#even if it definitely is not the case

[kaladinkholins]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[lgbtlunaverse]

Most annoying NMJ or JC take is when someone that dislikes them is like "oh you're a fan of him? *scoff* Well obviously you've only seen cql, where he was super watered down. In the novel he's a dislikable asshole and that's the objectively superior canon I'm working from instead of your woobified fanfic." Meanwhile your main canon is novel canon and you genuinely find novel Jiang Cheng and Nie Mingjue complex sympathetic characters.

[chilly-lily]

hmmmmmmmmmmmmm.

[starry-bi-sky]

i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.

He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.

And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.

And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.

Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.

Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."

There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.

It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.

Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.

At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.

"Do you like to do anything?"

Nothing. Just silence.

Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.

Danny says nothing the entire time, and is again the first to leave.

Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.

And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.

He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.

Danny is dull-eyed and blank faced the entire time; he looks miserable.

So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.

"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"

"Don't."

He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.

Bruce tilts his head, practiced puppy-like. "Pardon?"

"Don't." Danny says, strongly. "Don't make any deals with Vlad."

It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"

The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."

Bruce stares at him, thoughtful, before looking away. "Alright. I won't."

And they fall back into silence.

Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."

He's scampered away before Bruce can question him further.

(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)

At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.

Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.

("Tucker told me once--") ("Tucker?") ("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")

(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)

(They are ecstatic to hear from him.)

It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."

The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."

The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.

When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.

Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.

"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."

When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.

Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.

[wilsonsmcgillsweatshirt]

I will never recover from the knowledge that thymoma generally has a very high survival rate, and in most cases that it becomes fatal, the patient has unknowingly lived with the cancer for years. There's a chance that Wilson was sick for half the series and didn't even know it.

[sabh0]

Opened stormbringer to check how corruption was described there (it was actually both black particles and red marks) BUT saw this instead and aughhh blehhhhh throwing up

Dazai seeing Chuuya's corrupted form for the first time and softly going on about how this whole thing actually isn't a disgrace at all,,,

Every time i see Dazai looking at Chuuya in corruption he does some gay sht like have you seen how he stares at Chuuya in chapter 31. This man is so down bad. He's holding a knife to John's throat but is still looking at Chuuya with some stupid puppy eyes. I hate him sm. Cried. Threw up.

If we see corruption in manga again, all i ask for is more of this typa Dazai, please Asagiri,, please Harukawa

[vialae]

Really enjoy the idea that as Gortash and Durge’s relationship progresses over however long, Gortash gets more and more used to Durge’s lurking and hiding in dark corners, and as a result it becomes more and more difficult to make him jump.

Like at the beginning of meeting and working together, Gortash’s head is on a swivel as he keeps wondering when that serial killer will seemingly appear out of nowhere once more.

But then like several years into it, he is strolling into his office which seems to be empty, but then he starts talking very conversationally at full volume about how they should now be moving on to the next part of the plan, knowing full well that a voice is going to respond from the darkest recesses of the room where you can see at most a pair of glowing eyes.

[nell0-0]

Is WW/PH link at any point going to look at Twili wolf Link, remember an instance of LU before going "wait a damn minute"

It's a bit of a leap in logic. Having said that... pretty sure he would start wondering if the wolf Midna had around was a transformed twili, since Twilight is using twili magic to turn into Wolfie. He's not wrong, but, you know-

[neversetyoufree]

The funniest thing about the Marquis Machina identity reveal is that it recontextualizes the shoes in her current outfit from "quirky Mochijun design choice" to "Francis Varney is a Japanophile."

Ye olde weeabeau.

[milquetoad]

of the many injustices put forth toward the show by fans i think the most overall damaging and telling of a complete lack of critical viewership is the idea that sam riegel builds his characters with nothing more than the bit in mind. like you are only telling on yourself if you think characters like scanlan shorthalt and veth brennato are one-dimensional and depthless

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[grelleswife]

Johann:

If Noé has a million haters, I’m one of them. 🤭

If Noé has 5 critics, I’m one of them. 💖

If Noé has 1 detractor, that one is me. ✨

If Noé has no enemies, I am no longer alive. 😁

If the world is against Noé, I’m right there with ‘em. 💞

If Noé takes his last breath under questionable circumstances, assume it was me. 🔪

[caelanglang]

hi caeee! i follow you on twt and you’re one of my absolute FAVORITE skk accounts <3 like a previous ask said, you deliver the perfect balance of angst and fluff and you capture skk so perfectly. not to mention your art style AHH 😍 ty for always making my day with all your posts <3

if you’re accepting requests… maybe teen skk exhausted after a mission. dazai hasn’t slept in days and he falls asleep against chuuya on the train/car ride home 🥺

OH OH OR maybe a reversal of this?? like maybe dazai collapses from sickness or exhaustion etc. and chuuya pillows his head in his lap and runs his fingers through dazai’s hair while they wait for pickup 😭

Oh hello!! Thank you for finding me here :3!! It’s cool to see twt people here considering I never linked my tumblr and twt accounts to each other hehe that’s really sweet of you to say too ToT I really just brainrot and make self-indulgent works but thank you for liking them! It feels unreal to know people count me as their fav ;w; it means a lot !!

You really had to put two incredibly soft ideas together and make me choose smfnsnsm but yes lap pillow chuuya supremacy!!

[catscidr]

NEED MORE OFFICE DOTTORE PLEAAAAADE HBAUBGUDUHFIBOND

i. note — he’s my guilty pleasure im sry i js CRAVE this mf twenny four/seven ദ്ദി ༎ຶ‿༎ຶ ) </3 ii. includes — dottore, afab! reader but no gendered pronouns are used iii. cw — im rambling again heyyy what's new. office setting/modern au, dottore is kinda creepy, implied stalking, obsessive behaviour, their feelings are mutual but dottore comes off too strong and reader is a bit dense, mention of periods, drinking/alcohol, implied drugging (but nothing happens). this sounds bad but its tame he's just a weirdo with a crush and is weird about said crush Trust Me

thinking about office senior! dottore using his status in the company to butt in and work on projects that you’ve been assigned. him slowly but surely worming his way into your life ever since he got a taste of you, unable to let you just be a fling, a one-time thing. he just has to ruin you in every way

he would definitely be sooo aware of your steadily blooming crush on him and would use it against you to then tease you to hell and back. this man knows how to toy with people! he’ll most definitely toy with you!!!

lingering touches bordering on unprofessional but still friendly if you squint, going out of his way to ask your opinion on things during a crowded meeting n putting you on the spot, stepping into the elevator at the same time as you to trap you n initiate small talk……

of course said “small talk” is always… a little weird… when it’s with zandik. he doesn’t talk about the weather, stocks, or whatever mundane task you were working on right before you went on lunch break.

no, he’ll talk about things he shouldn’t know about you, things he’d only know if you told him about them, or things that are just a little too… personal? but maybe you’re being a little uptight. maybe you just… don’t remember telling him some things about yourself. it’s not like he’s talking about anything super outrageous or controversial anyways, it’s fine.

“eating instant noodles every day for dinner isn’t good for you, it’s most likely the reason why you get such bad cramps during your cycle. i would recommend adding some leafy greens to your servings at the very least, or some tofu to help with your iron intake.”

what a weirdo…. but hey, he’s kinda right, maybe you should eat more balanced meals so you don’t keel over anytime soon.

office senior! dottore also often does creepy things but in a nice way? if that makes sense?

for example, when the team is brought out for drinks to celebrate another successful project, he’ll make sure to be the only one sitting next to you. you’ll be squished against the wall and his shoulder, beer in hand, your cheeks burning from the alcohol and the proximity between you two

he’ll keep an eye on you and your alcohol tolerance, but not in the way you think he will. he’ll encourage you to drink more, “you seem tense. here, here’s a refill” he’d say in that smooth voice of his. “oh? you’re stumbling on your words, are your nerves still acting up? have my drink.”

and once you get to the point where you’re leaning over the table, head resting on your arms, only then will he start to actually take care of you.

he’ll place one hand on your back, rubbing soothing circles to help ground you from your dizziness. scold you for drinking so much, all while everyone else at the table glances at you with concern (or as much concern as other drunk and tipsy coworkers can muster)

“you shouldn’t have drank so much if you knew your alcohol tolerance was this poor.”

and the shadow of a smile on his face will turn into something more sinister when you frantically get up to rush to the bathroom. you immediately stumble to the floor, dizzy and disoriented. too dizzy and disoriented.

he’ll catch you before you fall as coworkers express their concern for you, only then noticing how bad your state had gotten now that face-planting directly onto the tatami floor of the bar was a feasible outcome

a chorus of surprised “woah!”’s and “are you okay?” ring out, conversations growing quieter as everyone stares at the stoic, scary superior holding up the rookie that got completely plastered at a work event. some are silently judging, but most are ogling zandik

your cubicle neighbor and work buddy gets up from her seat, stumbling on her way to help you stand up. though she had indulged you in gossip about him before, something about him holding your suspiciously drunk body up made alarm bells ring in her head.

“i’ll take them home,” he declares, voice colder than ice. no one really notices the hostility in his tone, too tipsy themselves to notice zandik’s obvious favouritism towards you. “enjoy the rest of your night.”

...and he diligently brings you to your flat, catching you before you stumble on your feet and trip over nothing. the trip was a struggle for the both of you, though more so for you than for him considering he had anticipated this outcome. maybe next time he should reconsider before giving you so much to drink.

[vampirepunks]

Seeing "proship dni" (or the variety of rude variations that folks think are cute/clever *sigh*) in controversial communities, attached to dead dove content, or on selfship posts makes my head spin every damn time

my brother in christ, who else is gonna stick up for you? the antis? lol. lmao, even.

[meregrin]

my two cents are that people outside of finland (and even the more left-leaning circles in finland) are not really taking into account that an average person here doesn’t know jack shit about israel or palestine. the first and only time either of them got mentioned in my 12 years of schooling (i’m a few years younger than jere) was an optional history course focusing on post-ww2 history in my final year of high shcool. jere went to vocational school and they don’t teach history at all there so he’s relying on his junior high education which isn’t saying much considering he’s said multiple times he didn’t pay attention at school.

it doesn’t help that the mainstream reporting (which he’s forced to rely on since he doesn’t speak fluent enough english) about the palestinian genocide has been frustratingly neutral and both-sides-y here in finland. obviously some of that is due to journalistic ethics and responsibilities because our news medias can’t get their reporters within gaza’s borders and they can’t report on things unless the information comes from a reputable source or they can fact check them.

all this is to say that i'm willing to bet actual money he doesn’t even know the definition of genocide in finnish, not to mention IDF or zionism or even judaism. those things are simply not taught here and the idea of him being a zionist is laughable. i studied anthropology at university and the amount of times i’ve had to explain fairly simple concepts like colonialism or genocide to people, even highly-educated ones, is staggering. and i didn’t really understand those things either before i went to university. finland used to love to rave about our PISA scores but the truth is that the level of basic education here has been really poor for decades.