#that’s what we in the industry call foreshadowing

[billysboner]

i could wax poetic for hours about max as both a victim of civilization and a civilizing force in nassau but instead all i’ll say is that it’s INCREDIBLY telling that the first thing she does when she realizes the girls are stealing from jack is expose them and position herself as the only one who can control an establishment of thieves

[professorcalculusstanaccount]

“Robbie is gone! I’m still here! And I refuse to live in his shadow!”

Rastapopoulos himself may be out of the picture, but his ghost continues to haunt those who were caught in his web.

A collaboration with @aboardthescheherazade using her OC Marlene Katz - an actress Tintin tries to save in Cigars of the Pharaoh!

Five years later and Tintin is baffled to see Hollywood starlet Marlene Katz turn up at his doorstep asking for help. Formerly under the thumb of Cosmos Pictures, Marlene became an unsuspecting witness to Rastapopoulos’ criminal activity and now the mob is after her, seeking to tie up some loose ends. To top things off, she is due to make a public appearance at The Golden Palm, a prestigious film festival. After years of hiding, Marlene is determined to get her acting career back on track, and this film may be her big break.

Tintin is highly suspicious. Chang, on the other hand, is utterly star struck, and after noticing an uncanny resemblance between the two hatches a ridiculous scheme that may finally put an end to this particular problem. It might just work, but Marlene makes the last minute decision to also go undercover, feeling immense guilt over having Tintin and Chang risk their lives for her.

While Tintin is running around in heels and beating up mobsters Haddock is away on a weekend break with Ramo Nash. Before leaving he asked Chang to keep Tintin away from any incidents and to promise not to throw any house parties.

This was my first collab on this blog and I had a lot of fun bouncing ideas off with Vaye. Her blog was one of the first Tintin blogs I followed - definitely check it out, it’s an absolute treasure trove of resources and research! Below are a few notes of stuff we discussed while making this:

- After the Blue Lotus, Marlene breaks away from Rastapopoulos and pulls back from the film industry to lay low, teaching dance classes instead. He keeps trying to come back to her, leaving her exhausted and paranoid. Since Rastapopoulos always considered Marlene to be pretty stupid he never made much of an effort to properly hide his criminal activities from her, but Marlene was able to slowly piece things together...

- This adventure takes place after St. Benezet’s Basement (the boarding school story) and before Call of the Songbird (Tintin Fucks Up and Steals A Whistle). Tintin is still in the grips of trauma from the canon stories. Chang is starting to settle in. Haddock and Nash’s relationship is in full swing, but they are keeping things quiet from everyone else. 

- In some sketchbook comics I did to flesh out ideas there’s hints of Tintin being gay and asexual, his complete lack of interest in Hollywood actresses and his mild irritation of people’s judgements being clouded by crushes! Chang’s attraction to Marlene however, foreshadows his feelings for Tintin later on down the line.

- There’s a role reversal theme going on here. Both Tintin and Marlene are victims of Rastapopoulos but in very different ways. By playing each others’ roles they both can get a clearer picture of how Rastapopoulos hurt people, and therefore a better understanding of their own traumas. Tintin is usually spontaneous and rarely makes himself known, but here he is playing a set character. Marlene as an actress, on the other hand, is used to receiving direction from others, but circumstance pushes her to improvise. I can imagine her using her skills as an actor to get into character as an ace reporter to fake some much needed bravery!

- Marlene’s disguise is literally just stuff she pulls from Tintin’s and Chang’s closets. She’s wearing Tintin’s trenchcoat, dress shirt and suspenders and Chang’s spectator shoes, trousers and scarf!

- Marlene is a very skittish person but will be compelled to do what she believes is the right thing. As Vaye put it, “Marlene’s bravery under fire is that she’s like the one person in a room who’s willing to get a spider outside...” Marlene is also older than Tintin and pretty much views him as a child, even though he’s in his early 20s at this point. She feels incredibly guilty about what Rastapopoulos did to him and the fact he’s risking his life for her. She feels some level of responsibility for him.

This all started because I thought it would be cool for Tintin to beat some guys up in drag

[genericpuff]

All That Glitters is Not Feminism - An Analysis of LO's Brand of "Feminism" and What Remains of its Fanbase (The Twist)

Alright y'all, I've been waiting a hot minute to talk about this because I wanted to see how it fully panned out before saying anything about it. And it's not even specifically about LO, but I do think it's very adjacent to it in a way that I'm sure you'll be shocked to hear. Much of it speaks to how we prop up white writers even at the expense of POC.

This is 'the twist' attached to my first post that I made just a couple hours ago that concerns an entirely other topic but I feel ties into this subject very well.

If you haven't heard, there's this author who recently fucked around in the Del Rey publishing scene.

Her name is Cait Corrain.

In the original tweet calling this person out, names were not dropped, but it was made very clear that what Cait did was unacceptable behavior.

You can read the entire thread that started it all from Xiran here:

There's also a GREAT recap thread from one of the affected authors, Bethany Baptiste:

I want to make it clear that Cait Corrain isn't just a debut author.

Cait Corrain is - or now, was (foreshadowing is a literary device that-) - a debut author who had an agent, a publishing deal with Del Rey (an imprint of Random House which is a MAJOR publisher) and even an upcoming Illumicrate deal - meaning, her book was going to be packaged in a monthly loot crate subscription shipped directly to people's doors, quite possibly one of the best marketing deals a debut author could ever get, usually unheard of in this industry. All the pre-reviews were strong and positive.

Cait's book was literally set up for success. All she had to do was sit back, relax, and watch the fruits of her labors roll in. She had written the book. It was ready for release. The hard part was technically over.

But I guess the racism brainrot got to her because as it turns out, since April - for EIGHT MONTHS - she's been making alternate accounts on GoodReads to review bomb the indie and debut works of her friends and peers, most of whom were POC and did not have the same opportunities set up for them as she did. There are loads of receipts to back this up that you can find in those above threads ^^^

To say that this is appalling is an understatement. This was an intentional and deliberate act of racism by a white queer writer who claimed to be "jealous" - of what, I can't imagine - so much so that she deliberately sabotaged her peers, people who had supported her and her book.

And then when she got caught? She doubled down on it and claimed it was a "friend", also an alternate account she made up.

The exchange between her and this made-up person is actually the funniest shit out of this entire thing, it's so poorly written and as soon as people noticed the time stamps were out of order, that was when it truly cemented her newfound clown status.

"oooooh he's standing right behind me, isn't he?" energy right here LMAO

yes keep expositing cait, that's really selling the "this is a genuine conversation that really happened with a real person" bit 🤡

Anyways, it became abundantly clear that Cait was just going to continue to dig her heels in over something she caused.

This has been a hot topic in the UnpopularLO Discord, not just because of how crazy of a situation it is that we had to talk about it - and we have people within the community who work in the literature and media sector - but because we noticed one very telling thing in the list of series that she had review bombed in her very own personal act of wrath.

You see, Cait made one fundamental mistake that led to her undoing - she didn't just review bomb the works of her peers, she positively reviewed her own book and others.

What's her book about though?

It's an Ariadne x Dionysus retelling set in space.

It's literally another "modern retelling" of Greek myth.

And wouldn't you know it, guess who else created a modern retelling of Greek myth that she included in her positive review raiding while she was sabotaging the work of her actual peers?

Now, I think it goes without saying that what I'm about to say should be taken with MOUNTAINS of salt, I'm sure a lot of you are reading the headline and going, "Ugh, really? You're gonna make this about LO? Could you give it a rest already???"

I need you to understand, with the current state of Rachel's fanbase and 'modern' Greek myth literature as a whole, at this point Lore Olympus - and the works that are literally inspired by it such as A Touch of Darkness - has basically become the shopping cart litmus test of basic decency. It's like when someone says they like Harry Potter - you can't take it automatically at good faith anymore, because there isn't a whole lot separating someone who simply liked Harry Potter as a kid and still rewatches the movies from time to time from someone who fully supports the politics and agenda of J.K. Rowling. No, not everyone who still watches the movies or reads the books fondly is a TERF by default, but it's justifiably a reason for suspicion when the consequences are often too dire to risk.

There's this thing that's been happening in the LO fanbase that I frankly saw coming, but has really recently started to hit its peak. It's what I call the "Kanye Effect", where the comic has become so absurd and backwards in its misogyny and white feminism that the only people who seem to be left supporting LO are the people who are legitimate white feminists and misogynists - because all the normal level-headed people fell off the comic ages ago (or transitioned into the critical side of the community).

I mentioned it in my last post, but it bears repeating - Rachel's fanbase has literally been shipping Hera, a victim of abuse, with her abuser, Kronos. I'm really hoping a lot of them realize how fucked up that is now that Hera herself has called it what it is - abuse - within the comic, but I also can't count on the LO fanbase picking up on that or even noticing it with how quickly people swipe through it each week, it's very apparent at this point that most of LO's readers don't know how to chew their food and don't pay attention when Persephone and Hades aren't onscreen.

But I'm digressing. Or am I? We're talking about Crown of Starlight after all. The debut Dionysus x Ariadne sci-fi/fantasy romance that was quite literally advertised using Lore Olympus as its baseline-

This. This is what the ongoing cultural erasure and white feminist uwu-fication of Greek myth is doing to the literary zeitgeist surrounding Greek myth as a whole. This is why we criticize Lore Olympus and works like it that are created by disingenuous people who only seek to use the assets of Greek myth material as a way to shoot themselves up into fame and stardom. This is why we demand better standards in the literature and webcomic industry, so that people like Rachel and Cait can't use their privileges to quite literally erase the source material that they used to make themselves famous in the first place.

If anything, Cait's actions didn't just affect the people she negatively review bombed, or the people she was affiliated with, but also the people she positively reviewed. While I don't support what Rachel creates, she wasn't the only one who Cait went out of her way to review positively from her alt accounts, there were many others as evident in the Google Doc - but all this really does is tarnish the legitimacy of these books and their ratings by artificially jacking up their numbers that are advertised to others.

Making Greek myth fanfiction or fun creative retellings was never the problem, but it's now being sabotaged alongside so many other genres and mediums by toxic white individuals who can't even keep themselves from committing hate crimes, let alone create something purely for entertainment that's transparent in its illegitimacy, lest it destroy the illusion that these people are qualified to speak over those whose voices are being stifled, often by these very same people. Many of these writers get caught and are still allowed to continue what they're doing - that was certainly what we feared with Cait.

Until today.

It was revealed today that Cait's book will no longer be featured in the Illumicrate May 2024 box.

Del Rey has dropped Crown of Starlight from their publishing schedule.

Daphne Press will be hopefully following suit.

And, most telling of all, Cait's own agent has severed ties with her.

For anyone not familiar with the inner workings of the publishing industry, Cait has essentially been blacklisted. Without an agent or a publishing house, she'll have to entirely rely on her own resources through self-publishing. Unless she manages to sneak her way back in under an alias (which I wouldn't put it past her to try) she no longer has access to the mainstream publishing industry that was already guaranteed for her before she let her 'jealousy' get the better of her.

Her career was already made for her. She had a red carpet laid out for her debut. Her book was getting good pre-reviews and she had quite literally nothing keeping her from her success. The best thing she could have done was nothing. Somewhere in her head, she made up a threat that didn't exist, and sealed her fate in acting on it, a self-fulfilling prophecy.

I think in these situations such as with Cait Corrain, Rachel Smythe, and - also recently and relevant - James Somerton, we need to become increasingly aware of how white voices are still overpowering POC voices, not just in their actions, but in the opportunities they're given over others which they then use to further stifle the voices of those they feel "threatened" by or feel entitled to speak over. While neither James nor Rachel have used sock puppet accounts to "take out the competition" (at least as far as we know lmao) James did quite literally steal the words and voices of queer writers who were deserving of their time in the spotlight, and Rachel's work is being quoted as "rewriting Greek myth" as if its blatant gentrification and appropriation should be marketed as some sort of positive.

It's all too common for these deeply-rooted prejudices to rear their ugly heads and for the people who carry them to act out in this way while justifying it as "jealousy" or "a mistake". This isn't jealousy. This isn't a mistake. This isn't someone "starting drama". This is genuine, targeted hate, with the intention of snuffing out the voices of others who should be empowered, not silenced.

All that time and effort, and for what? Racism and petty jealousy? It just goes to show, it doesn't matter how many opportunities you're given, how high up on the ladder you already are - it won't fix the deeply-rooted insecurity and racial pettiness that spurs people on to do such horrible things.

I've spent enough of my time and words today talking about Cait, and James, and Rachel. So to end this off, I want to join in with all the others who have highlighted the books that were review-bombed by Cait, and help in uplifting them so they can have successful debuts. I'll be pre-ordering a few of them, so I'll be happy to make dedicated posts for them in the future after they release. Please consider purchasing them for yourself if you want some new reading material <3

The Poisons We Drink by Bethany Baptiste:

So Let Them Burn by Kamilah Cole:

To Gaze Upon Wicked Gods by Molly X Chang:

Mistress of Lies by K.M. Enright

Voyage of the Damned by Frances White:

(I'm sure there are plenty others so if I missed any here, please let me know so I can add them here and check out their books!)

If there's any silver lining to this, I hope that it makes people aware of the media they consume and who it's being created by. I hope it makes people more willing to seek out the books that aren't getting the same opportunities as Cait Corrain and Rachel Smythe. I hope it's a wake-up call to the industry that matters like this need to be taken seriously and that POC writers are still being silenced under their own noses. And most of all, I hope it's a reminder that we shouldn't even need at this point that this behavior is not okay, no matter what level a person climbs to - that just because someone is part of one minority doesn't mean they're not capable of sabotaging another. It sucks that that has to be said, it sucks that despite these groups being so intersectional there are still people within them who submit to their deeply-rooted insecurities and find ways to feel threatened that they use to justify hateful behavior.

Having a platform is a privilege. It should never be weaponized against your own peers or those who you simply feel "threatened" by for no reason beyond your own imposter syndrome or doubts or internal struggles. Because as much as you may feel like you've earned where you are, that never gives you the right to weaponize your opportunities against others who were never given those same opportunities in the first place. "Feminism" is not using your power to crush "other women". "Progressiveness" is not exclusive to the progress that only benefits you.

I wish only the best to those who were affected by the actions of Cait Corrain. You deserve to be heard and seen and appreciated for the work you do and the abuse you've had to tolerate. I look forward to your debuts in 2024 <3

[androgynousblackbox]

OKAY, so I haven't actually finished the book yet so maybe my opinion on this will change, but I honestly feel like the gringo booktubers I watch all have no idea of what to do with Tender Is The Flesh and are fundamentally wrong about it? Like, saw someone trying to say "this book tries to criticize the food we eat rather than the industry", which sounds like absolute fucking bullshit to me because a BIG portion of the fucking book is all about how the industry is treating "the meat" like fucking dogshit and how the characters themselves, the ones who work inside of the industry, are disgusted whenever anyone even attempts to say there is something good about it. There is this constant cognitive dissonance where the characters know what they are doing is inhumane and awful, that they are treating "the meat" horrible, but it's their job, what are they going to do, and at the same time they feel it crosses a line whenever someone call "the meat" human or are even beyond inhumane when someone says the meat "have a good life" because they get treated as studs. Also, like in general, I feel all of them miss the part about this author being argentine and thus how that colors their vision of how the industry works. The biggest industry in all of the argentina, the one that gave us any kind of possibility to survive in this world, was the meat industry, we actually fucking need it because we have nothing else to offer, and yet, all the powerful people who are involved with the meat industry in this work are all foreigners: a japanese man who collects skin of people and threatens his employees with skinning them alive, a gringo, that is literally called gringo, and a german man who is to utterly dettached that has no issue calling "the meat" human and also make inhumane comments about them. At that point is very obvious to me that this isn't about just criticizing an industry, but criticizing a system to whome the industries are merely a reflection of. It's not about the world, it's about a country being so set on their old ways and traditions that are literally willing to eat each other if it means having a foot in the outside world. Because otherwise we have fucking nothing. And this ALREADY fuck us over in the real world. The protagonist is literally the representation of that! He literally asks himself why he keeps working on this shit if it makes him miserable? Because he is the best at it, because he gets paid and he needs the money. CAPITALISM ALL THE WAY DOWN, BABY. Like, the meat food industry is bad, but also think about why they are bad and why the powerful people want it to be bad in the first place. Like, the books says that indigenous, immigrants and other POCs are the first humans to being eaten. The poor and elderly. Why do you all think that is?? Like, I just generally do not understand how you can read that and come out thinking "this person just wants me to be vegan and I don't like that"/"this person doesn't criticize the food industry", like I am a very fucking firm believer that vegans who spend every breath trying to make you vegan are shit and just eat whatever, but even I got that it was meant as something else than that. And how people keep saying that the ending "comes out of nowhere" when it's literally foreshadowed at the beggining at the book while doing the world building? Were you even paying attention at all at that point? Like, I literally saw someone being "I think this book overstimates how much it would take for the world to be okay with cannibalism", like THAT IS NOT THE POINT. The point is not to write "how it's a world where human meat is mandatory", but rather explore the idea in which the way we ALREADY eat each other gets taken to it's extreme. LITERALLY WHAT ALL DISTOPIA FICTION DOES?? Anyway, again, I might change my mind when I finish the work myself, but even by reading the start myself and knowing a bit about the background of this author, I just do not get any of these reviews at all.

[chaifootsteps]

College anon dropping in to say that the dubs aren't very good. Some, like the french one, sound like the text went through google translate (and the dubbing in general is terrible despite France having a good rep in the industry). The Italian version of Poison is low-key good tho

As for my reaction to Poison, imagine that gif of the happy yellow emoji looking traumatized/dead inside. I stared at the screen wondering what led me to watching this and how ANYONE would think this was a good scene. Vivziepop claiming that the leaks don't represent the full scene was right for once... It was so much worse. I could think of a more tasteful way to picture it in 5 seconds, it isn't that hard. She could have even kept most of the scene, just remove the graphic stuff to keep the suggestive dancing (a smart idea that should have remained subtle) and maybe keep the Val part à la Addict to show that, yeah, on top of "working" all night (because the graphic scenes made it obvious he stopped "enjoying" work early during the night), Val SA'd him and that shows the entirety of the hell he's going through. It explains why he breaks down and lashes out. Viv didn't need to keep most of the SA, the entire thing was implied.

Also episode 4 comes out of left field. Yes, it was foreshadowed since the beginning but why is Angel suddenly returning his calls? We SAW him ignore Val. He clearly HATES him. Since when is Husk calling him out and badgering him about being "fake"?? They've known each other for a WEEK. It's way too early for that. It's like we're missing 3-4 episodes of development in-between. Angel reconnecting with Val and showing hints that this is indeed a facade, Husk knowing a lot about everyone and giving a damn... This should be a mid-end of season arc for Angel. I'd personally make it end of season 1 so that he can show change during season 2, beginning as someone new, someone who slowly tries to show he cares and let down his bravado in small amounts, with clear hints of being a little scared of the reactions, until it naturally becomes his full-time persona. Maybe have Charlie notice at some point and subtly encourage him, DELIGHTED (in caps because that girl is extra) that Angel is getting better but having to keep her excitement in in fear of scaring him off (because Charlie should have SOME sort of emotional intelligence ffs).

Loser, Baby feels out of place. This is NOT the appropriate reaction to Angel's words. Did they rewrite the dialogue but not the song?? Here's how it sounds:

Angel: I feel like I've gotta be Val's perfect whore all the time so I'm trying to break myself enough he will be alone—

Husk: Well, it's okay to be a loser, baby! Look at me, I'm a failure too. You ain't special and it's okay!

....So Angel is a loser/failure/broken but Val is still into him??? Did they realize that this should send him the wrong message?! That Val will "love" him no matter what and that Angel cannot be free, that he's been making himself miserable for NOTHING?? First of all, Husk's greediness and addictions are NOTHING like Angel's situation. He signed with his real name. That alone implies that Val snatched him early on as he arrived. On top of that, he's being abused every way possible on the regular, for no fault of his own, and is self-destructing. He cannot kill himself and Val won't let him be killed. This is NOTHING like Husk losing a game for more power and being forced to be a bartender.

Here's how it should have gone for the song to work:

Angel: So?! The real me is a good for nothing loser who died in a ditch from some shitty coke! THIS is the famous, hotter than Hell pornstar that everyone wanna fuck! And I've— I've gotta be the part. 'Cause if I'm not... If I ain't then who am I?

Angel's fear should have been about being seen as who he was, as some loser that nobody loved. Let him feel like he beat his father, that now he's someone so suck it dad! You were wrong! Let Angel behave as if his life was a porn movie because that's all he knows now and what he thinks he should be like. Instead of trying to ruin himself so that Val discards him, have him try to be perfect... Because that'll stop the abuse, right? Val is happy when he acts like that. The perverts worship him. No one cares about Anthony.

That would make Loser, Baby work. It would achieve its goal of saying "it's okay to suck, we all do! Look at me, I'm a loser but my life isn't over!" and get Angel to accept that he's enough as he is. If you add in a few episodes beforehand to set it up, it could have worked better instead of being insensitive.

Personally I would have entirely changed the Angel/Val dynamic. Val can still be a whiny bitch but not in a drama queen way as is implied. He gets like that whenever he loses control of his favorite. Have one of the Vees groan and say something about Angel having done something as if it happened often. Make them used to Val throwing a fit because he didn't get what he wanted out of Angel or because he's having a jealousy fit. It already makes Val more controlling. It'll make the messages scene hit harder as, yeah, we can see why Angel left, the dude is unstable and obsessed. I'd be a little more fucked-up and have Angel kinda love him. Ofc in the Stockholm Syndrome way, he's been abused so much he's too attached to leave. That shift in dynamic would explain why he eventually goes back despite everything. Like in the show, he feels ignored in favor of the new resident and the way he's dismissed and talked about makes him feel like shit. He checks his phone again and ends up listening to Val's new voice messages... And this time, they're sickeningly sweet in a row. He's sorry, he's begging for him to come back. He loves him. And that's enough for Angel to go out or answer him. Put a few episodes in-between where Angel seems... Off? How weird, he's jumpy, more on his phone. He's out for parts of the episodes or clearly focused on something else. Then we get episode 4, where everyone culminates to show how bad the situation is for him. I'd personally not have Val hit him. He's smart enough to not leave bruises on his top whore. However, he's manipulative and threatening. There's no doubt that he COULD hit Angel whenever, especially with the way he cowers. Angel tries to diffuse the situation, so well that it's heartbreaking, and he gets bold. That line when he doesn't reply "Yes Val" is meant with silence as we wait for Val's reaction, waiting for him to blow up. A beat. He doesn't. He's not calm but he's not as angry. He's not going to hit him. He thanks Angel, touching him while the other flinches, a hint that he handles Angel roughly in this kind of situation, and just as Angel looks relieved, he announces that he'll have to work all night, distressing Angel again.

Ofc that would require extensive research and talk to specialists to do it well. Viv's audience can be stupid so it's more of a struggle to make it clear that none of this is Angel's fault and to not romantize this shit but it's more interesting than Val being so obviously abusive. IMHO he almost transformed into someone else in that episode and it could work but we didn't see enough of him to go "oh that's the old abuser trick! he's not as nice as he is with others when he's with his victim!". Idk how to put it sensibly but the impression he gave me was "whiny manchild who sadly was given enough power by Daddy Vox to abuse someone" instead of the intended "terrifying Overlord who is unstable and abusing his power to abuse whichever worker he fancies at the moment". I dunno Chai I just think it would work better if he were more manipulative and welding his power in other ways than by force. Like Angel isn't scared by his strength but by his influence. Also I would low-key find a way to make it so that Angel, mistakenly, thinks he can get away with some things to explain how he'd leave for the Hotel. Like having him not be a perfect victim. While he tries to cater to Val and keep him happy out of fear (and/or care because abuse fucks you up), he sometimes provokes him or tries to do his own thing. It'd show he's his own person and stuff. Sadly that would be lost on Viv's stans and it would absolutely spark some victim-shaming stuff or worse. But I think if she's gonna try to portray something like this, she could do with some nuance and not so... Cliché? Of course, it happens like this to too many people but it feels like she's applying a trope with no thought into it. The most cookie-cutter depiction she could do for quick satisfaction or to tick that case. A bit like how Stolitz is a mix of multiple tropes and is a terribly done version of that trope where a noble falls in love with someone whose class is lower with a sprinkle of badly done transactional relationship that sparks feelings. Thinking of HB, HH has better representation of abuse but not by much. I feel like if Stella was a man, she'd have written it this way? It felt like fetish fuel hiding underneath the surface whereas Stella was lazy writing.

I dunno man, I wanted to rant about Charlie and her design but episode 4 hit me like a wall of bricks

Thank you for all of this, College Anon. This was a great read, and you're right, the Italian version of Poison goes so much harder than the English.

Also Italian Val's voice is...yeah, 10/10 stars on that one. Mama mia.

[louisisalarrie]

i guess he’ll have to stop singing “i love him, i hate it” then. who else would it be about? simon cowell? like please.

This whole thing is weird, everything about it.

yep! Such an obviously timed denial that it’s basically transparent. I will reiterate my points here again, because this has frustrated me dearly as someone who is actively in the industry and has seen successful pr stunts and coverups. His team can’t crack the larries tho.

1. Timing - pre recorded denial dropped for promo as he left LATAM to go MIA before going back to tour in a few weeks + everyone will cool off by then

2. Urgency - there are no current media publications or any GP chats suggesting Louis and Harry are together, and there hasn’t been for a long time now, so there’s no damage control to be done (unless something hasn’t come out yet and it’s in preparation for said thing, BUA perhaps)

3. Content - drops the “my son Freddie” during it as well, boosting that stunt because it’s been pretty quiet since AOTV and a couple of tweets ages ago. again, no explicit denial and poor body language

4. Blacklisted Topic - we saw the other interviewer shut down the F thing, and he’s had many interviews where Larry and F aren’t brought up at all. It’s a topic put in there when it’s useful

5. Relevancy - not relevant to tour or current media presence whatsoever

6. Consistency - all interviews we have gotten recently have been strictly about his career, his festival, tour, inspirations etc., and we have one very personal and touchy topic randomly brought in with no context whatsoever

But I think what is making people stressed about this particular denial is because there was nothing calling for it. No media stir, no mentions of their names together or directly tied in media, no scandal or damage control (unless something breaks), so it seems more genuine and not just like he’s trying to clean up a mess like so many times before. But it’s also very obvious promo. Dropped as soon as he leaves LATAM? And everyone will cool off by the time he’s back. Absolutely standard and poorly done PR.

I don’t think managers know what they’re getting into when they start handling a 1d boy, frankly because our fandom is truly one of a kind. But, as much as I hate to say it, the Azoff’s have done what louis’ team should have done too. Stay silent about it, it’s not necessary to comment unless something big happens and it needs damage control. you’re only attacking your fans here, bud.

so, anyway… the patterns of every other denial have led to a BUA, a scandal, or their names being tied together and Larry being of public interest. Or have come from those things prior. However, this denial will probably pick up in the media, and tie louis’ name to Harry’s once more, to boost him a bit to sell some tickets.

everything was going so well, it was great to see him not talk about his personal life. so, it’s foreshadowing and a poor promo move, or just a poor promo move.

[zkyfall]

Sevika will be the Renata Glasc of Arcane in Season 2 (a theory)

(Full disclosure, I am heavily biased as a Zaun and Sevika stan and want her to have more plot armor and importance in season 2)

SO LET’s JUMP INTO IT. 

My theory: Sevika is going to grow into the Renata Glasc of Arcane in season 2, adopting some of her aesthetic (well, technically Silco’s aesthetic) and filling her role in LoL lore as Viktor’s patron and a powerful leader in the Undercity. 

The Evidence to Support:

1. Her motivation

Sevika cares about Zaun. She’s been consistent about throwing her support behind the strongest leader who was dedicated to standing up to the Topsiders. She’s tried being a good loyal left-hand lady to TWO DUDES and they BOTH fucked it up. It’s time for Sevika to try her hand at seizing the reins of the Undercity and she's one of the few characters in a position to take advantage of the power vacuum and the experience to do better this time. She hasn’t worked so hard for decades to give up now.

2: The Visuals.  

Sevika’s a fucking badass, she’s around the right age, and has that sexy muscled build we all love. She has a high-tech metal prosthetic for a left arm that we’ve seen get upgraded throughout s1 and may continue to be in s2 (especially with help from a certain inventor that we’ll touch on later).  All she needs to complete the look is longer hair and a few dignified streaks of grey (a minor time skip and the stress from the finale will suffice.) Well and she’ll need to call Silco’s tailor so they can work their magic 👀.

3. But what about her Mask and Shimmered up eyes? 

 Amanda on Twitter hinted that Sevika would ‘quit smoking’. 

Now some suggest that means she’s dying. I don't think so, cause I’d like to believe the writers are more professional than that. I hypothesize it refers to developing a lung condition as a result of the chain-smoking + Zaun life we see Sevika do in s1. She might stop smoking and start using more shimmer to fight off the disease, even needing a fancy breather mask to keep it from worsening. Just like Glasc.

3. Foreshadowing or lack there off

Silco and Sevika met the Chembarons and Glasc was not there or even alluded to. I think if Glasc existed in the world, we would have gotten some more foreshadowing of her if she’s supposed to be in control of an entire industry. 

4. It’s all in the cards 

Sevika was playing cards and what cards came up? Death and The Magician. Death signifies change (and the death of Silco possibly). The Magician is CLEARLY Viktor. Together they suggest Sevika undergoing a major life change and working with Viktor in the future.

5. A Common Connection

Glasc is Viktor’s Patron in LoL after he leaves Piltover. So who will be Viktor’s powerful, metal-armed, chem baroness in s2? Well, who does he know in the Undercity right now that could introduce him to a financial backer? Singed who is already working for Silco’s (now possibly Sevika’s) organization. 

The Evidence Against:

Finn alludes to there being ‘bigger fish’ than Silco in Zaun. That could have been in reference to a Glasc which harms this theory.

Renata’s League Lore suggests a callousness, and an obsession with power and wealth which Sevika does not share. Sevika is never cruel, only acts in self-defense or lashes out in reasonable anger at Jinx. She barely even changes outfits between Act 1 and Act 2, when all the other henchmen clearly spend some of their pay to look the part of classy gangsters. 

Renata’s parents alchemical research and deaths are a big chunk of her backstory and the only allusion we have to Sevika’s parents is that she had issues with her father. They seemed to have simplified Chemtech in Arcane though so I don’t foresee them adding Glasc’s chemtech variant on top of shimmer.

In conclusion:  Sevika and Renata are probably different characters but I hope Sevika will fill Renata’s role in Arcane because seriously what are the odds we get two MILF Zaunites with left metal arms???  I mean I’m here for it but it seems like an odd coincidence and I don’t really want them adding more LoL characters than they need to. 

Whatever happens, I’m ready for more of this lovely lady:

[pttucker]

Okay, so, I've been thinking about some of my more recent posts and have started to combine them with some of my older posts and think I've come up with another theory that I want to throw out into the wild while we've still got like 40% of the novel left to go.

Well, actually it's not really a new theory for me per se, but I think I've finally cemented it whereas in the past I've had vague suspicions. Which has resulted in another giant post.

tl;dr: there are three stories in the novel, with the novel itself being Dokja's story and I think by the end Dokja will realize that he's inside ORV itself in a sort of Neverending Story kind of way, the Fourth Wall is between him and our world (and maybe also him and TWSA), and that the true Omniscient Reader's Viewpoint belongs to us.

So, anyway, I recently made a post about Han Sooyoung being the author of TWSA and overall I think this current arc we're going through right now is another major allegory / foreshadow for how the characters relate to TWSA, just like the Peace Land arc. But thinking on it some more, I think this arc (and possibly also Peace Land) is also showing how they relate to ORV itself.

Like, I actually even specifically said that certain passages relate to the overall plot of ORV such as this one—

Regrettably, there was no guarantee of the work ending up as a success even if the author did an excellent job. – Time to start our attack, Yoo Joonghyuk. Because the ones to complete the story were the 'Characters', not the author, that's why.

—and I think by taking that just a tiny step further, in combination with other clues, ORV itself will end up being almost a Neverending Story type of deal. Not necessarily with Dokja trying to talk to us like Sebastian and the Childlike Empress, but literally just realizing that he's a character in a novel.

Which is something Dokja has technically already realized, and maybe even unconsciously accepted, not only because of the above passage where he lowkey calls himself a character but also because he's seen that he's listed as a character when he messed around with the Fourth Wall (more on that later) and we have no idea if he recently became one or if he's always been a character and didn't realize it.

Unrestrained questions flooded my head. Why did I get this story here? What was the relationship between that story and being called a character? Was I now a character or was I still a reader? I… Was I still able to change the future?

However, I think the big reveal for Dokja is going to be not that he's a character but that the novel is not TWSA but instead ORV.

In fact, I know I've been using "TWSA" as kind of a shorthand for the world that Dokja is now in, with the scenarios and Joonghyuk and such, as compared to the "real world" he was in before as a company worker, but technically speaking TWSA is not Dokja's story. He is not inside TWSA. TWSA still exists as a completely separate text that he has access to and every time he looks at the revisions of TWSA they are still Joonghyuk's story. They go all the way up to the 1863rd round, and while Dokja is in the TWSA revisions, that's because Dokja is a part of Joonghyuk's story in the third round.

And speaking of the revisions, I kind of breezed past this in the tags of another post but Dokja got the Final Revision immediately after thinking to himself that he wants "an author" to tell him that he did good, that it's all going to work out in the end, that he's made the right choices. At the time I thought that perhaps Sooyoung could be the author of the revisions but now I don't think so anymore.

Going back through the text, the First Revision appeared when Dokja was dying in the Industrial Complex and he wanted to read TWSA to try to figure out if there was any sort of hope to fix things without having to ruin his story by killing innocent people. (And honestly he wasn't in any shape to kill people even if he wanted to at that point.) The Second Revision came after he abandoned Breaking the Sky Sword Saint to fight the outer god alone and felt like crap because of it (to be fair she shoved him through the portal while he was still trying to convince her to come) and he and Joonghyuk had a mini-conversation about what to do after and all Dokja could think of is to just keep struggling as best they can.

Basically what I'm trying to say is that all of the revisions have come when Dokja is at an extremely low point, floundering, trying to have someone tell him what to do, tell him that he's made the right choices, etc. Except not once has he actually said anything to anyone in the story around him. He didn't actually end up asking Sooyoung if he did the right thing; he wanted her to tell him it's going to be okay but he only thought it. Just like every other time the revisions have appeared. Almost like they came from someone else who can see what he's going through right then and knows he needs a little help...

Also, back when Sooyoung's version of the story first appeared, I was a little confused by the (First) after it, thinking that maybe Joonghyuk only had the first part of the story, but then later we see that Joonghyuk has 『Han Sooyoung – Records of the 1863rd turn (Last)』.

So now I don't think Sooyoung is writing the TWSA revisions, even if I do think she wrote the original TWSA, and I think that her story is also getting revised as she changes it because she is also a character in which "the ones to complete the story were the 'Characters', not the author" applies.

And speaking of the stories, I kind of went off on a sort of three, three, three tangent in the Sooyoung post, but I realize now that that can be taken even further. There's three unknown beings still left in ORV (Secretive Plotter, Oldest Dream, TWSA's Author), there's three protagonists in both TWSA and ORV, there's three people involved in a novel (Reader, Writer, Character), and there's three ways to the survive the apocalypse. Which, TWSA lists those ways as Regressor, Returnee, and Reincarnator.

But, technically, aren't we also seeing three ways to survive the apocalypse right now? Joonghyuk's way in TWSA, Han Sooyoung's way in her diary, and Dokja's way in ORV itself. Not to mention, now that I think about it, we have Regressor Joonghyuk, Returnee Dokja, and now Reincarnator Sooyoung...

Three separate stories, all sort of TWSA but not technically, more like they're all different versions of the same story. And the dokkaebi's have recently started talking about "which story will you choose" (talking to Bihyung btw, who's been helping Dokja all this time...) and everyone else in ORV keeps going on about a Single Story and how they're all vying for their true story and ending. And how maybe the true story/ending has finally come. Because this particular timeline is going through Dokja's story...which is ORV.

And too when I had the post about the "failed stories" I wondered if maybe it was foreshadowing for ORV ending in tragedy (and maybe that's still true) but also now that I think about the "failed stories" and how both Sooyoung's story and Joonghyuk's story could be considered the "failed stories" in a loose way. Granted, we don't currently know how those stories actually ended since ORV started off with Dokja waiting for the epilogue and the 1863rd ending was disrupted by Dokja, though Dokja has been pretty heavily implying that at least TWSA ended in tragedy up to the epilogue. And with the Single Story it's possible that all three of them will end up combined in the end of ORV itself.

Especially since we don't know what happened to 1864th Joonghyuk. It's possible we may see him again at the end of ORV. Also, I just realized that Joonghyuk stopped being a character when he moved past what was written in his personal story but, atm at least, he's also past ORV's story since we haven't seen him since and Dokja has no way of knowing what's going on with him.

On the topic of endings and epilogues, Dokja has been less and less willing to read TWSA as he starts living his own story and has finally outright said that he doesn't think his epilogue will be in the file. And, yeah, if Dokja's story is ORV then his epilogue would be ORV's epilogue. And ORV does have one. Even though I don't read the chapter titles ahead of time due to spoilers, I did notice when I looked to see how many total chapters ORV has that the last one had the word "epilogue" in the title.

And that's not even getting into Dokja casually stating that the novel is a lie. Which is very interesting.

And of course, there's the infamous moment where (while Dokja is sleeping I might add) the Fourth Wall starts telling the 1863rd Joonghyuk Dokya's story and it literally starts reciting the opening passages of ORV itself. And I'm pretty sure that when Sangah shoved him into it, he once again saw Dokja's story (ORV) just due to the fact that he zeroed in on not just Secretive Plotter, who doesn't appear in TWSA, but specifically all the things Secretive Plotter did in regards to and with Dokja.

In fact, as Dokja messes around with his Fourth Wall more and more, it becomes more and more sentient and present in Dokja's story (ORV) and he starts seeing things that perhaps he, as a character of ORV, was never meant to see, such as the fact that he's a character or that the Fourth Wall goes from simply blocking mental attacks to narrating Dokja's actions, reflecting his thoughts, etc. Just like ORV does for us readers.

I've actually briefly contemplated in the past that perhaps the Fourth Wall isn't necessarily protecting Dokja from the elements of TWSA, but in fact protecting him from the outside world (relevant part quoted below)—

Oh man, what if that's what it means by Fourth Wall? Instead of Dokja being a real person and the Fourth Wall existing because he knows he's not part of the novel, what if he's a character and the Fourth Wall is actually the barrier between him and the real world where the author lives? In which case, the being behind the Fourth Wall could be the author (or the reader!) of Dokja's story.

—and I then later began to wonder if it might be our world and not just some random third world inside the story of ORV, and I really do think that's the case now. Or it could be both! If I'm reading a comic about Batman who's reading a comic about Spider-Man, both I and Batman have a Fourth Wall between us and the fictional world we're reading about, ergo Batman has a Fourth Wall working both ways. (Ignore past Marvel/DC Comics team ups, pretty sure those aren't considered canon lol.)

And this is not only because of the fact that the Fourth Wall is acting more and more like a narrator (or like the third-person text of ORV) but that Dokja reacts so poorly to it going down. Sure, the first time the Fourth Wall went down a million constellations tried to attack him so that caused him issues, but later when he took down a little bit of it for the giants he was in a place with only his most trusted constellations who didn't seem to make any attempt to attack him and he only opened it up a teeny tiny amount and yet he still was physically wrecked. I don't think that he would be that affected by now by the elements of TWSA, especially since he literally learned he was a character and was freaked out for a moment but didn't have this big world-ending crisis...like he might if he attempted to connect to our world. Also, Dokja still hasn't gone back to the idea of using ORV on himself...

And on that topic, I know that I've kind of joked before that Dokja is the most oblivious person ever for someone who also happens to be able to read various characters' minds and see their actions, but honestly speaking there are tons of parts of ORV that are from other POVs that Dokja has never and likely will never see. I actually started tracking them about a hundred chapters back and we get a different POV, even if it's just a few paragraphs, almost every third or fourth chapter. And they're all from the third-person POV, just like how the Fourth Wall speaks.

Meaning that the true omniscient reader's viewpoint is ours.

PS: a very weak "clue" that I'm not really "officially" including is also the fact that The World After The Fall is mentioned as a book that Dokja has read and that's a real webnovel written by the same authors as ORV. I'm not really counting that since I do understand the concept of a cheeky little cameo but it could still be fun to at least acknowledge the possibility that it's something that secretly indicates that Dokja is maybe a little more connected with our world than any of the others.

PPS: I think if I find time this weekend I'm gonna go back through at tag everything or make a list of all my posts or something. Trying to find links for this majorly sucked and I just kind of gave up at points lmfao.

[tieflingkisser]

"May Gaza burn": The flood of genocidal rhetoric from Israel's soldiers

Inside Israel's Insta-Genocide, Part Two of our Zeteo investigation

Senior Israeli military commander Gur Rosenblat is explicit: All of Gaza, “not just the Hamas organization,” must be eliminated and its 2 million people driven out. The Strip, he writes on social media, should “cease to exist.” While Rosenblat, the head of Israel’s Northern Infantry Brigade who also serves as the deputy general director of the country’s Education Ministry, makes clear he’s not speaking in his official capacity in an Oct. 13 Facebook post, he does not attempt to disguise his genocidal calls. “People who are human beasts and their supporters must pay a high price – if not with their lives, then with expulsion,” he writes. 

[...]

Rosenblat is not alone. Since Oct. 7, we’ve uncovered hundreds of social media posts by Israeli military personnel, including commanders, filled with dehumanizing, hateful, and often genocidal rhetoric. The posts contribute to a mounting body of evidence pointing to what human rights groups and others have called a systematic pattern of war crimes committed by Israeli forces in the Gaza Strip. They also lay bare the intent of Israel’s war on Gaza. It’s not a “defensive war” aimed at ensuring “minimum harm to civilians,” as Israel and its allies like to claim. The soldiers’ own words suggest harming civilians through death, destruction, and displacement is, in fact, an objective. 

[...]

Sharon Ohana of the Israeli military’s Combat Engineering Corps, in a December Facebook post, appears to foreshadow what’s to come. The “fate” of Shuja’iyya, Khan Younis, and Rafah “must be as the fate of the northern [Gaza] Strip at the beginning of the war – dirt, fire, and leftover concrete," Ohana writes in December. “…We must flatten all of Gaza!”

[...]

For a country that labels its military the “most moral … in the world,” one would think such posts would elicit harsh disciplinary action in an attempt to protect its global image. But as our investigation shows, the Israeli military, at least publicly, has taken few steps to stop its soldiers from sharing such content.  What we found instead was a culture of impunity. 

[...]

In the case of Harush, who in a post said, “May you burn alive you sons of whores,” the Israeli military told us in February that the behavior of the soldier was inappropriate and handled accordingly, without elaborating. Yet, in a post from mid-April, he wrote, “Gaza we back,” without having deleted his other posts.  In many ways, the posts are reflective of large parts of Israeli society post-Oct. 7. A “genocide fever” has taken over the country’s airwaves, entertainment industry, grocery stores, and neighborhoods, Zeteo contributor Diana Buttu wrote in May. At the beginning of the year, the vast majority of Jewish Israelis surveyed for one poll said they thought the military was using “adequate or too little force” in Gaza. Many of the social media posts found as part of this investigation received dozens of supportive comments and likes.

[...]

The specific ICJ order related to preventing “incitement to genocide,” which was part of a package of provisional measures issued by the court, was one of two that received the support of the then-Israeli judge Aharon Barak. Yet, despite the Court’s order, new posts featuring genocidal language continue to emerge. 

[...]

Ultimately, the posts we uncovered reveal a stark contrast to the carefully curated narrative Israel seeks to project. Despite the Israeli military repeatedly saying it takes precautions to minimize civilian harm, the testimonies from soldiers and officers on the ground tell a markedly different story, one characterized by indiscriminate destruction and a pervasive culture of impunity, which has, in our view, essentially provided soldiers with tacit approval to continue with their actions without fear of consequences. The evidence gathered thus far is only a small fraction of what exists.

[mode-genesis]

The Legacy of Meadham Kirchhoff

by MODE GENESIS

Known for their outrageous interloping of romanticism and rebellion, Meadham Kirchoff had become an iconic brand in the early to mid-2000s. The brand was founded by designers Edward Meadham and Benjamin Kirchoff, both graduates from Central Saint Martins, which gained fame through its extravagant expression of whimsicality. An interview by Glamcult with Kirchoff verbalizes how he designs from instinct in a state of “aborted happiness,” and both feel the fashion industry is “based on a repetition of ideas, often aimed at product placement.”

Their inspirations ranging from Victorian dolls to Courtney Love lookalikes in the SS 2012 show, the duo expressed a fresh approach to fashion which became one of the signatures of their brand identity.

Each show transported you into a carefully crafted almost theatrical performance with scent, visuals, light, and music accompanying. Their rebellious spirit brought new design innovation through patchwork dresses in velvet and leather, stacked glittering platform shoes, and a runway decorated with what looked like blood-dipped tampons. Each piece in their collection was carefully made through tailoring research and using techniques such as Elizabethan lacework. The handwork which came in forms of hand embroidery showed in garments in almost all seasons, and detailed construction of each piece became a standard for the brand

Although their womenswear lines achieved most of the media attention, their menswear emerged as out of the ordinary on the London scene. The collections set the direction of modern-day menswear, anticipating the arrival of gender-fluid casting and boy-meets-girl styling. One of their final shows, SS 15, was reclaimed as a celebration of different bodies, genders, and races. The use of rubber, chiffon, color, and layered drapery was an ode to the liberation they stand for. They were chosen as LVMH Young Fashion Designers but weren’t included as finalists so in their show notes they elaborated, “Fuck LVMH corporate fashion,” which is admirable considering the nature of the fashion industry, LVMH, and celebrity culture. As a Dazed article states, “Because fashion doesn’t just have to be about seasonal trends; it can, at its best, be a broader reflection of society, and like riot grrl, BodyMap, Westwood, and Leigh Bowery before them, Meadham Kirchhoff is making clothes for the people they love: the dykes, fags, slappers, and freaks.”

The brand met its demise when most of their clothes they were making weren’t sellable; the market was too niche, and production costs of garments became too high. While it was believed for Meadham Kirchoff as a whole for their clothes to be either too expensive or costume-like, critics praised them, and many designers looked at them as an inspiration. As a Dazed Article states, “They were showing detailed lace on par and on time with the wonders that Alexander McQueen was showing on its runway. Some have even likened the brand’s jackets—particularly from years ago—as foreshadowing those that made Christophe Decarnin a star at Balmain.”

Most of the brand’s pieces have been long lost, as the archive was taken by their landlord and sold in 2015, leaving only pictures and memories of what once was. Since the brand shut down, the duo has gone on separate paths. Meadham launched a new label called Blue Roses, and Kirchoff has become a stylist and menswear consultant. While Meadham Kirchoff could not have survived in the corporate fashion world, they live on as a martyr of sorts through their fun, cheeky, whimsical yet rebellious spirit, which inspires the future of the industry and may even have been ahead of its time.

References:

[skyflyinginaction]

Hikaru’s back this chapter and we are in trouble, he embodys the worst traits of the entertainment industry as a result of his trauma that he experienced as a child if there was anyone who was poisoned the most by the entertainment industry its him. Why is it trouble you may ask? because like Fuyuko, Hikaru is obsessed with the idol ai than the actual person. Hikaru associating with Kaburagi for the film production would erase her humanity

Yeah, that's true, Hikaru like Niino saw Ai as an invincible idol and remained obsessed with her even after her death. This may be why he killed an actress who was trying to play the role of Ai. 

the phone call with Nino meant that he was going after Ruby his own daughter this has been foreshadowed before in the series. 

Yeah, Hikaru’s involvement with the film is what I feared because it meant that he was going to ensure that he would make Ai the idol image still stay and Hikaru would do that by killing his own daughter.

The wording that Kaburagi used meant that he was aware that it was a film made to get revenge on him.  

[m-luce]

Storytelling through color in Andor

 Andor so far is a triumphant specimen of visual storytelling. Michael Wilkinson’s costumes are not only a treat to behold but utilize thoughtful details and inspired color pallets to deliver nuanced  world building and character development.  The use of color for storytelling is a quintessential element of Star Wars that goes all the way back to A New Hope and these first three episodes left me excited to see where Michael Wilkinson will take it. 

 I came to Andor with an open heart and middling expectations. Somewhere around three quarters into the first episode could feel it getting its hooks in deep. I wouldn't call it a gem by every metric, I was not for example riveted by the drama and found some of the writing choices a bit disappointing. however these are things for someone who is less of a glutton for eye candy than I am to dwell on. 

Andor goes beyond eye candy, it is more of a full on visual feast. Costume designer Michael Wilkinson was nominated for an Academy Award for Best Costume Design for American Hustle (a deep dive into style of the seventies is probably an excellent primer for star wars costume design.) This show is taking its costumes seriously. Which it announces up front in a scene in which we are introduced to the central antagonist. 

 One of the reasons this excites me is that it feels refreshing.  In the recent TV shows some of the visual choices have seemed lazy, like the Moncalamari in a cable knit in season two of The mandalorian or incongruous like the cyborg street gang in Book of Boba Fett. In interviews Michael Wilkinson  has said that with each project he likes to improve on what has been done before and push the envelope a bit. Looking at Andor in the context of post Disney Star Wars I would call it a success on this front. 

The level of care and attention to detail with the costumes render a result that is much more than visually pleasing.  These elements lead the character development and world building. Syril Karn altering his uniform is an illustration of his character's contradictions. His veal for conformity sets him apart. He is so committed to his uniform that he takes it upon himself to make improvements resulting in individuality over uniformity. This choice foreshadows future ill fated choices when through his determination to value the lives of his colleagues he sends a dozen of them to their deaths. 

On  Ferrix we see a more motley representation of industry, unlike in Kanobe which showed us the process of meat cutting in near entirety, we only get a few brief shots of people at work but everything about their clothing, how they wear their clothing and the condition of their clothing suggests labor. 

Many residents of Ferrix seem to be dressed in various company logos and uniforms, these serve to underline connections between characters like Bix and Timm. The clothing of other residents point to cultural elements within the society, we see for example several women dressed in head to toe blue with blue head coverings, It is also the only place we see nonhumans, suggesting a more  diverse and open society.  

When we are following the kids on Kenari who we find out are orphans of a mining accident through the forest they are wearing the remnants of work clothes that are far too big for them, made for adults and we can imagine once worn by their parents.

 Many elements on their clothing seem to be mended or repurposed suggesting that the kids have been left to their own devices for a while.  It is not only these details that are telling the story through the costumes of the charters but on a more elemental level the story is being told through color. Using a color pallet in this way is an essential element of the original series. In a New Hope Darth Vader's first confrontation with Princes Leia literally spells out the conflicts in black and white. The tension of Luke’s confrontation with the emperor in Return of the Jedi is amplified by Luke wearing black. Blue lightsabers have denoted youthful aspiration while  green has signaled spiritual growth and maturity, yoda, luke's return of the jedi lightsaber and also Qi Gon’s lightsaber. 

In Andor the Pallet is much more varied, with layers of rust, okra, mass, deep plumb and dark cherry. The colors are  linked to people and places. From the lighting in the brothel on Morlana 1 to the Preox-Morlana corporate interiors everything adheres  to a palette of blue and orange.

 In the forest of Kenari the children are surrounded by green. The poisonous gas is yellow as are the faces of the poisoned crew members. Much of what the children on Kenari are wearing is lime, okra and chartreuse; green tinged with yellow, possibly alluding to the poisoning of their world.

 Adult Cassian isn't  wearing  green but all of the people in his cercle are with the exception of Maarva.

when we see Maarva in flashbacks wearing brilliant red that is echoed in her droid and the head band of her partner but is not seen on any other speaking characters. In present Marrva’s red has deepened. 

 Cassian is not dressed in black but he is wearing the darkest hues of anyone on screen so far.

The colors are clearly linked to people and places but whether they will be linked to larger ideas remains to be seen as the series continues. Michael Wilkinson has used color as a narrative tool in other projects. In an interview about the costumes for Jingle Jangle Michael Wilkinson talked about draining the color out of a character's clothing to convey a loss of hope and vibrancy. Coming to Star Wars, which has a long history of leaning into symbolic color as a storytelling device, I am  intrigued by what choices Michael Wilkinson will make and hungry to see more.

and I want this vest!

[randomnumbers751650]

You probably hear a lot of weird theories daily, so this is another addition to them, but my theory says that Natlan will be destroyed by Celestia at the end of the Fontaine. I’ll elaborate further. But, in short, it’s due to the lack of foreshadowing and the writers aren’t really doing anything to hype the nation and because of unconfirmed leaks that made too much sense in this specific train of thought. There will be discussion of leaks after Read More, so be careful.

So, I started to think of this after noticing how absent Natlan seems to be from everything in the current point. The game started with Mondstadt and Liyue. My friend who was starting playing from the beginning said that Inazuma was mentioned at the end of the Liyue story, but I’m not sure how other characters or just things from Inazuma were referenced.

Also, an interlude: before you ask, I’m not looking at additional material, besides the trailers. I believe these things have to stand on themselves in the main story.

Returning each nation has something to be hyped for:

Mondstadt: a quite vanilla pseudo-medieval European fantasy, even if I see it as analogue to Hong Kong, it plays safe to introduce the player to the world

Liyue: plays a safe Chinese fantasy, but kinda new to Western players, so it feels fresh, plus the Chasm is considered a great level

Inazuma: standard Japanese fantasy, but it makes new things with Watatsumi and Enkanomiya, and the Traveler is essentially Commodore Perry opening the country

Sumeru: combination of Arab and Indian fantasy in a pseudo-cyberpunk story, involving academic cadres, I feel this is where the writers did try to make something actually new, never seen before in the medium

I remember seeing Sumeru NPCs (there’s a couple right at Mondstadt) and various references to things that happen in Sumeru. But there have been references to both Fontaine and Snezhnaya.

Fontaine: a country with many travelers around the other nations of Teyvat, many acting as visiting engineers and artists, known for its technological progress and for being the nation of justice; I imagine its plot will involve parallels with the French Revolution, because the term “industrial revolution” is directly derived from the term “French revolution”, because it implied revolutions in technology the same way the French Revolution implied a revolution in politics; wasn’t there a guillotine in a recent trailer?

Snezhnaya: another country with many travelers, including both Fatui and non-Fatui – which is quite surprising, because the writers are exploring earlier how a lot of Snezhnayans are just normal people, most of them are traders so far we’ve seen –, this is more distant because it’s supposed to be the last nation, and is also technologically advanced. We have, however, an idea of what’s going to happen: after bullying other nations as an imperialistic power for so long, the Traveler is going to bring the war to the Fatui in their home ground and this will shake things up there, so there’s a lot to be hyped about

The problem is where is Natlan in all of this? We know that it’s based on Pre-Columbian America and Pre-1500s East Africa, but what else, besides its trailer (trivia: I saw the revealed character is called Iansan, which is the name of an African divinity worshipped in Afro-Brazilian religions like candomblé)? We have a reference to hot springs in Inazuma City. And Capitano, being based. And…and…that’s all I can remember. Not even in Sumeru I remember any reference, and they’d be interested in learning about it.

From what I saw from old leaks, Natlan is under something similar to the Sakoku Decree, no one can leave the nation. Not only that, but it’s also a country without civilization, just sparse tribes that gather around Aztec-like pyramids. We don’t know why, but it’s something Murata has decreed for whatever reasons, but it seems she’s acting on some sort of luddism… I think.

Wouldn’t it be interesting to have a Natlanese escape their home country and go explore Teyvat? Or having an explorer returning with stuff and maps from there (I think Venti did something to help there, but I forgot where I saw it)? And yet, it’s been four entire game updates and the references are so sparse. We have no idea of what to expect because the writers apparently aren’t doing anything to hype them up.

I even tried to hype it up, by saying we might get chocolate-related recipes (because it’s no news but cacao comes from its real life equivalent) in another post, but the only reaction was a rude reminder that it’s a nation without civilization. Why would the writers just make Sakoku Decree 2: Pyro Boogaloo? And yet nobody in the current nations of Teyvat seems to miss them, it feels they’re kind of invisible. There isn’t even stereotypes of them being savages, it makes me wonder if Teyvat is that socially advanced to just accept the Natlanese way of life as an equal to any other in the world.

What makes each nation unique is their unique civilizations. And then comes a nation that has no civilization. From what we had so far, we don’t know what to expect. The Natlan country might be a sparsely populated continent, like the Americas before 1500 – but even so the Americas had quite a number of civilizations, like Central American ones, the Andean ones, even less known ones, like the civilizations in the Mississippi basin (due to greater unpredictability concerning the Mississippi river’s flood plains, it was harder to establish a civilization, creating cycles of thriving and receding urbanization; the moment right before the Europeans’ arrival was one in a receding cycle) or even the Marajoara civilization at the mouth of the Amazon river. There was also civilizations, big ones, in East Africa as well, like like Songhan and the Mali empires.

We’ve seen the writers will borrow from real life story, even if they do their twists. There’s little that remains from Pre-Columbian civilizations writings, so one thing could be a reenactment of Maya myths (but we have more of East African writings). Or even make a story involving imperialism and colonization, using the opportunity to introduce a new alien faction – like, James Cameron’s Avatar is popular, they could borrow from it – that started colonizing Natlan and might be a problem for not just the Traveler but to Celestia itself.

The point is that there’s nothing in the current story that says anything about what to expect. It feels like an afterthought. And, summarizing everything, there’s also the issue of escalation. Leaks said that there will be 440 hydroculii in Fontaine – this means that Natlan will likely have over 500 and they need to create a lot of things for the player to do there. Given how used the player will be at this point with civilization, how are they going to fill the world map with quests? And they have to keep that for a year and the dev team must know at this point what works and what doesn’t to keep the player busy for a year. Unless, of course, they have a plan for de-escalation.

But recent leaks made me realize: what if it’s the point?

Leaks being leaks, they aren’t supposed to be trustworthy. I will be vague, but the leaks said that some characters will be resurrected (and be playable) and that Celestia will activate at some point in Fontaine. These are bombastic if true, to say the least.

But, suppose they are. I’m more interested in the second one for this theory, because it was foreshadowed – Rex Lapis stepped down and the Geo Archon job is vacant, it makes sense for Celestia to activate and elect a new Geo Archon.

Celestia so far has been treated mysteriously. They’re the ones that govern with an iron fist Teyvat. They wiped out Khanreiah for the sin of wishing for a world without gods (implied militarism notwithstanding – I know there are Nordic influences for the Khanreian founders, but it makes me wonder if the nation itself borrowed a bit from US, with its high level of immigration and isolationism, which used to be a feature of American politics). They curse Seelies and Hilichurls to suffer for eternity. They made the Traveler’s sibling, once a great hero, and the Archon of Love to adopt a “destroy using whatever it takes, lies, murder, conspiracy, ignore morality, kill everyone and let God sort who belongs to him” approach to fight against them. And, considering how Genshin’s story borrows from gnostic mythology, it’s more than obvious that they will be the final antagonist. In my personal theory, Celestia is already eroded and now just follows protocols, like a faulty AI, that is unable to realize the world needs to move on.

But, we’re shown, like what happened to the hilichurls in the Chasm, but these are indirect ways to show this. There needs to be an event that makes the Traveler witness with their own eyes how far Celestia would go and let the Traveler (likely) judge they’re beyond redemption – the moment they’re tempted to say “My sibling did nothing wrong!”

That moment would be the destruction of an entire nation – Natlan. Why? I don’t know why they’d choose Natlan, but there are some things I consider signs, with the apparent disinterest of the writers in trying to make the player excited for it. Why would you do that with, essentially, a disposable country?

Of course, I might eat my words in August 2024 and feel really silly when reading this again, and they make something good out of it. But, eh, this wouldn’t stop me from having these thoughts.

[shuuji-thoughts]

on Tokyo Story - Yasujiro Ozu (1953)

Initial Reactions

Similar to I Was Born But..., this film is very slow and melodramatic, probably even more so given its length. Among the first things I noticed was the constant use of profile shots for dialog scenes. The shots are generally cut to include just a single utterance each, giving most scenes a bit of a stilted feel. Another thing that caught my attention was the overall similarity across scenes in regards to camera placement and framing, which especially toward the beginning made it somewhat difficult to differentiate between locations. I also really liked the acting and line delivery, especially with the grandparents. (Shūkichi is literally me)

Further Critique

The more I watched, the more I realized that the film seemed to have a very unique and interesting camera/editing style despite my initial reactions. The camera is always positioned low down in most scenes, which makes it especially easy to feel physically present with the characters as most scenes simply have them sitting on the floor talking. As is seemingly typical of Ozu, the camera just about never moves, and instead quietly observes from particular vantage points as characters come in and out of each shot of their own accord. I also noticed the constant use of (i forgot what they are called, the shots of random things inter-spliced between scenes), which especially in the latter half helped to absorb some of the tension from emotional scenes. There were also several scenes in which very little would actually happen on screen, usually to fill the space between other scenes, and I feel like it would be worth going back and looking more closely at these scenes for any extra details or thematic significance, as they seemed pretty important. Also, I don't know if it's worth pointing out here, but there was a surprising amount of foreshadowing for the big death from pretty early on in the film, and I thought the way it was done was pretty smart.

This film's themes were certainly a bit more blatant than I Was Born But..., with several very on-the-nose conversations between characters discussing them directly. It's a rather melancholic look into the lives of elders at the ends of their lives and the various attitudes their children have toward them in their last moments, particularly in a time of rapid industrialization, westernization, and changes to traditional family structures. Likely due to economic opportunity being centralized in Tokyo, our main two old folks live far away from the majority of their children and grandchildren, making the trip to see them a long and difficult one. We follow them as they undergo such a trip, with various ups and downs resulting from the various different levels of treatment they receive from their kids and in-laws. We watch as this trip slowly drains them of their energy and they decide to return home to Hiroshima, only to make it as far as Osaka before Grandma starts having serious health issues. We then see the reactions of each child to their mother's impending death, most of them taking it lightly to some extent, with the only non-blood-related daughter-in-law being the most distraught and emotionally invested.

I found this whole "kids all gradually drift away from their parents" theme and this film's vivid portrayal extremely potent. I only have one grandparent left, age 83, living most of her days alone in her house doing nothing but watching TV and struggling to remember to eat. I can't even remember the last time we went to visit her. I can also see myself already putting distance between myself and my parents, which will likely increase significantly over the next few years as I spend most of my time halfway across the planet. This film painfully reminded me of the experiences of elders and how sad it must be to grow more and more distant from your family with age. We should all take more care to not let the stresses of life distance us from those we should hold dear, life is simply too fleeting.

[dweemeister]

January 30, 2024

By Paul Farhi

(The Atlantic) -- For a few hours last Tuesday, the entire news business seemed to be collapsing all at once. Journalists at Time magazine and National Geographic announced that they had been laid off. Unionized employees at magazines owned by Condé Nast staged a one-day strike to protest imminent cuts. By far the grimmest news was from the Los Angeles Times, the biggest newspaper west of the Washington, D.C., area. After weeks of rumors, the paper announced that it was cutting 115 people, more than 20 percent of its newsroom.

The Times was once a pillar of the American media establishment, celebrated in David Halberstam’s classic media study, The Powers That Be. Now it has become a national exemplar of what the journalist Margaret Sullivan calls the “ghosting” of the news—the gradual withering of news-gathering muscle as once-proud publications become shadows of their old selves. The biotech billionaire Patrick Soon-Shiong looked like a savior when he bought the Times from its cost-cutting corporate parent in 2018. For a few years, he was; Soon-Shiong invested about $1 billion, by his count, to build up the depleted organization. But he turned out to have his limits. Facing mounting losses, in June last year the Times dropped 74 people from its newsroom. Last week’s even bigger blow was foreshadowed by managerial turmoil: Three top editors, including the executive editor Kevin Merida, resigned just before the news came down. “I won’t fault him for being unwilling to write checks,” Matt Pearce, a Times reporter who is head of the newspaper’s union, told me, referring to Soon-Shiong. But, he added, “we don’t seem to have a clear theory of the case as a business. We need to execute on a strategy. And we don’t have one.” (Soon-Shiong declined to comment for this article.)

The decline of the legacy news media has been playing out for decades, exacerbated most recently by the advent of the internet and the explosion of digital platforms, especially the ad-revenue-gobbling tech giants Google and Meta. Even when the ad-supported model of journalism still worked, the history of American media was punctuated by periods of dramatic expansion and contraction, often coinciding with the arrival of new technologies. The latest round of cuts, however, represents a grim new milestone. The Washington Post, NBC News, ABC News, NPR, Vice, Vox, and BuzzFeed, among others, have shed hundreds of journalists over the past year. (Disclosure: I’m one of them. In December, I took a buyout from The Washington Post.)No corner of national media seems unaffected. Even Condé Nast’s The New Yorker magazine, heretofore seemingly impervious, announced a numerically insignificant but symbolically freighted staff cut in December. All told, job losses among print-, digital-, and broadcast-news organizations grew by nearly 50 percent during 2023, according to the consulting firm Challenger, Gray & Christmas.

[etruatcaelum]

i am once again rewatching rwby.

RED TRAILER.

45s in i have to pause to yell (again) about “thus kindly i scatter”—THE SPEAKER. SUMMER ROSE IS NOT THE ROSE. SHE IS THE SPEAKER WHO KILLS THE ROSE AS A CONTEMPLATION OF HIS OWN MORTALITY IN THIS ESSAY I WILL–

“soon may i follow/when friendships decay/and from love’s shining circle/the gems drop away/when true hearts lie withered/and fond ones are flown/oh! who would inhabit/this bleak world alone?” the moon will sadly watch the roses die, huh.

lol.

lmao even.

i know it was just because the budget was a shoelace and chewing gum at this point but the grimm here being fully black with no plating is really funny in the context of my worldbuilding. because it means ruby just fucking slaughters a bunch of baby grimm bfrghfk

WHITE TRAILER

atlas is full of the worst kind of person (people who do flash photography in theaters)

it really is bonkers that jacques was like. yeah i won’t let you attend your college of choice unless you defeat this huge old geist that i have arranged to be captured and inserted into one of our comically oversized suits of armor. sir,

how did they even CATCH that thing.

this is probably my favorite of the trailers in all honesty. the duality of her public/private lives on such raw display. & i think the fight choreo is the cleanest.

the moon does not look broken so much as it looks like something has been nibbling on it. zhan tiri behavior.

BLACK TRAILER

i love how the thinking behind forever fall forest was clearly just “we cannot have green trees in this trailer it’ll ruin the whole aesthetic.” brhdjgh

YOUR HOPES HAVE BECOME MY BURDEN. I WILL FIND MY OWN LIBERATION. salem foreshadowing dot txt.

mumbles. V2 heavily implies that ozpin thinks blake is salem’s spy. so it is not inconceivable that that crow might in fact be qrow. i think about this often.

i have to imagine that this unbelievably over the top security robot was there because somebody tipped off the SDC as to the robbery plot. because lmao.

YELLOW TRAILER

“scathing eyes ask that we be symmetrical” this counts as arm foreshadowing tm

raven being here at the beginning really makes this. somehow a more attentive parent than tai BRGRHFKF (for legal reasons this is a joke)

ozma like yeah in my ideal society there is a minuscule class of elite special warriors with superpowers who roam around unrestrained by law or regulation and with zero meaningful oversight besides their own guild. & then there’s everybody else. why isn’t humanity united yet

i love them so much. they’re so stupid BRRHDKVJDNV

yang’s introduction vs the other three is really so hysterical though. she just- she swans into a nightclub and hospitalizes like fifty people HRGKH. she’s SEVENTEEN.

girl,,

junior and oobleck have the same basic weapon. oobleck’s is also a thermos, befitting his status as a hyper-caffeinated eccentric historian. junior runs a nightclub. do we think he can drink booze out of his

why is tai letting his fifteen year old wander around in the industrial district after dark 😭 man WHAT are ya doin

EP 1: RUBY ROSE

salem: humankind is wise, strong, resourceful, passionate, ingenious, did i mention resourceful? all it took for them to defy fate itself and flourish against all odds was a single spark of hope <3 …what was i talking about? oh, right. oz, your terror of change and your reliance on isolated guardians to hold up the rotting façade of your precious academies will be your undoing because there is no victory to be found in strength. fuck you.

oz: but perhaps!! victory is found in the simpler things that you’ve long forgotten. like hope and honesty <3

salem: ………really?

they are so. DIVORCED. AJDHSHDK

“so-called free world.” her protégée was a child slave. her protégée was a child slave whose mentor attempted to arrest her after she murdered her owners. slavery was abolished after the great war. your so-called free world.

shes so ANGRY.

“a smaller, more honest soul” says the LIAR LMAO

ruby: i think today i will murder some goons <3

ozpin pretending like he doesn’t know exactly who ruby is. most hysterical play of all time. it’s clearly not a secret he’s keeping for a reason—otherwise qrow wouldn’t have been so loose with telling the girls he’s tight with ozpin and ironwood later on—so like. ozpin are you just lying to this girl out of HABIT (probably)

“i want to be a huntress”/“you want to slay monsters?” -> “and what exactly does a huntress do?” “fight… monsters, i guess?” SCREAM LAUGHS.

glynda is like “he’s going to let this child into the school. gods help me” she does NOT get paid enough. whatever he’s paying her isn’t enough

ruby: i don’t want anyone to think i’m special or anything :(

ozpin: good news everybody—

“our world is experiencing an incredible time of peace! please do not ask why we need to train warriors to uphold this peace, thank you :)” cult behavior

the !!empty!! cloak floating above summer’s grave… she’s so alive it makes me crazy

“i don’t want to hear your absolution/hope you’re ready for a revolution” SCREAM LAUGHS AGAIN.