#general interest surrounding crime & crimes in history

[hareofhrair]

While I'm yelling about House MD--

I see in the notes of my House posts sometimes people being like "ooh, maybe I should watch that" and I always kind of wince and want to grab them like, yeah, please do, but also watch out. There's a reason we call it hate crimes md, and it's not just because of the queerbaiting.

So the thing about House is... It began airing in 2004. The 2000's were, for those of you who missed them, an... interesting time for what was then still called "political correctness." And these times were heralded by a certain Type of Guy, with a certain type of Edgy Humor. In pushing back against the admittedly very white liberal language policing of the PC movement, his goal was to be as offensive as possible, to every demographic possible. For those that had thought it through enough to justify this behavior, the claim was an intent to shake things up and force people to confront their unspoken biases and have hard conversations. The catch phrase was "I'm not racist, I hate everybody equally." These were your Jeff Dunhams, your Dane Cooks...

(For my part, I think it was, at it's heart, white guys attempting to parrot the marginalized groups demanding radical acceptance? A gay person saying "yeah I'm a faggot, what's it to you?" A disabled person saying "yeah I'm crippled, fight me about it. Call me a person with special needs again and I'll break your kneecaps with my cane." They picked up on the "we'd rather be called a slur than this avoidant, self righteous, language policing bullshit" and came away with "so I should call everyone slurs, got it.")

Enter House MD.

The tagline of the show is "Everybody Lies," and it's a very consistent theme throughout. The thesis of the show is that our society, with its shame and repression and bias, is incapable of real honesty. And approaching problems with soft, non confrontational language that talks around the issue instead of dealing with it only makes this worse.

So naturally, House is one of Those Guys.

I doubt there is a single episode in which he does not at some point, say a slur. When Foreman (the only black character and, until Kutner and Park, the only non white major character) is in the same scene with House, you can be absolutely certain he is going to say something racist, while staring at Foreman with a shit eating grin, daring him to make a fuss about it so he can monologue about how Affirmative Action is actually condescending to black people.

It would be one thing if this were strictly a character choice, something that was specifically wrong with House the person. Unfortunately, even when House is not involved the show itself is still, just, blindingly racist, all the time. Any time the patient isn't white, it's a horror show. Racist caricatures as far as the eye can see. It's also intermittently sexist, intersexist, nauseatingly fatphobic, and while it generally does better with disability than most any other show of the time, it is still shockingly ableist at times given the main character is, himself, physically disabled, and implied to be autistic as well.

What makes it worse is that they set House up as someone who wants to deflate people's egos and make them confront their biases ect, and then almost never puts him in a position where he's punching up. There's even a specific episode where he's treating a conservative campaign manager who released an insanely racist anti-migrant political ad, and his racism just doesn't get brought up. The ugly truth about himself he's forced to confront is that he's gay, and the man he's in love with and the people he surrounds himself with are, well. Conservatives.

All of this is not to say you shouldn't watch House or that House is a bad show. It's just very much a show from a very specific and unfortunate moment in the recent history of the ongoing battle for equality. The worst part is, its heart is in the right place, it is just doing a real bad job. It wants to be progressive. It just thinks being polite and respectful is weak and lame.

On that note! The show also features a canonically bisexual woman who actually says the word bisexual-- fucking wild for the time, where the best you generally got was vague allusions to "swinging both ways."-- And it shows her in relationships with both women and men. Including, very notably, Foreman. And if I need to tell you how revolutionary it was for them to show a romantic relationship between a black man and a white woman in the 2010's, take a minute and think about how many relationships like that you've seen in TV or movies since then. Or ever.

It centers on a nuanced and compassionate portrayal of an addict, and tackles the realities of that in an incredibly honest way I don't think I've seen anywhere else. Just the simple, consistent reminders that both House and the other addicts featured on the show are using for a reason, and it's often because they have medical needs that have been neglected by bigoted doctors. There's a whole arc where they try to restrict House's use of painkillers by reducing his prescribed dose to basically a handful of ibuprofen, claiming he only thinks he needs such a high dose because he's addicted and he'll "adjust" to a lower dose in time-- IE, get used to just living with the extreme pain. Unsurprisingly, the increased pain makes him awful to be around, worse at his job, and eventually drives him further into addiction. The way the show deals with this is honestly fantastic, especially given, again, this was the 2000's and 2010's. For a somewhat contemporary comparison, take a look at how addicts are portrayed in Breaking Bad, which came out four years after House in 2008. The general attitude towards addicts was not great.

This show has a lot going for it. The relationships and the stories it tells are honestly incredible. But it is also very flawed, and people should be aware of that going in.

If you want to start watching House, awesome! But maybe look up trigger warnings first.

(Also, completely aside from All That^ there's also the genre typical medical gore and body horror, so, you know, also be prepared for that!)

[reality-detective]

Biden’s Impeachment Looms as Congress Unleashes a Storm of Revelations!, Conspiracy Cabal on Telegram

The clock is ticking, and the removal of Joe Biden from power has begun! Congress is gearing up to announce the dates for his impeachment, marking a pivotal moment in American history. But that’s not all – House Speaker McCarthy drops a bombshell, hinting at the potential impeachment of Attorney General Merrick Garland for mishandling the Hunter Biden investigation.

These strategic moves are poised to shake the very foundations of the mainstream media. Finally, the impeachment hearings will force their reluctant hand, compelling them to report on the crimes and misdemeanors linked to Biden’s impeachment. Prepare for a seismic awakening as millions of Democratic voters are red-pilled, confronted with the shocking revelations surrounding their beloved president and the notorious Hunter Biden laptop.

CNN, a prominent player in this unfolding drama, will lead the charge in broadcasting the impeachment proceedings. Could this be a sign of their gradual transformation, as they slowly flip their narrative and challenge the established order? And behind the scenes, whispers echo of a monumental interview where Trump returns to CNN, leaving the MSM, CIA, and FBI in a frenzy. CNN holds the key to unveiling information that has long been suppressed.

But let’s dig deeper. Who wields the unseen hand, manipulating the very fabric of reality? Who has captured the attention of Twitter, orchestrated changes within CNN, and exposed classified military operations in Ukraine? This enigmatic force fights against the looming threat of a fake alien invasion, safeguarding the interests of Trump and RFK Jr., and shedding light on the dark underbelly of child trafficking and human exploitation. They are the architects of the Great Awakening, leading humanity towards truth and liberation.

And now, in an unprecedented turn of events, Congress uncovers a treacherous web of deceit surrounding the fake alien invasion. Classified military operations, hidden deep within the underground machinations of the deep state, are exposed. These operations harbor groundbreaking technologies that could revolutionize the world, liberating us from the shackles of oil and gas dependency. Prepare for a seismic shift as the grip of the elite cabal, who profit from these finite resources, is shattered.

But that’s not all. Brace yourself for the next chapter in the fight against human trafficking, as Congress prepares to launch an all-out assault on this heinous industry. Epstein, JP Morgan, the Clintons, and Biden are just a few names that will be dragged into the spotlight. The dark secrets of Pizzagate, once concealed by the CIA’s mockingbird operations, will resurface. The time for truth and justice is at hand, exposing the sinister forces that have preyed upon our society for far too long.

Stay tuned, for timing is everything. The stage is set for a dramatic unraveling, where the powers that be will be held accountable. The truth will prevail, and a new dawn is on the horizon.

- Julian Assange

The Storm is Brewing 🤔

[do-you-have-a-flag]

the one post I saw about burning man on here has missinfo (breaking event so understandable) and a pretty unsympathetic tone (I get it fyre fest or whatever but it is a former arts event that has been around since the 80s a lot of people did not have reason to expect stranded by the weather like this)

there is so much funny and interesting about this event even beyond the rich people stuck in the mud element

if you get a chance to skim the "Event timeline" portion of the Wikipedia article its a mix of creative themes and facts about mishaps

but to summarize the general history and give you a sense of how chaotic this event has been for the last almost 40 years

this event which started as an art collective and encouraged leave no trace trash policies as well as decomodification, a gifting/barter economy, and "radical inclusion and self expression" slowly changed into something critisised as less participatory and more influencer-baity which, when contrasted with the earlier emphasis on self reliance, is a recipe for trouble

By 1988, Larry Harvey formally named the summer solstice ritual "Burning Man" by titling flyers for the happening as such. This was apparently done to ward off references to "wicker man", the reputed Celtic pagan practice of burning live sacrifices in human-shaped wicker cages. Harvey has stated that he had not seen the 1973 cult film The Wicker Man until many years after and claims it did not inspire the action.

THE SOLSTICE BONFIRE OF A HUMAN EFFIGY HAS NOTHING TO DO WITH THE MOVIE ???

In 1990, a separate event was planned by Kevin Evans and John Law on the remote and largely unknown playa, known as the Black Rock Desert, about 110 miles (180 km) north of Reno, Nevada.[26] Evans conceived it as a dadaist temporary autonomous zone with sculptures to be burned and situationist performance art. He asked John Law, who also had experience on the dry lake and was a defining founder of the Cacophony Society, to take on central organizing functions of the events. In the Cacophony Society's newsletter, it was announced as Zone Trip No. 4, A Bad Day at Black Rock (inspired by the 1955 film of the same name).

there was a whole OTHER desert art party but this one openly inspired by a CRIME DRAMA?

so anyway several of these desert events of varying artistic and seasonal relevance got merged and grew through word of mouth, Wikipedia gives this insane sentence

1991 was also the year that art model and fire dancer (and later Burning Man's first art director) Crimson Rose attended the event.

this is very much something that started small

There were about 20 participants the first year, and approximately 100 in the second and third year. The annual, several weeks-long event, was held over summer Solstice at various fertile hot springs surrounding the desert. Participants built art and participated in self-directed performances.

and only became a public event in the mid 90s

Some key organizers of Burning Man were also part of Desert Siteworks [...] Hence, the two events saw much cross-pollination of ideas and participants.[...] 1996 was the first year a formal partnership was created to own the name "Burning Man" and was also the last year that the event was held in the middle of the Black Rock Desert with no fence around it.

the year it became a public event 2 deaths happened in the space between camp sites

Harvey insisted that the [crash] had not occurred at Burning Man, since the gates were not yet open. Another couple were run over in their tent by an art car driving to the "rave camp", which was at that time distant from the main camp. After the 1996 event, co-founder and partner John Law broke with Burning Man and publicly said the event should not continue.

so from the late 90s on there's a new location and much more regulations and formal ticket sales, shifting the tone firmly from loose artists commune/solstice bonfire into a more standard festival vibe with the aesthetic qualities of a Mad Max movie.

new rules include:

A grid street structure.

A speed limit of 5 mph (8 km/h)

A ban on driving, except for approved "mutant vehicles" and service vehicles.

Safety standards on mutant vehicles.

Burning of any art must be done on an approved burn platform.

A ban on fireworks.

A ban on animals.

in 2017 someone threw themselves into the flames

in April 2020 covid canceled the event, in September 1000 people tried to hold their own Burning man on a beach and San Francisco's mayor called them reckless and selfish. Similarly some people still showed up to the original location despite it's official cancelation.

in 2021 online events were planned

people showed up to the desert unofficially yet again, even more than in 2020

The Bureau of Land Management implemented restrictions including no structures other than shade structures and no fires other than campfires. There was a massive illuminated drone display outlining the Man instead of the burning of a Man effigy.

the event has had issues of trash, the flames releasing co2, gentrification by silicon Valley, diversity issues

so where we are at now is a lot of clueless and willfully ignorant people, mostly rich, several tech bros, going to an event that used to be an unregulated seasonal arts commune and is now an overpriced photo op with just as much drugs but way less active participation to the point of being like any standard music festival.

and it is in the desert.

and it has flooded for the first time in the event's history due to torrential rain. climate activists trying to block the only route to the event a few days ago make this especially symbolic as an example of dramatic weather conditions.

the mud is solidifying in heavy layers, people are stranded, there are no portable toilets working, they are on limited supplies, they are dressed for a party and celebrities are there and there is a real risk of trenchfoot but no ebola. someone died.

so yes hubris and schadenfreude at the rich people wading through muck during the escalating climate crisis. but also in addition to that a wild event with a wild history for which this is far from the first scandal. there's something to the counterculture and anarchic roots of the event, how they appropriated cultural practices, and how they were commodified in turn. how the pandemic interacted with the messaging of the event, how people with tech money and celebrities got involved, how the event is a particularly flashy and less sympathetic example of climate problems that have been hitting vulnerable communities for years now.

[ae-neon]

The House of Mirrors

Chapter 9

The difference between history and a story, her father had taught her, lay in the telling.

The story of Velaris, for example. Which Nesta had learnt from her grandmother, who - by the very nature of their language - had described it as a woman, elderly and revered. The story spoke of a trading outpost at the edge of an empire, assigned the protection of a noble general and his renowned legion.

And, after the fall of the empire, the five clans descended from those soldiers founded Velaris, which was then called Calla Velaria after the Mother Goddess they worshipped and brought with them. The memory of those men still lived today, preserved in the names of streets, monuments and a few families who carried their legacy forward.

In some ways the story of Velaris had reminded Nesta of the stories she'd heard of her great grandmother, Helena Archeron, who had been born in poverty, worked her way to fame and married into money. Like Velaris, Helena had been swept into a violent revolution in her prime, but, unbroken by the turn of the wheel, had emerged an icon of the new world. One a city at the forefront of innovation and art. The other the first woman to hold a parliamentary seat in Scythia's constitutional monarchy.

But those were just stories, trimmed of fat and made easy to digest, told one way or another to suit the taste of the audience.

Histories were raw, uncut, infested with complexity and plagued by strains of fate and coincidence. History beat still warm blood into those it connected. Always on the brink of dying, of becoming myth, but persisting in a phoenix-like act of parthenogenesis. Both reoccurring and unending; like a daughter born and raised to obey her mother, who had been a daughter born and raised to obey her mother.

The history of Velaris included the brutal subjugation of the native Halian tribes, the crimes of general Artorius – murdered by his own men – and how the empire began to cannibalise itself after a long decline. It was marred with the violence of men who had been glorified in its mythology.

Not unlike her great grandfather, whom no one ever said much about.

And not unlike Tomas, who was now ingrained into Nesta's own story, venerated by her public grieving. The thought made her want to claw at her skin until it ripped, until she was able to tear it off and shed who she had become for him.

Her history - her past, present and future - like Helena, like Velaris and perhaps every woman who had ever and would ever exist, was ripe with the promise of pain.

No amount of obedience, cleverness, beauty or anything else she had ever been told to be, and broke herself to become, held the escape it promised. In fact, it only ever seemed to invite an added layer of voyeurism.

An inescapable eye which had manifested itself into her young mind and, desperate to please her mother and grandmother, pushed her to perform. To direct and play out her story in a way that satisfied. To smile even if she didn't want to and to weep in her hour of greatest relief. To wield her beauty as a weapon to win the most advantageous match, even if it meant striking down someone precious to her.

Every history could yield a dozen stories but the best of them, those that matured into myths, always tasted of some truth.

And so, in the courtyard of the Ressina Altara School of Arts, before the Hall of Lucis, under the heat of a hundred flashing lights, she posed. Because Nesta Archeron had long ago mastered the art of storytelling.

She wasn't anyone important enough to be featured on a front page after the initial buzz surrounding Tomas' murder but the undercurrent of interest persisted.

Grieving widow or scheming gold-digger, immigrant success story or foreign whore, vicious killer or beautiful victim. Tomas had come to define her story but Nesta was no passive narrator.

Her golden hair was gathered into a french bun, her black dress loose below the waist, wrapped over her breasts but cut low and off the shoulder to draw the eye, to please the audience.

She smiled in a way that only involved curving her lips, not enough to convey joy or excitement but enough that she would not be accused of sulking. Enough that no one could tell there was a scream locked behind the seam of her lips.

And at her neck lay a single, eight carat, pale sapphire, strung on a delicate gold chain interlinked with tiny diamonds; a recognisable Mandray family heirloom.

~

Mor handed Rhys a flute of champagne, no doubt provided to the Gala by a generous but well compensated patron. That was how things worked in Velaris. Push and pull. Always something to be gained.

He and his cousin stood overlooking the enormous courtyard of the Ressina from the third floor of the Hall of Lucis and it's windowpane walls. Named for a legendary figure, one Helion claimed direct descent from, and because it was an almost entirely transparent building, designed to catch light from every angle.

The courtyard was lined on either side by tall buildings. One was a set of dorms, a cafeteria and an art supply store; and the other, a collection of lecture rooms, work stations and a library.

The Hall itself sat between the two adjacent buildings, creating a large H shape. Behind it was a park sized garden open to students for leisure or use if they were in need of natural light or subjects.

Ahead of the Hall was the courtyard, now being used as a sort of runway, filled with press and recognisable faces posing against a mural print submitted by a Ressina alumnus.

The courtyard led into the Rainbow, a long, wide walkway that followed the Sidra, littered with antique stores, book-nooks and quirky cafes.

It was almost always teeming with artists doing anything from tourist trap trinkets to live music shows. Except tonight it was cordoned off on both sides and almost eerily empty. Tonight, the haves were granted the jewel of Velaris to flaunt their wealth, looks and displays of goodwill, while the have-nots were expected to be elsewhere.

Rhys took them in: Feyre in her art deco suit, somehow both loud and contained. Elain, in contrast, managing to still look soft and quiet even in a pop of pink. And Nesta, finally resembling an amalgamation of the two sides of her he had seen, still in black but not someone to be underestimated.

In some ways, he felt an odd kinship with them. They existed half in and half out. They were wealthy, and in their country, from a respected and well established family, but here, they would always be outsiders forced to tie themselves to a group of people not known for their acceptance.

Seren and Rhys had had the right family name, attended the right schools and befriended their peers. But it had never been enough. His father had been hounded with potential matches and offered affairs even when his mother had lived with them. It had broken her heart, made her distant, though she tried her best to help her children love their Illyrian blood with holiday visits, home cooked meals, lullabies and bedtime stories.

Then Seren had died. And everything changed. He’d been uncontrollable, unable to express his grief, his father had buried his head in his work and his mother had been more alone than ever.

Rhys pushed away the memory, blinked away the pain behind his eyes and focused on the scene before him, “Did you look into Mandray like I asked?”

"The Mandrays are mostly in luxury vehicles – explains the man's globetrotting and circle of rich clients become friends – they dabble in the drug trade but almost exclusively on a personal export level. For said rich clients.” Mor sipped her champagne, leaning one hand on the rough hewn oak railing before them, red lips matching her scarlet dress, “Tomas was the eldest son but with him gone, his brothers stepped up. One took the office here in the city and the other was given a property in Ravenna, initially inherited by Nesta Archeron."

A light chuckle erupted from somewhere behind them, forced and insincere, so familiar to the cousins who had grown up in a montage of prep schools, yachting and money laundering fundraisers. Not unlike the Rainbow Gala.

"The information in the three years leading up to his murder is a bit hazy. Signs his marriage was rocky, but that wasn't anything new, he’d bought a house down by Silverlake and a suite at the Pichano Maria, both now in Nesta's name. There was traces he’d somehow acquired a third stream of revenue but there's no papertrail on that outside of offshore deposits."

"And?"

"All in all, he's just some middle management crook with an okay family name, nothing stands out.” Mor seemed to chew on her thoughts for a moment, “Except his death. There was too much damage to the body for a conclusive cause of death and the crime scene had been expertly cleaned, but it was also reported relatively close to it's occurrence. Which is why no charges were pressed against Nesta. There's no way she could have done it alone but there was also no evidence of anyone else being present."

He wasn’t sure if any of that might fall into Azriel’s area of expertise but he didn’t want to underestimate the man. Rhys slid his almost violet gaze away from the courtyard and towards his cousin, “...And?”

Mor shrugged, "And nothing. You asked me to look into him so I did."

"I also know that you think I've missed something. Something about Nesta. Something I’m sure you've taken it upon yourself to not miss."

Her honey eyes bore into him, they knew each other too well, had been forged in the same fire.

Mor sighed, "Born in Scythia to a family with pro-democratic ties despite their aristocratic past; public school education; immigrated here at 14; engaged at 19; married at 20; on track to graduate top of her class at 21 and tapped by several big names including the DA herself by 23.”

Rhys nodded, he’d already pieced together most of that by himself, adding, “Except she drops out the next year and does…nothing? Parties and travels everywhere her husband goes but otherwise disappears from everything except social media and TST’s reports.”

Mor exhaled a breath full of worry, "And in that time: Mandray's sales skyrocket; he pays off all of his father’s off the record debt and invests in a couple things: tech, alternative energy, a Xianese beauty brand. They all see hit returns and, in turn, his family business is boosted by a group of newly rich CEOs and their associates.”

“Mandray might have been a good salesman but it’s not hard to guess who was really pulling the strings.” Rhys noted the hint of worry that manifested itself in a slight crease between Mor's brows. He lifted his hand, the arm of his midnight suit drinking in the light of the room, and gently pressed against the spot, earning a full frown in response.

Mor batted his hand away, “With this newfound wealth, Nesta buys out a 22% stake in TST, adding to the 10% each sister has – which she controls – bringing the business back under the family name, kicking out the investors who were trying to take over from under her father and, for a moment, it looks like she's going to take over. But then,”

“But then she actually vanishes, drops off the map.”

“Exactly. Mandray floats between Silverlake and Velaris but his trips overseas are rare and his trajectory without her is” she shrugged, “...unremarkable. Two years and no one hears from her until a 5am phone call to Silverlake Sheriff's office. No emergency call, no ambulances, just a dead body. But there’s something off about it...” at that, Mor turned a little pale, but continued "The acoustics of the lake valley, I don't know how it works but, the neighbours can always hear each other. I checked, there have been reports before, neighbours saying they'd heard all sorts of things coming from the house - parties, arguments, music she liked to dance to… but that night and the morning after, the morning she found her husband almost decapitated? Nothing, not so much as a side note in the reports.”

A chill seeped into his limbs but Rhys wasn't sure if it was because he realised he had suspected Nesta killed her husband the day he met her or, if because, now, he was less certain. The idea of retaliation, of a beaten housewife turning on her husband like a caged animal finally set loose, did not disturb him. It was only natural.

But, he thought as he turned to see the Archeron's ascending the stairs to the third floor, whatever had happened to Tomas Mandray a year ago, seemed anything but natural.

[mrssimply]

I was tagged by @peaches-n-screem, who valiantly continued to tag me in WIPs games despite my lack of participating most of the time (because of the cursed writer block). Thank you friend!

I'm still not back on the saddle yet, but I did write some things.

I wanna tag @m-lter @civilization-illstayrighthere and @katbatmadethat if they want to share some snippet of any current works - no pressure of course, I'm just always interested!

Two WIPs today:

Continuation of my Wild Animals Rebellion series (John Wick x Santino) and a snippet from my Jedi x cyberpunk AU

The Burning of Rome :

John came to consciousness in the way he always did: suddenly and completely awake, no transition between the void and full awareness.

The first thing he registered was the light: low, indicating the end of a day, coming through the window to the west of the room. The familiarity of his surroundings were the second thing he registered: The good quality bed sheets, the dark blue wall behind the bed, and the typical sounds of the D’Antonio mansion everywhere around him. Finally, John could smell the seabreeze in the air. He was back in Naples, having no recollection of the final segment of the trip, and the events leading up to it were still fuzzy.

Movement caught his attention on his left side. His eyes found Winston, to his surprise. It was rare for the manager to be found so far from his hotel, especially since its destruction about a year ago. Winston’s face was set in a disapproving moue as he looked over his charge. Today’s newspaper was laid on his lap, over his crossed legs, but John knew instinctively that his old friend hadn’t taken a word written on the day’s edition.

To most, Winston was an enigma, but with John he was always more open, it made him easier to read, and right now he was pissed. 

For a moment, John looked inward to try and find why the New York Continental’s manager was here in Italy, in the heart of D’Antonio’s territory, but his brain remained too foggy. He was still working on reflexes and survival instinct only. John took the time to assess his body’s condition and came up with the surprising conclusion that he was fine. Yet, something nagged the back of his mind, demanding to be acknowledged with all urgency. His subconscious was already on the warpath : bursts of adrenaline were diffusing in his blood system while his organism worked overtime to bring everything back online as fast as possible. 

It clicked a few seconds later. Everything aligned into place so suddenly it made the lingering headache of post sedation pulse in the ex-assassin's head. The shock of remembering what had happened robbed John of his next breath: incandescent rage filled him in the time it took for his lungs to fill again. 

“I’m going to kill him,” he vowed, voice dark and raspy.

John was going to kill Santino

And more of my Jedi x cyberpunk AU under the cut:

The Other Side of the Light

[Jackie just died]

Found on the edge of the Republic space, Socalar was known for its liberal government that turned a blind eye to a number of crimes : from smuggling drugs to human trafficking, with a hefty dose of corruption and political plots, it was a lawless zone in everything but name. Controlling the planet’s activity was made particularly arduous because of its secular magnetic field, created by the explosion of the moon at the end of the Entry War. It gave the planet a natural shield that filtered outside communication and kept internal ones hidden, which people used liberally. Socalar might officially be Republic’s territory, but it was more of a legally gray pirate base than anything else. In conclusion, the planet was the thorn in the senate’s side and a sore subject in the Order’s history, since they’d been just as unable as the Republic forces to bring peace to that quadrant.

Even worse, Jedi generally weren’t welcomed due to their part in helping the Republic win the Entry War. In Night City in particular, whole districts were hostile to their presence, with two notable exceptions.

Padre and V made their way to the Coyote Cojo in Heywood by airspeeders to avoid pedestrian traffic, but also for discretion. they might be tolerated here as Jedi because of their origins, that didn’t mean they were totally welcome. The Coyote Cojo was a consecrated neutral ground, where Mama Welles made everyone behave. Today of all days they were going to be on their best behaviors.

“You’re quiet,” Padre commented as they landed.

“Hm?” V said, coming out of his strange meditation. Coming back here brought mixed feelings of nostalgia and guilt. “Oh I… Just mentally preparing. It’s not — I don’t…”

He looked at his master with wide desperate eyes.

“Ah, V,” Padre replied, his accent thickening with shared pain, “grief is like that. It deconstructs the self, floods every part of our being, tears and carves new places in ourselves. It changes us,” he paused, extending an arm to gently grab V’s knee, “When the tide recedes, we discovers all these changes. The key is to believe these changes will make us grow: that the salt of our tears will become stones on which we can rebuild stronger foundations, that the iron in the blood we shed can be forged into new tools for us to use, that the pain we experienced will help us hear the song of the universe.”

His voice was like a balm over V’s psyche and he found himself breathing easier, but still gripped by one all-encompassing fear.

“What if I can’t?”

“You can, young one, I know it in my heart, and I can feel it in the Force. You can, you will. Just trust yourself. And if you can’t right now, then trust me."

[magnolia-sunrise]

raises my hand i have a quastion: how do your other interests affect/influence your ocs and storytelling?? :0 (also i hope the next month is much kinder to you!!)

waaaa wow thank you for a very interesting question as well as the well wishes <3 its been just kind of a sludge of bad times in our household but hopefully spring will bring better days soon!!

and i would say these days i let myself get influenced by my interests A LOT and its really fun :D i think outside of art my main interest is in films, books and experimental theatre and especially horror genre. i try to purposefully surround myself by interesting and different ideas and art because so often it inspires me with my own stories or characters. like buying random art books and zines, getting into comics and manga that people mention or recommend, going out to see the new indie movie whenever i can, following people who are so passionate about their own craft and stories that it makes me more passionate too. i think admitting to those influences and letting them clearly show is a form of expression and communication as well, like look reading all of Steel Ball Run deeply rewired my brain and im very happy about that and im happy to let my JJBA inspirations show!! or that time i travelled to see Hozier in the summer and the live performance of Eat Your Young was soooooo much, when i got home i had to paint that one vibrant pink and blue piece directly taking from the stage design of that tour!

for example Wolfgang was borne out of my frustration with mainstream android / robot media of the time (Westworld, Detroit Become Human, Blade Runner 2049) but also the history of the robot genre and its lack of accounting for transness in general, as well as my interest in neonoir genre and crime fiction/ detective archetypes and characters who don't fit into those archetypes neatly (thinking Twin Peaks and The Girl with the Dragon Tattoo). and then so much about how they present has come from my interest in high fashion. and many parts of their story and personality are influenced by music in some way or another as well, and their world has grown bigger feeding on different and newer inspirations etc etc

i'm not a writer primarily, and so i feel like developing characters and worldbuilding sometimes doesn't come easy to me or it's just kind of piece by piece of random arrangements so i try to open my mind to this strange organic process of letting things inspire and influence me and see how it affects what's cooking and rotating inside

i also always think of how Berserk so clearly started out influenced by predecessors and contemporaries like Fist of the North Star, JJBA, Rose of Versailles and Hellraiser and has become this absolute monument that has influenced so many other artists and creators. and if you're familiar with those other works, how interesting it is to read it and recognize the influences. it's like it's own type of language in a way, it's almost like you get to know a little bit more about the artist too if that makes sense

[midwestbramble]

America Bewitched Book Review

One of the things I missed about amino was doing my book reviews. I’m going to start posting reviews of the books I have on my shelf, which is organized in alphabetical order. So first up is:

I originally read this book because it was referenced a lot in the witchcraft books I had been reading. Now it’s a book I reference for folklore.

⛧─── ⋆⋅☆⋅⋆ ───⛧

Published 2013

“The tragic story of witchcraft in America, from the infamous Salem witch trials to the present day—now told in full for the first time.”

What I Liked

Owen Davies does an extremely thorough job with looking into the court cases and civil suits that include accusations of witchcraft in America. He takes a deep look into the history of the people and the institutions that are involved in each case as well as the surrounding cultural beliefs that are involved. Discussing disputes of European-Americans, African-Americans, as well as Native Americans and how beliefs and ideas around witchcraft intermingled and influenced the other. It was also nice to see a historian label racist ideas as just that, racist, and not beat around the bush when such topics arose. Even broaching the topic of the cultural appropriation of Native American practices in the last chapter covering Wicca and neo-paganism.

Davies takes the time to cite different charms that were supposed to have been used or were known to have been used in each case or folk belief. As with witch trials from earlier periods, this is a treasure trove for traditional American witches to mine from to begin to build our own practices (without appropriation, of course). One case even explains that the victims spirit leaves its body during hag riding.

I had a feeling Wicca would be brought up at some point in this book, however I was pleasantly surprised by how thorough the explanation of the introduction of Wicca to the United States was. I definitely learned more about Sybil Leek than I had ever planned to, as well as other popular (and controversial) authors such as Raymond Buckland, Starhawk, and Silver Ravenwolf. Davies also brings up the fact that the “Burning Times” idea in modern witchcraft spaces is bogus and really everything that goes into that chapter of American witchcraft history.

What I Didn’t Like

Despite calling out the historical racism towards African-Americans and Native Americans, Davies continued to use a slur in reference to the Romani peoples. Though he did use both terms, I wonder if he had a reason as to why or if it was an oversight. He wasn’t quoting an article or anyone on trial so I found it curious that he chose to do so. The Romani people weren’t brought up very often but it does still put a sour feeling in my stomach.

The book I bought was used and came from the UK so it may just be a difference in grammatical writing styles, however I did also note that there seemed to be some words missing in certain sentences and words were made singular when they should have been plural. In other words, the editing could have been a bit better but it wasn’t a constant issue either.

Overall Thoughts

I do feel that this is a wonderful book for those who want to peel back the layers of American history and witch trials. What I personally found the most interesting was that charges were more often brought against the accusers for defamation/slander or assault, than the accused being charged with witchcraft. Unfortunately, many people were murdered for being accused of witchcraft. May be of interest to true crime fans.

Otherwise, I highly recommend this book to Americans especially but also to those who want to see how a mixing pot of cultures actually works. I feel like this is a topic that doesn’t get enough attention in the general witchcraft community and I’m glad we have such a well researched book to turn to.

Conclusion

This is a review of the book that I originally posted on Pagan & Witches Amino and no longer exists there. I try to list out the good and the bad so you can decide on your own if it’s a book you would like to read. Happy book hunting!

All images from the book

[keepthisholykiss]

i swear to god i am not an alarmist nor do i want to sound like one but time is a circle and history repeats blah blah but i think its important we recognize that the satanic panic IS back and we might be about to face those horrible fucking things all over again (imo satanic panic actually never ended but thats a tumblr essay for another day) researching the satanic panic was a fairly in-depth special interest of mine for a few years and i am seeing a number of very concerning headlines that lead me to believe the current conservative narrative paired with major headline murders will eventually lead to the same issues (or worse) than the 70s and 80s. tw for anything related to true crime/death below the fold im assuming this will get suppressed because of the topic also so feel free to reblog if you are so inclined.

there are two major court cases and one social media movement that lead me to this conclusion currently given their media coverage within a calendar year. i HOPE i am overexaggerating but i AM deeply concerned.

aiden fucci - this teen was recently sentenced after pleading guilty to murdering another teen in 2021. coverage of this case heightened when evidence was shown in the sentencing hearings which included "satanic" drawings. this was the first case i saw to raise my red flags.

the delphi murders which recently (like yesterday) had a major update which is what prompted me to make this post. this is a case of two girls in delphi, indiana who were murdered but managed to capture the potential killer on snapchat. the suspect was recently found and has now released a 100 page affidavit detailing why the girls were killed. this affidavit details sacrificial ceremonies and a cult of odinism. this case has received a large amount of interest over the years as it was long considered an unsolved case, this case will receive much larger attention nationally than cases like aiden fucci and may be the beginning of the panic "properly."

also worth mentioning is bryan kohberger - while this case has not taken the full panic on yet i am not counting it out as trial has not started. this is the idaho four murder suspect out of pellman washington. his case has gained notoriety and he is still awaiting trial as he just waived his speedy trial rights. you may have heard about this case prior to kohberger's arrest when a tiktok psychic claimed a professor committed the murders out of lesbian rage. this was proven to be untrue and kohberger is currently the only suspect on record. but how is this related to satanic panic? this case is currently being devoured by conservative journalists and "lone wolf" media figures who are convinced the entire case is a police cover-up for everything from drug abuse to cp to trafficking itself. major incel groups are flooding to content surrounding the case, littering their videos with dog whistles, to try and change the narrative. this is not currently a major satanic panic foundation to me but this coverage has gone so many different ways and the coverage is so fucked that i have my eye on it. as for social media, recent years have seen a rise in christian influencers. this has been, in-part though not solely because, "cringe" reaction channels or commentary channels have platformed many of these influencers. these influencers have used their newfound holy fame to create videos exposing "satan" in media. we may look at them and laugh but they are spreading true fear that at least some people believe. this is extremely harmful when we consider that real, convicted murder cases are supporting these ideas. we've seen this story before just decades earlier without the internet.

if you're reading this freaking out over the possibility of another widespread campaign to eliminate non-christians, queer people, and poc then i encourage you to read about the satanic panic of the past to better inform yourself. get better at identifying ai-generated articles, images, and conservative fear mongering. here are my personal reading recommendations. if i am afraid for no reason then hey at least you have some reading reccs. again i hope im wrong, i never want to see that shit repeated but fuck if i dont absolutely fear this next election year and what it may bring out. books on the satanic panic and/or its lead-up: unmask alice by rick emerson satan's silence by debbie nathan satanic panic: pop cultural paranoia in the 1980s chaos by tom o'neill books on misinformation or conspiracy: trust the plan by will sommer the midnight kingdom by jared sexton the storm is upon us by mike rothschild

not-books that you can also check out: you're wrong about the satanic panic conviction: american panic shanspeare 'doja cat and the return of the satanic panic'

[smreine]

I don't think "Oppenheimer" should exist.

So here is the reason that I am an incredible killjoy about Oppenheimer and think it should never have been made, no matter how good the movie is, and that everyone involved is kinda total bullshit.

My stance is that there is zero reason to humanize the few people behind producing and benefiting from the bomb. In fact, it perpetuates white American attitudes about noble sacrifice, makes one of the greatest crimes against humanity ever committed sexy with sexy actors and sexy cinematography, and generally gives ample room for reinforcing the lies of imperialism among a populace with low literacy for even identifying that kind of propaganda.

I believe there is no artistry good enough to make up for centering people like Oppenheimer instead of the communities actually impacted.

Congolese miners were exploited to get the uranium to build the atom bomb. https://www.wired.com/story/the-dark-history-oppenheimer-didnt-show/

New Mexico Hispanics were bodily removed from their lands to make a testing site for the atom bomb. https://www.axios.com/2023/07/20/j-r-oppenheimer-movie-new-mexico-hispanics

More than 200,000 innocent Japanese were killed when the atom bombs were dropped. https://www.icanw.org/hiroshima_and_nagasaki_bombings Cancers and related illnesses have continued en masse in the decades since.

Cutesy bomb advertising became common, particularly in conjunction with Barbie. You cannot have a movie of this scale and budget without marketing that is wholly inappropriate for the crimes committed.

The movie and its creators had zero interest in engaging with the above, or seeking ways to remedy the crimes committed against those communities. They considered themselves to have no real responsibility to make real gestures of healing toward the communities, but without that responsibility, I argue they then have no right to any story surrounding it.

I am aware the story "grapples with the ethics" in its centralized white imperialist characters, but they frankly just aren't members of the impacted community. Whatever they felt about the crimes they committed doesn't deserve to be aired (to the profit of few) when moviemakers were so disinterested in all of the above.

Oppenheimer was made because a white guy who thinks he's a genius wanted to dwell on a white guy tortured genius who he related to. That's the only reason. We don't need more such vanity projects. And I don't think it's historically significant to keep telling stories about war crimes from the perspective of the criminal.

"Oppenheimer" shouldn't exist.

[shangyang]

let's talk aot.

woo, yay, it's ren's yearly rant about aot! clearly, this is the riveting content you guys & the six million porn bots in my notifs are here for. but this is MY echo chamber and that means i get to say what i want. mwahaha, etc. etc.

anyways. aot. the manga's over and the anime is...on its way to being over (though i wouldn't be surprised if mappa extended it for another 0.5 cour), but discourse never really dies. james somerton, a fairly well-established youtube essayist, covered the series in a youtube video titled attack on titan and media literacy in august 2022, though it was just recently reuploaded, due to somerton needing to correct a citation error. by no means am i attacking somerton - he remains one of my favorite video essayists on youtube to date, and he covers queer media with a keen eye and sharp wit - and i think he makes a lot of prescient points in regards to the dearth of media literacy surrounding attack on titan.

but i think there's a rather euro-centric tilt to his analysis. i think there's a euro-centric eye cast over a lot of attack on titan, from its ideals to its messy message and the content isayama created. you can take the message to be that in war there are no good people, only people making hard choices - but that's not quite right, is it? when we make that argument we tend to cast people like the nazis, the japanese, the mussolini italians, under almost pitying lights. "they were just following orders" is a phrase you'll hear a lot, in that regard. but we also know that can't be the excuse. just "following orders" doesn't excuse anyone's actions. you are capable of thought and courage and action. being unable to distinguish right from wrong, or being able to and being too afraid to make that right choice - that's cowardice, plain and simple. and i don't think it's wrong to say that we can blame the cowards.

but i digress. the point i want to make is that, when i look at attack on titan, i can't separate it from the culture that birthed it - japan. japan is a heavily revisionist nation; what japanese schoolkids today learn about wwii is so radically different from the truth of it, that even now, we continue to hear about how japanese people may never learn the truth about japan's involvement in ww2 until they leave the nation. for more on this, see the national interest's 2015 feature: the us should be appalled by japan's historical revisionism. time and time again, japan's leadership has shown that they have no intention of owning up to the extent of the crimes committed against other asian territories and other nations in general during the second world war. this quote in particular just about sums up, in my opinion, the viewpoint japan has taken regard other asian and SEA nations:

This revisionist narrative is laid out in detail at the Yushukan museum in Tokyo next to the Yasukuni war shrine. The logic is as follows: Imperial Japan waged the Great East Asia War (Daitowa Senso) in an effort to liberate the Asian peoples from the yoke of Western Imperialism. The “selfless goal” was to bring the enlightened modernization of Meiji Japan to hopelessly backward Asian brothers and sisters.This revisionist narrative is laid out in detail at the Yushukan museum in Tokyo next to the Yasukuni war shrine. The logic is as follows: Imperial Japan waged the Great East Asia War (Daitowa Senso) in an effort to liberate the Asian peoples from the yoke of Western Imperialism. The “selfless goal” was to bring the enlightened modernization of Meiji Japan to hopelessly backward Asian brothers and sisters.

japan has a long and storied history with facism, nationalism, xenophobia, and racism. it, of course, bears mentioning that no asian nation is necessarily exempt from xenophobia and racism - south korea, where my family is from, is certainly not exempt - but japan is perhaps one of the worst offenders, once we step back and look at their sweeping history of involvement in global conflicts. supremacy is the name of the game for japan - and i cannot deny that the current conservative state of the nation, which is a carry over from that mindset that dominated japan in ww2, is what makes me most wary of a narrative like attack on titan.

it's no secret that isayama admires several japanese war generals. dot pixis, one of the generals in attack on titan is notoriously based off of japanese general akiyama yoshifuru, who is a war criminal, responsible for the colonization of korea and who commanded japanese troops in korea when korea was occupied by japan.

for more on this, see this blog post: the possible disturbing dissonance between hajime isayama's beliefs and attack on titan's themes.

isayama, attack on titan's creator, is 36 currently - but he was 19 when he first began writing attack on titan. i don't think it would be wrong to also say that isayama likely grew up during a time when japan began leaning heavily back into conservative, neo-facist, nationalistic ideals, thanks to the economic crash that occured during isayama's youth/likely during when he was in middle/high school. i want to also say that i say all of this ALLEGEDLY. the truth is, that the account which we attribute a lot of isayama's pro-japan quotes to (migiteorerno on twitter) has never been officially attributed to isayama, though the blog post i linked above does point out a lot of the coincidences and clues that have led people (like myself) to believe that it may be isayama's private account.

but, of course, i can hear the questions about "death of the author." separate the art from the artist. i hear it all. and in general, i understand that school of thought. but i don't think we can apply it to attack on titan.

if i were to explain it, i think the best thing to say would be that i don't believe that death of the author applies to a work, when the authorial opinions in question are intrinsically tied up in authorial intent and the story being told. to elaborate, let me give this example:

say an author believes that climate change isn't real. but, they've written a story about two lonely people meeting online, and slowly falling in love with one another before they both must decide to gather their courage and take the leap into a real life meeting. in this case, i would think death of the author applies. this hypothetical author's climate change beliefs have no real bearing on the story they're telling - and ultimately, they have no real way of skewing whatever story this author has told. so in this case, i would say we put the art before the artist.

but say this author also writes a novel about the environment, and eco-terrorism, or some natural apocalypse. all these ideas have, in some way, to do with the climate or climate change - so i would find myself wary of the contents. the authors ideals, in this way, would shape and warp the messaging of the story - because they are intrinsic to the type of story this author would tell about the environment and environmental destruction.

isayama's purported beliefs - and yes, him being japanese and japan's role in ww2 and the clear ww2 influences aot has - intrinsically shape the message attack on titan is telling. the two are intertwined - attack on titan talks about nationalism, facism, and nation that separates itself from all other nations and thus believes itself to be some great enlightener; all of these are ideals we can so clearly see reflected in japanese nationalism.

it's for these very reasons that i can't begin to see a way to idolize and audulate attack on titan's narrative. i've said it once, and i'll say it again: i'm korean american. my family came to the US from korea barely a generation after ww2. my oldest great uncle, a judge, died during the japanese occupation of korea. i have relatives alive who remember what the occupation was like. who have lived through it.

when i look at attack on titan from that perspective, i can't see anything but the looming shadow of japanese nationalism, and japan's continued perspective on other asian nations - especially korea - taints this work for me. i can't see it as an anti-war narrative. i can't see it as making any deft anti-war commentary. in part because i look at it and see the historical hand of japan's actions, still very much present and puppeteering this narrative - but also because in attack on titan's world, there is never a way to get past this without war.

and maybe that's the crux of it. how can you trust a narrative to be anti-war, when all signs point to it being otherwise? how can i look at attack on titan, knowing what i know about japan's history with the very ideals present within the work, and not be wary? the truth is, that i don't think we can trust that isayama has in any way, set out to tell this story with the intent of critiquing japan's actions or the culture that led to their involvement in world war 2.

you can call me a cynic. but i'd rather be cynical than trust attack on titan not to be facist.

[nixtorr]

camera obscura fucks so hard and has so many great quotes about the doctor and just like in general and i think i need to compile my favourites so they can metabolise in my head

‘You realise that all this proves my point,’ said Sabbath.

‘Well, thank goodness. I’d hate to think the end of the universe did nobody good. What point is that?’

‘Your misplaced sentimentality about humanity’s intrinsic value and their right to free will. This misguided fool got hold of a time machine, and where are we? Where are all his innocent fellows, those people whose welfare you claim to care about?’

‘What are you arguing? That if somehow you’d managed to murder Chiltern before he found the machine, everything would be fine? Someone else would have found and understood it sooner or later.’

‘Exactly. They can’t be trusted.’

‘That silly Prometheus. Nobody told him.’

‘The gods did,’ Sabbath murmured. ‘Afterwards.’

‘As I recall, it was his liver that was torn out, not his heart.’

‘Such arrogance, Doctor.’

The Doctor shrugged. ‘Obviously in this argument I stand in for Prometheus. Just as you stand in for the gods.’

‘Touché. But you haven’t rebutted my argument.’

‘Which is what? That humanity is fundamentally base and needs to be controlled? That a democratic society with civil liberties is a society with social inequality and crime, whereas a police state, by silencing dissidents, can guarantee a rough egalitarianism and public safety– so that the poet’s freedom to be subversive is invariably bought by the suffering of the poor? That the rule of the people too easily becomes the rule of the mob? That the centre of every human being is self-interest and even virtue is corrupt? That they are animals whose moral sense degenerates as soon as their bellies aren’t full? That idealism has killed as many as viciousness and there is no philosophy, however noble, that can’t be turned to depraved ends? That people will always fear, and as long as they fear they will hate?’

‘There is ample evidence for the truth of everything you’ve just said. History makes my case for me. Can you, in all intellectual honesty, deny it?’

‘No.’

‘Then why?’ said Sabbath, genuinely puzzled. ‘You’re not stupid about these matters. You’re not starry-eyed, or basically impractical. You can see what reality is. Why don’t you accept it?’

The Doctor was sitting back in his chair, his clasped hands resting against his chest. ‘Because I prefer not to.’

‘I beg your pardon?’

‘Because I don’t, won’t accept. I don’t approve. Injustice is the rule, but I want justice. Suffering is the rule, but I want to end it. Despair accords with reality, but I insist on hope. I don’t accept it because it is unacceptable. I say no.’

‘It’s all about what you want,’ said Sabbath softly. ‘You won’t accept the way things actually are because it is your will that they be different.’

The Doctor looked at the fire. ‘Perhaps.’

He would almost have been glad of the Doctor’s conversation, but the Doctor was silent. Was he experiencing the same thing, Sabbath wondered, or did the peculiar temporal elements of his biology make him immune? A long, long while passed before Sabbath allowed himself to understand that it was only his connection to the Doctor, that alien heart that somehow beat impossibly in both their chests, that allowed him to incorporate his surroundings at all instead of going suddenly, screamingly mad. Even as he realised this, the Doctor’s voice spoke softly in his ear:

‘You wanted to travel in Deep Time. This, where we are, is far deeper.’

‘It is terrible,’ said Sabbath simply.

‘Yes,’ the Doctor agreed. ‘It is.’

The very survival of his mind was in the power of this fantastic creature he was bearing on his back like the old man of the sea. The Doctor had dragged him into this like a drowning man pulling another under. True, the purpose was to attain something they both wanted, albeit for different reasons, but the Doctor had not consulted him. Had he thought Sabbath would refuse? Or did he just not care? Monstrous egotist, insane risk taker, manipulator and trickster. I have underestimated him, Sabbath thought grimly, a complacent and foolish thing to do, though not yet, fortunately, a mistake. I let myself forget he was not human, judged his capabilities and limits as if he were. If the gentleness was true, I presumed the ruthlessness was a front; if the ruthlessness turned out to be true, then I was sure the gentleness would be revealed as hypocrisy. But neither and both are true. He lives in contradictions as we cannot, and for him they are not contradictions but wholeness.

Good God, he thought with a rare trace of fear, what might a whole race of such beings have been like?

‘That’s four times now, you realise.’

‘Doesn’t count,’ said the Doctor. ‘You had the ride of your life. Fair exchange.’

Sabbath shrugged graciously. ‘You know, Doctor, even allowing for the, ah, unique circumstances of your last near-death experience, it’s extraordinary how often you’re plucked out of trouble at the last minute.’

‘Is it?’

‘Rescuers turn up. Weapons jam. Your companions, who, if you will forgive me, don’t strike me as more than usually competent, save the day. Buildings explode immediately after you find the way out. Cities fall just as the TARDIS dematerialises.’

‘Exaggerated reports, I assure you.’

‘Electrical currents short-circuit. Evil masterminds make foolish errors. If you fall out of a window, there’s something to catch you. If you’re drowning, a spar floats by. You find your way unsinged out of burning houses.’

‘Where do you get all this stuff? I don’t remember half of it.’

‘You survive alien mind probes that would boil the average brain in its skull. You are dug unharmed from beneath fallen rubble. No one ever shoots you in the head. Deadly drugs turn out not to affect you. Villains tie you up too loosely, and hide-bound tyrants’ convictions falter at your rhetoric. In short,’ Sabbath finished smoothly, ‘in your presence, the odds collapse.’

A new wave of pain hit the Doctor. His head snapped back and hit the wall, his joints felt as if they were pulling apart. He was too weak to cry out. He would have fallen in a heap if the current hadn’t borne him up, still turning him gently while his nerves crackled and short-circuited. Break, damn you! Break! You’ve never had a spanner like this thrown in you! Chew on me till your teeth crack. Grind me up till your gears lock. I’m the nail in your tyre, the potato jammed in your exhaust pipe, the treacle poured in your petrol tank. I’m the banana peel beneath your foot, the joker that ruins your straight flush, the coin that always comes up heads and the gun you didn’t know was loaded —

I am the Doctor!

He fell. Around him, everything cracked and collapsed. The machine was shuddering apart, shaking itself to pieces. The lenses powdered into bright sparks. The roof slid off. The mirrors quivered on their base and then, one by one, fell shattering on their backs. Before the last one toppled, he glimpsed in it an elderly man, strong-featured and bright-eyed, crouched as he was, staring at him. Then that image fell too, and the Doctor huddled at the bottom of the still-standing inner chamber in the loudest silence he’d ever heard.

[enlightenedpictures]

Documentary Films That Changed the World: A Look at Iconic Examples

Documentary films have the unique ability to inform, inspire, and provoke thought. Unlike fictional narratives, documentaries present real-life stories, issues, and events, often shedding light on subjects that are overlooked or misunderstood. Throughout history, certain documentaries have transcended their medium, influencing public opinion, shaping culture, and even driving social change. This article examines some of the most iconic documentary films that have made a significant impact on the world.

The Power of Documentary Filmmaking

Documentaries serve as powerful tools for storytelling, allowing filmmakers to present facts and personal experiences in compelling ways. They combine visual imagery with narrative techniques to engage audiences emotionally and intellectually. The objective of a documentary is not merely to inform but also to inspire action and awareness. This unique capability has led to documentaries being instrumental in various social movements, environmental initiatives, and human rights campaigns.

Iconic Documentary Films

1. "The Thin Blue Line" (1988)

Directed by Errol Morris, "The Thin Blue Line" is a groundbreaking documentary that examines the case of Randall Dale Adams, who was wrongfully convicted of murder. The film combines interviews, reenactments, and a haunting score to present a compelling narrative that questions the reliability of eyewitness testimony and the American justice system. The documentary ultimately led to Adams' release from prison, showcasing the potential of film to influence real-world outcomes.

2. "Bowling for Columbine" (2002)

Michael Moore’s "Bowling for Columbine" explores the complex issues surrounding gun violence in America. Through interviews, animations, and poignant storytelling, Moore delves into topics such as the culture of fear, media manipulation, and the impact of violence on society. The film sparked widespread discussions about gun control and the role of the media in shaping public perceptions. Its success at the Academy Awards further solidified its place as a significant cultural commentary.

3. "An Inconvenient Truth" (2006)

Al Gore’s "An Inconvenient Truth" is a pivotal documentary that addresses climate change and global warming. Using a combination of scientific data, personal anecdotes, and compelling visuals, Gore aims to educate the public about the urgent need for environmental action. The film played a crucial role in raising awareness about climate issues and inspired a generation of activists to advocate for sustainability and policy change. Its impact on public discourse regarding climate change cannot be overstated.

4. "13th" (2016)

Ava DuVernay's "13th" examines the intersection of race, justice, and mass incarceration in the United States. The title refers to the 13th Amendment, which abolished slavery but also allowed for involuntary servitude as punishment for crime. Through powerful interviews, historical footage, and expert analysis, the film lays bare the systemic racism embedded in American laws and institutions. "13th" has become a crucial resource for understanding the complexities of racial inequality in America and has spurred discussions about criminal justice reform.

5. "March of the Penguins" (2005)

While focusing on the life cycle of Emperor penguins in Antarctica, "March of the Penguins," directed by Luc Jacquet, highlights broader themes of resilience, survival, and the fragility of ecosystems. The film’s stunning cinematography and engaging narration captivated audiences worldwide, leading to a renewed interest in wildlife conservation. It emphasizes the importance of protecting natural habitats and the challenges faced by species due to climate change.

6. "The Act of Killing" (2012)

Directed by Joshua Oppenheimer, "The Act of Killing" challenges former Indonesian death squad leaders to reenact their real-life killings in whatever cinematic genres they wish. This chilling exploration of guilt, memory, and the nature of evil forces viewers to confront the brutal realities of genocide and political violence. The film pushes boundaries in documentary filmmaking, compelling audiences to grapple with complex moral questions.

7. "Won't You Be My Neighbor?" (2018)

This documentary on Fred Rogers, the beloved host of "Mister Rogers' Neighborhood," delves into his philosophy of kindness, empathy, and understanding. The film celebrates Rogers' dedication to children's emotional and moral development and explores his impact on American culture. In a time of increasing division, the film serves as a reminder of the importance of compassion and the power of media to foster positive change.

8. "The Fog of War" (2003)

In "The Fog of War," director Errol Morris interviews former U.S. Secretary of Defense Robert S. McNamara, reflecting on his experiences during pivotal moments in American history, including the Vietnam War. The film provides a nuanced perspective on the complexities of war, decision-making, and morality. McNamara’s candid reflections serve as a stark reminder of the human cost of conflict and the importance of understanding history to prevent future mistakes.

9. "Citizenfour" (2014)

Laura Poitras’ "Citizenfour" follows Edward Snowden as he reveals classified information regarding the National Security Agency’s surveillance programs. The film provides an intimate look at the ethical implications of government surveillance and the fight for privacy in the digital age. By documenting Snowden’s journey, "Citizenfour" has sparked vital conversations about civil liberties, security, and the role of whistleblowers in democracy.

10. "The Social Dilemma" (2020)

"The Social Dilemma" explores the dark side of social media and its impact on society. Through interviews with former tech industry insiders, the film reveals how algorithms manipulate user behavior, contribute to addiction, and spread misinformation. By combining documentary elements with dramatizations, the film raises critical awareness about the ethical responsibilities of tech companies and the need for societal change in how we engage with technology.

The Impact of Documentaries on Society

Documentaries have the power to reshape narratives, challenge perceptions, and motivate action. They often act as catalysts for social change, prompting viewers to question their beliefs and take a stand on important issues. The films discussed here serve as prime examples of how documentary filmmaking can illuminate truths, foster empathy, and inspire movements.

Conclusion

The enduring influence of documentary films is evident in the way they provoke thought, inspire dialogue, and drive social change. From examining systemic injustice to highlighting environmental issues, these films have etched themselves into the collective consciousness, urging society to confront uncomfortable truths and strive for a better world. As we continue to navigate complex global challenges, the importance of powerful storytelling through documentaries cannot be overstated. They remind us of our shared humanity and the potential for change when we dare to look beyond the surface.

[reality-detective]

💥💥 Breaking News: Biden's Impeachment Looms as Congress Unleashes a Storm of Revelations! 💥💥

The clock is ticking, and the removal of Joe Biden from power has begun! Congress is gearing up to announce the dates for his impeachment, marking a pivotal moment in American history. But that's not all – House Speaker McCarthy drops a bombshell, hinting at the potential impeachment of Attorney General Merrick Garland for mishandling the Hunter Biden investigation.

These strategic moves are poised to shake the very foundations of the mainstream media. Finally, the impeachment hearings will force their reluctant hand, compelling them to report on the crimes and misdemeanors linked to Biden's impeachment. Prepare for a seismic awakening as millions of Democratic voters are red-pilled, confronted with the shocking revelations surrounding their beloved president and the notorious Hunter Biden laptop. CNN, a prominent player in this unfolding drama, will lead the charge in broadcasting the impeachment proceedings. Could this be a sign of their gradual transformation, as they slowly flip their narrative and challenge the established order? And behind the scenes, whispers echo of a monumental interview where Trump returns to CNN, leaving the MSM, CIA, and FBI in a frenzy. CNN holds the key to unveiling information that has long been suppressed.

But let's dig deeper. Who wields the unseen hand, manipulating the very fabric of reality? Who has captured the attention of Twitter, orchestrated changes within CNN, and exposed classified military operations in Ukraine? This enigmatic force fights against the looming threat of a fake alien invasion, safeguarding the interests of Trump and RFK Jr., and shedding light on the dark underbelly of child trafficking and human exploitation. They are the architects of the Great Awakening, leading humanity towards truth and liberation.

And now, in an unprecedented turn of events, Congress uncovers a treacherous web of deceit surrounding the fake alien invasion. Classified military operations, hidden deep within the underground machinations of the deep state, are exposed. These operations harbor groundbreaking technologies that could revolutionize the world, liberating us from the shackles of oil and gas dependency. Prepare for a seismic shift as the grip of the elite cabal, who profit from these finite resources, is shattered.

But that's not all. Brace yourself for the next chapter in the fight against human trafficking, as Congress prepares to launch an all-out assault on this heinous industry. Epstein, JP Morgan, the Clintons, and Biden are just a few names that will be dragged into the spotlight. The dark secrets of Pizzagate, once concealed by the CIA's mockingbird operations, will resurface. The time for truth and justice is at hand, exposing the sinister forces that have preyed upon our society for far too long.

Stay tuned, for timing is everything. The stage is set for a dramatic unraveling, where the powers that be will be held accountable. The truth will prevail, and a new dawn is on the horizon.

- JULIAN ASSANGE

[skrittkicking]

Can I have a uhhh 1 and 13 for Tinkk, 7 and 9 for Iovitus, and 8 and 14 for Ruckus. All with a side of 15 if you'd like!

Tinkk

What parts of their childhood trigger them?

most definitely their fathers death – tinkk was very close with their father and he died when they were around 10 years old or so. the specifics surrounding his death still need to be hashed out but he was a shady peacekeeper with ties to the inquest. they never knew of this side of him, of course, and still idolize him as a great family man to this day. aside from this, tinkk was also sort of ostracized as a progeny & during their time at college (they went to synergetics). they have very poor social skills, not quite understanding humor or picking up social cues. they weren’t bullied, per se, but more so just left out and kind of disincluded from things. tinkks interests were/are also very niche, and they didn’t seek out the more common (for lack of a better term) studies, like golemancy or … mathematics, or whatever. they never have had the desire to seek out new things.

What is their relationship with their family like?

its a mixed bag! they got along swimmingly with their father as a progeny, but, well, he kicked the bucket. the only other family they actively are in contact with are their older brother, egg, and their mother. they live with egg, but don’t get to see him very often due to his occupation as a courier; he’s usually traveling. when they do get to spend time with him though, they have a grand ol time! since SAB is (was? idk when it ended i havent touched it in a bit) going on, theyve been playing that with him because tinkk is a bonafide gamer at heart. as for their mother, well, its complicated. tinkk loves her dearly, of course, she’s their mother – but she’s an alcoholic, and has been since their father died. she has shown no signs of improvement and constantly berates and nitpicks tinkk’s living situation and how they’re wasting their college education. tinkk buys into it, feeling like they have to continue to talk to her because she’s the only parent they have left. they try not to take a lot of the stuff she says to heart, but can’t help it. 

Iovitus

What emotions or situations do they try to avoid? Why?

this question has already kinda? sorta? been answered in my last ask (which you can check out here), but ill expand a bit more. iovitus has always been more open with their emotions than the average war-riddled charr, so they don’t usually try to avoid it – with the exception of grief. iovitus hasn’t really allowed themselves to grieve the death of their warband & girlfriend, and instead tries to just not think about it when possible. it’s not really working out for them; they have constant nightmares about them & how they died, and never talk about it unless they’re havin’ a really rough time. they also tend to repress their anger and frustration towards people, especially those they care for. as for situations, iovitus generally tries to avoid most conflict when possible. they want people to like them, depending on others for validation at times, so they try their best to be malleable and flexible – even if it means they’re hurting themselves by doing so.

What are their insecurities?

mmm. id say their biggest insecurity is just their past, more specifically the event that lead to their exile from the legions. they feel a lot of shame towards their history in general, but especially that part. that being said, though, i think if given the opportunity, they would not go back and change it. its simply a part of them, and though they really miss their warband, they were already dead by the time iovitus committed their crime. being a gladium has opened up a lot of opportunities for iovitus, even though it has also caused them more pain than anything else. next to their past, they are also pretty insecure about their overall size and stature. iovitus is… teeny tiny! very little in comparison to other charr. they’re built like a beanstalk, too, and struggle to put on & keep any weight/muscle. iovitus got very sick when they were a young cub, and it stunted their growth as well as threw off their development/hormone rates, meaning they never quite grew properly. they used to be more muscular and in-shape than they are now when they were still doing legion work. thankfully, since they don’t really surround themselves with other charr, it’s usually never commented on.

Ruckus

What angers them?

ruckus honestly doesn’t anger very quickly in most situations. she likes to talk and interact with other people, and takes most things as a joke. that being said, though, she takes her work very seriously (she likes getting paid, y’hear) and will get pissy if you get in her way or mess things up. even if you pick on the people she likes, she’s more likely to laugh along  with you than come to their defense. or, occasionally, she’ll also engage in a bit of social bullying, all under the guise of it being good fun. when she’s angry, she’s like a whole other person – normally, ruckus is quite approachable and sociable, to the point where most would call her a friend. when angered, though, she’s cold, bitter, and brutal. if you really tick her off, ruckus has a tendency to be disgustingly petty, and will go out of her way to inconvenience you – or, worse, hurt you. ruckus is a big lady, and she’s not afraid to throw her weight around, both literally and figuratively. as a legionnaire and a pirate, she’s got plenty of people under her command, and is not afraid to call them into play if need be. 

What kind of people do they tend to gravitate towards?

other trans people. hahaha im just joking. or am i? yeah i am. (not really almost her entire pirate crew are trans folks) i wouldn't say ruckus gravitates towards a certain type of person – as stated before, she’s very friendly and outgoing for the most part, approaching strangers and navigating conversation as if she’d known them for 20 years. that being said, though, she does enjoy being around young, sort of pathetic people. something about their nature is very entertaining to her, and she enjoys playfully pushing their buttons. if she really likes you, ruckus may even offer a word of comfort or two, but that’s only reserved for a certain few. 

WHEW sorry for not answering 15 for each of them -- the post was already getting long and i didnt want to drag on too much :')))) a lot of smaller stuff like likes/dislikes aren't super easy for me to come up with, anyways ....

[ear-worthy]

Why Did These Podcasts Die? Why Podcasting Should Care About Canceled Shows?

Why do podcasts die? And how do they die? 

On TV, series cancellation is a very public event, with numerous network announcements and media articles. Sometimes, these announcements of cancellation even generate a tsunami of protest and the show is "uncanceled" and brought back, such as Chuck on NBC. Or the show is picked up by another network or streaming service, like Lucifer going from Fox to Netflix. 

 Sadly, podcasts die quietly. It almost begs the existential question: If a podcast dies and no one knows, has it really died? After all, its archives can live on for years.

By contrast, popular TV shows can have multiple lives in reruns. Travel to any TV market throughout the U.S. and you can find Seinfeld, Friends, and The Big Bang Theory reruns. I think we all know the tale of the original Star Trek TV series on NBC from 1966-1969 that was canceled and then resurrected in reruns, where it blossomed and became one of the most popular and profitable entertainment franchises in history. 

Sadly, podcast archives, or reruns to use the TV vernacular, have little or no second shelf life. That's a shame because there are some terrific podcasts that were canceled that can be still enjoyed via their archives.

In this article, we will discuss two podcasts that I have reviewed in the past that are no longer "alive." No new episodes are being made or planned as far as I know.

Sadly, unlike Theresa Caputo, I cannot communicate with podcasts that "have passed on." 

*****************************************************

First up is Internet Urban Legends, which was released in April 2021. This series was from Spotify and Parcast, in collaboration with Wheelhouse DNA, and was hosted by beauty gurus and internet sleuths, Loey Lane and Eleanor Snitchery.  The marketing line was: "they scour the web for the most chilling unsolved mysteries that have plagued the curious with endless questions. Paranormal and true crime obsessives can follow Loey and Eleanor’s journey into the unknown as they investigate the Internet’s biggest mysteries in search for the truth."

Each episode, Loey and Eleanor took a deep dive into one big story, investigating clues and conspiracy theories that surround the paranormal tale to try to determine if it is a hoax or a haunt.

Snitchery is known for her stunning cosplay on Instagram and TikTok, transforming herself into super-glam versions of Luigi, Harley Quinn, and the like. Lane is known for projecting a body-positive image and combines fashion and beauty advice with paranormal material on her popular YouTube channel. The two are good friends in real life, so their chemistry was genuine, and the show was interesting and quirky. The debut episode featured the terrifying story of “The Watcher House” in the small town of Westfield, New Jersey; the second episode chronicled the horrifying TikTok Tyson Chandler’s stalking encounter that went viral and got downright paranormal.

The show ran from April 2021 until March 2023, when Spotify pulled the plug on the show, along with 10 other shows, and the Gimlet and Parcast production companies. 

In March 2023, Spotify also canceled How to Save a Planet, Crime Show, and Medical Murders, Every Little Thing from Gimlet and Female Criminals, Crimes of Passion, Dictator, Mythology, Haunted Places, and Parcast’s Horoscope Today.

The last episode of Internet Urban Legends was about trees and the petrified forest. This message was included on the Spotify episode page of the podcast. "This is the last episode of Internet Urban Legends. On behalf of everyone here at Parcast, we thank you for listening!"

In this case, we know why this podcast was canceled. It was part of Spotify's "boy, did we screw up podcasting, and now we're desperate to fix it" strategy. 

Was this a great show? No, but it was a good show with a decent audience, engaging social media hosts, and a lively topic.

As manager of Ear Worthy, a publication that promises its readers podcast reviews, recommendations, and industry trend articles, I receive numerous marketing pitches for new podcasts, or podcasts beginning a new season. 

Why don't I, or other podcast review sites, receive marketing pitches for terrific podcasts that have been canceled but still possess a high interest level, a uniquely fascinating topic that isn't covered by other podcasts, or charismatic hosts? 

After all, one of my favorite all-time podcasts is Spectacular Failures with Lauren Ober, which ran for two seasons a few years ago. The story of high-profile business failures is still pertinent. 

Seinfeld and Friends reruns are everywhere on broadcast, cable, and streaming TV, whether I want them or not. Why can't Spotify continue to make money from a canceled podcast and, at the same time, offer listeners a show with a proven track record?

These episodes of Internet Urban Legendsare available in the archives and, for listeners with a taste for true-crime, the paranormal, and social media celebrities, this show is a perfect match. 

Why doesn't Spotify advertise the archives of this show? They can add new programmatic ads to monetize the show and continue to find new listeners. Just like broadcast TV plays Last Man Standing, The King of Queens, and Mike And Molly. 

How about limited-series podcasts? These shows are typically single-topic podcasts with anywhere from five to 12 episodes. These podcasts can be some of the most powerful shows in the podcast industry.

Take, for example, The Nightingale Of Iran. The show ran from February 2024 until April 2024 with nine episodes and two bonus episodes. It is an exquisitely crafted and moving show about family, geopolitics, and the consequences when these two elements clash.

What if I told you that a Jewish singer was a national celebrity in the nation of Iran? You'd probably scoff and head to a fact-checking service to confirm my inaccuracy. With the socio-political and religious events in the 40 years, you'd be right in answering, "impossible"

However, politics is like the weather in its capriciousness and shifting winds. Back in the 1950s, Tehran under the Shah was a cultural center of the world and called the Paris of the Middle East.

It was a golden age for Jews in Iran. In the 1950s, a religious Jew – Younes Dardashti – became a national celebrity, singing at the Shah’s palace and on the radio. In the 1960s, his son Farid became a teen idol on TV. They were beloved by Iranian Muslims. 

 Younes Dardashti was so famous that he was known as The Nightingale Of Iran. The nightingale is the official national bird of Iran. In medieval Persian literature, the nightingale's enjoyable song has made it a symbol of the lover who is eloquent, passionate, and doomed to love in vain. In Persian poetry, the object of the nightingale's affections is the rose, which embodies both the perfection of earthly beauty and the arrogance of that perfection.

But at the height of their fame, Younes Dardashti and his Farid left the country. Why? Why would a revered entertainer and his teen idol son leave a nation? Would Taylor Swift bolt from the U.S. for Sweden or France? Not without Travis Kelce!

It has always been a mystery to host Danielle Dardashti and her sister Galeet. Danielle and Galeet are the granddaughters of The Nightingale Of Iran.

Why did their family leave Iran at the height of their fame? Now, in this enthralling documentary podcast series, the sisters reveal painful secrets unspoken for generations. 

This nine-part podcast will be relevant for years, even decades. But how can listeners find it after its initial run? Other than Danielle and Galeet Dardashti, who will be promoting this podcast? 

It's a show with a strong and poignant message about family, inclusion, living together, and the roots of racial hatred. 

The show should not be forgotten after April 2024. And, to be fair, there are thousands of ear-worthy limited run podcasts that deserve either reincarnation. 

I hope that important people in podcasting receive this message and develop a system by which either canceled podcast series or limited-run podcasts can be revived with new programmatic ads to monetize them, and re-released to podcast fans who deserve the full breadth of the content podcasting has to offer. Not just the flavor of the month.

[shadowlineswriting]

Berendt

Midnight in the Garden of Good and Evil, by John Berendt, is a pretty famous book. This was Berendt's first book. It had an initial printing of 25,000 copies but stayed on the New York Times Best-Seller list for 216 weeks. To this day, it's still one of the longest-standing NYT best-sellers.

Two years after the book came out, the city of Savannah had a 46% increase in tourism. Twenty years later, the tourism escalated to $2.2 billion in revenue.

The cover, which is an image of the Bird Girl statue, immediately became so iconic after the book's publication that the statue had to be moved to a museum in order to preserve the cemetery where it was originally located.

Beyond the financial and pop culture legacies of the book, it had a big impact on the literary world as well. This is often credited as being the first non-fiction novel--terms that are generally at odds, since "novels" are usually fiction by default.

Obviously, I had to read it.

It's called a non-fiction novel because the story is almost completely true. This is a factual retelling of Jim William's story. He was the first man in Georgia to be tried for the same murder four times. He also is connected to Mercer House, which he owned, which is a famous place in Savannah. In fact, they filmed scenes of Glory there (which is also covered in the book, since it happened while the Jim Williams trials were going on).

The reason it's considered a non-fiction novel is because Berendt created a narrator who's telling the story as though he actually saw the events. Some of that is true, because Berendt did truly speak with many of the real-life characters featured. He just wasn't as present as the narrator in the story. As such, though it's a very true tale, it's written like a novel. Thus, you get a non-fiction novel.

It took me longer to read than I expected. The first half is mostly exposition and backstory. In order to understand the trials, and the people involved, you do have to have an understanding of Savannah culture and society. The first half of the book read, to me, almost like a travel piece or a textbook on Savannah. It wasn't that it wasn't interesting, but it was very dry, so I struggled to wade through that.

The second half went much faster. The trials actually didn't take up that much of the story, but I appreciated how in-depth Berendt went with all of the events surrounding the trial.

I doubt I'd read this again, but honestly, it was fantastic. Highly recommend for anyone interested in history, learning about the culture in Georgia, or who enjoys a crime story.

The book was so instantly popular that a movie was made very shortly after the book came out. I haven't seen it, but I want to. The fun thing is that many of the characters actually played themselves!