#not in retrospect days later

[brennacedria]

So the anesthesiologist was in the room when I got back here, and after a minute he and Brian were just chatting about Brian's stones and we're they like, recessive or what? And I just bust out, after 5 minutes in the room completely silent, "you know, like the peas" with no context whatsoever.

Thank God I remembered Mendel's name after a second to explain myself, cause at first I'm like, "...you know, like in 10th grade?" Also thank God to the anesthesiologist for remembering it enough then to be "wait wait I remember this kind of" and pulling it up on wiki on his phone to read up really fast

But sure, my brain's COMPLETELY normal 😆 just pulling 10th grade bio out of thin air

[street-corner-felines]

Zero Day Director commentary - With actor Andre Keuck

[pilmyeol]

JUST REMEMBERED THE FIRST TIME I EVER GOT DUMPED. CRYING…

[samanthamulder]

IT'S HAPPENING

[camgirlkaminari]

hey my friends and i are watching the bnha musical where kurogiri is basically shiggy's vape pen but with glowing eyes (in real he's a smoke machine we think) and we were wondering what flavour vape he is? i thought you would know the answer to this.

ok so first of all, SO glad you came to me with this. this is so important. initially, my first impulse was to say OBVIOUSLY since he is purble, he must taste like grape. but then i was like no that's too obvious. too simple. perhaps he is blackberry. or funnier, watermelon breeze. or whatever. but I can't choose there's so many hilarious flavors he could be. my man is the reanimated corpse of a seventeen year old who is in charge of a bunch of unhinged 20 somethings, perhaps he is whatever Slapple Menthol™ must be. or, considering this is shiggy smoking this man, perhaps he is a clove situation: no tobacco, all spice (all the sigma males smoke clove.) eventually, defeated, i had to consult my crack team of scientists (goof chat) on this matter and it was very much a consensus:

he purble. so he taste like

[around-your-throat]

i haven't paid attention to homestuck for a long time but i remember when the 10th anniversary happened and they released the epilogue prologue which was the Best Thing Ever and then a week later released the epilogue which was the Worst Thing Ever. that was really fun in retrospect ^^

[dittolicous]

Girl you liked their post about it! asdfghjkl I don't know if blocking keeps people from showing up on the 'for you' thing but it's worth a shot, you nearly gave me a heart attack 😱😮‍💨

my brain is not a trustworthy source, especially after work! im really bad about connecting usernames to art styles, i hardly ever pay attention to names, just going 'oh its [insert art style] person!' like i still think of them as the mha artist cuz thats where i saw their art first

idk how 'for you' works though, cuz it can show bangers but then sometimes... you get some very not bangers

[strrawberrymilk]

Getting these insane ads on Instagram lately that are like “depressed? do ketamine alone in your room :)” which it’s from like some health guru thing but it’s so jarring to essentially have my intrusive thoughts be given a physical medium through which to speak to me

[gxlden-angels]

Episode 4 of SHP is paid so you have to have a prime video sub for it. I don't think it's worth it to buy prime just for the documentary. I'm gonna do my episode 4 watch through and live thoughts later since I have prime student. For now, I am perfecting the art of the frittata

[thegayestofagendas]

People are so fucking heartless and disrespectful when it comes to people panhandling. 2 dudes, can't be much older than me, were asking for a bit of cash in front of the dollar store in my town. A couple walks by, they ask if he's got a bit of change to spare. The man of the couple kinda gleefully says he doesn't, his wife fucking tells him "you don't have to answer them" loud enough that I, and likely the 2 dudes, heard her.

The fuck you don't? Dudes are just dudes asking for some help. Like fuck the glee when telling a guy you can't spare a bit of change, but also fuck the idea that you shouldn't talk to a guy asking for a bit of help. It cost nothing to say "sorry I don't". They are people with likely no better options. Be fucking nice.

[jasontoddiefor]

Yeah sure we’ve all binged a long fic, but have you ever read a WIP and followed someone’s life?

Tidbits of information - (“I graduated today!”) - and small joys (“It’s my birthday!”) and you get to be there to say “This chapter made me cry, happy birthday, thank you for gifting us this”.

I remember reading this fic of someone at the end of high school, older than me then. They seemed infinitely wise, spoke of their future career and getting into the college they wanted. I remember them posting on days they felt like nothing could bring them down - and on days the whole world did and it’s the aftermath of a hospital visit. Cancer, I think it was, their father. I got to the end of the story, I know their father was fine, but also they got to finish their WIP. I graduated three years later than them, still dutifully wrote thank you notes in every comment. I wonder if they remember me, or just the collective of people reading the story as it updates.

Four years ago I was into my first year of university, my first year of figuring out being out in public spaces. I made excuses as to why my name didn’t match my paperwork and read a fic on the train, the same five chapters over and over again for the next years as I thought the story abandoned. It updated this week after such a long hiatus, I left another thank you comment.

There’s an author I love, they update their stories like a clockwork. When they don’t, I check their blog, just to see if their doing alright, not because I feel like they owe me, just to ensure whether I better get out my laptop to write that really detailed university level essay chapter analysis to get them smiling when their day sucked.

And then, once, when I was 17, I read a fic that hadn’t updated in over a decade. I wasn’t even in primary school when it started posting. On the last chapter, I left a comment that, in retrospect, was horribly rambly and most likely full of grammar mistakes. The author replied and though I couldn’t see their face, I thought of them crying. They were married now, had children, and hadn’t thought about this fic in years. They went through their files again, found another half written chapter and an outline. I got two new chapters to read that year.

And then, recently, someone told me they got back into writing original fiction because of my comments. I get to read nearly weekly chapters.

I love binge reading a finished fic, but nothing is ever going to top the feeling of anticipation of waiting for a chapter, the pure joy when someone tells you I was done with this, but you made me think of it again, so this is for you.

Anyway, I think we should romanticize reading WIPs more, growing up alongside the authors writing the stories we love.

[brownshoes]

Oh my god I just found the belly dancer outfit I begged my parents for when I was 9? 10? Bc my family went to see a belly dancer perform and I got really obsessed with her in a way I couldn't understand and thought I wanted to be a belly dancer

[autistichalsin]

In retrospect, four years later, I feel like the Isabel Fall incident was just the biggest ignored cautionary tale modern fandom spaces have ever had. Yes, it wasn't limited to fandom, it was also a professional author/booktok type argument, but it had a lot of crossover.

Stop me if you've heard this one before: a writer, whether fan or pro, publishes a work. If one were to judge a book by its cover, something we are all taught in Kindergarten shouldn't happen but has a way of occurring regardless, one might find that there was something that seemed deeply problematic about this work. Maybe the title or summary alluded to something Wrong happening, or maybe the tags indicated there was problematic kinks or relationships. And that meant the story was Bad. So, a group of people takes to the Twittersphere to inform everyone who will listen why the work, and therefore the author, are Bad. The author, receiving an avalanche of abuse and harassment, deactivates their account, and checks into a mental health facility for monitoring for suicidal ideation. They never return to their writing space, and the harassers get a slap on the wrist (if that- usually they get praise and high-fives all around) and start waiting for their next victim to transgress.

Sounds awful familiar, doesn't it?

Isabel Fall's case, though, was even more extreme for many reasons. See, she made the terrible mistake of using a transphobic meme as the genesis to actually explore issues of gender identity.

More specifically, she used the phrase "I sexually identify as an attack helicopter" to examine how marginalized identities, when they become more accepted, become nothing more than a tool for the military-industrial complex to rebrand itself as a more personable and inclusive atrocity; a chance to pursue praise for bombing brown children while being progressive, because queer people, too, can help blow up brown children now! It also contained an examination of identity and how queerness is intrinsic to a person, etc.

But... well, if harassers ever bothered to read the things they critique, we wouldn't be here, would we? So instead, they called Isabel a transphobic monster for the title alone, even starting a misinformation campaign to claim she was, in fact, a cis male nazi using a fake identity to psyop the queer community.

A few days later, after days of horrific abuse and harassment, Isabel requested that Clarkesworld magazine pull the story. She checked in to a psych ward with suicidal thoughts. That wasn't all, though; the harassment was so bad that she was forced to out herself as trans to defend against the claims.

Only... we know this type of person, the fandom harassers, don't we? You know where this is going. Outing herself did nothing to stop the harassment. No one was willing to read the book, much less examine how her sexuality and gender might have influenced her when writing it.

So some time later, Isabel deleted her social media. She is still alive, but "Isabel Fall" is not- because the harassment was so bad that Isabel detransitioned/closeted herself, too traumatized to continue living her authentic life.

Supposed trans allies were so outraged at a fictional portrayal of transness, written by a trans woman, that they harassed a real life trans woman into detransitioning.

It's heartbreakingly familiar, isn't it? Many of us in fandom communities have been in Isabel's shoes, even if the outcome wasn't so extreme (or in some cases, when it truly was). Most especially, many of us, as marginalized writers speaking from our own experiences in some way, have found that others did not enjoy our framework for examining these things, and hurt us, members of those identities, in defense of "the community" as a nebulous undefined entity.

There's a quote that was posted in a news writeup about the whole saga that was published a year after the fact. The quote is:

The delineation between paranoid and reparative readings originated in 1995, with influential critic Eve Kosofsky Sedgwick. A paranoid reading focuses on what’s wrong or problematic about a work of art. A reparative reading seeks out what might be nourishing or healing in a work of art, even if the work is flawed. Importantly, a reparative reading also tends to consider what might be nourishing or healing in a work of art for someone who isn’t the reader. This kind of nuance gets completely worn away on Twitter, home of paranoid readings. “[You might tweet], ‘Well, they didn’t discuss X, Y, or Z, so that’s bad!’ Or, ‘They didn’t’ — in this case — ‘discuss transness in a way that felt like what I feel about transness, therefore it is bad.’ That flattens everything into this very individual, very hostile way of reading,” Mandelo says. “Part of reparative reading is trying to think about how a story cannot do everything. Nothing can do everything. If you’re reading every text, fiction, or criticism looking for it to tick a bunch of boxes — like if it represents X, Y, and Z appropriately to my definitions of appropriate, and if it’s missing any of those things, it’s not good — you’re not really seeing the close focus that it has on something else.”

A paranoid reading describes perfectly what fandom culture has become in the modern times. It is why "proship", once simply a word for common sense "don't engage with what you don't like, and don't harass people who create it either" philosophies, has become the boogeyman of fandom, a bad and dangerous word. The days of reparative readings, where you would look for things you enjoyed, are all but dead. Fiction is rarely a chance to feel joy; it's an excuse to get angry, to vitriolically attack those different from oneself while surrounded with those who are the same as oneself. It's an excuse to form in-groups and out-groups that must necessarily be in a constant state of conflict, lest it come across like This side is accepting That side's faults. In other words, fandom has become the exact sort of space as the nonfandom spaces it used to seek to define itself against.

It's not about joy. It's not about resonance with plot or characters. It's about hate. It's about finding fault. If they can't find any in the story, they will, rest assured, create it by instigating fan wars- dividing fandom into factions and mercilessly attacking the other.

And that's if they even went so far as to read the work they're critiquing. The ones they don't bother to read, as you saw above, fare even worse. If an AO3 writer tagged an abuser/victim ship, it's bad, it's fetishism, even if the story is about how the victim escapes. If a trans writer uses the title "I Sexually Identify as an Attack Helicopter" to find a framework to dissect rainbow-washing the military-industrial complex, it's unforgivable. It's a cesspool of kneejerk reactions, moralizing discomfort, treating good/evil as dichotomous categories that can never be escaped, and using that complex as an excuse to heap harassment on people who "deserve it." Because once you are Bad, there is no action against you that is too Bad for you to deserve.

Isabel Fall's story follows this so step-by-step that it's like a textbook case study on modern fandom behavior.

Isabel Fall wrote a short story with an inflammatory title, with a genesis in transphobic mockery, in the hopes of turning it into a genuine treatise on the intersection of gender and sexuality and the military-industrial complex. But because audiences are unprepared for the idea of inflammatory rhetoric as a tool to force discomfort to then force deeper introspection... they zeroed in on the discomfort. "I Sexually Identify as an Attack Helicopter"- the title phrase, not the work- made them uncomfortable. We no longer teach people how to handle discomfort; we live in a world of euphemism and glossing over, a world where people can't even type out the words "kill" and rape", instead substituting "unalive" and "grape." We don't deal with uncomfortable feelings anymore; we censor them, we transform them, we sanitize them. When you are unable to process discomfort, when you are never given self-soothing tools, your only possible conclusion is that anything Uncomfortable must be Bad, and the creator must either be censored too, or attacked into conformity so that you never again experience the horrors of being Uncomfortable.

So the masses took to Twitter, outraged. They were Uncomfortable, and that de facto meant that they had been Wronged. Because the content was related to trans identity issues, that became the accusation; it was transphobic, inherently. It couldn't be a critique of bigger and more fluid systems than gender identity alone; it was a slight against trans people. And no amount of explanations would change their minds now, because they had already been aggrieved and made to feel Uncomfortable.

Isabel Fall was now a Bad Person, and we all know what fandom spaces do to Bad People. Bad People, because they are Bad, will always be deserving of suicide bait and namecalling and threatening. Once a person is Bad, there is no way to ever become Good again. Not by refuting the accusations (because the accusations are now self-evident facts; "there is a callout thread against them" is its own tautological proof that wrongdoing has happened regardless of the veracity of the claims in the callout) and not by apologizing and changing, because if you apologize and admit you did the Bad thing, you are still Bad, and no matter what you do in future, you were once Bad and that needs to be brought up every time you are mentioned. If you are bad, you can NEVER be more than what you were at your worst (in their definition) moment. Your are now ontologically evil, and there is no action taken against you that can be immoral.

So Isabel was doomed, naturally. It didn't matter that she outed herself to explain that she personally had lived the experience of a trans woman and could speak with authority on the atrocity of rainbow-washing the military industrial complex as a proaganda tool to capture progressives. None of it mattered. She had written a work with an Uncomfortable phrase for a title, the readers were Uncomfortable, and someone had to pay for it.

And that's the key; pay for it. Punishment. Revenge. It's never about correcting behavior. Restorative justice is not in this group's vocabulary. You will, incidentally, never find one of these folks have a stance against the death penalty; if you did Bad as a verb, you are Bad as an intrinsic, inescapable adjective, and what can you do to incorrigible people but kill them to save the Normal people? This is the same principle, on a smaller scale, that underscores their fandom activities; if a Bad fan writes Bad fiction, they are a Bad person, and their fandom persona needs to die to save Normal fans the pain of feeling Uncomfortable.

And that's what happened to Isabel Fall. The person who wrote the short story is very much alive, but the pseudonym of Isabel Fall, the identity, the lived experiences coming together in concert with imagination to form a speculative work to critique deeply problematic sociopolitical structures? That is dead. Isabel Fall will never write again, even if by some miracle the person who once used the name does. Even if she ever decides to restart her transition, she will be permanently scarred by this experience, and will never again be able to share her experience with us as a way to grow our own empathy and challenge our understanding of the world. In spirit, but not body, fandom spaces murdered Isabel Fall.

And that's... fandom, anymore. That's just what is done, routinely and without question, to Bad people. Good people are Good, so they don't make mistakes, and they never go too far when dealing with Bad people. And Bad people, well, they should have thought before they did something Bad which made them Bad people.

Isabel Fall's harassment happened in early 2020, before quarantine started, but it was in so many ways a final chance for fandom to hit the breaks. A chance for fandom to think collectively about what it wanted to be, who it wanted to be for and how it wanted to do it. And fandom looked at this and said, "more, please." It continues to harass marginalized people, especially fans of color and queen fans, into suffering mental breakdowns. With gusto.

Any ideas of reparative reading is dead. Fandom runs solely on paranoid readings. And so too is restorative justice gone for fandom transgressions, real or imagined. It is now solely about punitive, vigilante justice. It's a concerted campaign to make sure oddballs conform or die (in spirit, but sometimes even physically given how often mentally ill individuals are pushed into committing suicide).

It's a deeply toxic environment and I'm sad to say that Isabel Fall's story was, in retrospect, a sort of event horizon for the fandom. The gravitational pull of these harassment campaigns is entirely too strong now and there is no escaping it. I'm sorry, I hate to say something so bleak, but thinking the last few days about the state of fandom (not just my current one but also others I watch from the outside), I just don't think we can ever go back to peaceful "for joy" engagement, not when so many people are determined to use it as an outlet for lateral aggression against other people.

[kingdomoftyto]

ohhHHH MY GOD I just got to episode 19 (The Sandstorm) in my WtNV relisten and I thought I remembered this one pretty vividly--the low hum, KILL YOUR DOUBLE, the Smiling God, etc--but the INSTANT I heard the name "Strex Corp" I felt ACTUAL dread, like someone had just reached into the depths of my mind and pulled out the name of a forgotten demon

[maxwellatoms]

In one of your last answers, you said “series reboots are usually pretty gross and sad”, and I was wondering if you could expand on that? Assuming “reboot” covers any kind of continuation of a currently cancelled or finished show (and maybe that’s the wrong assumption!), from the outside looking in it feels like a pretty mixed bag. On one hand, if I love XYZ Show, it’s cool that I get more stories with these characters and another chance to support XYZ Show and its creators. On the other, it definitely feels like a lot of ideas can only get funding if they’re tied to something already, meaning creatives are having to now tie whatever cool idea they have to some reboot/relaunch/retread, which can feel pretty disheartening if you don’t want to do a reboot/relaunch/retread. Is that a similar feeling from your side of the industry?

Thank you so much for all your answers and insight!

Usually reboots and spin-offs are just cash grabs. It happens a lot in animation. In fact, I would argue that the entire industry is just one big cash grab now. In the 80s, everyone complained that cartoons were just half-hour commercials for toys. And they were right. And we're right back there, but now that you can't legally push toys all day, it's just general "IP". Mugs, posters, more spinoffs, whatever.

I was offered three show running gigs over the pandemic. All reboots that I would consider unwise to pursue because they were "of a different time" and didn't (in my opinion) have anything more to say. Two of them were properties created by notorious sex pests, so there's also that. The animation industry loves to prop up its sex pests.

I turned all of them down, partially because I didn't respect the original creators but also because none of them had anything going for them except just being "more of the same".

I don't think any of those projects survived the intervening years, so in retrospect I maybe should've taken the job. I'd probably feel a bit gross, but at least I'd have floors in my house.

The entertainment industry is in a bad spot. The whole thing. I've had I don't know how many pitch meetings in the last few years, and they all start the same way:

"Hey! Before we start, we just want to let you know that we're not actively producing anything right now. We think maybe soon, but we won't be picking anything up today..."

And then later:

"The little we are doing is IP, so if you have a new take on our IP or a new IP you're connected to that you can bring in, that'd be great."

I always wanted to make original stuff. There came a time when I'd had my fill of Billy & Mandy and wanted to do something else new and original. That never manifested, and I was constantly being offered IP to produce. I turned too many of those down, maybe, before deciding that it was probably better that I run the IPs that mean something to me rather than having some hack do it.

But now those jobs have all gone to celebrities and fallen live-action writers, who are also slowly being eaten by the system. WB was hot for Scooby stuff a few years back, so I pitched some ideas. A few of them were turned down for being "off-brand" in a variety of ways. WB has now made (I think) all of those off-brand shows (or something close) with celebrity show runners.

I was going through a whole Midlife Impostor Syndrome thing recently where I was wondering if maybe I don't just suck. Like, it's weird that for a couple of decades I'd have people calling me trying to get me to run shows, and now nobody will call me back about the possibility of a design job.

Talking to some friends and realizing that they were in a similar situation helped me feel like I wasn't alone. That was nice. Talking to some of the most talented colleagues in my industry made me made me realize that those people weren't getting jobs either. That was unnerving. Talking to complete strangers in other parts of the entertainment industry now has me thinking that the whole house of cards is coming down. That's real concerning, yo.

It's hard not to think it's purposeful, when deranged billionaires own the entirety of our media and want to shape a society where they can't be criticized. We're letting wealthy tech bros firebomb the very heart of our culture, and it's weird that no one is talking about it. Because (for now) we still have that capability.

[sayruq]

On April 6, Hamas fighters launched a complex ambush against Israeli soldiers patrolling the Zanna neighborhood east of the central Gaza city of Khan Younis. The area, lying around two kilometers from the boundary fence that separates Gaza from Israel, had been under the control of the Israeli military since it was invaded five months earlier. Hamas claimed that nine soldiers were killed in the attack; Israel admitted to four dead and several injured. Hamas later released an eight-minute video documenting its fighters planning the attack, setting up the ambush, and carrying out the elaborate, multistage operation. A day after the attack, the Israeli army withdrew from Khan Younis, having destroyed much of the city but not, it seems, Hamas’s ability to fight there. On May 6, Hamas announced that it had accepted a cease-fire proposal drafted by Egyptian and Qatari mediators with the involvement of President Joe Biden’s personal envoy to the cease-fire talks, CIA Director William Burns. That night, Israel responded by beginning its long-threatened invasion of Rafah. As of today, at least 100,000 people have already fled the city. (The United States has indicated that it does not consider an invasion to have officially begun, and Biden told CNN on Wednesday that he is prepared to pause weapons transfers to Israel if the situation escalates.) The Zanna operation, Hamas’s approval of the cease-fire proposal, and Israel’s attack on Rafah together explain the dynamics prolonging this war—one that, no matter what Israel says, it has comprehensively failed to win. There is a myth, propagated by Israeli Prime Minister Benjamin Netanyahu and his allies, that a “total victory” against Hamas is only one invasion of Rafah away. In this story, the bombardment of the Gaza Strip and the destruction of its civilian life is conflated with the destruction of Hamas itself. There are doubtless many people who do not see a contradiction there. For them, Rafah, whose pre-war population of 250,000 has quintupled with refugees from other parts of Gaza, needs to suffer the same fate as Gaza’s other cities. But the Zanna operation, among others, tells a different story: Despite Israel’s causing so much devastation that the UN estimates it may take decades to rebuild Gaza, Hamas and its allied groups have continued to function across the ruined Strip. Following its withdrawal from Khan Younis, the Israeli army carried out an incursion into the Nuseirat refugee camp and neighboring Mughraqa. But resistance on the ground was stiff. After several Israeli soldiers were killed in an ambush in Mughraqa that reportedly utilized an unexploded US-made Israeli missile, the Israelis withdrew. Meanwhile, the east-west corridor that the Israeli army has set up to bisect the entire Gaza Strip has been under frequent mortar, rocket, and sniper attacks. And on Sunday, rocket fire from southern Gaza killed four Israeli soldiers at a staging area in the Kerem Shalom military base. Palestinians are not just continuing to fight in Gaza; there is clear coordination, command, and control—and, with many of the attacks filmed, a coherent media strategy.

In retrospect, it seems obvious that, despite Israel’s bluster, Hamas has been confident for months in its ability to survive. One key piece of evidence for this is its handling of the cease-fire negotiations. The group has insisted on several conditions for a potential cease-fire: that Gaza’s displaced population be allowed to return unfettered to the north, that Israeli forces withdraw from Gaza, that any cease-fire lead to a formal end to the war, and that the Israelis in Hamas custody be released only in exchange for Palestinians in Israeli prisons. Back in February, for instance, Netanyahu called the group’s cease-fire conditions “delusional.” In the following weeks, the Israeli army raided Shifa and Nasser hospitals. The army’s chief of staff, Herzi Halevi, told soldiers the raids were meant to put pressure on Hamas during negotiations. By the time Israel pulled out, Gaza’s two largest hospitals had been reduced to burned-out husks, their courtyards the site of mass graves. But the pressure did not appear to work—Hamas did not budge from its demands.In fact, if anyone appears to be rattled, it’s Israel. With negotiations underway in Cairo last week, and reports indicating that an agreement might be in the works, Netanyahu announced that he would order an attack on Rafah “with or without a deal” to free the Israelis held by Hamas. A cynic could be forgiven for thinking the Israeli leader prefers to prolong the war over securing the freedom of his citizens. Other Israeli officials kept pounding the drum for a Rafah invasion. Shimon Boker, a deputy mayor of Beersheba who is tied to Netanyahu’s party, went on Israeli TV to say, “I think we should have gone into Rafah yesterday. There are no uninvolved [innocent] civilians there. You have to go in and kill and kill and kill.” There are 600,000 children in Rafah.

Perhaps Netanyahu was banking that his threat would torpedo the talks. Indeed, by the weekend, it seemed like the potential accord had fallen through. Hamas’s negotiators flew back to Qatar, but so did Burns, and indirect talks continued there. Hamas’s announcement on Monday that it had accepted the cease-fire proposal seemed to take the Israelis by surprise. Within hours, they were messaging that the deal wasn’t what they had been led to believe it would be—an interesting approach, considering the central role of the head of the CIA in drafting it.On the other hand, the Biden administration seemed warm to the development, before reverting to form. From the officials who first brought us “UN Security Council resolutions are not binding” came “accepting the cease-fire proposal is not accepting the cease-fire proposal.” But while Burns, the Israelis, Egyptians, Qataris, and Hamas resumed talks in Cairo—though they have apparently now broken up—Israeli tanks rumbled into Rafah under the cover of intense air strikes and artillery shelling that have killed dozens already, including many children. For months, world governments, the UN, virtually every humanitarian organization, and even the Biden administration have warned that a full-scale assault on Rafah would result in a bloodbath. With that in mind, it could be that the Israeli leadership truly believes that such a massacre could be what it takes to force Hamas to back off its demands. Or maybe it’s a last roll of the dice for a government that has little to show for this war other than tens of thousands of Palestinian corpses and millions of tons of rubble. This is a leadership that has failed catastrophically; its strategy of “managing the conflict” has failed, its attempt to integrate with the broader Middle East by bypassing the Palestinians has failed, and the way it has prosecuted this war has led to global revulsion even among allies. It is on trial for genocide at the International Court of Justice, the International Criminal Court may issue warrants against it, and it is unlikely to survive whatever political transition occurs in Israel after the war. This might be the last chance to bring this horror—a mass slaughter of children on a historically unprecedented scale—to an end. The US president has been the one person in the world with the leverage to force Israel to stop. If he decides, as he has many times before, to defer to the murderous whims of Israel’s fanatical, right-wing government, we may find ourselves witnessing new levels of savagery.