#based on the general tone of the podcast i assume i will

[dykeyote]

hi there! I'm about 10 episodes into dndads and I wanted your opinion on whether it's worth it to continue

GAH I WROTE A WHOLE THING ON THIS AND TUMBLR DELETED MY DRAFT let me reqrite this lol .....

it depends on your thoughts on it so far and why youre asking the question i suppose (: because obviously i luv dndads i think its a great podcast its super entertaining i luv the charas blah blah . but i Assume youre asking me this bc youre not sold after said ten episodes . in which case my question would be Why are you not sold

is it bc ur not emotionally invested in the characters yet, or you want some more serious sides of these characters explored, despite the fact that youre enjoying yourself w the comedy? because in THAT case i would say yes absolutely it is 100% worth it . the first ten episodes dont reallt demonstrate the emotional core of the show, we havent really gotten to any of the in depth characterization or examinations of family dynamics - many of the reasons id recommend dndads have not been demonstrated yet, so if youre just looking for more emotional meat to sink your teeth into, absolitely keep listening i think youll enjoy it

HOWEVER . this is the big caveat . dndads is never gonna stop being a silly dnd podcast that doesnt take itself too seriously . its not a show that has a goofy start and becomes serious - its always goofy and fun even though it does have its more emotional moments!! from s1e1 to s2e41 it is a silly show!! the Tone and Vibe wont really change and i think the first ten eps are a really good demonstration of said tone and said vibe . so if youre ten hour long episodes in and youre really not enjoying yourself its not funny its not entertaining for you Even in a comedic sense ...... yeah you probably just dont like the show . which is okay (: there r other shows w interesting examinations of generational trauma and fatherhood rhat are less silly . yget me

OR if you enjoy it a lot and youre just wondering if it stays good . yes it absolutely does stick w it!!!!

if u wanna give me ur more specific thoughts so far i can personalize this more, bur just based on the fact that youre Asking the Question . thats my stance

[starlene]

Assorted thoughts about Så som i himmelen in Säffleoperan, Säffle, Sweden.

The first act was one of the best I’ve seen in Så som i himmelen so far, directed here by Mattias Palm – but unfortunately, the second act lost me a little. Nothing wrong with it, per se (except maybe for the very end), it just didn’t bring anything especially new or delightful to the table the way the first act did.

The first act had some brilliant character moments and really effective ways of finishing songs/scenes and moving from one scene to the next. It’s hard to put it to words why I liked it, I just think it had a very good flow.

The most hilarious Fråga Arne I’ve seen so far: they took the “Daniel is the only person who understands that they’re in a musical, and it terrifies him” thing they did in the Helsinki production and really ran with it.

Arne’s shop had some real products available. Daniel bought two bags of soup mix and a box of potato powder, I assume to make the soup last longer.

Speaking of Daniel: Andreas Hoff was really good in the role, I think 8/10 or 9/10. Lovely voice. He really emphasised Daniel’s socially awkward side, I think to the point of it becoming slightly parodic – but it’s okay, because as a whole, he understood the assignment and made the character extremely likable.

The problem with this Daniel, though, was his apparent tuberculosis. Sure, I don’t know much about heart diseases – maybe there is some real heart-related condition out there that makes you cough up blood, like Daniel did in this production. But in fiction, that’s so often used as a sign of tuberculosis, I really wish they didn’t do it here.

This Daniel was also very much visibly ill from the get-go, and I’m not sure how I feel about that. On the one hand, yeah, it’s certainly canon that his condition is serious. But on the other... I think we’re supposed to think some of the people in the choir might suspect there’s something wrong with his health, but only Lena figures out how serious it is – but this Daniel was so ill, you’d think everyone would be extremely worried about him. He’s still supposed to be healthy enough that he can genuinely enjoy his months in Ljusåker, and I’m not sure I got that from this production.

The very end was confusing because Big Daniel looked, frankly, terrified and upset when Small Daniel and Medium Daniel arrived to take him to the other side. Instead of the usual vibe, that Daniel is done with his goals in life and feels melancholic but ready to move on, the kids kinda dragged him away backwards and unwilling, or that’s what I got from the scene. The back of the stage being lit up in hellish orange tones didn’t help in the least.

I liked how they did Stig here. Daniel Sjöberg had the right sort of authority for the part, I really enjoyed his subtle way of handling the first scene, and I liked how they underlined him being jealous of the way Inger and Daniel interact with each other. The character is always confusing to me (why on earth is he so upset about having sex with his wife when they’re both into it?) but he had the exact right vibe here – something I always missed in the Helsinki production, so I’m extra glad to see it.

Overall, a very good production, but not without its problems!

Also, here’s a little complaint I have about Så som i himmelen in general:

There are a couple of confusing things about the book of this musical, and this time, I realised I’ve had it with Lena’s surprise pregnancy near the end.

When we interviewed Fredrik Kempe for the podcast, he told us it’s meant to be interpreted like this: Lena and Daniel have sex for the first time after På grund av dig, and immediately afterwards, Lena just gets this feeling that she’s pregnant now. According to Kempe, it’s based on something that happened to someone in the original creative team. And I mean, cool, it must’ve been magical and powerful to experience a feeling like that in real life – but it doesn’t make sense in the musical, since it’s not explained at all. Pregnancy tests exist because the vast majority of people do not ever experience a feeling like that, so it’s not exactly relatable. :P

Instead, as it is, the pregnancy just serves to amplify the tragedy of Daniel dying, which I think is beating a dead horse. The ending would be impactful enough without it, and then some.

What’s more, having a baby on the way kinda messes with Daniel’s arc, since he’s supposed to be able to let go of everything by the end. He knows Lena is strong and will be okay, but having lost his parents young himself, I wonder if he would feel so about the baby.

Oh well! In my personal headcanon of this musical, Lena announcing the pregnancy simply does not happen. Or if it happens, it means either that a) it was not their first time, or b) the baby is not Daniel’s.

Here’s to hoping the next production simply gets rid of this detail.

[longlivebatart]

Bruegel the Elder's The Harvesters

Welcome to Long Live Bat Art, the podcast for art lovers who don’t see art as much as they want to. My name is Sydney and thank you for taking this slow tour through an art gallery with a casual art lover. Today, I’ll be talking about The Harvesters by Pieter Bruegel the Elder. I hope you enjoy. 

Since I already covered Pieter Bruegel the Elder, we can go right on into the painting- The Harvesters.

The painting depicts workers cutting down hay and bundling it. The hay takes up the majority of the image, mostly the midground. The hay was grown on a slope, the people are generally working or sitting on a raised part. There are seventeen people in the painting that are easily seen, and they’re all sitting on the raised part of the slope in the foreground. There are four a ways into the background and several more in the far background. Two of the seventeen that are easily seen are knelt a little ways away from a tree, picking up what looks like apples from the ground. There’s a ladder flat on the ground behind them with a wooden bucket near it. Three are collecting cut hay and bundling it into sheaves. Another person is using a scythe to cut more hay.

The hay yet to be bundled is in three columns. Each pile looks approximately the same size. There are six pairs of sheaves fully shown, leaned against one another like a teepee. The side of a seventh is barely shown- just the base and about halfway up the slope. 

Next to the partially-shown pair of bundled hay, nine people are clustered at the base of a tree, in various stages of relaxation. One is sleeping, and the others are eating and drinking. They’re sitting on bundled hay that is yet to be leaned together and bundled again. 

To the left of the painting, there are three figures working. One is using a scythe, one is using a long stick to maybe separate the cut hay into those equal piles, and one is carrying a jug of what’s probably water to the workers through a corridor cut into the hay. Next to the scythe-wielder is a tall handled clay jug, which I’m assuming is holding more water. 

Further down the cleared corridor are three people walking into the distance. Two are carrying clearly-shown hay bundles, the third might be doing the same but the hay isn’t showing. To the left of the trio are two birds flying over the yet-to-be-cut hay. 

Beyond the birds is a single figure, though only the top half can be seen over the hay. They must be another worker, but I can’t really tell.  

That ends with a hill, and on the other side is a church painted in blue tones. The pointed roof is almost green, like oxidized copper. It has a bell tower and a smaller pointed part that has a circular window near the top. You can barely see the rest of the building. The sky is flat gray.

The midground of the majority of the image is a lower area of green grass and plenty of trees. Beyond that is even more hay, stretching into the distance. In the greener area, there’s what looks like a campus quad or another clear grassy area with paths cut through it from the trips of hundreds of pairs of feet. There are people milling there, and they seem to be playing some kind of game- you can see a few figures with their arms outstretched and running towards each other. There’s a small group that seems to be made of spectators. There’s a building near them, whether it’s a large house or a public gathering place I’m not sure. To the left of that small scene is a truck coming up the road, carrying a huge block of hay. It’s being pulled by a pair of horses, one brown and one darker in color, maybe black. Behind the truck is a curved road that recedes into the distance and seems to lead to another building. It could be another church. It has the same style as the closer one- a pointed tower with a lower A-frame part. In the far distance you can see a body of water, most likely the coastline. There are boats on it headed towards the land that’s in the far distance, which is colored much lighter than the rest of the land. 

Now for my thoughts. 

I like the hay and foliage. Every stalk and leaf are individuals of the same whole. Bruegel didn’t skimp and paint a large area a single color, highlight it, and then call it a day. He took his time painting each part. The bushes are more dense, so he might have used multiple shades of green on a fan brush and dabbed. But the hay stalks are so detailed. You can see the bushy tops of every single one in the front. And the people playing the game in the background, you can see the paths between them. You can tell some are spectators. In the background you can see ships. Even when the painting recedes into the distance there’s nuance to the color.

I also love the subject of this painting. And not just because I got to say one of my favorite words- scythe. I love this painting because you can see people relaxing. One is even asleep next to the ongoing picnic. As I said about Twelfth Night, life wasn’t all misery and difficulty. People took breaks. People had picnics. People took naps. Life wasn’t constant break-breaking work. Yes, others are working, and working hard, but it looks like they’re working in shifts. People have always cooperated to make things easier for others. Because being overworked helps no one. Burnt out and overworked people make mistakes. Fortunately, there’s a simple solution- take breaks. Resting. Relaxing. People in the 1600s got that, and it seems to be one of the things humans forgot. We’re always rushing, always striving for the next task. It’s good to slow down. 

So I’m going to challenge you. Set a timer for ten minutes. Ten minutes, just for you. Sit down with your favorite beverage and drink it slowly. Do nothing else. Don’t check social media, don’t plan what you’re going to do tomorrow, don’t worry about what you won’t do today. Just ten minutes to sit with yourself. I’m not going to lie to you- it’ll be hard at first. You’ll automatically want to reach for your phone. Suppress that urge. Sit and listen to your thoughts. And, if you’re lucky, your thoughts will start to slow down. And you’ll like it. Hopefully, you’ll want to take those ten minutes more often. Because everyone could use some ‘nothing’ in their life. That ‘nothing’ is everything.

If you liked this episode of Long Live Bat Art, please consider telling a friend and reviewing to help the podcast grow. A link to the transcript of this episode is available in the show notes below. And you can follow me on Twitter at Long Live Bat Art and tumblr at tumblr dot com forward slash Long Live Bat Art. That’s Long Live B-A-T Art. Thank you for listening to this episode, and I will see you in two weeks.

[gnougnouss]

there’s a pretty comprehensive vox article on what rowling has said that’s crept over into blatant transphobia, so if this link doesn’t work it should be the first thing that pops up when you google “vox jk rowling” (https://www.vox.com/culture/23622610/jk-rowling-transphobic-statements-timeline-history-controversy). she started out in a “I’m just asking questions silly me” tone and then pretty soon was just calling all trans women predators. last spring she straight up said on a podcast that the modern trans rights movement was “dangerous” and needed to be “challenged” (in the vox article). she also follows and/or boosts the profile of more blatant transphobes such as posie Parker (who calls trans people groomers and has had neo-nazis at her rallies). It’s undeniable that this stuff has not only set back trans rights, but feminism in general, pushing us back into the box of whether you look “woman enough”. like when people are whipped into a frenzy about the possibility of a trans woman sharing a bathroom with them, they start hyper scrutinizing other women, and there’s been cases of cis women who dressed more masculine (like lesbians) being attacked in the women’s bathroom by terfs who assumed they were trans. it’s a mindset of othering, of assuming evil based on gender presentation, narrowing the idea of what a woman can be instead of expanding it. (sorry I get passionate about fighting transphobia lol, which is probably not surprising considering we’re all in the genderless immortal alien fandom)

The vox article was painfully short on things she actually said so I went ahead and read her essay to get it from the horse mouth as it were and now I agree with JK :/ sorry. Have you read it ?

[sockablock]

Started the Magnus Archives, on episode 4, scared out of my mind and I would die for these Archcive Assistants

[girlfriendsofthegalaxy]

tuesday again 11/30/21

truly astonishing number of Things I Found Around The Internet in this one

listening The Most Wanted Song. i’m going to link to a podcast episode of people (including a professional composer), whose opinions about art and storytelling i generally jive with, wherein they listen to both The Most Wanted Song and The Most Unwanted Song and provide commentary. the Most Unwanted Song has a sense of comedic timing down to the fucking millisecond. and as you’ll hear them discuss in the episode, this is not artificial intelligence! this is a bunch of researchers COMING UP WITH SHEET MUSIC BASED ON SURVEY RESULTS AND HIRING A BUNCH OF SESSION MUSICIANS TO PERFORM. INCREDIBLE WORK ALL AROUND.

excerpting some Notes by the Composer:

 If the survey provides an accurate analysis of these factors for the population, and assuming that the preference for each factor follows a Gaussian (i.e. bell-curve) distribution, the combination of these qualities, even to the point of sensory overload and stylistic discohesion, will result in a musical work that will be unavoidably and uncontrollably “liked” by 72 plus or minus 12% (standard deviation; Kolmogorov-Smirnov statistic) of listeners.

The most unwanted subjects for lyrics are cowboys and holidays, and the most unwanted listening circumstances are involuntary exposure to commercials and elevator music. (emphasis mine)

reading loved the shit out of Iron Widow by Xiran Jay Zhao. can’t really talk about it without major spoilers, but a word is “visceral”.

i originally wrote a very long and very personal essay about how i hated nearly every single aspect of The Zombie Survival Guide by Max Brooks upon a reread when i like certain bits of World War Z very much but 1) that’s some therapy shit and 2) maybe i can sell that very long and very personal essay somewhere in this the time of nostalgia and plague bc a bitch has unexpected expenses

anyway, this is an article i enjoyed a great deal about the effect of joss whedon on pop culture. fuck i forgot it won’t do a preview uhhh here

Gita does one of the things i admire most in critics, namely identifying a thing they hate (eg “this dialogue is unpleasant”) and drilling down into the Why of it, how different creative choices and styles of storytelling combine to create this particular effect:

Characters in Whedon’s shows talk a lot, and they talk in very particular ways. Characters are often imprecise in their language, letting sentences trail off as they struggle to articulate themselves. They turn nouns into verbs and vice versa. They say “thing” or “thingy” or “stuff” in place of more descriptive terms. Often these characters metatextually comment on their surroundings or the environments they’re in, usually in a sarcastic or snarky way. The tone of this is pretty “wink wink, nudge nudge,” as if the writers are speaking through the characters to the audience, rather than the characters commenting on the situation they are in. 

emphasis mine &tc, please read the whole thing it’s all good and renewed my determination to not watch the bebop reboot

watching a truly concerning number of movies. SO many movies. instead i’m here to shout about this full length documentary about disney’s fastpass, saw a tweet that was like “defunctland is just a non-streaming-service documentary provider at this point” and yeah holy shit.

the man paid an industrial engineer to create a bespoke simulation to determine if fastpass is like Good or not? does it actually make you wait less? does it actually help you ride more rides? or is it just an extremely elaborate method of crowd control? it scratched every part of my brain that likes understanding how systems work and also likes graphs

playing mmm not quite fallow week but a very slow week. got to a point where i will wait for Sable to have an update before i finish up the endgame stuff, halfheartedly poked around in genshin (fucking hell the intro to the new winter training event is long and convoluted and tiresome), started and put down a new fnv save file. i’ve been trying really hard not to think about video games when i’m not being paid to bc ending my video game job workday by immediately playing a video game on the same desk i do my job at has been weird for my brain.

here have a screenshot from Sable, driving back from the Atomic Heart

making ran across this free minidress pattern, went “wait i have the perfect horrible print” and i simply have to fuse the interfacings to the facings, unfuck the bust dart situation, set the collar, and sew the whole shebang together.

“kay that’s like. the whole project.”

very little of sewing is actually stitching pieces of fabric together! i had to

finish the ironing board cover

print and tape together the pattern (tedious)

wrangle the fabric out of my (bad) fabric storage

cut out the pattern pieces correctly (to a reasonable tolerance, on the grain, with the motifs i wanted centered actually centered)

iron the shit out of this unpleasant to work with poly/rayon blend and the facings

burn the shit out of my ironing board cover but somehow not actually melt the poly in the dress fabric thank GOD

devise a new muslin + interfacing storage system and get enough to have a small stock on hand so i stop fucking going to joanns every two days

staystitch the necklines

do a preliminary fit, realize it needs to be taken up nearly six inches

fuck around with bust darts for two hours in a vain attempt to get the print to match up

decide there is enough going on with this print that the suggested pockets and back belt would be Too Much

is the sewing machine i bought last week fixed? heavens fucking no i need the tiniest stupidest wrench imaginable and that’s making it way to me, supposedly

[beholdme]

All the Many Shades of Gerry - Chapter 3

Chapters: 3/19

Fandom: The Magnus Archives (Podcast)

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Relationships: Martin Blackwood/Gerard Keay/Jonathan "Jon" Sims | The Archivist, Martin Blackwood/Gerard Keay, Martin Blackwood/Jonathan "Jon" Sims | The Archivist, Gerard Keay/Jonathan "Jon" Sims | The Archivist

Characters: Martin Blackwood, Jonathan "Jon" Sims | The Archivist, Gerard Keay, Tim Stoker (The Magnus Archives), Sasha James, Gertrude Robinson, Elias Bouchard

Additional Tags: Alternate Universe, Library AU, Librarian Jon, Artist Gerry, Trans Male Character, Trans Martin Blackwood, Canon Asexual Character, Asexual Jonathan "Jon" Sims | The Archivist, Ace Subtype - Sex Positive, Polyamory, Fluff, Fluff and Angst, Romantic Fluff, Falling In Love, Boys in Skirts, Kissing, Demisexual Gerard Keay, Minor Character Death, Past Character Death, Canon-Typical Child Neglect, Implied/Referenced Child Abuse, Flirting, Minor Jonathan "Jon" Sims | The Archivist/Tim Stoker, Adventures in Hair Dying, Happy Ending, Banter, Gerry has a lot of sass, Gerard Keay is Morticia Adams, Jon is a very grumpy Librarian, Martin adores them anyway.

Summary: In which Gerry is a kaleidoscope and Jon and Martin can't help falling in love with him.

He happens to love them back.

Find it on Ao3

[1] [2]

In the following weeks, as he sees Jon a few more times, Gerry's hair fades out and he looks rather more 'forest nymph' than 'American Gothic'.

So it's not much of a shock when the next time Jon catches sight of Gerry striding through the library stacks, his hair has been re-coloured. This time it's a smooth buttery yellow and Jon is struck by how young the warm, bright colour makes him look.

Gerry doesn't feel young though, he feels tired and bored and wrung out, and he wishes he had never agreed to take art commissions.

"It's only the one time!" Gertrude had insisted to a very put upon Gerry, very early in the morning. "And if he puts in a good word for you in his circles, your name will really be on the map in the art world."

Gerry wasn't particularly interested in being put on any maps, or being picked apart by rich, stuck up strangers, but he had agreed to try, mostly because Gertrude had put a lot of effort into making his passion for art an actual career and he felt like he owed her.

(He forgets, frequently, just how much of a commission she takes on the sales of his paintings).

So there he was, striding around the library at 7 am and desperately looking for exactly the right reference book. Unfortunately, it has been out of print for years, and Gerry can't seem to find a copy anywhere that won't cost him half a liver. He has the money now, but he refuses to pay half a month's rent to a second-hand retailer on principle.

Jon watches him skulk around for so long, (apparently forgetting that he is, in fact, a librarian) that Sasha comes out from her desk to ask Gerry if he's looking for something specific. She's wearing her big round glasses today and even indulged herself in her favorite waistcoat to beat the Monday blues.

"Why, yes." At this, Gerry looks directly up at Jon, where he is standing and watching him from the upper balcony level. Jon's face burns, and he ducks out of sight, but not earshot. "I do actually come here to borrow books, not boys." And he smartly feeds her the name of the reference book he has been hunting for almost an hour.

Sasha giggles at his antics, "We do have a copy of that, actually, but it's very popular. There's a waitlist; also it's checked out right now."

Gerry's whole demeanor sags and he sighs in defeat. "Guess I really will just have to order it off the internet, then." He eyes the stacks of books, old and new, looking vaguely betrayed.

"No!" Sasha's exclamation takes everyone a bit aback, being that they are in a library and all. "You know, my mate has this sweet little bookstore, and he loves hunting down rare copies of older books, he might have a copy?" She wrings her hands, eyebrows raised in question.

Gerry beams down at her, causing even stoic Sasha to blush and scurry off to get a piece of paper for the address.

They're already most of the way to the front desk by the time Jon realizes just which bookstore Sasha is busy recommending to the man he is dating , and just who owns that particular establishment.

By the time he manages to get downstairs to try to deflect the situation, Gerry is out the door, nothing left but the faint scent of oil paints and leather from his jacket.

***

Tim Stoker leaves Gerry feeling faintly dazed. By the time he stumbles out of the bookstore and into the tea room, elusive book in hand, he's forgotten everything he has ever known in the face of such intense flirting. And Gerry thought he was bad.

Throughout the whole episode at the library, the walk through Chelsea, and the exchange with Tim, Gerry had never once taken a moment to consider that Sasha's friend with a bookstore and Jon's Martin with a bookstore might be the same person.

He chooses to blame the lack of sleep and general disarray that is his life for the oversight.

Which is how, 9:30 in the morning, having been awake for almost 24 hours and completely finished, Gerry walks up to Martin in his tea room and says, "I'll have whatever is pink and in that jug, please. The biggest you've got."

Martin, of course, recognized him immediately. He would have recognized Jon's gothic childhood boyfriend from his social media stalking alone, but Jon's frantic texting was also a pretty big giveaway.

Martin: Relax, I don't bite clients this early in the morning. He's in safe hands with me.

Jon: HE KNOWS THINGS ABOUT ME. Besides, who's gonna stop him from biting you?

Martin: Whatever he has to tell me can’t possibly be worse than the office gossip I heard about you before we even meet.

Jon: W H A T

Now, here Gerry is before him, and he’s quite pleased with what he sees. Even tired and vaguely dazed, his presence in the little room carries a certain energy that Martin enjoys.

"Right away. Take a seat and I'll call you with it." Martin's voice is sweet, but gentle and firm, in a comforting sort of way. Through Gerry's sleepy haze, the instruction makes perfect sense, although he has neither paid nor offered a call name.

Gerry considers taking a seat on the plush bench that occupies one wall, before deciding that he desperately needs a cigarette, and wandering outside.

Technically he is only supposed to smoke at night when he's painting and needs just the right kind of boost, but he decides to call this one since he's on a painting-based errand when he's supposed to be sleeping.

"Gerry?" He turns toward the sound of his name, to find the barista offering him a large to-go cup of what he assumes is fruit ice tea. He frowns at having his name known (his new, much-preferred name, no less) and then frowns at a blonde, bespectacled man in a tea room attached to a bookstore.

His brain finally takes a moment to function, and he puts all the pieces together in an avalanche.

"Martin?" Far from his usual self-confident tone, the single word comes out in a squeak that would make even a toddler wince.

"Yes?" Martin returns the single word in the same solidly reassuring way, and even offers a happy smile.

"I didn't... I didn't recognize you."

"Would be pretty hard for you, considering this is the first we've ever met." Martin's voice is calming in a way that eases Gerry a bit, teasing and all.

"Thank you. For the tea, I mean." Gerry closes his eyes and desperately begs his shit to pull together for him, just this one time. "It's nice to finally meet you."

His hands are fully occupied with a book, a cup of tea, and a cigarette, but Martin doesn't seem particularly bothered by the lack of a hand to shake. "It's nice to meet you too. We're giving Jon a heart attack by doing it without him."

"That is the lawful good," Gerry says, after a long drag of his smoke. "A panicked Jon is a happy Jon, after all. Whatever would he do with himself without a situation to unnecessarily complicate?"

"Yes, the man does seem to thrive on anxiety, doesn't he?" Martin asks warmly, eyes crinkling around a fond smile. "Speaking of, you seem pretty wrecked yourself. Good party, I hope."

Gerry's answering laugh has a razor edge, "Not hardly. This fucking painting I'm working on will be the death of me." Gerry lifts the reference book as proof of trauma and stabs out his cigarette viciously.

"Hmm, sounds like a pain. I hope you typically find art a more enjoyable career?" Martin asks, tilting his head inquisitively. His curly hair moves fetchingly and Gerry catches himself tracking the movement.

"Mostly, yes. Although I keep the bartending gig for variety. You'd be amazed at the sort of inspiration someone can find in the right drunk crowd." Gerry grins, thinking of all the ridiculous things he’d seen walk in and out of the bar in his run there.

"I'd be very interested to see what kind of art you can turn that into. Maybe you'd like to show me sometime?" Martin's words are open and friendly.

Gerry eyes him for a minute, hiding behind a long taste of his drink. He's trying to suss out Martin's motivations, for his kindness and general geniality. The drink is good and it tips Gerry's mood far enough back into cheerfulness that he shrugs off his considerations for the time being.

"You know what," Gerry quips back. "I think I would like to show you sometime. How 'bout tonight."

It's not a question really, with Gerry's typical force of personality behind it, and he leaves the shop with Martin holding an address in his hand and a time to drag Jon over for dinner that evening.

***

Gerry does not make a big deal of Martin coming over. He acts as if any other friend is coming over for dinner.

He tidies, a little. Lights a few candles. Wears pants. The bare minimum really.

He isn't trying to impress anyone, he tells himself sternly.

Except he is, obviously. He doesn't know Martin very well yet, but he does want to keep Jon around, and they are a packaged deal these days. Which he was happy with, truly.

In their limited interaction, Martin had been sweet and put Gerry instantly at ease. He knows, from many years of working a bar, how to spot a dipshit, and feels confident in his assessment of Martin's character.

But, it's his own character that concerns him. People don't always like Gerry past surface interactions. He can be tempestuous and moody, and catching him tired is a pretty bad idea. The combination of artist and mommy issues can be jarring.

He desperately wants those things to not bother Martin though. He wants Martin to like him, and he's not interested in putting on a show to make it happen.

It occurs to Gerry an hour before they're due that he doesn't even remotely know what takeout to order for dinner.

(He knows what Jon will eat, and he obviously knows what he likes, but what about Martin? Why didn't he ask this morning? Why didn't he ask Jon earlier?)

Gerry is just starting to really panic about all the life choices leading up to this moment, when he gets a text from an unknown number, instantly filling him with relief.

Martin: Since you're hosting this time, I'll grab the take-out. Jon says you like Thai, I'll bring that. You got the drinks covered?

Gerry: As long as you drink either coffee, vodka, or water, yes.

Martin: I'm sorry, I subsist only on the blood of virgins.

Gerry: Oh dear. I couldn't tempt you to settle for Earl Grey?

Martin: Hmmm, yes, I'll accept your offerings this time.

***

The first knock comes right on time. Gerry, dressed in his best paint-stained jeans and cherry blossom kimono, opens the door with a flourish.

Martin allows himself to be welcomed in and hands the food off to the dramatic artist, who deposits it on the table where he has already set the tea tray.

"No Jon? Not that I mind quality ‘us’ time, of course."

Martin is busy taking in the rambling studio space and barely spares the attention to respond, although he manages a blush at the flirty tone. "He's, uh, running late. Work stuff. You know Jon."

Gerry smirks at that. "I do indeed. Is it a 'stumble in at 3am' late, or 'we could probably wait to eat' late?"

"Hmmm? Oh, let's wait a bit? If you don't mind." Martin seems equally taken with his painting wall and his book wall and keeps trading his attention between the two. The paintings, being the larger attraction, eventually win, and he meanders over to study them closer.

"Do you keep all the completed paintings around?" His voice is soft and reverent, and Gerry feels a rush of pride for his work.

"For a while. I like to make sure they're in their final forms before I release them into the wild." Martin blinks big brown eyes at him, before grinning and giggling slightly.

"You're very talented. Jon said as much, showed me the pictures, but words and photos are nothing compared to seeing the real thing." Martin really regards his paintings as if they're special, and rather than the prickly feeling of appraisal he feels during gallery nights, it fills Gerry with warmth.

He turns to examine the wall himself. It's filled with an eclectic group at the moment. Large abstracts made by pouring paint and then layering designs over, three-dimensional pieces painted and then embroidered or quilled over in select places, including a particularly wild eye design. Surreal faces and scenes that seem realistic except for the wild subject matter of planets in meadows and chimeras going to battle.

"Is this what comes from your adventures in bartending?" Martin asks Gerry, turning from the wall and towards the slightly taller man.

"That, and my traumatic childhood." Gerry makes sure to laugh at the last, taking the edge off the small confession.

"Obviously." Martin offers.

"Obviously." Gerry accepts.

***

Gerry and Martin drink tea on the floor while they wait for Jon. Gerry gently prods Martin through the story of how he came to open the bookstore. The blonde man even softly confessing that he had to lie on his CV to get the librarian gig at Magnus.

"How old are you? How did you convince them you had a Master's degree?" Gerry is incredulous. Not that he doesn't think Martin could have an advanced degree. But in paranormal research? Gerry hadn't even known that was an option.

"That's the thing! I'm only 29 now . I worked there for five years!" Martin's voice pitches up in disbelief. "I'm still in shock that anyone ever brought it. Desperate times, desperate measures, you know?"

"I do, actually." Gerry shifts slightly, adjusting his balance with the long remembered urge to flee from those desperate times. He fiddles with his teacup to distract himself. He brought this particular set from a pawn shop because the filigree and florals appealed to his love of colour theory. Soft pinks and corals warm against the cool aqua background.

"Jon says you wanted to go to art school when you two were younger."

It's not a question, but merely Martin offering the same space for openness that Gerry had given him.

"I never went. After my A-levels, I had to get away, and I never really stopped moving for long enough to go to uni when I was younger. Now I'm settled and it's not important to me anymore. Besides, no one asks for a copy of my phantom degree when I sell a painting. So I'm happy with how things turned out for the most part." He stops to consider the outline of a possible past for a moment, one where he didn't have to skip college and go ten years without seeing Jon. "Besides, can you imagine a 27-year-old in art school? The young ones would sacrifice me for more creative talent."

Their eyes meet for a moment, and then they laugh easily and move on to different topics, sliding through the easy stages of getting to know each other.

***

Jon does eventually arrive, looking panicked and harried. He de-ages 10 years when he finds them laughing and relaxed instead of tense and awkward.

So, the three of them eat cold Thai take out on the floor of Gerry's loft, leaning against the perfectly good couch. They share the odd intimacy of people who have known each other for very disjointed amounts of time but like each other just the same.

[good-omens-classic]

Hi Good Omens fans, ever since making this blog, and trawling through the archives for old art, I have been thinking again about trends from before the TV-show, and the way people draw Aziraphale and Crowley.  I wanted to make this post addressing it but this is not “discourse” or to start a fight, in fact I would be perfectly content if all I did was make people think critically about what I am about to say and not even interact with this post at all, but I feel like I need to say it.

Talking about any racist undertones to the way people draw our two favorite boys usually makes people dig their heels in pretty fast.  This is not a callout post for any artist in particular, this is not me trying to be overly critical of artists especially since they have more talent and skill than I do, and I’m going to address some common counterpoints that I frankly find unsatisfactory.  Let’s just take a moment to set aside our defensiveness and think objectively about these trends.  It took me a while to unlearn my dismissive attitude about these concerns so maybe I can help others get over that hurdle a little faster.  Now let’s begin.

I’ve been kicking around the Good Omens fandom since maybe 2015 and for art based in book canon, whether it was made before the TV show came out, or because the artist is consciously drawing different, original designs, I’m going to estimate that a decent 75% of all fanart looks like this

Aziraphale is white and blonde and blue-eyed while Crowley is the typical “racially ambiguous” brown skin tone it’s become so popular to draw podcast characters as nowadays.

And the question is why?  With the obvious answer being “it’s racist,” but let’s delve a little deeper than that.

A common thing I hear is that people get appearance headcanons fixed in their mind because the coverart of the book pictures the characters a certain way.  My first point is this only shifts the question to why the illustrators drew them that way, when there aren’t many physical descriptions in the book.  My second point is that while there definitely are cover arts that picture Aziraphale as cherubic, blonde, and white and Crowley as swarthy, dark-skinned, and racially ambiguous...

(side note: why is Crowley’s hand so tiny?  what the hell is going on in this cover?)

It’s much more common for the covers to simplified, stylized, and without any particular unambiguous skin tones

I don’t know about the UK but the most popular version in the United States is the dual black and white matching covers

And while you could make an argument that the shading on Crowley’s face could suggest a darker skintone, it seems obvious to me that lacking any color these are not supposed to suggest any particular race for either of these two, and the contrasting colors are a stylistic choice to emphasize how they are on opposite sides.  If anything, to me it suggests they are both white.

In short I simply do not buy the argument that people are drawing Aziraphale and Crowley this way because that’s how they were represented on the cover art of the book.  If you draw them the way they are on the cover then whatever, I don’t care, but I don’t believe that’s what’s driving this trend.

The second thing people will say is that Good Omens is a work of satire, and it’s based in Christian mythology which has this trend of depicting angels as white, and it is embodying the trope of a “white, cherubic angel” paired with a dark-skinned demon for the explicit purpose of subverting the trope of “white angel is good, dark demon is bad” since Aziraphale is not an unambiguous hero and Crowley is not a villain.  “It’s not actually like that because Crowley isn’t a bad demon, and Aziraphale isn’t actually a perfect angel” is the argument.  This has a certain logic to it and allows some nuance to the topic, but to this I say:

Uncritically reproducing a trope, even in the context of a satire novel, is not enough to subvert it.  Good Omens is not criticising the racist history of the church, and while the book does have some pointed jabs at white British culture (such as Madam Tracy conning gullible Brits with an unbelievably ignorant stereotype of a Native American) it is not being critical of the conception of angels as white and blonde or the literal demonization of non-white people.  That’s just not what the book is about.  So making the angel white and the demon dark-skinned, playing directly into harmful tropes and stereotypes, is not somehow subversive or counter-cultural when doing so doesn’t say anything about anything.

Please consider fully the ramifications of the conception of white and blonde people as innocent and cherubic and dark-skinned people as infernal and mischievous, especially in modern contexts...

Black people are more likely to be viewed as violent, angry, and dangerous.  Priming with a dark-skinned face makes people more likely to mistake a tool for a gun.  Black people are viewed as experiencing pain less intensely by medical professionals.  Black men are viewed as physically larger and more imposing than they actually are.  The subconscious racial bias favoring light skin is so ingrained it’s measurable by objective scientific studies, on top of the anecdotal evidence of things like news stories choosing flattering, “cherubic” pictures of white and blond criminals while using unflattering mugshots for non-white offenders.

This is why I say that if you’re going to invoke the “whites are angelic” trope, you better have a damn good subversion of it to justify it, because this idea causes real harm to real people in the real world.  And Aziraphale being a bit of a bastard despite being an angel, I just don’t see that as sufficient.  I am especially cautious of when it’s my fellow white fans that make this argument, not because I believe they do this out of any sort of malice or hatred of people with dark skin, but because I know first-hand it stems from a dismissiveness rooted in not wanting to think about it for too long because it makes us uncomfortable.  Non-white people do not have the luxury of not thinking about it, because it’s part of their life.

Now the strongest textual evidence people use, in the absence of much real descriptor, is this:

"Many people, meeting Aziraphale for the first time, formed three impressions: that he was English, that he was intelligent, and that he was gayer than a tree full of monkeys on nitrous oxide. Two of these were wrong; Heaven is not in England, whatever certain poets may have thought, and angels are sexless unless they really want to make an effort" 

This piece of art has circulated in the fandom for so long I don’t know the original artist and it’s been used for everything from fancovers to perfume.  This is where I found it and it’s one of the first things that come up when you google this quote about Aziraphale.  

Doesn’t it just feel like this is the man that’s describing, some blonde effeminate gay man?  Well guess what, there’s the “blonde as innocence” trope rearing its ugly head again, because the stereotype of gay men and effeminacy as being a white and blonde thing is--ding ding ding you guessed it--racism.  And why would intelligent suggest a white and blonde person, except if the stereotype of a dark-skinned person is less intelligent?

Now the point of “people assume Aziraphale is British” is another sticking point people will often use, claiming that the stereotype of a British person is white and blonde.  I guess this has some merit, since the British empire was one of the biggest forces behind white colonial expansion, and it seems disingenuous to assign “British” as “nonwhite” as soon as we’re being satirical, in the same way I found it distasteful that the TV show made God female when so many of the criticisms of the church are about its misogyny and lose their teeth as soon as God is no longer male.

However consider that 1.4 million Indian people live in the UK.  I heard a man say aloud once that the concept of a black person having a British accent was a little funny, as though Doctor Who doesn’t exist and have black people on it.  And I’m not overly familiar with the social landscape of the UK, but I understand they’re experiencing a xenophobia boom and non-white Brits aren’t considered “really British.”  The stereotype of non-white people not being British only exists because of reinforcement in media.  If you really want to be subversive, drawing Aziraphale as Indian goes way further than drawing him as white IMO.

Now let’s talk about Crowley.  He is almost always drawn with a darker skin tone than Aziraphale, even when they are both white, and while I’ve outlined above how this is problematic on terms of linking light skin with innocence, I think it does have an extra layer.  I think it also has to do with the exotification and fetishization of brown skin and non-white people.

This artist’s tumblr is gone now but their art is still on dA and while it’s definitely beautiful and well-done, I think this is a very good example of what I’m talking about.

Crowley and Aziraphale necessarily contrast each other, so describing Aziraphale as “British” might suggest that Crowley is “foreign-looking.”  I also know *ahem* that the fandom generally thirsts over Crowley to hell and back, so making him a swarthy, tall dark and handsome is not necessarily surprising.

An interesting thing happened when the TV show came out, and everyone started drawing Michael Sheen!Aziraphale and David Tennant!Crowley more and more often:  It’s not ubiquitous, but it does happen that sometimes artists will draw David Tennant’s skin darker than it actually is.  The subconscious urge to see Crowley with dark skin is for some reason that strong for many people.  And I really encourage people doing this to think about why.  Not naming any names but I’ve working with fanartists before for collabs who I had to ask to lighten “bad guy” demon’s skin tones because it looked like they were making the skin darker on purpose to make them look scarier.  This person is a perfectly pleasant person who tries not to be racist!  And we both still fell into it accidentally, and it took me a while to notice and point it out, because the ingrained stigmatization of darker skin is pervasive yet often goes unnoticed.

What is the solution?  I don’t know, and as a white person I’m not really qualified to make that call.  Do we draw them both with the exact same skin tone?  Is it better to make them both white?  Should we make both of them non-white?  Should we only make Aziraphale non-white?  I am consciously aware of the fact that the Good Omens fandom is mostly white people, so most of the art we make is being both made by and consumed by white people, so I don’t feel comfortable saying “draw these characters of color specifically” because that can also veer into fetishization territory very quickly.  This is not specific to good omens but I think we should pay attention to what fans of color say in all fandom spaces and weigh our choices even if they seem insignificant.  And it’s important to realize that fans of color will not be a monolith in their opinion either, and it’s our responsibility to recognize that everyone can be affected by racism and social issues differently, the same way all women are affected by misogyny differently so just because one woman says such as such is misogynistic and another says it’s not.  I’m sure there are non-white fans who think it’s perfectly fine to draw Aziraphale as white and Crowley as ambiguously non-white.  I’m not saying they’re wrong.  And I’m not saying you can’t reblog this kind of art, or that people who make or made it should feel bad about themselves.  But so often this sort of thing goes unaddressed just because people don’t like thinking about it, and well, avoiding hard questions never really goes well I think.

[catboytheorist]

I'm curious, what are your opinions on Thor: Ragnarok?

So I assume I’m getting this because I followed a bunch of Loki blogs and someone wants to my Hot Takes before following me. As it happens, I was actually writing a whole podcast episode on Loki’s characterisation in the MCU today (not here to promote exactly but it’s @lokipodcast if you’re interested) so I guess I have a lot of Thoughts.

That’s a lot of preamble to say, essentially, that I definitely do see why people don’t like it, in terms of continuity of Loki’s character it’s not perfect, but at the same time I do really like it. In part that is just a taste thing. However I do kinda wonder how much continuity we can and do expect from the MCU in general - continuity of plot and character is variable, as you would expect when each movie has different directors, screen writers, etc. as well as often having different tones and themes and all that. So for me the question is more: is this characterization so different that it no longer feels like the same character? Or, is his characterization notably worse?

So with that in mind, I disagree with people who think it's objectively bad, or that it's disrespectful to Loki's character, or even that Taika Waititi hates Loki. Ragnarok was just tonally very different from previous Thor movies, which meant Loki did feel like a different character - which was never going to please everyone. And I think that change is also going to be felt particularly in fannish spaces where people often bring a lot to the character, and put a lot of time and effort into their own interpretations. Honestly, I remember when there was a similar backlash against The Avengers (2012) because it altered how people viewed Loki based solely on Thor (2011). And I'm really not criticising that approach - I've been involved in Loki fandom in various ways for about a decade at this point so I do the exact same thing.

Personally, I prefer Loki as a villain, I like seeing him being kind of a bastard, I like a lot of the darker elements of his character, and I think Ragnarok, despite it's overal comedic tone, catered to that quite well. I also just loved seeing a more light-hearted, funny side to Loki's character. So Ragnarok essentially catered to exactly what I wanted to see in Loki's character. But that is just personal preference, and I definitely can see why people didn't like it (there's a few things I particularly didn't like either - the way Loki callously gave away his nature as a frost giant definitely felt off to me).

So anyway there's a whole essay on my opinions if you're interested. Do with it as you will.

[thedreadvampy]

So this was sent to me by @atiredpan weeks ago when the White Jon conversation was very live and I'm posting it (belatedly) with their blessing (they didn't want to put it up publicly and have it seem like an attack which I really very much appreciate but wouldn't have minded) and I percolated for a few days and then got very busy for a few weeks. Response follows.

So I feel weird about how I'm responding to this stuff, I'm launching rapidly into taking about/explaining my own experience in a way I'm worried maybe comes across as a direct comparison. It kind of feels like I'm talking in a way that's like brushing off your experience and saying OK BUT HERE'S WHY I'M RIGHT and that's not what I'm trying to do, it's just that there's not much I can usefully add to what you've said - you know your experience better than I do, and I'm not gonna go around trying to read into it or reexplain it. So I'm going to talk about where I am/have been coming from, but not with the intention of countering your points, all of which I think really resonate.

First off, the post where I was like "Jon is white and if you disagree you're Wrong" was, unreservedly, just a shitty post and I'm not suprised it upset a lot of people. I'm really very sorry about that, it was thoughtlessly written and pretty stupidly posted.

I totally get that my whiteness has fed into how I hced Jon (and as I think I've said before I saw Jon a certain way well before I engaged with any fanworks, just as you did). There's a lot of reasons I imagined Jon as white from pretty early on, a non-negligible one of which was like...That's Jonny. This is a podcast by Jonny, about a character with the same name and mannerisms as Jonny, and Jonny is extremely white. It would have felt weird, when I was listening to TMA as a Friend Podcast, to stick a brown face onto what at least appeared at the time to basically be a self-insert character of my white friend. Now that's a really personal thing informed less by the story and more by the circumstances under which I've interacted with it, but it certainly laid a baseline. I didn't really have a clear mental picture of Jon (or most of the characters) for a looooooong time (for an artist I'm really not a very visual thinker) but I had a few sort of mental sketches (Jon is short white balding and awkward, Martin is tall biracial and scruffy Basira is fat and somali Melanie is my friend from work etc) which I developed a long time before I encountered fanworks.

I saw the alienation you mentioned and I connected it to class and gender, not race, because I’ve met a lot of cis men, white and otherwise, who interpolate trauma, class insecurity, insecurity about their own abilities, and so on into withdrawal, denial and snappiness. So for me I had an interpretation of that element of his personality which was pretty much race-neutral, and then I had these existing cues leading me to assuming he was white (largely that Jonny is white, but also wee stuff in the story that...it’s not like anything substantial enough to remember, let alone justify, but there were certainly interactions that pinged whiteness for me personally)

There are actually iirc a few throwaway references to Jon being promoted above more qualified candidates throughout (or at least I thought I knew that before s5), but the time I decided I thought White Jon was an obvious conclusion was of course the conversation where Sasha expresses frustration about it. and the context of that conclusion (at least as far as I can see) wasn't "people of colour can only exist in subservient positions/defined by oppression" but was informed by two things that were going on with my life around the time that episode aired

I had been having several conversations with friends of mine (and largely friends of Jonny's) who work in London in the museums/archiving sector and who are the only women of colour in whole departments or even whole museums, and who experience so little career mobility compared to their less-qualified white counterparts (we're talking about women graduating top of their class at Oxbridge with anthropology or library science masters and stellar original research, with a decade or more of impeccable work experience and acting up, being left in internship and low-grade positions, while white men who "fit the culture" but have 0 museums experience sail into upper management positions and then stay there until they retire). So I'd come almost directly from these conversations into what to me sounded like exactly the same gripe in TMA.

I'd been at that point working for about a year and a half on co-coordinating the anti-oppression committee in my workplace, which was a very Good Progressive Activist Charity with Good Lefty Principles, and over the course of experience sharing and discussions both with colleagues of colour and along lines of wealth, disability, class etc, I was very much confronted with the realisation of how much 'being adequately qualified' meant different things for middle-class good-university white men vs much more highly skilled and hardworking women of colour or people of different class and wealth backgrounds. Obviously I'd known that before in principle, but not really having been in Salaried Workplaces (as opposed to like. service and retail hourlies) I hadn’t got so up close and personal with it. So that was also very fresh in my mind, this like...big substantial experience of how Good, Well-Meaning, Caring, Thoughtful, Woke white men just........did not need to think about this. at all. and were startled and discomforted to face it. and that this was also true of most white middle-class women. and these conversations were really carved down the middle between white middle-class European women saying ‘this is such a surprise when we have such an equitable hiring policy and diverse staff, that there’s this gender gap’ and women of colour in the room wearily saying ‘yeah, there’s a gender gap, there’s always a gender gap and it is always a racialised gender gap’ so yeah I was definitely thinking about the intersection between being passed over at work because of gender and because of race.

The point about Tim is interesting because I think for me what’s getting lost is that I don’t think Jon is entitled as like...a Character Trait. He’s not like...Toxic Masculinity Man. He is very anxious about boundaries and about his own capacity to do harm. But it has to be pointed out to him where he’s doing harm. He doesn’t notice where he’s been unfairly advantaged, and that’s to me much more reflective of most people’s relationship to white or male entitlement. 

As I say, that exchange with Tim and Sasha cemented the Jon Is White hc in my head specifically because it was so reflective of conversations I had had with women of colour working in similar workplaces, about white men, usually about white men they generally liked or at least didn’t have beef with beyond their unfair advantages. 

It seems odd to me to frame ‘bitching about your boss on your friend’s behalf to make her feel better’ as more similar to white entitlement/white privilege than any of that tbh? That’s just...being friends with someone? 

Anyway I recognise that it’s not white entitlement to accept a job. Obviously it’s not, it’s just sensible under the circumstances, you get lucky and you grab it. For me my sense of Jon as white-because-of-this is not “he took a job he shouldn’t have taken,” it’s more about his obliviousness to the impact he has on others, and also primarily how people react to him. The interaction between Sasha and Tim is saturated with the of course it would be him I mentioned above, but even before that he walks through the world not expecting to have to think about anything but his conscious decisions, and he’s caught aback when people see him as out of place or as having power above his station.

I think it’s impossible to extricate ‘this is where my head was at’ from that interpretation, and also like obviously my own whiteness is a big factor. And not just my own personal whiteness but the place I grew up (which was 98.3% white) and the world which reflects back whiteness. So this is in no way intended as a bolshy This Is The Correct Headcanon the way my Bad Post was bc examining it I’m like...yeah I mean this is about how I personally interpreted this based on where I was at at the time. But I do feel like there’s some communication gap in what it is about this unqualified promotion thing that pinged me - it’s not that All Bosses Must Be White And All Brown People Must Be Downtrod, it’s something quite specific about the tone and tenor of the interactions around the getting-a-job.

But also? Idk. Kind of unrelatedly, and people obviously should feel free to disagree with me on this, it feels kind of off to frame this as defaulting to a white Jon? I sort of think that my idea of Jon as white is very much not ‘white until proven otherwise’ - part of the reason for my original strident tone was that I felt that I was being expected to drop a headcanon I had for specific reasons and default to the fanon version of Jon without actually having any reason other than ‘this is how the community thinks he should look,’ and without really understanding anything about what that means, and while obviously defaulting to a non-white headcanon isn’t like...entrenched in the way that defaulting to a white headcanon is, it does seem to me like this is perhaps part of why white fans slap brown skin onto a character without thinking into what that means or why they’re doing it.

The thing I’m struggling with as regards my personal headcanon here is that I could decide to only ever draw Jon as Fanon Jon, but it wouldn’t be because I had strong reasons to see him that way, it wouldn’t be the same as why you see Jon as brown, or why I see like...Melanie as Indian, it would literally be Default To Standard in a way it isn’t for you. And I don’t feel that I have Defaulted To Whiteness, or where I have it is for reasons specifically to do with Jon (I visualised Jon as white because I visualised him as Jonny, who is white), not because I think every character is White Until Proven Otherwise. Like, my reasons for understanding Jon as white may be bad reasons, but they are reasons, not post-hoc excuses (I can’t like...prove that. but I know it to be true at least on a conscious level). I didn’t go Oh Jon Is White Because Everyone Is Unless I Have Reason To Think They Aren’t, Hooray, Here Is A Post-Hoc Justification For Why It Isn’t Racist To Think That. So while I am totally on board with the idea that it may be shitty, harmful or poorly thought through to hc Jon as white, I’m not sure I can fully see it in myself as being default. But I do understand that that isn’t necessarily what came across in my original short post.

Honestly, the reason I took issue with Fanon Jon and Fanon Martin in such a bolshy way in the first place was that I didn’t get why these characters were universally seen as Asian and white, respectively, and had such strong and consistent fanon images, when none of the other characters did, and when I was seeing people drawing people like Sasha and Melanie and Tim as white way more when in my mind there was no reason to assume they were white. On an emotional level I guess I think either there’s Fanon As Lore, or there’s no fanon (and I prefer the latter) and my discomfort came from the place that the one character I absolutely saw as coded as white in the core cast had this one really specific Ambiguously Brown Fanon Look (which from what I’d seen at the time didn’t seem to be like...backed with anything or coming from any personal interpretation for most of the white fans I was seeing on like Twitter and Tumblr) but white headcanons are everywhere for characters like Melanie or Sasha or Georgie, who seemed to me to be unambiguously people of colour, or characters like Tim or Martin (who could perfectly reasonably be people of colour and who I hc as Rroma and biracial respectively)? I don’t know, it’s difficult to express, but I find it frustrating.

[kpopfanfictrash]

Scholars and Slackers

Author: kpopfanfictrash

Pairing: Namjoon / Reader

Word Count: 1,802

AU: Podcast

Dialogue Prompt: "I’ll be honest, I’m not fan of how tall he is. He could be like inch shorter, really. "

↳ part of my AU drabble game

“You know what’s the worst part about this podcast?” 

Leaning into his microphone, Namjoon adjusts his headset.

“No,” you say, propping both feet on his desk. Namjoon glares because he hates when you do that, but you don’t put them down. As you both know, his bark is worse than his bite. “Tell me, RM. What is the worst part about having this podcast?”

“The money. You know what they say. Mo money, mo problems.”

“Oh, right.” Seriously, you nod. “Sponsors are killing themselves to be heard on our campus-only podcast. Which – by the way.” You pause. “Drink Red Bull. This message is brought to you by… Red Bull.”

Namjoon snorts. “Yeah, you’re right. The problem is definitely not the money. In case any of you needed reminding, we’re just two broke college kids like yourself. Donate today!”

“If you’re waiting for a noble argument, we have none,” you add. “Keep us fed – or more accurately, help us get drunk at Klein’s on Friday nights. That’s where your donations are going. To alcohol.”

“We’re college kids first, humans second.”

“Anyways.” Leaning back, you wriggle your toes on Namjoon’s desk. “If money isn’t the problem, what is?”

“It’s your fucking feet on my desk.” Namjoon groans, his expression souring. “I know this is a podcast, so our listeners can’t see what Viola is doing – but she’s currently seated at my beautiful, hand-crafted desk with her shoes on top of my carefully taken notes.”

Viola is your podcast name and RM is Namjoon’s.

Viola, after the Shakespearian character of said nomenclature, your favorite of all he has written. The moniker seemed appropriate when you two began this podcast, since you met while watching the campus production of Othello. (It was terrible. You gave it two out of five damned handkerchiefs. Namjoon gave it one.)

Unimpressed, you glance at his desk. “He’s lying,” you say. “My feet are currently on top of a crumpled bag of those gross flavored Lay’s and what seems to be a diary. Ooo!” you gasp. “Anyone wanna hear RM’s deepest thoughts?”

The question is rhetorical since you aren’t live, but Namjoon snatches his notebook away like you are. 

“No,” he huffs, rolling his eyes. “My deepest thoughts aren’t that exciting. Not that deep, either. One time I thought about the Mariana trench. That was pretty deep.”

“Friday, October 17th.”  You mock-read aloud, in a dramatic tone. “Today I realized we’re all just wisps of time in the universe. All who came before us, all who come after and all who fail to leave their mark upon society – what was the point? Are those who altered history any happier in the beyond?”

“I’ll have you know,” Namjoon interrupts. “I’m currently seated on my bed holding my journal. Viola is reading from nothing.”

“Okay, true enough,” you say with a laugh. “That’s not what RM’s journal says. What it actually says is Monday morning, 7:00 AM. Jacked off in the shower. Monday afternoon, 4:17 PM. Jacked off in my bed. Monday night, 11:49 PM –”

With a loud thwacking sound, Namjoon hits you with his journal. 

“They get the point, Viola!” he says, making you snort with laughter.

The sight of his eyes crinkled, face squished makes your heart do a backflip. Fuck, are you in love with him. You have been ever since the week of your first, official podcast. 

It’s difficult to pinpoint the exact moment. Maybe the first time Namjoon ignored your rambling bullshit and pointed out exactly what you were thinking. Maybe when you ended the podcast and realized you’d talked for over an hour about nothing. Or maybe later than that, with your feet propped on his desk and his smile giving you heartburn.

Whatever the moment was, the result is a giant crush on your best friend. One you can do nothing about, since your podcast (Scholars and Slackers – two guesses as to which one you are) is a massive success on your campus. You didn’t expect it to be. What began as a mostly reviews hour – campus productions, local restaurants and the like – soon developed into something you never imagined. Namely, your friendship.

Viola and RM are known on campus, even if Y/N and Namjoon are not. Their friend chemistry is infamous and the spine of the podcast. It’d be suicidal to risk a relationship because, while Namjoon is correct and neither one of you is rolling in cash, the podcast does generate a substantial amount of income towards student loans. Things would be hard if the podcast suddenly came to an end.

Shifting forward, you crack open your laptop. “Let’s see,” you say, scrolling through last week’s comments. “I’m reading the comments from last episode and damn, some of y’all are thirsty.”

Namjoon chuckles. “Are they asking you to take your top off again?”

“No, but again.” You blink, shaking your head. “I don’t understand. You can’t even see me!” you say, as Namjoon starts to crack up. “Do you really want to subject RM to torture that badly?”

Abruptly, Namjoon’s laughter stops. 

“Whoa, whoa, whoa,” he says into the mic. “I think we should ask RM what he thinks before dismissing the topic so quickly.”

“Pass,” you say, waving his suggestion aside. “Anyways, here’s a comment asking how tall RM is.” Pausing, you frame Namjoon with your hands. “I mean, he’s tall. I couldn’t fit him in a bread box, if that’s what you’re asking. I’ll be honest, though, I’m not a fan of how tall he is.”

Namjoon sits up straighter. “No?”

“Nah. He could be like, an inch shorter, really.”

“And why is that?”

“The nook.”

“I’m sorry, the what?”

“You know.” You wave a hand. “The nook! The spot beneath a person’s arm where the other person fits. It’d be ideal if you were just a little shorter, RM, since right now your nook is just too tall. It’s hard to snuggle.”

Namjoon stares at you, mouth agape. “I – what? When have we snuggled?”

“We haven’t. I’m just guessing based off height ratios.”

“I...” Namjoon makes a strange, choked sound. “This is ridiculous. Come here. I’m going to disprove your dumb nook theory.”

“Come there?”

“Yes.”

“Why?

“I’m going to snuggle you, you ass.”

“RM. You are not snuggling me during our very serious podcast, just to prove a point.”

“Why not?”

“Because!”

“Viola, shut up and let me put you under my arm!”

“You sound like you’re going to give me a noogie,” you yelp, frantically moving away. “Hard pass.”

Rolling his eyes, Namjoon flops back on the bed. 

“Fine,” he grumbles, scrolling through some more comments. “Hey, look. I found another request for your top to be removed!”

“RM. That one is from your username.”

“It is not!”

The rest of the hour passes this way. You manage to get to the point eventually, reviewing a new café off campus which you felt had great atmosphere, adequate coffee. Namjoon refuted that atmosphere shouldn’t even be a requisite in food ranking and you spiraled from there.

Once finished, you remove your headset and sigh. “Another excellent podcast,” you say, sticking your hand out in his direction.

Namjoon stares at the extended appendage. “Are we concluding a business interview?”

“No, silly. I don’t want you to shake my hand, I want you to kiss it.”

Namjoon snorts, batting your arm away. As he stands and yawns, he stretches both arms overhead. The motion exposes a tanned strip of skin and, cheeks heating, you quickly look away. Rather than stare at your gigantic crush/best friend, you scroll through more comments. The oddest pattern has emerged as of late, even though you and Namjoon have yet to discuss it.

Most of the comments are related to content. People point out things they found funny, relatable or disagree with. Occasionally, people troll for someone to remove their shirt or do push-ups on air. Then, there’s the recent wave which seem to be multiplying by the week.

Jenny918: When will Viola and RM just kiss already??

hOOKEDonPhoenix: y’all if they aren’t dating within the year, I’ll eat my own hand

irredeemableDreamer: the tension is so thick in that room u need a HACKSAW to get through it

Jaw clenched, you read them all. 

You can only assume Namjoon’s seen them, but he’s never mentioned their presence. He’s never said anything about them at all and so, neither have you. It does make you wonder though, if your listeners are able to hear something you don’t. They all seem to theorize a tension which doesn’t exist.

Standing up from your chair, you push this from mind. Perhaps they just don’t have opposite sex friends of their own.

Slinging your bag over one shoulder, you shut your laptop and slip this inside. “Alright,” you say, glancing at Namjoon. “I have to go finish an essay. Lemme know if you need help editing.”

He nods, one arm behind his head. Namjoon’s glasses are on, squinting at the bright computer screen. 

“Sounds good.”

You wave, halfway into the hall when he speaks up behind you.

“Y/N?”

Paused on the threshold, you turn back. “Yeah?”

Namjoon’s expression is uncertain. Unusual, for him. Typically, you’re the mess and he’s the pulled-together one. Right now though, Namjoon seems to be dissecting a complicated math problem in his head.

“Would you want to…” Trailing off, he hesitates.

Although you wait for his sentence to finish, Namjoon seems to check himself. He bites down on his cheek, stifling the words.

After another long moment, you arch a brow. “Would I want to what?”

He inhales and glances away. “Uh, would you want to listen to the podcast before I post?”

Oddly disappointed by this, you nod. “Yeah, that’s fine. Just email me when you’re done.”

Offering a half-hearted wave, you leave. It could be your imagination but as the door shuts behind you, you swear that you hear Namjoon groan. The sound echoes in your mind down the hall, since you feel exactly the same.

The only difference is he’s groaning because he needs to edit an hour-long podcast and you’re groaning because you need to get your feelings for your best friend under control. If random listeners can hear the obviousness of your crush, you’re more transparent than you thought. It’s only a matter of time before Namjoon confronts you and when he does, you don’t know what you’ll say.

Thinking this, your lip quirks. Pulling your phone from your pocket, you log in with a URL Namjoon knows nothing about.

QueenMab01: RM, take your shirt off!!!!

Grinning widely, you return your phone to your pocket.

↳ part of my AU drabble game

© kpopfanfictrash, 2019. Do not copy or repost without permission.

[nellied-reviews]

Discomforts, Pains and Irregularities Re-listen

Hello! I hope you're safe and well, wherever you are right now, and looking after yourself as best you can. It's a weird time to be alive, certainly. Fortunately, there is in this life one thing we can rely on: Douglas Eiffel will forever be a dumbass. I've hit episode 3 in my Wolf 359 re-listen, and boy, did this one cheer me up. So, without further ado:

Discomforts, Pains and Irregularities

In which Hilbert and Hera make a great but also terrifying team, Eiffel will do anything to avoid his physical exam, and Mink-oH MY GOD YOU WERE BEING SERIOUS?!

I feel, off the bat, like this episode is different to the previous two in a really good, productive way. It's a subtle thing, but it's something I definitely noticed this time round; Discomforts, Pains and Irregularities just works differently to the first two episodes. Where they were a sort of slice-of-life affair and a then a straight-up sitcom, this episode is more of a comedy horror movie; where the conflict in the first two episodes was between Eiffel and the rest of the crew, here we get our first external threat; where the plot, in the first two episodes, revolved around mundane, small things like radio broadcasts and toothpaste, the plot here's about a mutant space plant monster. It's a neat way of setting certain genre expectations and helping us triangulate, roughly, what we can and can't expect from the show, establishing a couple of constants (we're probably not going to get an episode, for example, with absolutely no comedy), but also a range of different tones the show can play with (sitcom, B-movie horror, weird sci-fi)

That said, it's not obvious from the beginning of the episode that we've stumbled into a horror movie. At first, when Eiffel starts his log sounding so very defeated, it seems like we're being set up for an episode about Eiffel trying to dodge a physical exam. Which you could get a whole, pretty decent episode out of it, for sure -  it would probably end up following a very similar template to Little Revolución. Step 1: have Eiffel do something ridiculous. Step 2: escalate things. Step 3: Eiffel is defeated. Solid, right? So when Hera announced that physicals are coming up, it feels like there's a predictable way that this going to play out. Not bad, per se. But we can see where it might be going.

We do get the fun twist of Hera cooperating with Hilbert, and sounding surprisingly chipper about the whole affair. And I guess that makes sense? She doesn't have physical body in the same way as Eiffel and Minkowski do, after all, so she's not getting a physical, and I can totally see her making the most of it to troll Eiffel, or indulge in some Schadenfreude. Or perhaps she's just helping Hilbert because it’s her job. Who knows? Either way, it's nice, if a little bittersweet, to see Hera and Hilbert working as a team again and trusting each other; after season 1, we don't see so much of that, for obvious, murder-y reasons.

I also have to wonder, at this point, why Hilbert is running these physicals? He says it's to stop disease spreading, but surely the Hephaestus, a closed system with three actual people living there, has got to be disease-free, right? The only thing I can think is that this is actually part of his work on Eiffel, a convenient excuse to take samples and see how the Decima is doing. Which makes an already terrifying prospect even more frightening. I guess he also has to collect samples for Minkowski, to maintain his cover? Or - a more alarming thought that I kind of wish I hadn't had - he might also be taking measurements and samples in preparation for giving her Decima, should Eiffel go the way of Lambert and the last crew. Cheery stuff, you know?

That’s just me overthinking things, though. What we actually get, as the episode gets going, is a panicky, nervous Eiffel desperately bullshitting Hilbert to get the good doctor off his tail. Which is so very relatable. I feel you, Eiffel. 

It didn't escape my attention, here, that Eiffel mentions a recent power outage. It's another sign that things were going wrong in the Hephaestus from the very beginning - something we won't get confirmed until Pan-Pan, I think?

It also didn't escape my attention, on a more immediate note, that Hilbert used up all of the water doing radiation experiments in the greenhouse. Which I bet is totally fine and totally didn't create the plant monster in the first place. Nope. Nuh-uh. No foreshadowing here.

In any case, Eiffel's ruse works, and then we get Eiffel and Hera just bantering for a bit, which is always a delight. Hera gets all sniffy (pun unintentional) about Eiffel's personal hygiene, Eiffel lobs a "you don't even have a nose anyway" back at her, she leans hard into her "well you're a feeble, puny human" shtick. It's fun, and I can totally buy that this might be a conversation they have had many times before. I don't know, I just really love their friendship, okay?

What I also love, when Minkowski calls to ask for help with the plant monster, is that Eiffel just straight-up assumes that she's also trying to get out of her physical. Like... has he met Minkowkski?! And yes, okay, technically she was in the greenhouses trying to avoid Hilbert. But the fact that now, when she is quite obviously not kidding, Eiffel decides to shrug it off? Genius. I love it. So very dumb.

Then, of course, we meet the plant monster, which is honestly one of my favourite things about this podcast. It's just so out-there! After two more slice-of-life episodes, it's delightfully weird, but also puts us firmly in the realm of soft science fiction. Like, there's no pretending, with a mutant plant monster, that this is going to be gritty, realistic, hard science fiction, and I kind of love that? Certainly, setting aside question like "is this scientifically plausible?" lets the show do all sorts of wacky, fun things that just make for a more engaging story. Mutant plant monsters are in the same cheesy B-movie vein as the Dear Listeners, super-soldier-creating viruses and mind control machines, and Wolf 359 is 100% better off for it.

Minkowski doesn't share my enthusiasm for the plant monster, sadly. She goes straight in with a flamethrower. Ah, Commander. Never change.

Eiffel still doesn't believe that it's real, even as he goes down to check on Minkowski, which is kind of hilarious, especially because it's such a tropey horror movie set-up. For such a pop-culture-savvy dude, he really dropped the ball on this one. But it's nice to see him and Minkowski bonding over being mutually freaked out by the thing. After two episodes of Minkowski being mad at Eiffel for various offences, it's cool that they're working together here, even if it takes the joint threat of Hilbert's physicals and a plant monster to get them there.

It's also here that the podcast format works so well, because without a visual on the monster, it's so much more frightening. Seriously, I bet all of our mental images of this thing are way more frightening than anything a TV show could give us, based just on Eiffel and Minkowski screaming.

Either way, we cut away pretty quickly after that, and the episode ends with Eiffel informing us smugly that the plant monster is still out there, but that, as a consequence of the ongoing monster situation, they have at least postponed physicals. It's a fun way to end the episode, anticlimactic in the funniest possible way, focusing on the dumb, mundane stuff and just dropping the plant mutant... for now. It leaves room for future stories featuring our resident not-so-horrifying monster (hello, Minkowski Commanding!). But honestly, it'd still be funny if the plant monster was never brought up again, and just hung round like the proverbial, vine-strewn elephant in the room. Which it kind of does, for a while, at least until Season 2.

It also works, I think, because this episode isn't really about how the crew would defeat a plant monster. Instead, the question the episode asks is just "How do the crew react when something really weird happens?" And the answer we get is something we'll see again and again: Minkowski goes on the warpath and tries to kill it with fire, while Eiffel is a bit more chill about things, possibly unwisely so. It feels like the blueprint for a whole lot of future disagreements where Minkowski generally leans towards more violent solutions, while Eiffel is a little more pacifistic, repping Team What's-Wrong-With-Handcuffs etc.

So yup. At the end of the day, like most of the early episodes, this one’s pretty heavy on the comedy. But it also establishes a bunch of new things that the show can do, and puts our protagonists into a totally new, strange situation, just to see how they react, paving the way for all sorts of future weirdness. Not bad, right?

Also, because it bears repeating, mutant space plant monster. 

Miscellaneous thoughts:

Hera getting snarky about Eiffel's body odour bwahahahahahahaha

That noise is terrifying and will haunt my nightmares

Also, why did Eiffel record his physical six months ago? What could he possibly have been planning on doing with that recording??

"Tell him to go... ffffrequencies!"

Ewwwww spinal fluid samples

"Let's get this - oH MY GOD YOU WERE BEING SERIOUS" 

"For God's sake, help me kill this thing!" "With what? Harsh language?" "With napalm, you moron!"

[caden]

Honestly thank you for saying that. I also don't hate Travis but can't stand the way he goes about proving his "wokeness" he's obviously good natured but his approach is just so off and it's awkward when listening to the other brothers try to swerve around it, being more self aware than he is. I can't listen to the new Adventure Zone arc because her went out of his way to create a disable character and then be like "are you gonna ask me about my wheelchair" it's just too fucking much dude.

This is a super long rant-y response that doesn’t really say much of consequence, but...

yeah i have not enjoyed his arc so far sadly. I’m still going ahead with it for the time being, it’s worth listening to but honestly TAZ hasn’t gripped me all that much since balance. I feel like one of their issues is that balance really really tactically built up to its big emotional dramatic moments, everything felt really natural and just flowed so well-- whereas with these other arcs, I feel like they just jump the gun and try to constantly have dramatic stuff happening without ***earning*** it. The nature of most roleplaying games is just that they’re long form, and IMO the most important element of nailing a podcast like TAZ is making sure that the downtime is really enjoyable-- that means having really charismatic side characters, engaging and open-ended worldbuilding that allows for lots of different situations, and PCs that have clear and interesting motivations. Travis just isn’t a good enough DM to pull that all off. He’s decent at roleplaying IMO, but his personality / skills are just better suited to being a player. He clearly isn’t as good a storyteller as griffin, and even griffin’s storytelling has been strained from time to time. 

I honestly really really really wish that they would play a more Critical Role / MCDM style DnD game, where the worldbuilding took front-stage over the characters, and where it was assumed that the main players would cycle through MULTIPLE characters because their characters could actually die if it was dramatic-- or even just if the players fucked up in combat. I’d love to feel like they were in a setting that allowed them to have guest players on, where the world has internal consistency (unlike the live shows which are always fun but clearly not sustainable for a long-form story), and where the whole thing isn’t all built along railroading players down an ultra long-form epic story in the vein of Balance. Like one thing that’s great about DnD for me is that if you don’t currently feel like you’re gelling with the character you’re playing, you can just make a new character! If the quest you’re on isn’t incredibly engaging, you can tell the DM that you want to explore something in your character’s past or independently pursue some other motivation instead. I really wish they would experiment with a more freeform, noncommittal story, where they could lean into their improvisation skills (which is what they’re very good at) over their storytelling skills (where they're sort of lacking). 

I also feel like-- and this is just an unintended byproduct of the general vibe that they’re going for-- one big problem that I notice with their storytelling is that all of their characters are just like... too good. I feel like they’re so committed to being wholesome and non-stressful that everything about their worlds just has no edge at all. I’m not saying that I want TAZ to be game of thrones, obviously that would suck-- but so much of the conflict in their worlds feels awkward or forced because they don’t create their characters to be as flawed as I think they should. Justin usually being the exception. I think this is reaaaalllllly coming to the forefront in the new arc, Travis just isn’t capable of putting the kind of tension into his stories that Griffin was because he’s too committed to making his world crunchy and chill and, dare I say, woke. But I think the wheelchair thing is coming from a different sort of bad storytelling-- writers put a diverse character into their story and then feel so immediately proud of themselves that they forget to actually make the character interesting or memorable beyond that, inadvertently tokenizing the characters. 

Griffin also did something really smart when he was DMing, which was that he intentionally never told us anyone’s race. He explicitly said that it being an audio medium allowed the listener the freedom to imagine whatever race they want, as well as imagine trans-ness, disability, etc. Which, even though it might sound kind of like a cop-out, is IMO the best way to handle it. If they play characters outside of their race, people will be mad. If they don’t have enough diversity, people will be mad. If they have explicit diversity but portray something insensitively, people will be mad. I personally think that griffin would have been smart enough to do these things sensitively, but he’s always erred on the side of caution. The only exception in balance was them explicitly stating that Lup was a trans woman, which was also handled very well IMO. Travis just isn’t taking that level of subtlety to his DMing because he isn’t as perceptive about these things as Griffin is. He’s stating all this stuff explicitly because he wants people to know that his world is diverse. Which is cool, but it comes with the baggage of actually having to execute that diversity with some level of insight. In this case, I honestly think the players should be more comfortable going ahead and making characters that are explicitly NOT cis white (or white-coded) men. They made the move after balance to start playing women, which was good. The alternative is just constantly having protagonists that, even in fantasy/sci-fi settings, are cis-coded, white-coded, or male-coded. 

All in all, the big issue for me rn with the Mcelroys is that i have much more of a sense now that they’re the types of creators who are entirely just trying to please their fanbase. This is really visible in the style of comedy that they’re doing these days as well. They aren’t trying new things, they’re just finding what’s comfortable, what fans clap for in live shows, and doing more of that. I remember once in a live show they said “okay guys, we’re making a change. we’re no longer gonna allow you guys to ask questions that are just you bragging about a cool thing you did”. That was one of the best decisions they made from a content perspective, lol. Their most interesting work of the last three years has been the Trolls 2 podcast, because it’s stylistically VERY different from their normal stuff, and because NOBODY was asking for it. And as a result, it was able to be a novel, funny concept. I feel like in the age of streamers, youtubers, creators who are basing their brand off of PERSONALITY over CONTENT, we’re gonna be getting more and more of this kind of art. As creators, the Mcelroys aren’t trying to do something new, to create exciting thought-provoking funny content. They’re just repeating the things that have found them the most success. They take the desires of the fans a bit too seriously, which keeps them from going in new directions, because fans can’t validate things that don’t exist yet. The fans shouldn’t be the ones who create new trends or decide the tone of the content. That should be entirely in the hands of the creators. You can sorta tell that at times Griffin and Justin are unhappy about it. I think this was at its worst about a year or so ago, and they’ve realized it and started to work on course-correction. They stopped doing TAZ live shows with the balance characters, which was a good choice. I DON’T think that the issue is that they ran out of ideas, it’s just that they’re overdue for a creative renaissance. I would love it if instead of just doing more TAZ and mbmbam, they continued to do a bunch of small unusual projects in the vein of Trolls 2, the old Monster Factory videos, the new non-DnD TAZ live shows, etc. I’m also enjoying The Besties (I listened to it before it got canned and was excited when it came back), because I feel like Griffin and Justin act more like normal humans on that show and less like Mcelroy brothers. 

WITH ALL THAT SAID, their content is still often very fun, and I think it’s really good that they exist as successful creators. They’re a net positive force in the world, the small attempts people have made to cancel them for dumb shit will always be petty and stupid. They’ve more than earned a spot in the podcasting hall of fame, I don’t think they’re just has-beens, and I will continue to listen to plenty of their stuff for the conceivable future even if it’s not always exactly what I want from them. 

[gh0stbird]

Okay Now Do The Rest

4. how did your elementary school teachers describe you?

Bright but argumentative. I was never afraid of pointing out things I didn’t feel were fair hfhddh

When we were learning numbers kids would often write 91 for nineteen, just flip them, y’know, and Ms. Potter yelled at the class for it. Baby Generiq went into it about how it was an understandable mix up because you do say the number first. In twenty-three you write the two first, so in nineteen it’s easy to assume you would write the nine first.

6. pastel, boho, tomboy, preppy, goth, grunge, formal or sportswear?

Tired.

8. movies or tv shows?

TV shows. Every book adaptation should also be a series not a movie. Thank you for coming to my TED Talk.

9. favorite smell in the summer?

Honeysuckle and sunshine

10. game you were best at in p.e.?

Floor hockey! My friend and I used to be brutal and swing at each other’s shins going after the ball. Also it was reminiscent of golf, which I competed in.

12. name of your favorite playlist?

I have an untitled playlist I cycle my current music in and out of, but Newton’s Third Law is my favorite named one!

14. favorite non-chocolate candy?

I don’t- I guess the yellow smarties. Don’t come for me they taste like lemonade.

15. favorite book you read as a school assignment?

I assume this means assigned book and not the reports we got to pick for ourselves. Ah, Night was good. Lord of the Flies was fine but way overhyped. Again, don’t come for me.

16. most comfortable position to sit in?

If I can tuck my legs into the chair I am sitting in that is ideal!

18. ideal weather?

When you know it is going to rain and you get to stay home

19. sleeping position? (Skipped on accident)

I reeeally like pressure, so either against something or on my stomach.

20. preferred place to write (i.e., in a note book, on your laptop, sketchpad, post-it notes, etc.)?

Phone notes and a notebook! Sometimes a blank document but I always find it strangely intimidating

21. obsession from childhood?

Warrior Cats, Percy Jackson, and Maximum Ride were my big three!

22. role model?

Aa I try to straw from people I want to copy, but there are talents I look up to. Rachel Chavkin is a brilliant director, and there are so many artists and authors I look up to and who inspire me.

24. favorite crystal?

Obsidian because it’s black like my hea- I’m kidding, I do love obsidian, but it’s Rose Quartz because it’s a very very pretty, soft pink and makes me happy.

25. first song you remember hearing?

The mobile above my crib played Imagine by John Lennon. My childhood room was themed after it as well!

26. favorite activity to do in warm weather?

Swim or sit in the sunshine. Ben and I usually go driving with the top down as well.

27. favorite activity to do in cold weather?

Walking through fresh snow is amazing, so are snowball fights and building snowmen.

28. five songs to describe you?

Oh fuck yes

Hurricane - Hamilton

The Reckless and the Brave - All Time Low

Almost There - The Princess and the Frog

All This and Heaven Too - Florence + the Machine

Facade - Jekyll and Hyde: A Gothic Musical Thriller

30. places that you find sacred?

I don’t typically find places sacred, but certain headspaces are very special to me, and time spent with loved ones means more than enough to be considered sacred.

31. what outfit do you wear to kick ass and take names?

A black blazer with a white button-down and a skirt.

32. top five favorite vines?

I am in Missouri (misery)

I love you, Bitch

I want a Church girl

Obama’s “I know because I won both of them”

I won’t hesitate, Bitch!

33. most used phrase in your phone?

“No worries”

34. advertisements you have stuck in your head?

That fucking PFI bandana boot sale I stg

35. average time you fall asleep?

Somewhere between 9:00 and three in the morning

36. what is the first meme you remember ever seeing?

Some girl doing bunny ears on her friend. I don’t remember what the caption was

38. lemonade or tea?

Both. Mixed together. It’s called an Arnold Palmer and it is my favorite drink

39. lemon cake or lemon meringue pie?

Lemon cake!

40. weirdest thing to ever happen at your school?

We duck taped out principal to the wall once. Also some kid broke their tray over another kid’s head at lunch one time.

41. last person you texted?

The family group chat, though Beau if Discord counts

42. jacket pockets or pants pockets?

I wear a lot of leggings so jacket pockets!

44. favorite scent for soap?

We had some Lily of the Valley hand soap that was amazing

45. which genre: sci-fi, fantasy or superhero?

Fantasy, I think! I’ve never done super heavy into the other two. Though I definitely don’t want to ignore sci-fi because two of my favorite stories are a little science-fiction-y

46. most comfortable outfit to sleep in?

A t-shirt and shorts

48. if you were a fruit, what kind would you be?

A banana. Generally accepted as a fruit and kind of just rolls with it, but is actually a berry

49. what saying or quote do you live by?

I fucking hate Hamilton-ing on main, but

“And when my prayers to god were met with indifference, I picked up a pen, I wrote my own deliverance!”

50. what made you laugh the hardest you ever have?

That changes every time Beau and I play HetaOni together, but I have fucking lost it for at least five minutes the last two sessions.

51. current stresses?

I dunno, man, life? My hair could use a wash

52. favorite font?

Covered by your Grace and I’m a big Spectral baby. These are both google docs! I don’t know if that makes a difference.

54. what did you learn from your first job?

Patience is important when teaching material, but never be afraid to find another approach better suited to the person you’re tutoring.

55. favorite fairy tale?

Robin Hood!

56. favorite tradition?

My family does homemade Springfield cashew chicken for Christmas!

57. the three biggest struggles you’ve overcome?

Uhh lots of self-acceptance shit no one really wants to read

58. four talents you’re proud of having?

I can pop the joint at the center of my foot

That’s all

60. if you were a character in an anime, what kind of anime would you want it to be?

I sort of like my role as mom friend, so maybe I could keep that role in a sort of action-based anime that followed a group of friends

61. favorite line you heard from a book/movie/tv show/etc.?

“I am not the protégé to waste your time on; I'm complete!” Jekyll and Hyde: GMT

62. seven characters you relate to?

Haha

Lisa Carew - Jekyll and Hyde: GMT

Japan - Hetalia/Oni

Garnett - Steven Universe

Hfhddh that’s all I can say that aren’t my own characters

63. five songs that would play in your club?

I Don’t Like Clubs, but

Overwhelmed - Royal + The Serpent

Backseat Serenade - All Time Low

Go Big or Go Home - American Authors

The Nights - Avicii

Tempo - Lizzo

64. favorite website from your childhood?

Webkinz!

65. any permanent scars?

Yep - One from a bad bike wreck. My body rejected the dissolvable stitches so it’s a lot bigger than it was supposed to be

66. favorite flower(s)?

Lily of the Valley, daisies, Day Lilies, and Dandelions! I also love honeysuckles but I don’t know if those count.

68. worst flavor of any food or drink you’ve ever tried?

Accidentally drank rancid milk once!

69. a fun fact that you don’t know how you learned? (Haha, nice)

The fastest, free way to fill up your potions on Wizard101 is to play Potion Motion to level three.

70. left or right handed?

Right handed

71. least favorite pattern?

On myself, animal print

72. worst subject?

I’ve never been intuitively good at History, I do think it’s interesting though.

74. at what pain level out of ten (1 through 10) do you have to be at before you take an advil or ibuprofen?

I don’t like to take it until I can’t move without it.

75. when did you lose your first tooth?

Kindergarten? I had mono and then scarlet fever twice, so my baby teeth were pretty much ruined and they all fell out very fast.

76. what’s your favorite potato food (i.e. tater tots, baked potatoes, fries, chips, etc.)?

Curly fries!

77. best plant to grow on a windowsill?

Kalanchoe’s, it literally Window’s Thrill. These babies are fairly temperamental outside and love partial sun, so the window is the perfect spot for them. And! If you keep them happy! They’ll bloom! My personal favorite is the pink bloom.

78. coffee from a gas station or sushi from a grocery store?

What’s wrong with coffee from a gas station? Also I don’t like seafood.

80. earth tones or jewel tones?

Earth tones!

81. fireflies or lightning bugs?

Lightning bugs

82. pc or console?

PC!

84. podcasts or talk radio?

Podcasts - talk radios actually tend to get under my skin for n o reason

84. barbie or polly pocket?

Barbie, but let it be known I was brutal with mine. We did human sacrifices and the like.

85. fairy tales or mythology?

Mythology!

86. cookies or cupcakes?

Cookies, but I’m a slut for whipped frosting

87. your greatest fear?

Losing control!

88. your greatest wish?

A life beyond where I am now. Haha Stop chasing new down the hallway you’re so sexy haha

90. luckiest mistake?

Logged into Omegle in like 2015 and some rando asked me to join their Doctor Who roleplay. Luckiest moment of my gd life.

91. boxes or bags?

Bags! They’re easier to store

92. lamps, overhead lights, sunlight or fairy lights?

Sunlight! But in the late afternoon when everything is bathed in orange.

93. nicknames?

Mom is the most prevalent!

94. favorite season?

Fall into winter. Peak leaf crunch!

95. favorite app on your phone?

Discord or Notes

[arcticdementor]

Something strange happened to the news over the past four years. The dominant stories all resembled the scripts of bad movies—sequels and reboots. The Kavanaugh hearings were a sequel to the Clarence Thomas hearings, and Russian collusion was rebooted as Ukrainian impeachment. Journalists are supposed to hunt for good scoops, but in January, as the coronavirus spread, they focused on the impeachment reality show instead of a real story.

It’s not just journalists. The so-called second golden era of televi­sion was a decade ago, and many of those shows relied on cliff-hangers and gratuitous nudity to hold audience attention. Across TV, movies, and novels it is increasingly difficult to find a compelling story that doesn’t rely on gimmicks. Even foundational stories like liberalism, equality, and meritocracy are failing; the resulting woke phenomenon is the greatest shark jump in history.

Storytelling is central to any civilization, so its sudden failure across society should set off alarm bells. Culture inevitably reflects the selection process that sorts people into the upper class, and today’s insipid stories suggest a profound failure of this sorting mech­anism.

…

Culture is larger than pop culture, or even just art. It encompasses class, architecture, cuisine, education, manners, philosophy, politics, religion, and more. T. S. Eliot charted the vastness of this word in his Notes towards the Definition of Culture, and he warned that technocratic rule narrowed our view of culture. Eliot insisted that it’s impossible to easily define such a broad concept, yet smack in the middle of the book he slips in a succinct explanation: “Culture may even be described simply as that which makes life worth living.” This highlights why the increase in “deaths of despair” is such a strong condemnation of our dysfunction. In a fundamental way, our culture only exists to serve a certain class. Eliot predicted this when he cri­tiqued elites selected through education: “Any educational system aiming at a complete adjustment between education and society will tend to restrict education to what will lead to success in the world, and to restrict success in the world to those persons who have been good pupils of the system.”

This professional managerial class has a distinct culture that often sets the tone for all of American culture. It may be possible to separate the professional managerial class from the ruling elite, or plutocracy, but there is no cultural distinction. Any commentary on an entire class will stumble in the way all generalizations stumble, yet this culture is most distinct at the highest tiers, and the fuzzy edges often emulate those on the top. At its broadest, these are college-educated, white-collar workers whose income comes from labor, who are huddled in America’s cities, and who rise to power through existing bureaucracies. Bureaucracies, whether corporate or government, are systems that reward specific traits, and so the culture of this class coalesces towards an archetype: the striving bureaucrat, whose values are defined by the skills needed to maneuver through a bureau­cracy. And from the very beginning, the striving bureaucrat succeeds precisely by disregarding good storytelling.

…

Professionals today would never self-identify as bureaucrats. Product managers at Google might have sleeve tattoos or purple hair. They might describe themselves as “creators” or “creatives.” They might characterize their hobbies as entrepreneurial “side hustles.” But their actual day-in, day-out work involves the coordination of various teams and resources across a large organization based on established administrative procedures. That’s a bureaucrat. The entire professional culture is almost an attempt to invert the connotations and expecta­tions of the word—which is what underlies this class’s tension with storytelling. Conformity is draped in the dead symbols of a prior generation’s counterculture.

…

When high school students read novels, they are asked to identify the theme, or moral, of a story. This teaches them to view texts through an instrumental lens. Novelist Robert Olen Butler wrote that we treat artists like idiot savants who “really want to say abstract, theoretical, philosophical things, but somehow they can’t quite make themselves do it.” The purpose of a story becomes the process of translating it into ideas or analysis. This is instrumental reading. F. Scott Fitzgerald spent years meticulously outlining and structuring numerous rewrites of The Great Gatsby, but every year high school students reduce the book to a bumper sticker on the American dream. A story is an experience in and of itself. When you abstract a message, you lose part of that experience. Analysis is not inherently bad; it’s just an ancillary mode that should not define the reader’s disposition.

Propaganda is ubiquitous because we’ve been taught to view it as the final purpose of art. Instrumental reading also causes people to assume overly abstract or obscure works are inherently profound. When the reader’s job is to decode meaning, then the storyteller is judged by the difficulty of that process. It’s a novel about a corn beef sandwich who sings the Book of Malachi. Ah yes, a profound critique of late capitalism. An artist! Overall, instrumental reading teaches striving students to disregard stories. Cut to the chase, and give us the message. Diversity is our strength? Got it. Throw the book out. This reductionist view perhaps makes it difficult for people to see how incoherent the higher education experience has become.

…

“Decadence” sounds incorrect since the word elicits extravagant and glamorous vices, while we have Lizzo—an obese antifertility priestess for affluent women. All our decadence becomes boring, cringe-inducing, and filled with HR-approved jargon. “For my Ful­bright, I studied conflict resolution in nonmonogamous throuples.” Campus dynamics may partially explain this phenomenon. Camille Paglia has argued that many of the brightest left-wing thinkers in the 1960s fried their brains with too much LSD, and this created an opportunity for the rise of corporate academics who never participated in the ’60s but used its values to signal status. What if this dropout process repeats every generation?

…

The professional class tells a variety of genre stories about their jobs: TED Talker, “entrepreneur,” “innovator,” “doing well by doing good.” One of the most popular today is corporate feminism. This familiar story is about a young woman who lands a prestigious job in Manhattan, where she guns for the corner office while also fulfilling her trendy Sex and the City dreams. Her day-in, day-out life is blessed by the mothers and grandmothers who fought for equality—with the ghost of Susan B. Anthony lingering Mufasa-like over America’s cubicles. Yet, like other corporate genre stories, girl-boss feminism is a celebration of bureaucratic life, including its hierarchy. Isn’t that weird?

There are few positive literary representations of life in corporate America. The common story holds that bureaucratic life is soul-crushing. At its worst, this indulges in a pedestrian Romanticism where reality is measured against a daydream, and, as Irving Babbitt warned, “in comparison . . . actual life seems a hard and cramping routine.” Drudgery is constitutive of the human condition. Yet even while admitting that toil is inescapable, it is still obvious that most white-collar work today is particularly bleak and meaningless. Office life increasingly resembles a mental factory line. The podcast is just talk radio for white-collar workers, and its popularity is evidence of how mind-numbing work has become for most.

Forty years ago, Christopher Lasch wrote that “modern industry condemns people to jobs that insult their intelligence,” and today employers rub this insult in workers’ faces with a hideously infantilizing work culture that turns the office into a permanent kindergarten classroom. Blue-chip companies reward their employees with balloons, stuffed animals, and gold stars, and an exposé detailing the stringent communication rules of the luxury brand Away Luggage revealed how many start-ups are just “live, laugh, love” sweatshops. This humiliating culture dominates America’s companies because few engage in truly productive or necessary work. Professional genre fiction, such as corporate feminism, is thus often told as a way to cope with the underwhelming reality of working a job that doesn’t con­tribute anything to the world.

There is another way to tell the story of the young career woman, however. Her commute includes inspiring podcasts about Ugandan entrepreneurs, but also a subway stranger breathing an egg sandwich into her face. Her job title is “Senior Analyst—Global Trends,” but her job is just copying and pasting between spreadsheets for ten hours. Despite all the “doing well by doing good” seminars, the closest thing she knows to a community is spin class, where a hundred similar women, and one intense man in sports goggles, listen to a spaz scream Hallmark card affirmations.

…

The bureaucrat even describes the process of rising through fraud­ulence as “playing the game.” The book The Organization Man criticized professionals in the 1950s for confusing their own interests with those of their employers, imagining, for example, that moving across the country was good for them simply because they were transferred. “Playing the game” is almost like an overlay on top of this attitude. The idea is that personal ambition puts the bureaucrat in charge. Bureaucrats always feel that they are “in on the game,” and so develop a false sense of certainty about the world, which sorts them into two groups: the cynics and the neurotics. Cynics recognize the nonsense, but think it’s necessary for power. The neurotics, by con­trast, are earnest go-getters who confuse the nonsense with actual work. They begin to feel like they’re the only ones faking it and become so insecure they have to binge-watch TED Talks on “im­poster syndrome.”

These two dispositions help explain why journalists focus on things like impeachment rather than medical supply chains. One group cynically condescends to American intelligence, while neurotics shriek about the “norms of our democracy.” Both are undergirded by a false certainty about what’s possible. Professional elites vastly overestimate their own intelligence in comparison with the average American, and today there is nothing so common as being an elitist. Meanwhile, public discourse gets dumber and dumber as elitists spend all their time explaining hastily memorized Wikipedia entries to those they deem rubes.

…

The entire phenomenon of the nonconformist bureaucrat can be seen as genre inversion. Everyone today grew up with pop culture stories about evil corporations and corporate America’s soul-sucking culture, and so the “creatives” have fashioned a self-image defined against this genre. These stories have been internalized and inverted by corporate America itself, so now corporate America has mandatory fun events and mandatory displays of creativity.

In other words, past countercultures have been absorbed into corporate America’s conception of itself. David Solomon isn’t your father’s stuffy investment banker. He’s a DJ! And Goldman Sachs isn’t like the stuffy corporations you heard about growing up. They fly a transgender flag outside their headquarters, list sex-change tran­sitions as a benefit on their career site, and refuse to underwrite an IPO if the company is run by white men. This isn’t just posturing. Wokeness is a cult of power that maintains its authority by pretending it’s perpetually marching against authority. As long it does so, its sectaries can avoid acknowledging how they strengthen managerial America’s stranglehold on life by empowering administrators to en­force ever-expanding bureaucratic technicalities.

…

Moreover, it is shocking that no one in the 2020 campaign seems to have reacted to the dramatic change that happened in 2016. Good storytellers are attuned to audience sophistication, and must understand when audiences have grown past their techniques. Everyone has seen hundreds of movies, and read hundreds of books, and so we intuitively understand the shape of a good story. Once audiences can recognize a storytelling technique as a technique, it ceases to function because it draws attention to the artifice. This creates distance be­tween the intended emotion and the audience reaction. For instance, a romantic comedy follows a couple as they fall in love and come together, and so the act two low point will often see the couple breaking up over miscommunication. Audiences recognize this as a technique, and so, even though miscommunication often causes fights, it seems fake.

Similarly, today’s voters are sophisticated enough to recognize the standard political techniques, and so their reactions are no longer easily predictable. Voters intuitively recognize that candidate “de­bates” are just media events, and prewritten zingers do not help politicians when everyone recognizes them as prewritten. The literary critic Wayne Booth wrote that “the hack is, by definition, the man who asks for responses he cannot himself respect,” and our politicians are always asking us to buy into nonsense that they couldn’t possibly believe. Inane political tropes operate just like inane business jargon and continue because everyone thinks they’re on the inside, and this blinds them to obvious developments in how audiences of voters relate to political tropes. Trump often plays in this neglected space.

The artistic development of the sitcom can be seen as the process of incorporating its own artifice into the story. There is a direct creative lineage from The Dick Van Dyke Show, a sitcom about television comedy writers, to The Office, a show about office workers being filmed for television. Similarly, Trump often succeeds because he incorporates the artifice of political tropes. When Trump points out that the debate audiences are all donors, or that Nancy Pelosi doesn’t actually pray for him, he’s just pointing out what everyone already knows. This makes it difficult for other politicians to “play the game,” because their standard tropes reinforce Trump’s message. If the debates are just media spectacle events for donors, then ap­plause lines work against you. It’s similar to breaking the fourth wall, while the rest of the cast nervously tries to continue with their lines. Trump’s success is evidence that the television era of political theater is ending, because its storytelling formats are dead.

In fact, the (often legitimate) criticism that Trump does not act “presidential” is the same as saying that he’s not acting professional—that he is ignoring the rules of bureaucratic advancement. Could you imagine Trump’s year-end review? “In 2020, we invite Donald to stop sending Outlook reminders that just say ‘get schlonged.’” Trump’s antics are indicative of his different route to power. Forget everything else about him: how would you act if you never had a job outside a company with your name on the building? The world of the professional managerial class doesn’t contain many characters, and so they associate eccentricity with bohemianism or ineptitude. But it’s also reliably found somewhere else.

Small business owners are often loons, wackos, and general nut­jobs. Unlike the professional class, their personalities vary because their job isn’t dependent on how others view them. Even when they’re wealthy or successful, they often don’t act “professional.” It requires tremendous grit and courage to own a business. They are perhaps the only people today who embody what Pericles meant when he said that the “secret to freedom is courage.” In the wake of coronavirus, small businesses owners stoically shuttered their stores and faced financial ruin, while politicians with camera-ready personas and ratlike souls tried to increase seasonal worker visas.

…

Ever since Star Wars, screenwriters have used Joseph Campbell’s monomyth to measure a successful story, and an essential act one feature is the refusal of adventure. For a moment, the universe opens up and shows the hero an unknown world of possibility, but the hero backs away. For four years, our nation has refused adventure, yet fate cannot be ignored. The coronavirus forces our nation to confront adventure. With eerie precision, this global plague tore down the false stories that veiled our true situation. The experts are incompetent. The institutions told us we were racist for caring about the virus, and then called for arresting paddleboarders in the middle of the ocean. Our business regulations make it difficult to create face masks in a crisis, while rewarding those who outsource the manufacturing of lifesaving drugs to our rival. The new civic religion of wokeness is a dangerous antihuman cult that distorts priorities. Even our Hollywood stars turn out to be ugly without makeup.

[kolbisneat]

MONTHLY MEDIA: January 2020

Hey here’s how I spent the start of this fine new year!

……….FILM……….

Parasite (2019) I was so focused on the plot that I don’t think I fully appreciated the beauty in this film. Watching this video helped a lot. One thing I admit (light spoilers to follow...skip past if you don’t want anything spoiled) is that I assumed there would be some sort of genre/fantastical element to the whole film. Because I’ve only seen The Host and Snowpiercer (loved both), I think I expected there to be a genre component to the whole thing. When they go down into the basement I really thought it was heading in that direction, and I definitely felt a little let down because of it. BUT after seeing the whole film, I feel like the themes and narrative were stronger because of how real it all felt. (END OF SPOILERS) I think it’s a film I’d like to rewatch to better appreciate the layers, but ho boy is it an emotional gutpunch.

Jojo Rabbit (2019) Just the best. The structure and (some) of the characters felt familiar, but it’s that comfort that makes the changes or introduction of an imaginary Hitler all the more interesting. Beautifully directed and the shifts in tone are so seamless that I really have a hard time pointing out where they happen.

Jumanji: Welcome to the Jungle (2017) A little late to this but it was as good as I’d heard. It had the pacing, spirit, and lightness of late 90s/early 2000 adventure movies and I hope more films like this are getting the go ahead. Now to wait 3 years before seeing the sequel.

Between Two Ferns: The Movie (2019) A fun road trip movie that dips into scathing commentary on hollywood and talk shows? Absolutely. It worked well in building off of the webseries and the bloopers during the end credits really made it for me. Also I should’ve been playing Comedy Bang Bang Bingo while watching the movie. Anyway it does a great job of balancing the mean with genuine character moments and glimpses of sincerity.

……….TELEVISION……….

The Bachelor (Episode 24.01 to 24.03) It started out so promising (with the Hannah Brown return) that I was really primed for a format-shaking season. Nothing can quite live up to that beginning and it’s doing the show a disservice. Maybe if they just focused on nice reasonable dates and women getting along it would feel more substantial than the contrived fighting and lies we’re getting. I still believe that the most engaging season will actually be the one with the least drama. Perhaps I’m in the majority for thinking this.

The Chilling Adventures of Sabrina (Episode 3.01 to 3.03) Reeeeeeally digging this season. Maybe it’s that there isn’t much relationship drama, or because the relationships play a part in the larger plot (as opposed to Riverdale...but that’s another can of worms). The Cthulhu and carnival stuff are offering a nice mix and we’re really getting lots of monster-of-the-week stuff so far. Hopefully there’s more to come!

Swamp Thing (Episode 1.03 to 1.07) It started out strong and moved at a nice pace, but it lost me. Some episodes had a monster-of-the-week, and those were fun but there was a lot more focus on the locals around the town instead of Swamp Thing. I appreciate a Swamp Thing-centric show would cost a looooooot more, but I also think that’s what most of the fans would want, right? Maybe if it was a 4-ep series it could really go all out and make a splash.

……….READING……….

Dracula vs. Hitler by Patrick Sheane Duncan (Complete) The title and back cover allude to a different, pulpier story, and it takes a while to adjust to the less bombastic narrative. The alternate history you DO get is great, and I think it’s because I didn’t mind a story with a hint of vampire set during the second world war. I’d still love to read a pulpy vamps vs. nazis novel, so if you have one then let me know. This wasn’t perfect, but I enjoyed it.

Head Lopper Volume 3: Head Lopper & the Knights of Venora by Andrew Maclean and Jordie Bellaire (Complete) There’s been a shift and a progression across the first three volumes of Head Lopper. It’s gotten more bold with its storytelling, a little more loose with its artwork (sometimes a hit and miss...I frequently go back because I feel like I’ve missed something in a previous panel) and the sheer scale of the world is expanding so quickly. It’s quickly becoming my favourite modern comic that captures the spirit of what I imagine pulp stories to be. Worth checking out vol. 1 if you haven’t already.

The Magicians: Alice’s Story by Lev Grossman, Lilah Sturges, and Pius Bak (Complete) If you haven’t read any of the Magician’s trilogy by Grossman, this is a great point of entry to see if you’d like the tone, characters, and general premise. If you HAVE read the first novel, this doesn’t branch too far the main narrative. I would’ve liked to spend a little more time with Alice on her own outside of what we see from the novel (and Quentin’s point of view) because what we do get is fantastic. I’m not sure it adds a lot of new elements to the novels but take that for what it is.

The Legend of Zelda: Ocarina of Time - Legendary Edition  by Akira Himekawa (Complete) As far as a comic adaptation of a game, it really retains a lot of the core components. There are fun asides and elements get expanded further and it reads really well. Adaptations across media can be tricky but I think this is worth checking out if you liked the game. With that said, there’s a bonus story at the end that is so unrelated to the game and core world that it felt like a miss. It just felt like the author had a completely different story to tell and tried to shoehorn it into this property and it didn’t work. So if you pick it up, know that the best ending is the one you got in the game.

……….AUDIO……….

Yo, Is This Racist (Podcast) I’ve only recently started listening to this, but I really dig the format and the hosts are fun. Part reflection on current events, part interview, part commentary on society...it’s just all very good and funny and also good again.

……….GAMING……….

Baby Is You (Arvi Teikari) Never have I felt more frustrated, rewarded, and impressed by a game. I originally thought it was a sort of “there are endless ways to solve each stage!” game but it turns out the later levels have very specific solutions and that changed my perspective. It’s challenging but fun and uses lots of logic and creative thinking and I just don’t know how to describe how great this game is. Playing it on Switch is nice for the ease of playing a level or two before quitting, but I’m sure it’s fun elsewhere as well.

Neverland: A Role-Playing Game (Andrews McMeel Publishing) So I wrote a setting based on J. M. Barrie’s works and it’s getting published! The weekly group is taking a break from the megadungeon to try this out and it’s been a lot of fun! I will post more in depth recaps of the party’s adventures but so far, they’ve found a small village and nearly died to crocodiles.

A Red & Pleasant Land (Lamentations of the Flame Princess) It’s been aaaaaaaages since this group has had a chance to get together but it’s always so fantastic when we can make it work. The game is really getting to the point where the party has done enough that their actions are having consequences and the group...is adjusting to this. Right now they need to investigate a murder that they themselves are responsible for and I’m VERY keen to see how they approach it.

And that’s it! As always, let me know if you have any recommendations for what to read or watch or hear or play and happy Friday.