#Job Source

[makingsenseofwhathappened]

“Let us know if anything else happens”

(we ain't doing squat till you're bleeding out in the break room)

[persona-brainrot-real]

Sae Niijima is such a good character it drives me insane a little. She's not a mother nor a maternal or doting older sister but instead a twenty four year old who was thrown into a position of responsibility that she never asked for. She loves Makoto just as much as she resents her and its so apparent every time they talk up until November. "Are you studying?" (I want you to do well) (I need you to get a job and stop making my life harder) "I'll use any method necessary to get this promotion" (Life will be easier for us) (So stop distracting me with your problems) "Focus on your future" (I know that you're capable) (I can't afford to waste my time on you, so stop wasting time on others)

Makoto is not only the sole reason she pushes as hard as she does for a promotion, for success, and the reason that she loses herself in her animosity over her fathers death, but also someone she can't stand for so long. Makoto was 14-15 when their father died. Sae was 21. As soon as she got the career she wanted and things started to look up, her stability was robbed from her and she was disillusioned with the system that her father had taught her to rely on and completely adhere to. How do you manage, the daughter of a cop, following his footsteps towards law enforcement, when you're suddenly reminded of how unfair it is? You can't quit, your little sister relies on you and she's so young and struggling just as badly with this grief. So you pick yourself up and you get moving again. You push harder, press further. You abandon your morals and your ethics because punishing criminals (guilty or not) is almost like punishing the man who killed your father.

And the whole time she's fighting for promotions, going for drinks with the SIU Director to make herself more favourable for promotions, trying to navigate being a woman in a competitive, suffocating, male-dominated field, falling behind despite doing so much where others are promoted for doing so little - all the while your little sister comes back from school and her biggest issues are so small compared to yours.

Persona 5 revolves so heavily around grief and loss and change and Sae embodies all of that so well, all of the sharp and unpleasant and jagged parts of grief.

[bookinit02]

i really do think there’s a huge disconnect on here w/ people who have never used tiktok as to what it actually is and who actually uses it. the number of people i’ve seen call it a “teen dancing app” is actually insane. it has not been a teen dancing app since i was in high school, around 2016 - 2020. the main communities i saw on a daily basis were 1) black history/anti-racism educators, 2) high school & college teachers sharing in-classroom strategies and frustrations with the education system, 3) local/state political leaders giving real-time updates on behind-the-scenes government decisions, & 4) community activism & leadership. like tiktok is an adult platform. almost every person i interacted with was my age or older. and yes it completely depends on your fyp and how you interact with the app, yes there’s still teenagers and dance videos and literally anything else you can think of. but these communities of adults aren’t insubstantial at all, they have literally millions of interactions on a daily basis. there’s about a million other types of communities that i could name just off the top of my head, because the range of users was SO diverse and thriving. it’s a long-distance community tool, just like any other social media—and honestly much better than any other social media, because it relies primarily on the kindness of strangers. i saw at least 5-10 videos today of queer people in rural areas panicking because they don’t have any access to queer community on any other platform or in real life. and before i end this i do want to say i think tiktok is coming back, i think this is a highly orchestrated political move, etc., but i do know it won’t ever be exactly the same. people are panicking about free speech violations because tiktok was a place where people fucking SPEAK. i have never seen mass mobilization and communication in this same way for as long as i’ve been alive. it is the people’s app, not just a silly teenage thing. if you’re not on tiktok and never have been, please stop talking about it like you know anything at all😭

[leafuxxtea]

are there still any p:eg fans out there 🥺

(⚠️ spoilers for p:eg chapter 1 btw!!!)

I swear this was funnier in my head

[the-mediaeval-monk]

I’ve worked with authors, YouTubers and most recently a game studio. Please email if you’re interested in hiring me!

[lexsnotdead]

[kazz-brekker]

was reading the blurb for an upcoming fantasy novel that says that the main character became a librarian in order to avoid dealing with people which is like. the MOST obvious way the author could possibly show that they have never worked in a library themselves.

[elodieunderglass]

Your jockeyposting has enthralled me (certified non-horse girl) and made me curious—how much familiarity do jockeys have with the horses they’re riding? Is it normal for a given horse to have a Long Term Jockey or are the jockeys like. Called up a week before and asked to race a horse they’ve never met? (& interested to hear any Killy lore related to this)

Thank you so much! (In reference to Killie the jockey OC and random posting about horse racing more generally.)

In general, racehorses never have a long-term or even a repeat jockey, and vice-versa! Jockeys usually aren’t familiar with the horses at all.

There are three main situations where they might be, though; if they’re retained, if they’re nepo babies generational and have a trainer in the family, or if they’re amateurs having fun. So with apologies for making a really long post, I’ve structured this as a writing reference.

Retained Jockeys

Killie’s a retained jockey for a stable (very unusual - not many jockeys are good enough, and not many stables have the resource to employ one) and he and Thunder share an especially eccentric owner who likes to watch them paired up.

And hey, if we were unbelievably ultra-rich people with no moral compass, “putting Killie and Thunder in a jar and shaking them together, briskly, to see what happens” would be a fairly legitimate hobby.

I’m not an expert or personally involved in the industry, so if you were thinking of doing some writing in the setting yourself, a starting point for a retained jockey’s life is this “day in the life” video, of champion flat jockey William Buick, TW for discussion of weight.

Generational

Jockeys may handle horses as family businesses. In real life, “racing dynasties” are influential. A very lucky jockey, retiring in middle age with piles of winnings, often wishes to become a trainer; especially prosperous ones buy a stable operation, move in their family, use their reputation and connections to get owners to send them horses, and start chucking their own children on the horses as a source of labour. The children grow up, stick around home, and naturally keep getting chucked on horses for their day job. Next thing you know, you have a lot of grandkids and horses around the place, so you might as well keep going with it. Everyone pretty much lives at Grandad’s stable together, and then you get cousins scuffling on the day job like this:

That’s how Killie grew up, as the result of several generations of jockeys becoming trainers producing jockeys. but moving to a retained post was both a) the only logical move if it’s offered, and b) an escape from his parents, who are astonishingly awful. and if you are that kind of nepo baby, like Killie, it makes so much sense to flee the country (move to the uk and constantly pretend you’ve just dropped your phone in a horse’s water bucket, glubglubglub, BYE MA.)

Press “keep reading” for the amateurs and then what everyone else is doing.

Generational steeplechase jockey Jonjo O’Neill Jr does a day in his life here. he knows the horses and is doing admin, management and stable work … at his family’s massive operation.

Amateurs

Finally, in the UK, you can ride as an amateur jockey - usually in types of lowkey local steeplechases, like “point to point” - and basically anyone can do this. horse racing is fun, but you need a license to do it with other people, and the license remains incompatible with owning a registered racehorse. So technically your best friend could share a horse with you, in all but paperwork, and they could be the trainer and you could be the amateur jockey, and you could wrangle your way into actual races with a horse that you knew. It wouldn’t work very well as a day job (the horse would only race like 2x a month, netting you like £300 a month out of your friend’s pocket, plus the absurd costs of transporting/entering everyone) but if you were writing a crazy story in which some good friends and their pet racehorse decide to make it rich, that’s how you could do it.

Everyone else

Everyone else (including generational jockeys whose grandfathers didn’t have the foresight to establish a proper dynasty) just scrabbles around.

Most races aren’t high-stakes! There are a lot of basic boring races every day. (though, if you ask jockeys, there is apparently never quite enough work.)

horses might live at the stable of their owner but more commonly their trainer (some owners are both).

Jockeys cannot own racehorses themselves.

In the UK racecourses are randomly scattered around the country, usually hours away from each other. They all usually have several races every day.

Jockeys in the UK are paid £157.90 for Flat jockeys and £214.63 for jumps riders per race. They get this flat rate for everyone, whether they’re experienced or not! Their expenses are fairly high, and as freelancers they have to cover them all. The real attraction pay-wise is that they get a “cut of the purse” (percentage of prize money) if they win first, second or third place in a race. It’s a small percentage that they have to share with their agent, but there are sometimes some super-big stakes, where you can earn your year’s wages all at once.

Of course, you need to be piloting a pretty good horse in a high-stakes race to have a shot at that.

jockeys are a rare professional athlete that work every day, and they want (but are never guaranteed to get) a few rides every day. This usually means travelling across the UK constantly every day.

Racehorses usually only race once a week or less. They definitely don’t “work” as often! Their schedules rarely match up to jockeys. Driving them around the place is also a huge pain.

Jockeys live all over, and most of them are known to spend several times more hours driving between jobs than they ever spend sitting on horses. They get up very early each day, often “riding out” (doing early morning horse exercise) for trainers before hitting the road, often driving for several hours between races. This has been flagged in many sports medicine papers as one of their many wellbeing risks.

At any rate, with hundreds of jockeys travelling randomly around the country, getting injured and suspended and with stats fluctuating constantly, trainers work through agents to book jockeys - often not getting the one they want.

There are also considerations like trainer suddenly deciding they want to get a different (better) rider instead, leading to the one they booked getting “jocked off”.

All of everyone’s stats, from horses to jockeys, are publicly available, and everyone can study them obsessively. Trainers will request jockeys who have attractive stats - that’s not just “winning” stats, but weight/strategy/experience that might match the horse (+ terrain + conditions, etc). In their turn, jockeys with better options may turn down an offer of a horse with terrible form (I.e. a big loser, or a dangerous animal, or one that looks incredibly dodgy in race videos.)

Often trainers try to get the same jockey for their horse, but in all this chaos it’s not always possible, and everyone has to constantly pursue their own best interests.

Particularly winning jockeys and particularly influential trainers may gradually come together in working relationships, and as a horse gradually emerges as a favourite and the stakes rise, you’ll start to see it working more often with the same people. For example, in the Grand National, the jockeys will probably know the horses.

In conclusion, it’s common for the first time the jockey touches the horse to be when they’re thrown on top of it, prior to the race.

They get around this by studying form (race statistics), watching videos of the horse, and of course speaking to the trainer about their desires/instructions/strategy.

OKAY that is the MOST information that I could possibly have given!! I don’t know why I know all this!!! Thanks!!

[andorerso]

like the showcreator openly admits he didn't rewatch the movie he was making a prequel to and I'm supposed to take his backstory and characterization of Cassian seriously? it's laughable actually

[littlemut]

corporate brainrot

[daemon-is-perfectly-unhinged]

Daemon: *shatters a window and climbs through it*

Daemon: *turns around and helps the twins through it* Now, breaking and entering is wrong, boys.

Jon and Rhaegar: Okay.

[secriden]

Watching Joong's Hurt Me Please MV with the context of how episode 6 ended and how this is likely a song about Fadel's thoughts and feelings about Style after Finding Out, I wanted to take a deeper look at the lyrics.

I have transcribed the English lyrics on Youtube side by side with a fan translated version (credit: bl_zonee on Twitter) just because there's different shades of meaning between them that I find really interesting and I'm curious which one is the more accurate translation or if both are valid, but just give different nuance. (Perhaps a mutual who understands Thai would be willing to give some insight? *u*)

Verse 1 makes a lot of sense to me: Fadel must be wondering how Style could be so cruel ("unkind" / "heartless") because every instance of Style being honest and asking for honesty in return, all of Style's genuine desperation to bare his heart to Fadel in episode 5 and 6, now looks like a calculated, cruel deception.

And after being so afraid to reveal his secret to Style for fear that it would make Style walk away from him, there's a painful irony in Fadel now wishing Style had walked away before. Because the betrayal hurts so much more now that Fadel has given in to his heart.

The chorus is where the nuance between the translations gets interesting.

The Youtube version seems almost like Fadel is taunting Style, putting up a front that he can take the pain Style is dishing out and more. It's like he's hiding behind the bravado of being able to handle the hurt, and even more.

The MV also depicts Style smiling sadistically after slapping Fadel, as if he's enjoying the pain he's inflicting. Meanwhile, Fadel looks up almost in adoration, a strange softness in his eyes at odds with how cruelly he's being treated. The knowledge of Style's betrayal has turned Style into a monster in Fadel's mind, one which he cannot help but to still have soft, affectionate feelings.

But the fan translation sounds much more hurt and accusatory. Fadel is expressing his pain and anguish much more plainly and "you did this to me" is a line that demands responsibility.

In both translations, though, the last line ("can't get enough" / "enjoying the pain") gives us a hint that Fadel isn't willing to give Style up even now. Despite the pain, despite feeling as if he's simultaneously burning up and drowning, there's a part of him that still wants this. That still wants Style.

Interestingly, as Fadel sings the last line he begins to visibly struggle against the rope tying him to the chair. The soft look vanishes and in place is a determination and shadow that spells trouble for Style. The shock is wearing off and Fadel is starting to fight back.

Verse 2 is where the agony really hits, for me.

In both versions, Fadel recognises the way Style's love was (maybe still is?) precious to him ("your love feeds my soul" / "your love nourished my heart"). But because Style's love is a lie, it's transformed into a weapon ("poison"). It twists Style's love into a source of "hurt" to Fadel.

Which is why I think both versions have a line where Fadel admits that there's a part of him that wants Style to keep hurting him -- or rather, to keep loving him; because these are the same thing to Fadel now -- ("hurt me, make me feel used" / "the more I was hurt the more I enjoyed it") whilst also remaining accusatory ("the more I loved, the more sorrow/I suffered").

The lines about "nothing left to write about our love" / "our story" also feel very pointed and final. A closing of a chapter; a closing of the possibility of their former, uncomplicated happily ever after. Style has nothing left to write (report) back to his superiors (the police) because Fadel's love is already complete and his deception has reached the inevitable conclusion of Fadel being found out/destroyed.

All this happens while we see Style continuing to threaten Fadel with a golf club and an almost crazed expression of glee juxtaposed with flashes of Fadel and Style in much happier times.

Also the fact that this line comes with this scene where Fadel lets Style kiss him despite “knowing” it’s all a lie *sobs uncontrollably*:

The first chorus comes back once and the music reaches a plateau. We are clearly preparing for a drop or a modulation and we get exactly that (twice!) with the second chorus:

Here, both versions converge: Fadel is angry, he's furious. Style hurt him and he's going to repay all of it and more ("you'll hurt [by much more]" / "you must suffer more than I did"). The lyrics tell us that, while Fadel cannot take back the hurt (take back his love), he can certainly ensure he isn't alone in the suffering (this love will also hurt Style).

It is at this part where my heart sank as I realised that Fadel's "I think I love you" line in episode 6 now takes on a much more sinister tone.

Because I think that discovering Style's betrayal was also what made Fadel realise the truth of his love for Style; the very agony he was in was the sign that Fadel's heart was lost to him. But even as it is true, I also think he still made the choice to ruin Style in the same breath. Because if Style could use Fadel’s love as a weapon then Fadel is going to use it (Fadel’s love) to hurt Style too.

A decision was made in this moment, and everything Fadel does afterwards in this scene is deliberate.

There is, however, one piece of hope:

Despite Fadel's expressed fury, what the MV shows us is Fadel breaking out of his bonds, shoving Style back and punching him once and then:

For all his anger, for all his rage, for all his threats of manifold vengeance, what we see is Fadel pressing close and kissing Style; once on the lips, and once on his chest (heart), all while the lyrics makes space for one last plea:

("don't betray me")

For me, its the way the line is shown together with this direct visual parallel between the ignorant Fadel in the past (left) and the Fadel of the present who has seen through Style's deception (right) that I find particularly compelling. Even now, even at the point of Fadel discovering Style's betrayal, there is still hope for forgiveness.

Because Fadel cannot help himself. Because Style made Fadel's bleeding heart whole again; and it beats, it feels, and despite how much it hurts, what Fadel still wants more than anything else in the world -- desperately and simply -- is Style.

[silentsockfeet]

i’m so unbelievably pissed at this show for having the gall to make ellie and dina walk through the capitol hill bookstore and rather than have it be a moment of connection and discovery for the two of them - thinking specifically of dina saying “ellie look it’s us” when she found that lesbian pulp novel - they instead have them cracking jokes and making fun of it, with witty remarks about the “happy proud rainbow town” as if the decorations all came from some naive happy-go-lucky folk who had never known the hardships of the apocalypse

and then they turn around and give dina the same contrived sad homophobic parent origin story that every other queer character has. stripping away her confidence and her history and everything that made game dina stand out. dina, who not only was bisexual but was jewish, and therefore knows better than most about both the sadness and pride that comes with having faced the worst and come out the other side. and instead they made dina some scared, ashamed little girl too uncomfortable to even say the word “sex.” why does shame get to exist in your apocalyptic world but not pride. you have to be joking

the very least we expected of this show was to have respect for their queer characters in the same way the game did. and they can’t even do that. if you won’t respect me as a queer person then why should i respect your work. go fuck yourself

[deoidesign]

"what do hands mean about a character?"

Their hands mean they love eachother

(webcomic)

[flibustedes]

Hey, remember when Michael Mell said this in Be More Chill Broadway:

"We're talking an insanely powerful supercomputer and you're using it to what? get laid? Did it ever occur to you that there could be consequences? That you're messing with something you don't understand?" "You're the one who said that technology isn't dangerous!" "Yeah, unless they use it like you!"

The fact that this is more relevant than ever is honestly scary I'm ngl :) Listen to Michael, he was onto something on this one

[lifemod17]

Take Me To Church

🎥: laurjacksonn | tiktok

The Governors Ball || 06/08/2025