--

Once again, we have Akechi laying it on thick that Shido is the one behind everything, as he was the one who ordered the hit on Wakaba, stole her research, and had his own research team develop it further. And keep in mind, Shido's own words, first on 11/21...

"Those who get in the way must be eliminated at times—that's the correct way to use the Metaverse."

And later, his Shadow states, "Moreover, it was thanks to me that Akechi was able to properly use his power to begin with."

So we know that even the idea of inducing mental shutdowns came from him, even if Akechi offered his Metaverse abilities as part of his stupid revenge plan.

What this shows is Akechi wants to hint that there is this bigger puppet master, even if he's going to betray the Thieves, and this is actually really consistent with his Royal confidant. In Rank 7, he uses a billiard games as a metaphor for the upcoming betrayal kill and gives Joker an out, even if he's much happier if you assert your rivalry instead. This makes his warnings about the connections to Wakaba carry a very similar feeling, and since these texts were in Vanilla, it's likely that the Royal confidant built on this foundation.

But then there's the fact that the Thieves are fully in the know that Akechi is going to betray them, so it recontextualizes all these texts where they are genuinely trying to squeeze as much info out of him as they can and likely having to restrain themselves hard (especially Futaba and Haru).

And all of this you will never see unless you delay the infiltration until 11/12. So, the next time you play Persona 5 Royal, it might be worthwhile to delay Sae's Palace to see these in-game! They're really cool and it's a shame they aren't scripted events.

[unbidden-yidden-deactivated20240]

And just to follow up on that previous reblog without derailing it: a lot of the really weird relationships and discourse that exist out there in the neo-pagan, Satanist, and atheist communities are in fact echoes of the weird relationship that Xtianity has with Judaism.

Xtianity has a weird, tumultuous relationship with Judaism because they must simultaneously validate the Tanakh and the Jews who created it or else their own religion is devoid of context and built on a house of cards. But! If they validate Judaism, then they have to grapple with the fact that the Jews did not accept their interpretation of the Tanakh, that we still, against all odds, exist, and that because we still exist, we are still around to point out the ways in which the New Testament does not fit with the Tanakh and that the Tanakh does not inherently or naturally point to Jesus. And that's to say nothing of the bloody history of Xtianity towards Judaism. Our continued existence is a sore point and a weakness in the Xtian narrative that has been a constant source of irritation, frustration, and violence since the dawn of Xtianity. And, at the same time, there is a certain fascination with Judaism related to things that have been appropriated by Xtians or understood as particularly useful in spreading supercessionist ideas. So what you wind up with is a toxic mix of antisemitism and philosemitism (effectively fetishization and orientalism) that drives too many Xtians to "love" us by attacking our beliefs and way of life, and stealing whatever they think will be most helpful in their mission (especially as it pertains to Jews) in order to try and convert us.**

Many people who have also been hurt from inside of Xtianity or by the broader Xtian culture they live in seek to deconstruct those ideas by creating an inverse of Xtianity in one way or another. Those who turn to Satanism typically do this by worshipping the opposite force of the Xtian god. Those who turn to neo-paganism typically do this by embracing an unambiguously polytheistic religion and/or by turning to the cultural historical enemies of Xtianity. Those who turn to atheism typically do this by rejecting "God," "faith," and "organized religion" (as these concepts are understood by Xtian norms.)

And honestly? That's fine. If it helps, if it brings you meaning and joy, knock yourselves out. I have no problem with people turning to these beliefs for reasons of healing as well as simply being drawn to it. And for what it's worth, I did a similar thing by turning to Judaism. Obviously I had many other reasons for becoming a Jew as well, and I assume that's true for the aforementioned folks, too. Judaism healed a lot of Xtianity-shaped wounds for me, and if your paganism, Satanism, and/or atheism helps you in the same way as well as bringing you meaning, I sincerely wish you the best.

However, the problem is that many times, unless you turn to Judaism and learn our side of the story, it's very difficult to deconstruct the antisemitism of your past entanglement with Xtianity. Xtian antisemitism has permeated western society so thoroughly for so long that it is real *work* to identify and unlearn it. Those converting to Judaism have the benefit of the Jewish community and extensive educational resources to help. Other folks do not.

Here's the problem: if you simply invert Xtian ideas, you are still treating Xtianity as the baseline reality from which your other assumptions and beliefs flow. If you just choose the opposite at every chance, you divorce yourself from Xtianity, but not its prejudices.

Now you might fairly ask, "hey Avital, if we are making the opposite choice at every turn, wouldn't that invert the antisemitism to being at least neutral if not positive towards Judaism?" And that would be perfectly logical! But unfortunately deeply and (for us) dangerously incorrect.

The reason is because (1) antisemitism has never been rational but reactionary instead, (2) philosemitism is also bad, and (3) it is structured in a way that it's pretty much always "heads I win, tails you lose." Have you ever noticed that according to antisemites, Jews are both ultra-white and also dirty foreign middle eastern invaders? That we are supposedly very powerful and run the world, but are also weak and degenerate? That both the Right and the Left have extensive antisemitism problems? Etc.? There's a reason - it's because antisemitism is designed to other us no matter what. So oftentimes I see folks inverting Xtian philosemitism to being "those awful fundamentalist Old Testamenters" or inverting Xtian antisemitism to valorizing Judaism, but only to the extent that they can meme-ify our religion down to fighting God and/or being un-pious godless liberals.

But like other groups, we are a diverse and complicated group with a very long history and a lot of trauma to boot.

If you're trying to unpack your Xtian conditioning, please also unpack your antisemitism and philosemitism. If not for our sake and for it being the right thing to do, at least do it for yourselves, because unless you deconstruct that as well, you will still be operating within a really ugly aspect of a Xtian mindset.

(**Please note that this isn't literally all Xtians everywhere, but it is a lot of Xtians in most places and throughout most of history. There are absolutely Xtians who are good allies to Jews, but they are much smaller in number and are swimming upstream in their relationship to both Jews and Xtianity.)

[meanbossart]

How did you start posting du Drow? I would love to post about my own tavs but I feel like I’d be infodumping into the void. Did you start with art and questions came later, or did you just drop a full backstory and continue adding on? (Obsessed with your guy btw, the angst you write is so good)

I mean, aren't we all "info-dumping into the void" until something happens?

It was definitely the art that caught people's attention first, and for some baffling reason many folks were ALSO interested in his backstory and my writing once I started posting small bits about it. I think it has a little bit to do with him falling outside of some commonalities from the time - he was a big buff dude, his formative "bhaalspawn" relationship was Orin rather than Gortash, and I'm at least told that my characterization of Astarion and his relationship with him is a little "unique", though I couldn't tell you why exactly... In all likelihood, that is just something that every artist gets in their own inboxes from the people who resonate with their personal characterizations!

If you want my honest opinion, I think it's a lot of "luck". I know I'm a talented artist and at the very least a competent amateur writer, but MANY people are, too, and not all of them manage to garner an audience - no wonder so many artists (myself included) feel as if they have stumbled into the limelight by complete accident.

That said, i think its always a good idea to be passionate, and I think that really resonates with people - either because they are passionate themselves, or because they wished they could be - I've had a lot of folks (politely) ask me how can I not be embarrassed about posting the art that I make or being so into dissecting the lives and creating narratives for these fictional characters, saying that that's what holds them back from diving into their own creativity... What that says to me is that a lot of people aren't really putting everything that they have to offer out there, or do so with a lot of palpable reluctance/insecurity that, unfortunately, does tend to be very off-putting.

Sorry for the ramble, I feel as if this wasn't super helpful... But I think a point that can be drawn from it is that there isn't really any reason not to share your work and thoughts, as that seems to be the only true commonality among people who do find a following to entertain and share their ideas with!

[alittlebitofloveliness]

Darry Curtis was always gay- the musical just makes it more obvious.

I know it was never Hinton’s INTENTION for any of her characters to be perceived as queer, she claims she didn’t write them that way, and that’s fine. In fact, I think reading The Outsiders as a group of straight men who have the bonds they do is actually a really great critique of toxic masculinity, in that we would see the contrast between their interactions one on one or alone with the group, compared to their macho, hyper masculine personas they showcase in public. HOWEVER, I think it’s incredibly hard to read it that way because Hinton accidentally and completely unintentionally made Darry Curtis one of the gayest characters in modern literature. It’s not far fetched. It’s not a stretch. I’m saying that if you have even a surface level understanding of subtext that it is obvious. Darry’s queerness is as open  in the novel as he is in his life- that is, it’s never said explicitly, but it’s VERY easy to see the signs. In fact, the way it’s threaded into the narrative but very talked around leads me to believe that even though Darry wasn’t out, it might have been an open secret within the gang- or at the very least they probably had some suspicions. 

For one, in the book Darry is never mentioned even once to have had a girlfriend, or even to have gone on dates, but we know he was popular and well liked. You can’t convince me that a handsome, popular football player, whose peers liked him enough to vote him Boy of The Year, didn’t have more than a few girls interested in him, but Pony’s narration never even alludes to Darry having been interested in one. For all he talks up Darry’s achievements, the scholarship he won, the future he could have had and everything he gave up, women/a girlfriend were never a part of it- which, given the time period and Darry’s reliance on hyper masculine social scripts, seems highly uncharacteristic unless there was a plausible explanation for his complete disinterest (ie. being gay). Now, examine this hyper masculinity a little further, and you can see it for what it is, a) a defence mechanism (because it separates him from stereotypes of what a gay men are like, so if he’s ‘manly’ enough no one will ever suspect or discover what he is) and b) the unfortunate complete opposite of that. Just like how hyper femininity characteristic to femme lesbians is off putting to men, the same is true to some degree about hyper masculine men being somewhat off putting to women. Not to the same degree, and probably not as obviously, but Darry’s  over the top masculinity might be the one thing effective in keeping (some) women away for reasons they can’t quite put their finger on. Point is, Darry was never a ladies man, to a degree that is very not heterosexual, especially for the time period.

So, now that we’ve established Darry’s complete disinterest in dating women,  his hypermasculine personality and it’s possible implications, let’s turn to other textual support for his queerness: his relationships with other male characters. I’m not talking about the gang- his interactions with all of them are very friendly/familial-  but he has a bond with Tim Shepard that is clear on the page but left largely unexplained (their weird eye contact and high mutual respect, the fact Tim was at their house once with no explanation), and his homoerotic run in/fight with Paul at the rumble. Both these relationships have plausible deniability- they’re not explicitly gay, but they’re also not NOT gay. Again, Hinton didn’t intentionally make Darry gay, but he very much is, and as far as closeted gay characters go, he’s a fairly well written one, because the subtext is very much THERE if you know what you’re looking for, but the queerness of his interactions is shrouded in this very real this COULD mean nothing characteristic of a lot of closeted queer interactions. 

Having said all this, I think the musical making Darry and Paul’s fight (somehow) even more charged and homoerotic than it is in the book was a wise choice, because a lot of the rest of the subtext was changed/missing from the musical adaptation. I’ve seen the ritfr analysis looking at the lyrics as they relate to Darry’s queerness, and I do think they follow the veiled/subtextual theme, but I don’t think they’re as explicitly gay as they’re touted to be. However, I do think the musical does a good job of highlighting Darry’s queerness given the medium they’re working with, and the actors do an amazing job portraying it without saying it outright, making it more obvious than it is on the page- but Darry was canonically gay in the book too, and let’s not pretend otherwise.

(Lmk if you want to see my analysis of the other Curtis’ queerness as it related to the book + musical).

[beuxwhoyouare]

Getting Away with It

I almost got away with it. Truthfully, I didn't even know I would go as far as taking him out. But I mean he had it coming, I heard all the horrible things he had done that I could hear through the penthouse walls in the building I worked in. All the times he'd abuse a partner, slur people in the halls, not to mention act like he was a god because he made good money in sales or whatever.

He crossed a line one day, as I saw him nudge someone into the street nearly getting them hit by a bus. So sure was it right to take him out? Maybe not, but did I feel good taking one bad person off the streets...absolutely. Unfortunately, what I did was caught on camera and the legal system takes that narrative with no context and runs with it.

So I mean yeah I almost got away with a drastic good deed. But now I'm here on a life sentence for murder. I like routine in my day and in here the days are so regimented it's not exactly the kind of routine I find myself a fan of. I remained on good behaviour until the guards took pity on me and recommended me for supervised community service aid. Basically, still in jail but instead of working a job in jail, I could go out and help them clean garbage off the side of the road with parolees on the outside and random others doing a "good deed."

That's where I met Jacob. He was on parole for driving while intoxicated. Truthfully, I find that way worse than what I did. Like that feels so selfish...getting behind the wheel while drunk. Despicable. But clearly it's been the catalyst for him to turn his life around. He was in jail for a year and been on parole ever since. He started working out in jail while getting certified as a trainer. There aren't alot of jobs life after lockup that don't discriminate against you for your record so it makes sense that he'd want to do something where you can be your own boss.

We were in the van being taken to the stretch of highway in between developing parts of the city. It's crazy how looking north and south you can see parts of town and smack in the middle there's this road with tall weeds and shrubbery lining it. We were joined by a class of university student volunteers who were advised to keep their distance from us. Something we all sort of ignored since there's so much trash to pick up.

"Hey Lu, I gotta show you this thing this crazy old hippie gave me back in town." Jacob quietly told me as we scoured the brush for bottles.

"Dude we have things to do and I don't really want them to take me off this shift." I begrudgingly replied.

"Nah nah the guards aren't even looking at us they're flirting with the female students over there."

Sure enough our bozo headed guards were chatting it up with some girls that were supposed to be helping us. That's when I glanced over and saw Jacob holding what looked like an antiqued golden coin or rounded stone with a symbol scratched into it.

"The dude gave it to me in a box and said if you hold it in your hand and then make skin-to-skin contact with someone else you like transfer consciousness."

"So I see life on the outside is just as crazy as it is in here."

"You mean to tell me you don't even think it could be a little bit true? C'mon bro this could be your chance to get out out of jail. Shit if you don't try it I might as well. I'm tired of all these probationary restrictions. I just wanna hit restart."

"You're already out. It can't be that bad?" I said as I turned around to see him sneakily hurrying off towards one of the college students.

"Shit what is he doing."

I rushed over to where Jacob was and pulled him by the loops of his jeans to not cause a scene. Stopping straight next to one of the students picking up trash a little bit away from his group.

"Dude I don't know what you're aiming to do but if it doesn't work you're the one that's going to look like the insane paroled convict with an ambiguous item in his hand that could be misconstrued as a weapon."

"Listen, if it works it works, but if it doesn't there's no harm no foul and we can call it all a joke."

Before I could even protest, Jacob turned on his confident charisma to whistle over the nearby student. As the curious student walked closer I could hear the narrative Jacob was intricately weaving pretending to care about what he was studying and if he could tell us both more about it.

"I'm so sorry kid, I didn't even catch your name. I'm Jacob and this is Lu." he said with a devlish smile.

"I'm Mark." he said with a slight hesitance.

"Well Mark you shared so much with me can I share something with you? A party game you can take with you to your friends back at school?"

"Uh sure yeah."

"So you find a smaller coin or stone and one person places their hand on the bottom of it and the other on top. The person with their hand on the bottom has to try to and tap the person with their hand on top without flinching"

These rules made absolutely no sense and why would they Jacob's plan was himbo incarnate. Like it was so dim I could see Mark tense up and begin to shift away back towards his friends. He tried to say goodbye to Jacob but that's when I saw this crazed energy flood Jacob's eyes. The next things that happened felt like a blur in slow motion.

Mark turned around to return to his classmates with haste. Jacob quickly began following without running to not alert the guards yet shouting for him to wait up because it's all good fun. And before I knew it I took off running to stop Jacob from taking advantage of an innocent person.

Jacob leaped at Mark and tackled him to the ground but it's only the moment when I got there to break it up did the guards finally notice what was going on, rushing over.

He pulled the stone out and tried to grasp at Marks leg under his wider legged jean, while I reach out to stop that hand. THEN BAM. Everything became darker and several flashes of light happened.

When I came to the guards were pulling me up. I heard what I thought was Mark's voice saying the one in the jumpsuit attacked him. But I didn't run after him? As things pulled back into focus for my eyes after the darkened haze. I saw Mark being calmed down by a professor and a guard but then I saw who he was point at.....I was my body but I was to the other side.....

My body turned to me matching my confused expression and began crying hysterically asking what was going on. I looked down and saw the confirmation of what happened. I was wearing Jacob's clothing. And if my body's surprised too....then that means....God no!

The guards rangled up the convicts and put them all shackled back onto the van as another came to apologize to the university professor and her class along with "Mark". Another guard came up to me saying he knows that Lu is a murderer and that I didn't start any of this so I was getting a slap on the wrist, especially after "Mark" insisted I tried to stop the attack. The guards left and told the rest of us we could go.

The student approached me with that same devilish smile I recognized from before. His voice coming out unfamiliar in sound but with an all too familiar malice.

"Hey thank you again from saving me from that gruesome murderer mister. I didn't even catch your name. I'm Mark." he said with a wink.

"Jacob what the fuck are you doing?" I frantically asked.

"I'm giving you a way to get away with it all and me a clean start. But I gotta go back to school so here take my number down." the imposter student airdropped his details to me before scurrying away.

I was still in shock from everything that just happened. Like this cannot be real how the hell is this happening. Where do I go okay I can do this. I fumbled through my wallet as I searched for an address to head to. Eventually I made my way to Jacob's place. It was a hotel that was turned into extended stay studio.

I walked into the foreign "home" that was now all mine. My heart felt like it was going to explode out of my chest. This can't be happening that poor kid is now in jail. Oh god....wait. I'm not on the run why am I this stressed. Think think how do I fix this. An exercise ball peaked out from the side of the bed. My new athletic stature made me think maybe catering to it's physical senses could help me breath and calm down.

I did a few crunches but still felt a pang of guilt hitting my stomach. Oh god I need to fix this but where is the coin? I can't leave that kid incarcerated, that's robbing him of his whole life. Almost like clockwork my new phone buzzed with a text.

"Hey. Thanks again for saving me stud." the unknown number made itself known with that context.

"Jacob we need to fix this. That poor kid doesn't deserve this."

"Who's Jacob? This is Mark! And I think I deserve all the opportunity I've worked hard to get. Hey by any chance have bodily urges hit you? I'm not gay but after the incident when I saw you I got realllll hard all of sudden. I think this kid's gay or something."

I was furious reading these texts still skirting responsibility.

"Enough! Where are you we have to talk this is ridiculous."

The phone buzzed as I opened to see a location pin as a picture came in...my jaw dropped.

"Oh you wanna meet irl daddy? Come on over."

I stormed over to the location of the pin…I’m not going to let him get away with this.

[infiniteglitterfall]

Two Palestinian activists give their perspectives on Holocaust Remembrance Day

Hamza Howidy

Hamza Howidy is 25. When he was just 19, he co-organized massive human rights protests in Gaza. He did it again when he was 23. Hamas imprisoned and tortured him both times, along with hundreds of others. He now lives in Germany and advocates for peace and human rights in Gaza. He is the most amazing activist I know of.

On this Holocaust Memorial Day, we take a moment to honor the six million Jewish men, women, and children who tragically lost their lives during the Holocaust, alongside the millions of others who suffered persecution and death at the hands of the Nazi regime and its collaborators.

This day stands as a poignant reminder of the unfathomable horrors of genocide, the destructive power of hatred, dehumanization, and demonization, and the remarkable resilience of humanity in confronting profound evil. This day serves not only as a remembrance of our history but also as a pledge to create a future devoid of antisemitism, racism, and intolerance.

As someone who identifies as Palestinian, it really bothered me to witness certain individuals and groups making the Holocaust a political topic, not to mention who started with projection, describing the war in Gaza as a Holocaust, which is absolutely wrong. And what's even more concerning is how some pro-Hamas folks, who claim to support Palestine, are indirectly promoting antisemitism by intertwining it with the Palestinian cause and the conflict in Gaza.

I just can't wrap my head around why these people are doing this or why a certain president is getting involved and making it all political. It's truly baffling to me.

I often grapple with guilt over my ignorance of the Holocaust until my twenties, especially considering the close ties and shared future we are meant to have with our Jewish neighbors. Our educational systems have failed to adequately address this crucial topic, leaving us without a proper understanding of their history and suffering, which ultimately hinders our ability to connect with and empathize with one another.

I feel a profound connection to the significance of this day. In my quest for peace and coexistence, I have come to realize that acknowledging the suffering of others is the crucial first step toward fostering genuine mutual understanding.

The Holocaust represents not only a deep tragedy for the Jewish community but also a poignant reminder for all of humanity. It is a cautionary tale that underscores the catastrophic repercussions of unchecked hatred, dehumanization, and indifference.

We are dedicated to educating future generations, combating bigotry in all its manifestations, and striving relentlessly for a future where such atrocities belong firmly to the past.

Twitter Instagram

Ahmed Fouad Alkhatib

Ahmed Fouad Alkhatib spent most of his childhood in Gaza. Now he lives in the United States, writes about international politics and public policy, and advocates for peace and human rights issues in Palestine.

Why I too choose to memorialize the Holocaust:

When I left the Gaza Strip as a teenager and headed to the United States, I knew nothing about the Holocaust, its details, or its contemporary implications.

The dismissal of the scale of the Holocaust or denying the scale of the slaughter and its true grotesque extent were unfortunately commonplace in Palestinian society, mainly as a defense mechanism – because it was believed that the acknowledgment of the Jewish people’s suffering automatically minimized the hardships that Palestinians experienced themselves under occupation or displacement. There was only space for one or the other.

There were, however, those who worked inside Israel and had close relationships with Israelis, providing them with access to a different narrative that educated them about some aspects of the Holocaust.

Once I was in the US, I developed a close friendship with a Holocaust survivor of French origin whose parents had been murdered in Auschwitz.

A.H. was a steadfast ally who made a point of connecting with Palestinians in general, and young Palestinians in particular, to share her story, offer friendship and comradery, and build robust alliances.

She was instrumental in saving my life by bringing me back to the US when I was stuck in Egypt after the cultural exchange program ended and I was unable to return to the Gaza Strip due to Hamas’s abduction of an Israeli soldier and a mini war that followed.

She financed my return to the US and helped me get started at a private school that offered the documents necessary to obtain a student visa before I was able to apply for political asylum in 2007. We have kept in close contact now that she’s in her late 80s, and she has been horrified by the disaster that has been unfolding in the Gaza Strip.

Two months ago, she made an anonymous $50k donation to a major medical NGO that was saving lives in my honor. A.H. even promised to help my family rebuild their destroyed home in Gaza City if and when that time comes.

I am sharing this because it is easy for people to politicize the Holocaust and its Remembrance Day, as well as to forget the immense human toll it had on real human lives.

Importantly, what people choose to do with the memory of the Holocaust, regardless of their background or individual feelings and views, is just as important.

This terrible tragedy should be transformed into an impetus for the betterment of humanity and the human condition; compassion, bridge-building, radical pragmatism across our differences, and holding space for multiple sufferings and pains can all be inspired by honoring the Holocaust and its victims.

For some, this will be a long journey, and it will take them a while before they get to this place. The goal should not be shunning them but inspiring and encouraging them to see something else.

I look back at my days as a young teenager coming out of Gaza, carrying the weight of my trauma and that of my parents and grandparents and, indeed, the entire society, and how difficult it was to create space for other people’s histories and traumas.

But I realize that we are truly only complete if we are part of a broader network of nations, groups, backgrounds, and peoples who, despite their differences, share the common thread of humanity, empathy, and the desire for safety and self-determination.

Twitter

And for the actual remembrance part, six quick things I've learned recently about the Holocaust:

(Graph is from a 1992 paper by Jewish demographer Sergio DellaPergola, called, "Major Demographic Trends in Jewry: The last hundred years.")

There are still fewer Jews on earth today than there were in 1939. There were 16.9 million Jews on earth before the Nazis began their industrialized genocide. 80 years later, there are 15.7 million.

Throughout the Holocaust, German corporations like Daimler and Mercedes-Benz requisitioned slave labor from Nazi camps. There were dozens of companies doing the same thing.

The Holocaust did not come out of nowhere. Germany had two "dress rehearsals." From 1904-1908, it set out to crush the Herero people in Namibia. It killed 80% of the Herero and 50% of the Nema. It forced them on death marches into the desert. It created death camps. In one, “people were subject to rape, medical experimentation, no shelter, no food, in cages on the beach.” Doctors sent severed heads from these experiments back to Germany, to be used as examples of racial inferiority. One of those doctors went on to teach Dr. Josef Mengele.

The second "dress rehearsal": Before the death camps that were the Nazis' solution to the "Jewish Problem," Germany transported 70,000 autistic, chronically ill, mentally ill, and elderly people to death camps... and up to 200,00 more after that. They literally called them "useless eaters," because they couldn't make money for anyone.

Hyper-violent antisemitism also had a "dress rehearsal." From 1918-1921, up to 250,000 Jews were killed in incredibly violent pogroms across Ukraine. These included massive numbers of systemic, even public rapes, one common hallmark of genocides.

If we're calling those dress rehearsals, there was also a curtain call: After WWI, a fascist little rich man called Amin al-Husseini found that instead of being an up and coming leader in the Ottoman Empire, he was now expected to treat Jews as equals and share political and social power with them. So he spent twenty years inciting anti-Jewish massacres and becoming a MASSIVE Hitler fanboy. He attempted a pro-Nazi revolt across the Middle East, but only managed to incite the Farhud. Then he ran Arabic-language propaganda for the Nazis, and was so successful that between about 1940-1970, every single country in the Arab World, from Morocco through Afghanistan, ethnically cleansed 90% or more of its Jews. (The map below begins in 1948, but I can hand you a list of laws and pogroms that shows how much earlier it started.) As far as I can tell, this is the largest ethnic cleansing event in history, both in total population and in geographic range. And yet I had never heard of it before.

Off-topic, but bringing it back around to the two activists I started this post with:

I cannot recommend the two activists above enough, along with others in my Palestinians to platform tag. I beg everyone to google and follow people like Hamza Howidy, Moumen Al-Natour, Mo Ghaoui, Ahmed Fouad Alkhatib, Ahmed Al-Khalidi, Bassem Eid, and the Center for Peace Communications. It's past time to center and platform Gazan activists.

[viviennevermillion]

*slides into your inbox because HSR requests are open*

Hey Vi! I was wondering if I could request some heacanons for Sampo, Blade, and your boy Luocha with a reader who likes to play with/run their hands through the boys hair? They all have such pretty hair and I want to play with it!

Anyway take your time of course, and I hope you're doing well! Please remember to take care of yourself!

playing with their hair

✧ ɴᴏᴛᴇꜱ: ryker, yayyy, thank you for sending in a request! you made me think about sampo and realize that he's the funniest fucking character in the entire game and so much fun to write for. i had a blast with his banner too, the song fits him so well 💀🩵

btw requests are open and if you guys would like to read more of my works, check my masterlist!

✧ ɴᴏᴡ ᴘʟᴀʏɪɴɢ: carried me with you — brandi carlile

✧ ᴄʜᴀʀᴀᴄᴛᴇʀꜱ: sampo, blade, luocha

✧ ᴡᴀʀɴɪɴɢꜱ: very slight angst in blade's (i'm so sorry, i'm trying, i promise)

Sampo loves when you play with his hair. He'd be 100% down for you trying ridiculous hairstyles on him but on a good day he'll put a pillow in your lap and puts his hands behind his head, sinking into the soft fabric. He closes his eyes when your fingertips start carding through his blue strands of hair. "This is the good life", he sighs and winks at you, "now all you'd need to do would be feeding me grapes like they do in the movies and things would be perfect." "Wait until I throw you off the couch", you shoot him a warning glare. "Hey, hey, I jest", he puts his hands up defensively and laughs.

"You know I'm lucky to have you", he takes your free hand into his and presses a kiss to your knuckles, "this is like we're straight out of a romantic piece of literature, don't you think?" You raised an eyebrow at him: "You're not exactly what I'd consider a romance novel protagonist."

He sighs. "True. I'm more like, the court jester who fell in love with the pretty royal heir", he reaches up to cup your cheek, caressing it gently with his fingertips. "And I love you for it", you laugh as he sits up to press a kiss to your lips. You bury your fingers in his hair whilst kissing back.

You take a deep breath and drift off into your own thoughts now that Sampo was quiet for a moment. A rare occurence, really.

As you enjoy this moment with your beloved, you think back to the chaos that was all over Belobog recently. "Hey, what do you think our friends from the Astral Express are doing now?", you wonder and Sampo sinks back into your lap again, resting his cheek against your stomach. "Maybe fighting a giant, strong lady with the help of a dragon, but what do I know?", he shrugs with a satisfied smile on his face. "Isn't it usually the other way around?", you raise an eyebrow. "It is, isn't it?", he puts a finger to his chin and chuckles.

You laugh and ruffle his hair. "You always have such an overactive imagination. You should write a book." "As much as I'd slay as an author, I'm just doomed by the narrative like the rest of us, darling."

Blade enjoys when you run your fingers through his hair. It's a sensation that momentarily distracts him from everything else that is going on in that busy, but tired mind of his; so it's well-appreciated.

He will not let you mess up his hair under any circumstance. Kafka calling him "Bladie", a terrible habit that rubbed off on you, was bad enough. He didn't need her and Silver Wolf to tease him about having a ponytail on top of his head with several braids going off from it, tied together with colorful hair ties.

Thankfully, you were sane enough not to attempt that.

But he does let you do a few nice hairstyles that look good on him; like a simple, long braid. He doesn't care for what he looks like after all these years of being alive but you seemed to find joy in it and it made his daily life easier sometimes to have his hair put together in a braid.

Sometimes when you sit behind him and braid his hair, you press a few teasing kisses to his neck. Unfortunately for his usually so serious demeanor, Blade is the most ticklish person you have ever met, so that's one of the only things that gets a laugh out of him; even if he didn't feel it emotionally. You brush a strand of his hair back, relishing in the sound he made so rarely; a slight tinge of sadness in your heart and a thought you didn't dare voice.

I wish I could see you laugh more... I'd do anything to make you happy.

He also lets you brush his hair every morning if you want to. His hair is so soft, as you have told him many times. He always wonders how something so simple could bring you so much joy; but he's glad that it does.

Luocha always takes good care of his hair; after all a professional appearance was important for a merchant. His hair is very soft and silky and you have a great time brushing and braiding it.

He teaches you how to do his signature hairstyle. It's quite difficult to do on his own so he appreciates that you're happy to help. This pretty much became a routine for the two of you in the morning.

Sometimes he'd try to get up at night to go to the bathroom and find you accidentally laying on his hair. He hisses an "ouch" under his breath, sometimes waking you up in the process. Once he's back in your arms, you massage his scalp and carefully run your fingers through his blond strands to make up for the painful accident.

In the morning, you tend to sit behind him and do his hair, often littering his neck and shoulders in the process. "Is this just an excuse for you to give me kisses?", he chuckles and shakes his head. "I suppose you caught me", you sigh with a smile on your face and Luocha turns his head to pull you into a deep kiss that catches you off guard. You quickly melt into the gesture, closing your eyes and noting how pleasant the taste of his lips is. You presume he applies lip balm in the morning before you do his hair but you never actually saw him do it.

When he gets home after a long day, depending on what hairstyle you did for him, his scalp hurts sometimes when you undo his braid so he loves to rest his head in your lap and have you ease brush your fingers through his hair.

[moony-2001]

The real-world impact of Lore Olympus

i.e. do your research Rachel

Trigger warning: racism, fetishization, appropriation, mentions of SA

Long post ahead

A while ago, someone told me that Lore Olympus was just a silly little comic written out of boredom. That it was made to be "funny". They told me that "[I] can't hope [for] an extremely [well-written] story when it was just made with the intention to make something goofy" and that if Rachel actually wanted to make something serious like I had, she would write a book and not a comic.

At the time of this exchange, it was past 1 a.m. and I was exhausted. I did not want to argue with this person and it simply wasn't worth my time or energy in the moment.

But looking back at that (mostly one-sided) interaction, I can't help but think that there is so much wrong with that point of view. Of course, everyone is entitled to their opinion about Lore Olympus, whether good or bad. But Lore Olympus isn't just some silly little nothing comic about nothing important. It is a comic that actively appropriates and erases Greek Culture. It is a comic that has no respect for the actual stories that have been passed down over thousands of years whether by word of mouth or written text. It is a comic that perpetuates a false narrative and harmful stereotypes about characters or certain groups of people. So, no, it's not just a silly little comic.

Incorrect information

Here’s an example of what I mean:

When I was doing research for my post about the 10 year time skip, I looked up Leuce to reconfirm the little information I knew about her. Wanna guess the first thing that popped up about her?

A Lore Olympus Wiki article.

Okay. How about Minthe? Hundreds of pictures of her from Lore Olympus and a LO Wiki article as one of the top 3 results. Both character are horribly represented in LO and unfortunately there isn’t really any documented stories or records that can refute how LO paints them. Because of this, other characters in Greek Mythology like Leuce and Minthe, whose stories have little to no documentation, stand to suffer the most harm from deliberate misrepresentation on Rachel’s part.

Of course well-known and better documented figures in Greek mythology face slander as well. What about Thetis or Leto? How about Apollo? All of their portrayals in LO are HORRIBLE. I have seen people online absolutely drag them to filth not because they're upset about how the character is portrayed compared to their mythological counterpart, but because they have no knowledge of how they are actually portrayed outside of LO. They just assume that's how the characters are. Similarly, people who have either very little or no prior knowledge of Greek Mythology and Culture would look at the comic and go "Yep, sounds legit. It must be true." and go about thinking that what is portrayed in LO is accurate to what was transcribed thousands of years ago.

Creative interpretations and racism/fetishization within LO

Don’t get me wrong. Creative interpretations and artistic liberties can be great. When they’re done tastefully. I personally think if done correctly, a Greek myth spun in a modern way has the potential be very good. But that's not what we were given.

Characters like Minthe, Leuce, and Thetis (all nymphs btw) are portrayed as trashy tramps who put out and are used as a foil sabotage Persephone and/or her relationship with Hades. Compare that to Greek Mythology where in the Iliad, Thetis is very well-respected by the gods, particularly Hera. Unfortunately, other similar characters like satrys (and basically any character that isn’t a god) are usually portrayed as a low-class POC that can be easily exploited, manipulated, or used as a temporary villain/lover/pawn to “get back” at Persephone, our white-coded protagonist who can do no wrong.

Additionally, there is a clear race/class bias against characters like nymphs in LO. We see many cases scattered throughout the comic of gods like Hera or Aphrodite referring to nymphs as "trash" or "low class" or the idea that nymphs do not belong with gods being heavily implied if not outright said. I cannot tell you how often I've seen Minthe be called some variant of "cheap" by the readers of LO. Even Persephone (who created the flower nymphs) treats them with such disrespect. She frequently calls them some variant of "stupid" or "simple" like saying how they're not the sharpest crayons in the box even though she's the one WHO MADE THEM. However, it's so odd not really to note that nymphs like Echo, Amphitrite, or Psyche (who was previously disguised as a nymph) are not discriminated against. This is because they are liked or trusted by the gods they are around and ergo are often portrayed as the "good ones", which is a disgusting mindset to have.

We also see the fetishization of nymphs in the comic that is disturbingly similar to the fetishization of women who are Black, Asian, or Latina. It is a known fact that Hades has a flower nymph fetish. Not only is this implied in the comic, but Rachel stated it outright in an old Patreon post. Nymphs are also generally treated as sex-symbols, disposable, and as a lesser-than. Zeus frequently displays this behavior by abandoning nymphs he knocked up in the mortal realm.

For example, when Persephone finds out Apollo is dating Daphne, she isn't upset he's dating her friend. She's upset he's dating a flower nymph, beings that are generally considered to be "rare", "dumb", and objects of sexual desire. Ew.

Even on the Lore Olympus website (loreolympians.com) nymphs are regarded as "beautiful", "desirable", and "very exotic". And when they're not described in a sexual manner they're say it with me now regarded as "low class" or "workers" for some kind of god/goddess.

Final thoughts

So not only is the characterization of characters like Minthe or Thetis harmful to Greek culture and the stories that are so ingrained in their society, but it is also perpetuating harmful stereotypes about people of color and women who are confident in their sexuality.

Of course, the characters within Greek Mythology had their own issues. Zeus was a serial rapist, many of the goddesses deemed to be "feminist" by today's standards were actually horribly misogynistic looking at you Athena. But 1. that's just how things were back then (but that does not make it right) and 2. all of the good, the bad, and the ugly is still there in Greek Mythology. They're not denying how fucked up it is, but they're also not changing their history to better fit their own narrative or the narrative of the modern world. It exists, it happened, but now it is studied and called out by historians.

Rachel, on the other hand, is doing exactly that. She is actively changing the Greek's cultural history to better fit her fic's narrative. She is constantly sweeping things under the rug or going "No this is how it ACTUALLY happened". Lore Olympus is marketed as a "feminist retelling" yet somehow, it takes allllll the ugly parts from Greek Mythology (rape, incest, problematic age gaps, dubious consent, etc.), mixes it with a majority of the issues we have in the modern world (white feminism, rape-apologists/rape culture, grooming, fetishization of certain minority groups, etc.) and then amplifies the concoction to 20. Lore Olympus cannot be a "progressive, feminist, retelling" and also have characters that are morally apprehensive/come straight from the ancient myths. It does not work. In fact, IMO it makes all the problems from both eras worse.

News flash: actual cultures that are still thriving today are not your toys. They are not "made up". They matter. Do better.

[umathurwin]

Omg hi! I feel like I’m the only sofia hater out there bc all i see are people loving her character is so boring to me and her and rafe relationship seems so forced to me like she is supposed to help him reconcile with his sister but instead, she spent all season doing nothing apart from the hollis plot

being called a sofia hater cracks me up because i feel like i never talk about her, in fact i usually forget she exists 😭 but i’ll accept it, because i really do hate the way her character (which had a great premise) was totally wasted

a youtuber i really love once described pansy parkinson from harry potter as “an original character wearing the skin of a minor character” and i think that perfectly encapsulates sofia. they make these moodboards, these stories, these elaborate headcanons about a character we know little to nothing about. do i respect it? hell yes. it takes a lot of work. but to have these intense convictions and arguments about a 0.5-dimensional character… WHY?

i went and rewatched every scene in s4 where she even just appears and wrote down my thoughts on them (despite how tedious this was… the action really does rely on the pogues) and like… wow. where do i start

her s4 introduction is the scene where rafe scatters ward’s ashes on the boat, and it’s awkward but in a fair way. i wouldn’t really know what to do either. in the same episode, she’s at the enduro cheering for rafe, but she is inexplicably standing TOTALLY by herself. i still have no idea if this was just filmed oddly or if it was deliberate but this photo kills me… girl why are you alone? at no other point is she physically excluded from the kooks like this. wtf

and after that? nearly every single moment she and rafe share the screen? he’s awful to her. he verbally mocks her in the bar when she tries to calm him down. he flirts with hollis right in sofia’s face and abases her for feeling hurt. he dismisses her every time she tries to express her opinion. rafe does not respect his girlfriend, nor does he care about her thoughts and values. how do i know?

because she knows. how exactly did she convince him to take the deal, again? well, first she says she thinks it’s a good idea, which merely amuses him. then, she makes up a lie about other club members denigrating rafe and how this deal could improve his social status—i believe this to be a fabrication because it easily could’ve and should’ve been explicit on screen if true— and this causes him make up his mind. she knows rafe’s insecurities. she knows what does and doesn’t entice him. and yeah, i’ll be honest, sometimes it makes me sick to think about how deeply she knows this man, and how little he knows/cares about her

rafe brings up marriage, living together, a future with sofia. but do you notice anything about his big grand speeches? ever notice how, when he’s describing his fantasy, it revolves around material things he can own and show off— and sofia has always been one of them? rafe never has anything to say about what she specifically does for him, what he likes about her. bc… what does he like about her? rafe is unfortunately, at the end of the day, selfish. he focuses on what he’ll be able to give her, and what having a pretty wife says about him. the occupant of that role is, well, interchangeable

when rafe “proposed” to her and she did not confess the scam, i knew it was over. this is rafe cameron we’re talking about, a man who values loyalty more than anything in the world, and that was her last shot at coming clean before it was too late. committing a betrayal (well…in the eyes of the narrative…more on that in a sec) and hiding it from him? guys there was zero chance of him learning the truth and forgiving her. i watched the premier with my mother and i even turned to her and said we just watched the final nail go into the coffin. and it did!

(also, not to beat a dead horse, but even after he gives her the ring and he leaves to morocco, he dismissively excludes her again! “i have to go” “what are you doing?” “don’t worry about it, bye!” and she just takes it?! STAND UP!)

fundamentally, sofia’s “betrayal” plotline was weak or, at the very least, not very well thought-out. it’s like the idea of sofia going behind rafe’s back was pitched, but they were unsure how to integrate that into the season. the explosive reaction that rafe had when groff revealed the plot seemed contrived, like the show wanted to put more of the blame on sofia than was warranted. rafe had all but made up his mind by the time sofia had been paid off; to claim that she was the big catalyst in his decision is unfair and literally just wrong. sure, he liked her giving her blessing (because he already wanted to say yes), but i have a really, really genuine question for all of you.

if she had said no, would he have called off the deal?

(spoiler, no. because when she changed her mind after learning of the scam, he dismissed her yet again. the show has countless opportunities for rafe to just care about his girlfriend, and he never takes them!)

while i’m nitpicking, she also never learns any information via her own efforts. every single time she uncovers a new detail, it’s because she’s working around a loud-mouth kook who coincidentally says the right thing at the right moment as she refills their ewers. fuck, can we give her a CRUMB of agency? please?

and yeah, i don’t even engage in any theory that sofia helped rafe reunite with his family. did she ever give any meaningful advice to him? she didn’t even have context—was he ever planning on telling her exactly what he’d done to sarah and her friends? could sarah even pick this girl out of a lineup?! ya, she really is the glue in the cameron dynamic. lol

counter arguments i’m ready to address:

“he takes the deal for her!” funny because,,, he really doesn’t. we even watch the reason he takes the deal— his family. rafe likes the opportunity from the jump but is hesitant because of the investment, and a dreamy montage of him, ward, and sarah is what cements his decision. sofia canonically had nothing to do with it

“but he says he’s taking the deal for him and sofia when he’s alone with hollis!” correct! but you’ll notice he literally only brings her up when hollis starts hitting on him. he’s not attracted to hollis, and her advances make him visibly uncomfortable. bringing up sofia was a way to shut down hollis without explicitly telling a business partner to get off his ass

“rafe brings up sofia’s opinion of the deal with groff!” true, but i actually see this as a display of rafe’s tact and emotional intelligence. rafe is suspicious that he’s been scammed, but it’s genuinely not wise to barge into the office of the man who has $400k of your money and your testicles in his fist to start threatening him— even when he’s not a murderer. “hey… so my gf thinks you’re scamming me… thoughts?” he’s being coy. he’s being smart. he’s not bringing up sofia in a loverboy context. cmon

***

deep inhale. okay, i’m done. i’m sorry i always forget about her. but it’s so much better than the alternative

[steelycunt]

i am quite curious on your opinion on how regulus black is characterized in fandom… completely understandable if you do not want to answer, but since i have my own opinions on the matter i was curious about yours! i love a steelycunt ramble

hi omg yeah! unfortunately for all of us i do have thoughts lol...i already know im about to ramble because ive been dying for an excuse to do this for ages so i think it would easiest to break them down into points but tl;dr or i suppose thesis statement i think the fandom characterisation of him is soooo awful lol. terrible 0/10. i do not even massively care about him as a character other than as background for his brother but since he is pretty unavoidable ive been driven to develop opinions.

he was a willing fascist stop pretending he wasnt its LAME

so many colourful ways people have conveniently sidestepped his fascism to uwufiy them, all of which i find extremely lame and pointless considering we know virtually nothing of the guy other than that he was a fascist and then had second thoughts. which actually could be really interesting if you just accepted that rather than bending over backwards to create these alternative (and so much more BORING) narratives where his being a DE isn't his fault or he was forced or whatever. we know that wasnt true he was a fascist because he chose to be a fascist and he held the views of a fascist. the moral purification and absolution of his character because people want to interact with him but are uncomfy about the fascism thing is so lameeee and stupid lol imagine being so uncomfortable with a character you claim to love that you have to get rid of everything we know about him and invent an entirely new personality for him. boooo. grow up. you can be interested in fictional characters who are bad. although it is funny how much easier people seem to be able to reconcile their fav being a fascist than like. being a cheater or something. which is a cardinal sin apparently.

2. the black cat goth sassy millennial characterisation.

theres this really common characterisation of him where hes like this sassy dangerous deadpan tiktok-esque spurter of witticisms which i just find so cringy and boring and inaccurate. the whole 'ooh he takes his coffee black he looks like a cinnamon roll but he could kill you!!!!' thing that makes me feel like ive been dragged back to tumblr 2015. he kind of sucked he was a conservative who did one good thing in his life and got killed in the process i dont know where people have got this badass thing from he just wasnt. also the idea that he was a goth girl because his name was black? we can try a little harder than that come on now. but yeah im not trying to imply theres some moral problem with characterising him this way i just find it cringy and inaccurate and i think there are much more interesting things you can do with him

3. abuse + relationship with his brother.

another thing i find really annoying is the assumption that he was treated by his parents the same way his brother was. big disclaimer because i can hear the complaints already yes i accept that being a child in a house where there is abuse in and of itself in traumatic and horrifying. but there is no canon reason to believe he was directly abused by his parents the way his parents were, especially considering his brother seemed to be punished for transgressions against his parents. regulus was the good boy he was the better son and he did as they asked. i think people have begun to just assume he was also abused the way his brother was in order to make him more sympathetic or excuse his behaviour (not how this works anyway) and again i find it very lame. the dynamics we actually get from canon are consistently infinitely more complex and interesting than what people then do with them. as for his relationship with his brother theres the whole idea of sirius 'leaving' him in the house which is ridiculous and almost too laughable to discuss but. the idea that regulus is the victim of his abused brother running away...girls get real. he was in his room getting radicalised i dont feel sorry for him. plus his whole relationship with his brother tends to irritate me anyway--i dont know if these people just dont have siblings, but the whole ultra close, sirius being incredibly protective, would die for each other, them against the world thing again seems to contrast everything we actually know about that relationship and also...not all siblings are that close? like theyre just not? idk again, personal taste but i find their super healthy close relationship very boring its kind of a dealbreaker for me!

4. he wasnt conventionally attractive and if you cant deal with ur fav being ugly he's not ur fav

needed a section all of its own because thats how bad it annoys me but the way people swear to hell and back that he was actually super handsome. or 'umm he wasnt handsome but he was PRETTY. umm ummm ummm'. booo throws tomatoes at you. we know from canon (again like. one of five things we know about him). that he was not considered handsome, like his brother was. i find it so incredibly pathetic the way people who claim to like him deny this like their life depends on it and try to argue that actually he was like omg conventional beauty is everythinggggg to you people isnt it. omg this fictional character who isnt real is nothingggg to you if hes not described as a model is he. you cant really like him that bad!!!! again what a fun thing to lean into that fandom instead has to revise. the guy was not hot why does it bother you that bad omg. if you cant accept that i immediately know all ur opinions suck sorry its the same as when people have to pretend remus was some sort of hunky alt casanova to like him at this point just write an oc pleaseeee because you dont seem to like anything about him thats actually established. anyway. tl;dr he wasnt handsome get over it my god

5. he would not be friends with remus u guys just think he would be because you borrowed remus' personality to give him one

another dealbreaker for me i cannot read something that implies remus and regulus would be friends. to get the obvious out of the way: regulus was a fascist and remus is part of a minority group he would want dead. but otherwise the idea that theyd be friends confirms to me that someone doesnt get either of them and the only reason i think this has gained traction is because regulus doesnt have a personality and in order to position him and james as r/s 2.0 where james stands in for sirius, people just superimposed remus' fanon personality (quiet, sarcastic, dry, bookish, exasperated) onto regulus. which is a characterisation i dont like anyway but then because youve turned them into the same person people then say theyd get on...i cannot think of two people would be gel worse. theyd have nothing in common. nothing to say. absolutely nothing. they would sit in awkward, unpleasant silence. literally no two characters less suited to each other i am begging you. also the substitution of peter for him as the fourth person in their group nowadays bffr...not only is peter far more interesting but also he would not get on with any of them his brother included. i hate when i am reading a fic and he turns up when hes not supposed to. put him back! he belongs ina victorian dollshouse!

6. things i like + how i picture him.

okay done a LOT of moaning. again i dont really care about him as a character im not interested in him apart from how he affects sirius' character and i dont like jegulus so i dont really read much where hes a central figure but i do think he COULD be very interesting if done right, and so things i do like: characterisations that lean into the fact that he was a willing fascist as a teen, willingly radicalised, nasty nasty politics. i like a regulus who is very uptight, who has a very strained relationship with his brother as the younger brother to someone he knows would always have made a better heir than him, was better at practically everything but just didnt want to do it. i think living in the shadow of that would make him crazy uptight and touchy lol. as for stuff which is less grounded in canon and more just how i imagine him: i think he was a nerd, i think he was a serious young boy with a huge sense of responsibility, and i can imagine him having some sort of niche hobby which is quite antisocial like stamp collecting or model railways or reading big dense history books about ww2 or the magical equivalent of one of those. i think he was a bit weird and quite weak and sensitive. his brother is a massive sore point for him. he was not cool or sassy or badass i think he probably wore matching pyjama sets to bed and carried around a handkerchief with his initials embroidered into the corner and clung to his family and his wealth and his ancestry as a marker of his superiority and good breeding for dear fucking life because he did not have much else going for him.

[chimggukchim]

Share our @s so we can be bullied in our inboxes till kingdom come and be ostracized by you lot? No, thank you. I'm a Jikooker too and I've seen it happen to other Jikookers too many times just because their view of Jikook isn't "they are 100% together and practically married and monogamous towards each other for more than 10 years now"

Unfortunately this space has become too cult-like where one just can't have a slightly differing opinion about Jimin and Jungkook's relationship or express how they personally truly observe it without Jikookers losing their minds or accusing them of things, the way you guys are doing right now.

There's literally no difference between this community and the Taekooker community anymore - I've seen that crazy side turn on their own just because they had the audacity to point out the ITS talk made sense to them because for a while prior to that even they felt things weren't the same between Taekook anymore. And now it's Jikookers doing the same to other Jikookers🤦🏻‍♀

People can believe that Jikook is real while still pointing out the things they feel contradict that belief, or they can believe they were together and no longer are but still think they are special to each other, or they can believe they aren't together in what one would consider the "conventional, traditional" sense.

Taekook can never be real. That is a ship that has no real substance and was literally formed on aesthetics and vibes and had a whole false narrative attached to it that became lore over the years. A lot of people say just Jikook's existence alone cancels out Taekook, but I think even if Jimin and Jung kook didn't have the kind of dynamic they have and/or they didn't exist as a duo, Taekook still wouldn't be real. Please there's fuckall there.

I am someone who believes there's something more than platonic between Jimin and Jungkook and that Jungkook is deeply in love with Jimin, but still I agree with everything the last anon's(s') said. They *are* different from how they were before and the last few years make it hard to believe in the kind of image of them that Jikook shippers have painted for years.

We are Jikookers, we are here, we exist. Accusing us of being Taekookers won't make that shit true. We don't have to be a monolith.

First thing's first - YOU may not be a taekooker in disguise, but the other anon most likely was. And most with dumb takes are as they have a knack of using the SAME rhetoric and examples every single time, not to mention, always managing to slip in Tae somehow. Let's get that out of the way.

Now, here's the thing, anon.

I understand completely, the feelings of confusion and second-guessing whether jikook are really together or not. I have been there before, on multiple occasions. There were things in the past as it happened that made me doubt whether my suspicions about the true nature of their relationship was right. I get it.

So don't go putting words into my mouth and think that you can assume 'what kind of jikooker' I am.

Cause like I've said on multiple occasions now, I did not start out in the ARMY fandom space either as a jikooker or as a shipper. I had no clue what shipping was. And til this day, I remain an ARMY supporting all of our boys as a group before any sort of shipping enters my mind. Whenever I watch BTS content, jikook as a couple is never at the forefront of my mind. I watch them as a part of Bangtan.

There are certain moments that jikookers put on a pedestal as concrete 'proof' of a relationship, that I side-eye and hence, make no post or comment on because it does not make sense.

If tomorrow, Jimin and Jungkook were to announce they were both dating other people, I would still be happy for them because before anything, I want them to be happy. If that's with other people, so be it.

So I know me and how I perceive Jimin and Jungkook's relationship. I trust my objectivity of their relationship over yours, thank you.

Now to what you have accused most in this community of...I have honestly yet to see to the extent that you have indicated. Harassing? Bullying? Cult-like? Well, I've got news for you. You're in the wrong side of town, deary. And people who go looking there, clearly want to find what they're looking for. (toxicity, by the way)

And the way you spoke of taekookers and knowing how they behave and treat each other?...Honey, the 'normal' jikooker would NEVER EVER find themselves anywhere near taekooker spaces willingly. But you have apparently. That says a lot.

You're looking for trouble. You're going to find it.

Also...my sympathy for you lessened when you compared jikookers to the cult. Because the last time I checked, jikookers didn't go around literally harassing Tae's and JK's FAMILIES AND FRIENDS in real frigging life. So miss me with that similarity nonsense. Point out all you want about SOME jikookers not being able to handle different takes of others all you want, that's fair. I'm sure there may be the immature ones like that in this community, I'm not denying it. I assure you, they're in the minority. But the minute you go comparing any shipping community's behaviour to THAT CULT...it clearly shows loose objectivity.

So with my sincerest heart, I would advise you to change your space. You're clearly in toxic spaces, jikook and taekook-wise. This is bound to influence how you view not only jikook but more importantly, the jikook community.

There is a reason why I don't answer or comment on toxic asks. It's because it brings negativity to the jikook space. And I don't want that. I have found myself probably treading on that territory these days with this discourse. But I'll work it out to bring back the space to positivity and just focusing on Jimin and Jungkook.

Anyway, the final thing I'm going to bring up is that you all keep speaking about Jungkook and Jimin's relationship changing with no actual evidence. You all simply point out things happening now but fail to actually show a proper comparison to the past to highlight the 'CHANGE'. That's not how that works.

For instance, I can say their relationship changed in that Jungkook became a lot bolder with JImin publicly as opposed to years ago. He actively flirts with Jimin on stage when, for instance, during the Red Bullet Tour (back in 2014-2015), he didn't. Jimin did. See how easy that is? Comparison.

If you have any sound comparisons...with proper context, by all means, share. I'm up to hearing it.

PS. This does not include "they don't see each other as much" because we are not privy to how much they actually saw each other back then nor how much they did in 2022/2023.

Anyway, that's all from me. Peace!