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menlove · 6 months

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honestly i think a HUGE part of the issue is that most of the left doesn't really understand antisemitism

after wwii it became wildly Unpopular to be blatantly antisemitic. obviously, it still happened. but the result of this is that instead of antisemitism being studied as a historical and pervasive form of oppression that has been around for thousands of years & has many many precedents BEFORE the holocaust.... it became:

something just simply Rude to say or do. if you're a polite liberal/conservative or a leftist, it's just something that is socially unacceptable. there is no real weight to this.

something when FIRMLY believed is ONLY held by people like nazis and white supremacists. who, as we know, are The Enemy and none of us can ever be like them at all ever by the virtue of... not being them. no need to watch your own behaviors, bc you are not a nazi! only nazis could ever be Actually antisemitic

something that erupted out of the ground in germany in the early 20th century, culminated with the holocaust, and ended after. antisemitism did not exist before that and it was solved after when the saving grace of the united states and england liberated the jews from the nazis out of the goodness of their hearts

however absolutely none of this is true. antisemitism stretches back thousands of years and it has not, for the most part, been only "fringe" conspiracy theorists and white supremacists who perpetuate it

antisemitism has been, by and large, presented as very logical. throughout, again, the thousands of years of history of antisemitism, very regular people have been antisemites. and most of them had reasons they felt were perfectly logical and understandable and most of all just. jews were trying to kill their children, of course they hated them! jews were purposefully trying to keep them poor, of course they hated them! jews believed Wrong Things and were morally and spiritually corrupt, of course there was something wrong with them. jews betrayed their country, lost them a war that ended with their husbands and brothers and sons dead, and now were living among them and taking advantage of social benefits out of the goodness of the hearts of the german people, of COURSE they hated them! and the nazis themselves were backed up by science at the time. scientific racism was THE science at the time. charles darwin was a scientific racist. it was all very logical.

and did jews actually do these things? no. but these people saw enough proof that aligned well enough with their morals and their beliefs and their fears & so to them it was completely logical and justified. it wasn't a fringe theory that only an insane person would believe in, or something impolite. it was true to them. to their morals, to their fears, to their core beliefs. it was true.

and so now we see a LOT. a lot of leftists being dragged ass first into antisemitism. because they don't even think they CAN be antisemitic. THEY aren't nazis and THEY aren't white supremacists, of COURSE they aren't antisemitic. but... well. the jews are doing things that go against their morals. they're doing things that validate their fears. the jews are violating things that go against their core beliefs! so of COURSE it is LOGICAL that they should hate them. of course, it is still rude to say "the jews are evil" so it gets replaced with "zionist". (and before you ask yes i am anti-zionism and do deeply believe what israel is doing is unjust and cruel) but even that is slipping.

it is getting all the more popular to go that one step further and instead of just making posts like "spam the hanukkah tag because the Zionists need to learn what their religion stands for" that are blatantly just replacing "jews" with "zionists", they are logically moving to being mask off. if zionism is wrong and half the world's remaining jewish population lives in israel, what about the rest? aren't they suspect? would they not ALL commit atrocities if given the chance? aren't they all racist for believing they're an ethnicity? aren't they all complicit? aren't they all threatening our deeply held leftist beliefs? it's a little weird and everyone has been too quiet for too long bc it's been rude to say but now you can get 300k notes for posting blood libel so why would you keep quiet anymore?

why WOULDN'T you just say "thank god someone finally said it i was worried about stepping on toes" when someone makes a post full of antisemitic conspiracy theory. why WOULDN'T you say "i don't care if all of israel gets bombed and every single person dies after this lmfao they deserve it"? (which would wipe out, again, half the world's population of jews- many of whom living there are anti-zionist and actively protesting their government. or. you know. children.) why WOULDN'T you make posts about how jewish identity is just nazi aryanism? why wouldn't you make posts about how the jews are privileged in america bc they run hollywood and the economy? why WOULDN'T you say the star of david is a hate symbol to you now and that you mistrust anyone using it? or that you find anyone speaking hebrew suspect?

these are all perfectly logical. to you. and YOU are not a nazi or a white supremacist. so it can't be antisemitic.

#antisemitism #long post #yall are just fucking exhausting and im going to go on a blocking spree in a moment but truly and deeply #just fucking think for two seconds about what you say

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evilminji · 9 months

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You know... >.>

My Dad always used to tell me, if I get a Genuine Genie(tm)? Get a lawyer first. Before I make my Wishes(tm), so they can help me word them correctly.

Obviously, a human lawyer would not be foolproof... BUT! What about a Ghost Lawyer?

Like? Obviously Desiree would be PISSED. How DARE you twist HER wish twisting! Her THING is "what you believe is your heart's desire always comes at a terrible cost" which is what she DIED to learn.

So obviously she would NEVER, willingly, bend her Obsession for ANYONE. And you'd have to make a DAMN good case to that Lawyer for why he ISNT breaking the law by helping you. Probably some "you can: save the life of an unconscious person against their will/shove an unobservant person OFF the train tracks, even if they get hurt, to save their life" clause.

Like? Using a ghosts Obsession against them? Bad. Illegal.

Using it against their will, to save OTHER ghosts, who are in immediate danger? Not illegal, but they will be PISSED. Still not great though, you will want to apologize and fast.

So like??? Reality Bending Power. Patrick Star Method of "what if we MOVED the city... somewhere else?" Considered at 1am. Team of Ghost Laywers, acquired.

Amity and all Limnals are REMOVED from the DP-verse.

Wish worded juuuuust so. Any ghost that forms there? Yoink! Instantly removed to the Zone. Natural Portals? Cut off. Let the whole Reality fade out at an accelerated rate, as no NEW energy is fed into the system. Entropy will do, what entropy does. Exactly as they wished it.

They hated Death so much, they speed up the heat death of their ENTIRE universe by Eons. Congratulations, you guys "Won". Enjoy the wildly more fragile flora, fauna, and general ecosystems. Now that none of you have that ambient Ectoplasm strengthening your bodies. Yeah, the things you used to shrug off? Those are gonna maim or kill you now.

Doesn't MATTER if you "learn your lesson" though! Cause this is WAY past that point! This is "cutting off the tumor before it kills us" territory, and buddy? Amity ISNT the tumor. Go forth a grow, just like you wanted.

They won't be here to fix your messes anymore.

Because Danny got himself a dictionary thick "I Wish..." contract. Which was worded, as it needs to be, in one loooooooong run on sentence. Shouted "I Wish what's written on THIS, as it is currently, and without any form of editing or negotiation!" As fast as he could. Yote the document in Desiree's direction. And Flew like an INCANDESCENTLY pissed off Genie was trying to set his everything of fire.

Which she was.

Thankfully, Paulina came in clutch with her History of all things Jewelry, world fashions, and Make-Up knowledge. That, coupled with the Power Of Rich Friends(tm)? (Sam. Her mother was THRILLED to take her Jewelry and clothing shopping for something other then blacks and dark purple. They went on a jet setting whurl-wind tour. Sam actually kinda liked a some of what she found.)

They have Apology Bribes.

They shamelessly HIDE behind the mountain of Apology Bribes, while they explain themselves. Is Desiree HAPPY? No. But those bracelets are magnificent and she DOES deserve nice things. Those silks will really bring out her eyes. And she... DOES... admit...

Maybe...

That things are not... SAFE. Any longer. Danny TRIES. Everyone else can see it. And he's made incredible strides! Even convinced his lunatic parents. Though they're still not quite POPULAR. (WAY too pushy and invasive with their questions, for most people.) But the fanatics in white?

They nearly killed Box Lunch. If her father hadn't BEEN there...

And the poor man will have that scar on his back for the rest of his afterlife. Desiree can see why Danny is pushing. Does she LIKE it? No. But...

She supposes she will content herself with the suffering of the Fanatics in White and all who support them. THEIR wishes, twisted. Their ugly heart's desires.

Fine.

"SO YOU WISH IT. SO IT SHALL BE!"

And? The ghost town of what WOULD of one day grown into Amity, had the witch's there not been found by those they had fled from, which sits in long rotted ruins, amongst the trees in nowhere Illinois? Poof! Two "Towns" are switched.

The roads out of town coming to a clean line stop, meeting not even goat paths. Just trees. Old growth.

But it's not ALL of Town, is it? Faces missing. New, confused, faces from every corner of the map, taking their place. No Limnal left behind. No supporter of the GIWs genocide, brought along. Family's kept together where they could be. But by the few, scared and upset, green flashing eyes of children in the crowd?

It seemed for some, it was easier to fear and hate, then love their children.

Already they were being gathered up by school teachers and PTA parents. As everyone tried to figure out what had happened. Concerned, quite muttering a dull roar as everyone tries to coordinate.

Red Huntress joins Danny and Dani in the Sky. She doesn't get a word in. Wanted to know what the HELL was going on. She was with her dad in Chicago! Dani was in Taiwan! Literally! As in, sitting in a SUBWAY station one second, the next? Outside!

But they don't get to demand those answers. Because there is a sonic boom on the horizon. And then? Floating... weird... not ghosts?

Uuuuuuhhhh?

Hi?

That much blue... sure is a Statement. Like the cape and... bloooomers? Shorts. Bikini bottoms? It.. it's a Cool Look, dude! No, really. They are being VERY supportive here! If YOU like it? That's the only thing that matters!

Red Huntress smacks the Danny/i's Repeated upside their heads and demans to know what the Not-Ghosts are doing in their airspace.

Oh YEAH. Good point! What she said! And can it WAIT? They're kinda going through A Thing right now...

Kon? Wants it on record he loves these guys. They're hilarious. The LOOK on Clark's FACE?? He wishes he could frame it. Preserve it for future generations. Thing is? There was NOT a town here a second ago.

Well, bout 30 minutes or so, but you get the idea. One moment? Tree noises. Bam! Thousands of people! Obviously the checked it out. Only to be met with two... three maybe? Heros who have NO IDEA who they are.

Clear Reality warping shenanigans. Might be time travel or multiverse. Question is... are they STAYING? And if SO? What now...

@hdgnj @ailithnight @the-witchhunter @nerdpoe @dcxdpdabbles @mutable-manifestation @hypewinter

#dpxdc #dp x dc #dc x dp #dcxdp #dc x dp prompt #danny phantom #minji's writing

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secretmellowblog · 3 months

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Les Mis Hidden Name Meanings: “Fantine” (posting here because it got popular on TikTok)

Every character in Les Mis has a name with a deeper symbolic meaning— here’s a video I made for the official @barricadescon TikTok about the meaning behind “Fantine!”

Transcript and Digressions I left out of the video, under the cut:

Every charcater’s name in Les Mis is either a pun, a reference to a historical/mythological figure, or had some deep symbolic meaning — and sometimes it’s all of them at on.

The name “Fantine” comes from the french word “enfantine” or “childike, infant-like.” Her name basically means “Baby.” And obviously this speaks to her innocence and niavetee. But also “baby” is kind of,.,, well it sounds more like an informal term of endearment than an actual legal name?

And that’s because– Plot twist– Fantine isn’t her legal name! What is her legal name? She doesn’t have one.

And the reason she doesn’t have one is directly tied to political turmoil of the era she was born into.

Fantine grew up an orphan living on the streets, without a family without parents. Hugo tells us the origin of her name:

“she bore on her brow the sign of the anonymous and the unknown. (...)She was called Fantine. Why Fantine? She had never borne any other name. At the epoch of her birth the Directory still existed. She had no family name; she had no family; no baptismal name; the Church no longer existed. She bore the name which pleased the first random passer-by, who had encountered her, when a very small child, running bare-legged in the street. She received the name as she received the water from the clouds upon her brow when it rained.”

This moment is adapted beautifully in the Manga adaptation by Takahiro Arai, which I recommend to anyone who loves Les mis, manga, or any combination of those things.

But now let’s talk about the Directory.

To wildly oversimplifly a lot of complex history: Before the French Revolution, the Catholic Church’s records of baptismal ceremonies were often used as a registry of people’s legal names. During the French Revolution, the Revolutionary government– including the Directory– put in place a series of policies we now call “dechristianization,” where they attempted to dismantle the power of Catholic church.

Fantine was born during the age of these dechristianization policies. So she was never baptised, her baptismal name was never recorded, so she has no recorded legal or family name. She’s slipped through the cracks of the legal system, and ended up completely anonymous.

It sets Fantine up as this anonymous child of the Revolution– a stand in for everyone who was left behind when the Revolution was left behind, and kings were restored to the throne.

Fantine’s namelessness is meant to show atomized . How she has NO support system. She has nothing to connect her to other people, nothing to connect her to a support system.

Finally, the way Fantine tends to “slip through the cracks” is something that follows her throughout her life. When she’s fired from her job at a factory, Maroy Madeleine never learns of it– Fantine has this tendency to overlooked and forgotten. She is born anonymous and she dies anonymous. At the end of the story, she is buried in an unmarked grave, with not even the name “Fantine” on her headstone.

It ties into novel’s questions about which people we consider worth remembering, whose lives are worth being records.

And obviously Fantine is not the only character in Les Mis whose name has a deeper symbolic meaning. If you have any other Les Mis character names you’d like to explain, leave their name in the comments below.

Thank you for watching!

From the description of the original tiktok, here are some things that were left out of the video for time:

How this all relates to Cosette’s name(s)

Fantine’s nickname “The Blonde,” and how this relates to the way she’s dehumanized by Tholomyes

How the 2018 Bbc series fundamentally misunderstands Fantine’s character, and how one sign of this is that they give her a full legal first and last name

How Fantine’s name shows up/is revealed is significant parts of the story (like when Valjean reveals her signature on a letter to Thenardier, allowing him to take Cosette away)

How Fantine’s inability to write ties into the way it’s difficult for her to record her own story

How some of Valjean’s last words are revealing Fantine’s name to Cosette

Thanks again for reading!

#les mis #les miserables #Fantine #:3 #tiktok #barricades con

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daydreamerwonderkid · 10 months

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Me, after doing 15 minutes of excessive googling on every Batfam member's birthday only to then realize I've accidentally missed the majority of them this year, and then also finding out that people are still aggressively debating over whether Bruce's birthday is April 7 or February 19, Dick's birthday happens 3-6x throughout the year, and Stephanie might have just popped into existence for all that DC cares:

Batfam birthday dates btw for anyone who needs them are listed beneath the cut:

DISCLAIMER: DC is notorious for being super inconsistent with everything and I am a mere tadpole caught in the tidal wave of DC's ocean. This post will be regularly updated with edits and corrections so please do not use it as word of law, I am begging you.

Update (8/24/23): To keep things more simple and easier for everyone I am going to start categorizing the birth dates I've collected into 3 categories.

-Most popular: Self-explanatory. These are the birth dates that have been canonized and confirmed by DC and are also more wildly celebrated by the fandom. Typically, this should be the first result you see when you google the character's birthday. But not always because DC sucks ass.

-Other date(s): These are the additional birth dates I come across that have been canonized in some form with multiple sources, but are not as wildly celebrated or popularized by DC and/or the fandom. Why am I including them here? Mostly because I don't want people coming in saying I forgot a date. But also because if I have to see this mess, then y'all have too as well.

-Potential but unconfirmed date(s): This is where I will put all the other additional dates I find, but specifically those that are lacking in complete sources or seem to be highly debated and scrutinized.

Also fun emoji ranking guide for me and me alone:

👑👑: Queen Shit. Characters with a consistent and simple birth date(s). Can absolutely do no wrong.

👑😮‍💨: In the Running. Characters who don't have a set birth date, but the mess is minor and completely DC's fault. They shouldn't have to be punished for DC's crimes.

🤡🤡: Gtfo. Shit is so inconsistent and stupidly messy that it's making me lose my shit. I'm putting DC and the characters on trial for this bullshit.

👑Alfred Pennyworth👑

Most popular: August 18

Other date(s): June 27 or August 10

Potential but unconfirmed date(s): September 19 (fml)

(Yes, I'm including Terry, fuck you lol

Also SERIOUSLY WTF is up with so many of these August birthdays!!!! Fuck, was everyone just getting crazy BUSY in November!!!! What's going on in the DC universe that is making November of all months the HORNY MONTH????!!!!)

(Mini update ((8/18/23)): Well, I just found out that apparently June 27th 2023 is also a highly debated birth date for Terry. As is August 10 2023/2024 and August 18 2023/2024. I even saw a mention of September 19 2023, but I don't know how credible that source actually is. I'm just putting it here because I'm losing my mind and I don't want someone to pop in and say I forgot it omfg I'm dying

I'm just ... why? Why is it so hard to just commit to one month and one date. I'm not even concerned about the exact year. Just commit to ONE, man.

Excuse me while I march over to DC HQ and burn the whole place to the ground iswtfg)

Feel free to correct me if I'm wrong on any of these. I have a massive headache now and am open to any suggestions or clarifications y'all have to offer.

Also, I'm going to fist fight Dick in a Denny's parking lot.

Update (8/17/23): So a mini post that I meant to use as a way to vent how insane Dick was making me somehow blew up way more than I ever expected it to, and now I feel obligated to clarify again that I am open to any corrections and additional info that anyone has to offer.

I'm saying this because I've noticed people reblogging this post for actual Batfam bday references and someone already pointed out I fucked up Tim's bday and now I feel bad for everyone who reblogged this post prior to that edit.

It's probably just the anxiety talking, but yeah I just wanted to put that out there.

Also justice for Stephanie Brown! She deserves to have her own special day and if I have to bully DC into giving her a canon birthday, then you bet your ass I fucking will.

(And to all of y'all who are encouraging Dick to keep running his side scam business, I just have this to say: There's an empty Denny's parking lot somewhere out there just waiting for you, too lol)

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antimony-medusa · 1 year

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One of the things that I think sometimes gets lost when we talk about what's appropriate in fandom spaces is the notion that things can be appropriate in one space, but not for another. And that doesn't mean that the thing that's inappropriate in that setting is wrong, it just means that it's rude in that space. I think people want a single set of rules that's appropriate everywhere, but the thing is, you have to be able to assess the situation, and adjust your behaviour accordingly.

So an example. I have a fairly popular text post that was me asking about c!phil and religion in all innocence, and someone said "the only thing I have to say about c!phil is that he worships on his knees, thank you and goodnight". And I reblogged it like "I can't believe I forgot about how this fandom does phil analysis", cause it was at the height of the dilfza memes.

Anyways that's obviously a phil-is-happily-married/oral sex joke, in an oblique innuendo way, and on this site, where Phil is not here, and his friends are not here, with it being clear I was talking about the block man character, and we make jokes about sex and profanity (a very popular url scheme for a long time was "[name]shugecock" (or smalldick, depending on the joke)— that's a fine joke to make. I'm an adult, I can make sex jokes about fictional characters on the sex joke fictional character social media site.

If I was to make that joke in Philza's twitch chat, a) in his face, b) with his wife modding, c) in an enviroment where people aren't prepped for sex jokes, d) with it being not clear if I was talking about the cubito or about the real guy, that would be wildly inappopriate. I would be banned in every chat Philza mods in and I would deserve it.

That doesn't mean that it's inappropriate to make the joke in the first place though, just because I wouldn't do it at a Phil meet and greet. It means you gotta learn to read the room. (And like, sometimes it's hard to learn to read the room, but you can do it by pure brute-force memorization. I did.)

This is the same theory that underlies the fact that you can call your friends a bitch in a friendly way, because you are friends and you know each other's boundaries, but if you call your boss a bitch, you will be fired. There are rules about workplace appropriateness, and there are rules about what's appropriate in front of kids (I teach teens, I do not swear in front of them, I swear a LOT in front of my roommate), and there are rules about what's appropriate in different fandom spaces. Participating in an exchange about pregnancy and babies with your favourite blorbo of the moment? Great. Showing the actor gift art you got of him pregnant? No. Bad. Go directly to jail, do not pass go, do not collect two hundred dollars.

The thing that concerns me is that I think there are slight signs that as we get more comfortable with sexy jokes and offcolour remarks as a MCYT fandom (QSMP is the big banner example but it happens with other smps), we're taking what's appropriate in one space (tumblr, home of the brain worms, where I have seen the blog "philzaswetpussy" on my dash), and we're bringing it into places that it's not appropriate (sure, slimeariana is clearly canon, but maybe don't put the actual dicks-out fan art in the art tag on twitter that slime checks). Cause we can obviously tell that the rules twitter is going with are silly for here, so it's full speed ahead for roier/spreen etc, but the trick here is that it's full speed ahead HERE, or in fandom servers, and not necessarily in the streamer's faces.

We have a bunch of situations where creators have said that it's not their place to weigh in on shipping or nsfw etc, and people have taken that as a go ahead and that's fine, but thats still something where I'd like, caution people that just because they said "not gonna look at it not my deal", that doesn't mean that like, you should make it difficult for them to avoid looking at it. Talking about scitties is an honourable tradition, but telling scar that he makes you question your sexuality in his TTS— I made a horrified noise in real life and the cats came to look at me.

And I'm talking about the shipping, but this is also a thing with like— sometimes I see a streamer and I go "my friend you just vividly described neurodivergent symptoms" but it is ABSOLUTELY not my place to say that in their chat. It might not even be appropriate to make comments about it on my blog, with the amount of followers I have. I have to keep the "streamer just described the ADHD experience again :pensive:" comments for the group chat. And we all nod and go "yeah sounds like streamer", and we do not put it in his face, cause that's inappropriate.

We get to have fun with the fictional characters, including off-colour fun, but we still have to remember that there are real people who don't know us who are steering those fictional characters around, and it can be profoundly weird to see some of the (stuff that is appropriate in fandom spaces!) just up in your face in the regular fan art tag.

Just think about the space you're in, and who you're in front of, and if a CC notice is actually likely, and if a CC notice would be Very Bad actually with what you're doing, and keep the "world's sluttiest absent father" bracket (with associated slutty fan art) for here, not with the streamer tagged on twitter.

#discourse #medusas banger posts #fandom meta

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matan4il · 3 months

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Ahead of Eurovision 2024

I was listening to Eden Golan's song, Hurricane.

youtube

At first, it didn't seem to me like it stands out. I'm one of the people who prefers my Eurovision song less on the power ballad side of things, so this being in that genre...

But then I found myself haunted by the lyrics. By specific lines. Singing them to myself quietly, over and over again. I had to listen to the song again.

And it got to me, it really did, I haven't stopped listening to or singing it since, so I guess I needed to share a bit.

There's more than one hint that this is a song about mourning and survival. Lines like, "someone stole the moon tonight, took my light" can be interpreted in more than one way. But they become less ambiguous when combined with ones like, "holding on in this mysterious ride," when the mysterious ride we're all on is life itself. It makes it clearer that this isn't just a break up song. Then it becomes even more explicit with, "we shall pass, but love will never die."

The imagery in the videoclip is also telling, that ending when Eden is looking up, much like many do when talking to or thinking about a loved one that we have lost.

But the line that gets to me the most, the first one that took over my brain? "I'm still broken from this hurricane."

We all get what this song is about, in the wake of what happened here in October 2023, and since. And I am broken. So many Jews and Israelis are. As one survivor said (his words have haunted me first, then I heard them echoed in this song): "We are broken, but strong." That's exactly what the song is about, deeply feeling the pain and the tragedy, the loss, this impossible to accept grief, and still trying to find a way to live with it, to survive not just the horrors of a massacre, but the trauma that follows it as well.

The other line that affects me the most is directly related to this, "baby, promise me you'll hold me again." Because I have spent the last 5 months watching the news, seeing the funerals, and hearing people breaking down, as they say a variation of this to their loved ones, who are gone. Asking for a promise that can't be made, or fulfilled, and knowing that it can't, even as the request is being uttered. I hear their voices breaking around their words, whenever I listen to or sing this line.

The videoclip is also infused with imagery that's related to the massacre of over 360 people at the Nova music festival (and the kidnapping of 40 more from that scene), which is in a way very apt for music lovers. The images show dancers in what looks a lot like a nature party, just like Nova, and since the massacre happened when the music festival was meant to reach its peak, a long night of music and dancing climaxing around sunrise, that's exactly what we see, a move from the "moon light" throughout most of the videoclip, to the "sunrise" at the end.

But in the case of this "sunrise," Eden can smile, she can find comfort, she can sing a few words in Hebrew that reflect hope, about that little light that's left even when the moon's been stolen.

She's bringing the song to a beautiful, emotional closure.

Obviously, it can't be ignored that this is a re-write. The original song (which was called October Rain) was disqualified as "political."

You can read the original lyrics here. They're almost identical. I heard an interview with the song writers, who said they weren't even told what got their song disqualified, so they had to guess what the Eurovision Broadcasting Union had in mind, when they called an expression of our pain, and our strength at the face of that, "political."

I admit, I find it very hard to accept this disqualification. It's not like there isn't precendent for countries at the Eurovision expressing pain (including the kind originating from political circumstances) through their songs.

If you take the wildly popular Ukraine 2007 entry, the singer was quite obviously singing "Russia goodbye," with allusions to Russian interference in Ukrainian elections while wearing outfits reminiscent of Soviet uniforms. And that wasn't called political, because "Russia goodbye" was changed into gibberish that still sounds like it (and in recent performances, it was blatantly sang like that).

If you take the much talked about Croatia 2023 entry, it was about the Russian invasion of Ukraine in 2022, and also criticized Belarus' tyrant kissing Russia's tyrant's ass, by referencing the tractor that Lukashenko bought for Putin, while the band members played with military weapons and uniforms on stage. And that wasn't disqualified for being political.

If you take the Ukraine 2016 entry, that was explicitly singing about their pain over what the Russians did to the Tatar population in Crimea in 1944, with clear allusions to what Russians did when they invaded Ukraine's Crimean peninsula in 2014. And that wasn't called "political" either.

Even this year, we have the entry from The Netherlands being political, with both the lyrics and videoclip referencing the borderless Europe (which IS a political issue, as Brexit, if nothing else, had made clear). I've seen people pointing out online that the song isn't political, because the whole borderless Europe thing is a metaphor for the singer's grief for his father/parents. I have no problem with that reading, but let's acknowledge that there could have been many metaphors for that, and he chose a political one.

So why is Jewish pain treated differently? Why is our pain labeled "political," when the metaphors for it in the songs aren't that, there are no specific political mentions of people or organizations in the song (unlike the Georgia 2009 entry, which slipped Putin's name into the song's title) in either version, when there are no political statements being made in the song, there's just expressing our pain, and trying to find a way to cope with it?

This WAS the biggest massacre of Jews since the Holocaust, and expecting Jews not to write about it, not to sing about it, not to try to process it through art... Our pain is not political. It's human. When Ukraine won in 2022 with a song that wasn't originally political, but became one, as it was adopted by Ukrainians suffering from a war that they did not choose, but had to fight, singing it wherever they were displaced (I remember the winners, Kalush Orchestra, coming to Israel to sing it for and with Ukrainian refugees who found shelter here), I thought it was quite obvious, even for people who don't like politics at Eurovision, why the song won, and why everyone overlooked the fact that it was only partly based on its qualities as a Eurovision song. I don't expect Israel to win, I very much expect that, even as Israelis embrace this song about our pain during a war, that we didn't choose, but have to fight, and while hundreds of thousands of us are still displaced, we will get a lot of hatred, instead of understanding and sympathy. But I still have to speak up. I still have to point out that treating Israeli or Jewish pain differently is wrong.

(as a footnote, I wanna get ahead of the usual, "Why is Israel allowed to participate in Eurovision to begin with? It's not in Europe!" comments, while I haven't come across the same ritual for certain other Eurovision participants, like North African Morocco, just-as-Asian-as-Israel Lebanon, transcontinental {despite some of these countries only being considered European culturally, while geographically speaking, they're fully Asian} Georgia, Russia, Cyprus, Turkey, Azerbaijan and Armenia, and the one that's a continent all on its own, Australia. They all have the right to participate, because they all belong to the European Broadcasting Union. Just like Israel)

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hotvintagepoll · 2 months

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Propaganda

Elizabeth Taylor (Cleopatra, Who’s Afraid of Virginia Woolf, Cat on a Hot Tin Roof)—iconic actress with purple eyes and a double row of eyelashes, the real ebony dementia ravenway of old hollywood. known for her stunning tastes when it comes to jewelry and her incredible, incredible advocacy during the AIDS crisis.

Clara Bow (Wings, It)—The original It Girl (literally), Clara was the epitome of a flapper film star. She was obviously a looker, but it was her acting that won over hearts. Watch the movie It (no clowns) to get a sense of her charms. And while she's most known for her silents, (including Wings, the winner of the first ever Best Picture Academy award) she did make some talkies! Contrary to popular belief, sound films didn't ruin her career; she reportedly just hated the process of making them. She had a really interesting background and it's a shame she's not as well remembered as others of her time.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Elizabeth Taylor:

I've been trying to steer clear of the absurdly-big names, but damnit, those violet eyes got me. The *talent*, the *presence*, the string of marriages and (temporally out-of-bounds) work in combating AIDS and pioneering in the concept of the celebrity fragrance line.

Not only did she have gorgeous violet eyes and lashes for days and one of the hottest voices ever, she was also a big supporter of the gay community

Child actress turned starlet, Liz dominated films as one of the greatest screen legends of classic hollywood. If your protagonist has violet eyes, they're imitating hers.

A Legend. She was serving milf rage in Whos Afraid Of Virginia Woolf. A Star in every sense of the word.

She was renowned for the beauty of her eyes; they were a dark blue but could look violet in certain lighting, something that photographers would actually touch up to look even more so in pictures. But even more striking was a genetic mutation that gave her a double row of eyelashes. She was also famed for her string of husbands -- 8 marriages to 7 men. Two-time hubby Richard Burton once said she was “a wildly exciting love-mistress… beautiful beyond the dreams of pornography.”

Her EYES. Early and loud support for gay rights and AIDS victims. Married a bunch of hot dudes, Burton twice!

just look at her. she's gorgeous. there's a video somewhere of her applying her eyeliner in the mirror and I think about it all the time

THE Hollywood actress of all time. Not only was she known for her long dark locks and blue-violet eyes, she also had one of the wildest life stories ever….. She’s Carrie Fisher’s stepmother because her father Eddie Fisher cheated on Debbie Reynolds with Liz. She was knighted as a dame of England. She was married to seven different men, one of them twice. She was also very kindhearted and did a lot of charity activism.

Asides from being an iconic actor, she did a lot of philanthropy and co founded the American Foundation for AIDS research. She’s sometimes considered one of the last great stars of old hollywood

Clara Bow:

The original it girl! Flapper icon! She's sooo fun and charming and confident, it just shines through any film or picture you see of her.

I love love love her genderbendy boy style and her cute twinkly performances!! watch wings i s2g she absolutely brings it

She has gorgeous doe eyes, how can you not love her?

She's literally THE It Girl. Like actually, she's the term's namesake. She was an extremely prolific silent film actress with a reputation for wild behavior who defined the 20s flapper era. Her boyish frame, androgynous style, and red curly hair were widely emulated.

#clara bow #elizabeth taylor #hotvintagepoll #fuck that old woman #ladies 3

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mania-sama · 4 months

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A Look into Mental Health: Jujutsu Kaisen Analysis

"Being a child is not a sin." (Nanami Kento, Jujutsu Kaisen)

With the release of Chapter 251, I've seen many horrible takes from dudebros saying that Megumi has "sold" the team. This makes me unreasonably angry because of course it does, so obviously my next plan of action is to take all of my hour-long rants about the mental health of JJK characters and put it here, where said dudebros will never see my (correct) analysis in their entire life. Oh well.

One thing Gege is really, really good at is creating believable, undeniably human, and complex characters. Every character has a different set of motivations, beliefs, ideals, and especially mental states. The constant theme of Jujutsu Kiasen has been "Strength vs Weakness". While the clearest interpretation can be seen through the physical attributes of the characters (Gojo being the strongest sorcerer of his time due to his abilities, and Miwa being one of the weakest, again, due to her abilities), it is also directly applied to the mental strength of characters. No two characters are able to withstand the same trauma and come out the exact same, just as no two real people can process the same trauma. Not only is it a result of nature, as people are genetically different and therefore process information differently, but a product of nurture - in other words, character motivation and environment.

This is where we come to the current state of the manga, Chapter 251. The fated Yuuji vs Megumi debate. I keep seeing people wildly misunderstanding these two, and why it's so important that Megumi isn't standing up to fight, why he isn't able to handle his trauma, when Yuuji can.

Gege writes phenomenal characters. And I want to express just how well done they are, making Jujutsu Kaisen actually kind of deserve its popularity, because some people only care about power scaling. I'm going to touch on Megumi last, because understanding all of the other characters' makes his visible struggle that much more impactful.

1. Geto Suguru

I want to start this mental health analysis with Geto. He is the best representation of depression I've ever seen in Shonen. It doesn't take a hundred chapters to showcase a character's downfall. It doesn't take a hundred significant events to cause a character to break down. Gege shows the best, realistic mental breakdown using only a handful of chapters, and still makes it slow and painful.

Depression can start because of a big event, but it doesn't take more for it to worsen. Untreated, depression runs a vicious course that eats a person through slowly but effectively. It isn't one screaming session, hands clutched over the head and cursing God and the world. It's everything piled onto each other. It's coming to the end of that pile and realizing that nothing will ever change.

This is Geto Suguru's story. He has a big event: the fight with Toji and the failure to save Riko. But his mental health journey was fated to decline, even without the fight and failure. The root issue of his depression came from his ability: Cursed Spirit Manipulation. As long as he kept devouring the embodiment of every vile, human emotion, the more he would lose himself to that vileness. He wasn't changing anything; he couldn't help but continue to swim in negativity because that's all he could do.

Gege wasn't making a commentary on Geto's ability. He was talking about people, as they are, and how staying in a bad situation will not always make you stronger. It can, and most likely will, make you worse. A direct comparison to the sixteen-year-old Geto would be a sixteen-year-old at school, surrounded by people who bully and pick on them with harsh words. The kid will eventually consume all of that bullying, all of that negativity, into their being, because there is simply nowhere else to go. School is mandatory; they can't just leave. They eventually feel isolated, with all that vileness piled on. Even if they have friends, those people could never understand what it's like to put up with humiliation and cruelty day after day.

It's not rational to push away a support system, but who said human beings are always rational? People make mistakes. They don't make the right decisions. Geto didn't. He saw someone offer him a chance at change, a possible light at the top of his pile and twisted it to match his overwhelming negativity. He left and swore to destroy the world that made him the way he is, just as that bullied child may turn away from school and society in whatever form that may take.

I want to touch on the physical aspects of Geto's depression, too. I noted this in a previous analysis I did on him (his character is just that amazing, what can I say?), but Gege knew that the mind can't be affected alone. Geto was drawn with deep eyebags, a nod to an inability to sleep or needing to sleep all the time. Depression makes you tired all the time. Everything becomes difficult. He sits with his back hunched, resting his weight on his knees, like sitting upright is too hard. When someone speaks to him, he blinks and takes a second too long to look over or respond, like speaking takes too much energy. To me, it even looked like he was becoming thinner. It's extremely difficult to maintain a schedule of exercise and mealtimes when your mind is fighting an active war against itself.

Again, a beautiful representation of depression. Geto means a lot to me in this aspect.

2. Gojo Satoru

In comparison to Geto, Gojo's horrible mental health is a lot subtler. Depression isn't the correct term, but you don't have to be depressed to be sad. Sadness is his stagnant state; he has moments of bliss, goals to work towards, a reason to keep going, to continue living, to continue chasing the sun over the horizon, but he does return to the same place he is always at when the lights turn off and he's painfully reminded of this one fact: he is isolated.

All of Gojo's problems start and end with isolation. From the moment he was born, everyone knew he was different. He knew he was different. Through glimpses of his childhood and honestly reading between the lines, it's obvious he never played with kids his age. People don't just develop a superiority complex with their only drive to be better than literally everyone else for no other reason than to get better. It comes from somewhere, and in Gojo's case, it's from his young childhood. It seriously messed him up; even now, he can't shake the lesson that "Strength is the only way to success and happiness".

This is what made Geto so important. Geto was somebody who could share the burden of being the strongest. Geto was someone his age who understood him in a way Shoko could not, though they both were able to see Gojo beyond his capabilities as a Jujutsu sorcerer. Gojo then had somebody to base his moral principles on. Because he couldn't connect with anybody else, he had no basis other than strength. Geto taught him why it was important for the strong to protect the weak.

Then everything went wrong. Gojo became isolated again in his strength and lost the only person who could plausibly stand with him. "Are you the strongest because you're Gojo Satoru, or are you Gojo Satoru because you're the strongest?" Gojo was young, then, and fresh-faced into his newfound godhood. He didn't kill Geto in that moment because he wanted to deny the claim that he is nothing without his strength, that he isn't as shallow as he was raised to be.

But he knew better. He grew older, he killed his best friend, and he realized that he was nothing without his strength. He never got over Geto. In order to cope with the guilt of being unable to save him when he left, he adopted a whole kid, thinking that if he wasn't strong enough to save Geto, maybe he could save Megumi. But there it is all over again - he never broke from the cycle of strength defining his worth. Saving Megumi would define his strength, right? It would prove Geto wrong, right? He raised Megumi under the same logic (that the only way to save his sister is to be strong), only ridding the boy of the crushing isolation.

In this way, Gojo isn't mentally weak. He didn't abandon society and everyone who loved him, instead choosing to hone the trauma of his isolated childhood into a weapon and teach the next generation to be better than himself. He isn't depressed, but he isn't happy. You can't be happy if you're alone all of the time. He hoped Megumi could be someone to stand by him, but in the end, he failed to save Megumi. His strength couldn't save him, just as it couldn't save Geto.

He isn't mentally strong. He isn't weak, either. He is horribly, painfully average. He's not weak enough to be saved, but not strong enough to save others. His childhood plagues him, but not to the point where it prevents him from living. He killed Geto but was unable to bury the body. Gojo is everything he never wanted to be.

As it turns out, strength can't buy you happiness. Gojo may have understood that, but he couldn't abandon it, even to the bitter end. Just as a human struggles to shed their conditioning. Not everyone can break the cycle, but we are always trying our best to work with what we've been dealt.

3. Okkotsu Yuuta

I'm putting Yuuta in between Gojo & Geto and Itadori & Megumi because he is, in a way, a bridge between the two. Geto and Gojo have lived their lives; their stories are complete and ended in tragedy. Itadori and Megumi's are not. They are still actively struggling and fighting their physical and mental battles; their stories have yet to be completed.

Yuuta's story isn't technically completed (ignoring everything that happened in the recent chapter with him for the sake of MY mental health), he is still a success story. He is the average protagonist who started from the bottom and ended up at the top. Only he, as Gege has done time and time again, has a slightly stronger focus on mental health than most other Shonen. He is success where Gojo & Geto failed, and the success that Itadori & Megumi are narratively striving for.

At the beginning, Yuuta was depressed and suicidal. He was bullied at school and involuntarily hurting others. Instead of becoming resentful of the world, he pushed all of the vileness inward. His guilt caused him to try to take his life, presumably multiple times, but Rika stopped him before he could succeed. His life was effectively out of his hands; he felt powerless with all of the bodies stacking around him, and he couldn't atone for "his" actions.

His mental health, as it was, was in shambles. Gojo then offered him a way forward. Yuuta's mental health did not improve overnight. It was when he made friends at Jujutsu High, and developed a support system, that he was able to relieve his anxiety and realize that life is not so bad after all. That all of this pain and suffering and loss - it will pass.

The most important thing to acknowledge when it comes to Yuuta is the sheer fact that he was not alone, nor did he allow himself to be alone. Unlike Gojo, who still had Shoko and Nanami after Geto left but refused to connect with them, Yuuta allowed himself to get close to those around him. They didn't know the suffering he'd undergone for so many years. They didn't know what it was like to be him, but that was okay. He knew that they had empathy, that even though they could never experience his life, they could still be there for him now when he falls.

When given the opportunity to surrender, Yuuta stands in the face of one Geto Suguru and swears to protect his friends and fight with Rika. He's so far removed from the boy who tried to kill himself at the beginning of the manga, and that's because he let himself be changed. He did not succumb. He had friends, he knew. People that would miss him if he left, and people whom he would regret leaving.

This stays consistent with his character. He doesn't let himself become isolated in his strength or his experiences. He's much stronger than everyone else in the room, he's a special grade and he knows that, but he still treats everyone like they are equals. Like they are his friends, like they are people who could share this burden of existence with him. This is something that Gojo couldn't accomplish, which lends to the fact that Gojo had a very off-hand teaching method when it came to mentoring Yuuta. Instead of influencing him under this idea of strength conquers all, he let Yuuta develop far away from the ideals of the Japanese Jujutsu Society.

And, in the end, the fact of him being physically strong - a special-grade sorcerer from the get-go - never helped him in his mental health. In fact, it made him miserable until he learned to get a handle on Rika. His winning or losing that fight with Geto wasn't the point of his character, it was reckoning with the fact that he is okay now. That he can embrace the ugly part of him with dignity instead of guilt.

4. Itadori Yuuji

Itadori's entire character is that he has an unbreakable spirit. As the only one who can bear the soul of Sukuna, he started off like Yuuta, only on the opposite end of the mental health spectrum. When we first see him, he's happy, spending his afternoons with the Occult Club and watching movies.

... What happened?

Like Geto, everything piled on very slowly. So slow that I'm not even sure he felt the true effects of everything he experienced up until the fall of Shibuya. It starts with the death of grandfather, whose parting words "Just save as many people as you can" haunt him even now during the final fight with Sukuna. He was never given time to properly grieve his grandfather, just as he never had time to grieve the brother curses, Junpei, Nanami, Nobara, Gojo, Higurama. At the end of it all, when the fighting is over, I have to wonder what will become of the boy that realizes he's lost most of the people he loved.

The one time he did try to process it, when he realized that he couldn't control Sukuna, was when he broke down in Shibuya. Sukuna leveled an entire city. For the boy who never wanted to kill another human being for fear of devaluing life, the weight of his weakness killing thousands was crushing. Then Nanami died. Nobara died (still hanging onto that unknown status but I digress). Both are right in front of him, and powerless to prevent Mahito from disintegrating their bodies. So, obviously, Itadori broke down. The boy with the unshakeable spirit, the only person who could contain the King of Curses, has his psyche completely shattered.

He laid on the ground, and he wouldn't have gotten back up if there wasn't somebody to help him, to be there with him. Todo pulled him back together, stitched back up the broken into somebody who has allies and people to fight for. Itadori has the success that Yuuta had, only Itadori did not come out of it with better mental health.

After the breakdown, his unshakeable spirit was nothing more than the will to keep fighting. He cares little for himself, and he tries to distance himself from people to prevent them from dying from his cursed hands. He is jumping, quickly, down the same rabbit hole that Geto fell down. One big event, and they realize just how tall the pile already is, and that it will never stop growing. Unlike Geto, however, he continues to get overbearing support from those around him. Against his will. He can't push them away, for they refuse to leave his side. Yuuta, Choso, Megumi, even Higurama. They won't let him fall. This makes him better off than someone alone, in a sense. He can withstand his trauma when others may not.

Even so, even so, there is only so much support, the lack of self-isolation, can do when the traumas keep actively repeating. When he says that he will gladly die to defeat Sukuna, it is not said with the same tone that another Shonen protagonist would say it. Take Naruto for example. If he were to go into a battle to protect, say, Sasuke, he would scream, "I'll die to protect him." We understand that his willpower is stronger than his self-preservation, but we don't get the idea that he actively wants to die. He'll die if he has to. Now, Itadori says the same thing, but about saving Megumi. He says, "I'll gladly die." There is something different. His willpower is leaps and bounds stronger than his self-preservation, but that's not only it. There is an undercurrent of severe suicidal ideation prevalent in Itadori's tone. It's not that he will die to win, it's that a part of him wants for this to be his final fight. For it all to be over. To save Megumi, then atone for the sin of being too weak to save Shibuya, or being unable to stop the Culling Games, or letting Megumi get hurt when all he wanted was to keep him safe.

I'd call it more along the lines of passive suicidal ideation. He doesn't plan to kill himself, but what would it mean for him to go into dangerous situations without protection? What would it mean for him to succumb to his wounds after he wakes Megumi's soul and kills Sukuna? To not even try to seek medical attention? He's guilty. He believes everything that happened in Shibuya and after is his fault. When faced with the executioner's sword, he was ready to die for his sins, if not for the goal of ending the Games. There is a fine line between willing to die for those you love versus wanting to die for those you love.

Right now, Itadori is fighting to save one person, like his grandfather said. He is not fighting to survive. And that's what people fail to understand about Itadori when they compare him to the other members of the cast. These power-scaling dudebros don't understand that their favorite OP main character has fallen apart at the seams, that his unshakeable spirit to save people doesn't include himself.

5. Fushiguro Megumi

Here we finally come to the question: Why can Itadori take it when Megumi can't? There is a very similar quote that you probably think of whenever you hear this question asked. It's from The Outsiders: "Dally is tougher than I am. Why can I take it when Dally can't?" The answer to this question that Ponyboy gives is the same we can attribute to Megumi. "And then I knew. Johnny was the only thing Dally loved. And now Johnny was gone."

The entire reason Megumi became a Jujutsu sorcerer was to protect his sister. When he was five years old and probably too young to understand most of the words Gojo said, he accepted the offer of training to become a sorcerer in exchange for Tsumiki's happiness. Every day, he fought to protect her. He only had one goal in entering the Culling Games: to prevent Tsumiki from having to participate.

It's easy to attribute Megumi's constant attempts at summoning Mahoraga to a lack of will to live - suicidal ideation, the same that Itadori now experiences. On one hand, I do understand that he has a fundamental lack of care for his own life, but on the other, I don't think that he intends to throw it all away every single time. He just didn't know any better. Ignorance can lead to death as easily as intentionally seeking it out. That's why he changes his habit after Gojo gives him a lesson in risking death versus dying to win; Megumi still has someone to live for, after all.

Megumi's mental health was already rocky from the start. Not that it was in shambles like Yuuta, but he wasn't fully stable. Like a lot of teenagers, he's moody, somewhat reclusive, and only really likes one or two people maximum. Teenagers aren't known for their sunshine mental health anyway.

Megumi was given time to grieve Itadori after he first died. This trauma of losing him in front of his eyes stuck with him, but he was allowed a grace period of two months to grieve with Nobara. He experienced Shibuya, too, but he still had that one important person to protect. His mental health was alright at this point, all things considered. As long as his sister was alive, he would be fine.

Sukuna knew this. So Sukuna killed Tsumiki using only the Ten Shadows Teqchnique. The one person Megumi spent his whole life dedicated to, was killed by his own cursed technique, his own failure to suppress Sukuna.

In the void of his soul, Megumi was alone. Truly, utterly alone. The only person nearby was Sukuna, the murderer of his sister, the murderer of thousands upon thousands of people. He drowned in the ceremonial bath of crushed curses to hold his soul down in the depths of despair, literally drenched in all of the vileness the world has to offer. Sukuna killed Gojo using Mahoraga's adaption ability, and before that, Megumi was forced to take several of Gojo's mind-altering domain expansions.

Already, he had given up. He gave up when his sister died, but the rest ground a pointed spur into his neck. When Itadori shakes his soul, Megumi is repeating, "That's enough." He was at the end of his rope a long time ago. What more is there to keep living for? He doesn't want to live with the blood of his sister, the blood of the man who practically raised him, and the blood of countless others drenching his hands.

Sukuna killed all of these people, not Megumi. But then, Sukuna killed of those people in Shibuya, not Itadori. Why can Itadori take it? Why can he keep fighting when Megumi lays broken on the ground? Itadori wasn't alone. And Megumi has never been known for his unshakeable spirit. That is the one thing that Itadori can hold over everybody else, the one trait that everyone admires. He was born to shoulder the burden of the world. Megumi wasn't. Megumi wants to die. He is not passively suicidal, for he has no goals left to complete, a plan to die within the body no longer inhabited alone. He is suicidal. He would drive a stake through his heart if it meant relieving his pain. He doesn't want to do it anymore. He's had enough.

And Itadori was in this position once, too? Perhaps not as directly, but he was there. Here is the moment that the protagonist gives the motivating speech to will someone to keep fighting, that life is worth living. I realized today that this is not something Itadori has done yet. He hasn't had a grand speech that's not been about his own willpower. He's never encouraged someone else to keep living in the way that you would expect from the main character. This is his moment, I suppose. He needs to be the person for Megumi that Todo was for him. He has to show Megumi that he isn't alone.

He needs to save Megumi when, all those years ago, Gojo couldn't save Geto.

I don't think some of this fanbase understands how horrible Gege has to be at writing if he just. Let Megumi get up to fight in Chapter 251. All this time, he has shown how Megumi has been defeated. He showed him crumbled on the ground, unmoving. It shouldn't be a surprise that all of the measures Sukuna took to ensnare Megumi's soul worked. Megumi is suicidal after the people he loves have all died because of his technique. God forbid a sixteen-year-old is unable to cope with his trauma alone.

Honorable Mentions:

There are a lot more characters in this story that represent/show mental illness that I didn't go into depth on but are worth mentioning. It was easier to only talk about the major characters since we spend so much time with them and I can fully flesh out everything that should/can be said about them. Anyway, here are a few more that are notably well-written in their mental struggles:

Yoshino Junpei. His story arc follows very similarly to Geto, except he is the bullied student I was making a reference to. Depressed, alone with a mother whose habits he can't stand, he turned to someone he thought could provide him a better life. Interestingly, he is a good representation of the type of children that tend to be groomed. That's surely what happened to him. Mahito used him, then discarded him for his own gains.

Ieiri Shoko. Her main struggle can be seen through her smoking habits. She's been through a lot, lost so many people, and has to keep healing sorcerers only for them to die. Eventually, she was able to come to terms with this. She kicked her smoking habit at the same time she kicked the vicious mental cycle of caring too much about the patient on her table. It's no wonder she picked up a cigarette, for the first time in a while, when Geto led the phantom parade.

Zenin Maki. She works as a very good contrast to Megumi. They both lost their sisters, the people they loved the most, but she turned all of her grief to killing the Zenin clan and gaining Heavenly Restriction. But this, this is because she could do so. There is simply nothing Megumi can do as a soul trapped in his own body. Her grief made her stronger, while for most, it made them weaker.

Inumaki Toge. He isn't seen a lot, but his story is ultimately quite compelling. A boy who hurt many when he was young. He turned his guilt into kindness, a will to protect. He tends a garden to raise plants healthily, for God's sake. He's one of the examples that shows Yuuta that your past actions don't define you, but instead, what you choose to do going forward.

I am not proofreading any of this before I post it. Sorry if it is borderline unreadable with spelling / grammatical errors.

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signalburst · 1 month

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Shōgun Historical Shallow-Dive: the Final Part - The Samurai Were Assholes, When 'Accuracy' Isn't Accurate, Beautiful Art, and Where to From Here

Final part. There is an enormous cancer attached to the samurai mythos and James Clavell's orientalism that I need to address. Well, I want to, anyway. In acknowledging how great the 2024 adaptation of Shōgun is, it's important to engage with the fact that it's fiction, and that much of its marketed authenticity is fake. That doesn't take away from it being an excellent work of fiction, but it is a very important distinction to me.

If you want to engage with the cool 'honourable men with swords' trope without thinking any deeper, navigate away now. Beyond here, there are monsters - literal and figurative. If you're interested in how different forms of media are used to manufacture consent and shape national identity, please bear with me.

I think the makers of 2024's Shōgun have done a fantastic job. But there is one underlying problem they never fully wrestled with. It's one that Hiroyuki Sanada, the leading man and face of the production team, is enthusiastically supportive of. And with the recent announcement of Season 2, it's likely to return. You may disagree, but to me, ignoring this dishonours the millions of people who were killed or brutalised by either the samurai class, or people in the 20th century inspired by a constructed idea of them.

Why are we drawn to the samurai?

A pretty badly sourced, but wildly popular history podcast contends that 'The Japanese are just like everybody else, only more so.' I saw a post on here that tried to make the assertion that the show's John Blackthorne would have been exposed to as much violence as he saw in Japan, and wouldn't have found it abnormal.

This is incorrect. Obviously 16th and 17th century Europe were violent places, but they contained violence familiar to Europeans through their cultural lens. Why am I confidently asserting this? We have hundreds of letters, journals and reports from Spaniards, Portuguese, Dutch and English expressing absolute horror about what they encountered. Testing swords on peasants was becoming so common that it would eventually become the law of the land. Crucifixion was enacted as a punishment for Christians - first by the Taiko, then by the Tokugawa shogunate - for irony's sake.

Before the end of the feudal period, battles would end with the taking of heads for washing and display. Depending on who was viewing them, this was either to honour them, or to gloat: 'I'm alive, you're dead.' These things were ritualised to the point of being codified when real-life Toranaga took control. Seppuku started as a cultural meme and ended up being the enforced punishment for any minor mistake for the 260 years the ruling samurai class acted as the nation's bureaucracy. It got more and more ritualised and flowery the more it got divorced from its origin: men being ordered by other men to kill themselves during a period of chaotic warfare. I've read accounts of samurai 'warriors' during the Edo period committing seppuku for being late for work. Not life-and-death warrior work - after Sekigahara, they were just book-keepers. They had desk jobs.

Since Europe's contact with Japan, the samurai myth has fascinated and appalled in equal measure. As time has gone on, the fascination has gone up and the horror has been dialled down. This is not an accident. This isn't just a change in the rest of the world's perception of the samurai. This is the result of approximately 120 years of Japanese government policies. Successive governments - nationalist, military authoritarian, and post-war democratic - began to lionize the samurai as the perfect warrior ideal, and sanitize the history of their origin and their heydey (the period Shōgun covers). It erases the fact that almost all of the fighting of the glorious samurai Sengoku Jidai was done by peasant ashigaru (levies), who had no choice.

It is important to never forget why this was done initially: to form an imagined-historical ideal of a fighting culture. An imagined fighting culture that Japanese invasion forces could emulate to take colonies and subdue foreign populations in WWI, and, much more brutally, in WWII. James Clavell came into contact with it as a Japanese Prisoner of War.

He just didn't have access to the long view, or he didn't care.

The Original Novel - How One Ayn Rand Fan Introduced Japan to America

There's a reason why 1975's Shogun novel contains so many historical anachronisms. James Clavell bought into a bunch of state-sanctioned lies, unachored in history, about the warring states period, the concept of bushido (manufactured after the samurai had stopped fighting), and the samurai class's role in Japanese history.

For the novel, I could go into great depth, but there are three things that stand out.

Never let the truth get in the way of a good story. He's a novelist, and he did what he liked. But Clavell's novel was groundbreaking in the 70's because it was sold as a lightly-fictionalised history of Japan. The unfortunate fact is the official version that was being taught at the time (and now) is horseshit, and used for far-right wing authoritarian/nationalist political projects. The Three Unifiers and the 'honour of the samurai' magnates at the time is a neat package to tell kids and adults, but it was manufactured by an early-20th century Japanese Imperial Government trying to harness nationalism for building up a war-ready population. Any slightly critical reading of the primary sources shows the samurai to be just like any ruling class - brutal, venal, self-interested, and horrifically cruel. Even to their contemporary warrior elites in Korea and China.

Fake history as propraganda. Clavell swallowed and regurgitated the 'death before dishonour', 'loyalty to the cause above all else', 'it's all for the Realm' messages that were deployed to justify Imperial Japanese Army Class-A war crimes during the war in the Pacific and the Creation of the Greater East Asian Co-Properity Sphere. This retroactive samurai ethos was used in the late Meiji restoration and early 20th century nationalist-military governments to radicalise young Japanese men into being willing to die for nothing, and kill without restraint. The best book on this is An Introduction to Japanese Society by Sugimoto Yoshio, but there is a vast corpus of scholarship to back it up.

Clavell's orientalism strays into outright racism. Despite the novel Shōgun undercutting John Blackthorne as a white savior in its final pages - showing him as just a pawn in the game - Clavell's politics come into play in every Asia Saga novel. A white man dominates an Asian culture through the power of capitalism. This is orthagonal to points 1 and 2, but Clavell was a devotee of Ayn Rand. There's a reason his protagonists all appear cut from the same cloth. They thrust their way into an unfamiliar society, they use their knowledge of trade and mercantilism to heroically save the day, they are remarked upon by the Asian characters as braver and stronger, and they are irresistible to the - mostly simpering, extremely submissive - caricatures of Asian women in his novels. Call it a product of its times or a product of Clavell's beliefs, I still find it repulsive. Clavell invents (nearly from whole cloth, actually) the idea that samurai find money repulsive and distasteful, and his Blackthorne shows them the power of commerce and markets. Plus there are numerous other stereotypes (Blackthorne's massive dick! Japanese men have tiny penises! Everyone gets naked and bathes together because they're so sexually free! White guys are automatically cool over there!) that have fuelled the fantasies of generations of non-Japanese men, usually white: Clavell's primary audience of 'dad history' buffs.

2024's Shōgun, as a television adaptation, did a far better job in almost every respect

But the show did much better, right? Yes. Unquestionably. It was an incredible achievement in bringing forward a tired, stereotypical story to add new themes of cultural encounter, questioning one's place in the broader world, and killing your ego. In many ways, the show was the antithesis to Clavell's thesis.

It drastically reigned in the anachronistic, ahistorical referencees to 'bushido' and 'samurai honor', and showed the ruling class of Japan in 1600 much more accurately. John Blackthorne (William Adams) was shown to be an extraordinary person, but he wasn't central to the outcome of the Eastern Army-Western Army civil war. There aren't scenes of him being the best lover every woman he encounters in Japan has ever had (if you haven't read the book, this is not an exaggeration). He doesn't teach Japanese warriors how to use matchlock rifles, which they had been doing for two hundred years. He doesn't change the outcome of enormous events with his thrusting, self-confident individualism. In 2024's Shōgun, Blackthorne is much like his historical counterpart. He was there for fascinating events, but not central. He wasn't teaching Japanese people basic concepts like how to make money or how to make war.

On fake history - the manufactured samurai mythos - it improved on the novel, but didn't overcome the central problems. In many ways, I can't blame the showrunners. Many of the central lies (and they are deliberate lies) constructed around the concept of samurai are hallmarks of the genre. But it's still important to me to notice when it's happening - even while enjoying some of the tropes - without passively accepting it.

'Authenticity' to a precisely manufactured story, not to history

There's a core problem surrounding the promotion and manufactured discussion surrounding 2024's Shōgun. I think it's a disconnect between the creative and marketing teams, but it came up again and again in advertising and promotion for the show: 'It's authentic. It's as real as possible.'

I've only seen this brought up in one article, Shōgun Has a Japanese-Superiority Complex, by Ryu Spaeth:

'The show also valorizes a supreme military power that is tempered by the pursuit of beauty and the highest of cultures, as if that might be a formula for peace. Shōgun displays these two extremes of the Japanese self, the savagery and the refinement, but seems wholly unaware that there may be a connection between them, that the exquisite sensibility Japan is famous for may flow from, and be a mask for, its many uses of atrocious domination.'

Here we come to authenticity.

'The publicity surrounding the series has focused on its fidelity to authenticity: multiple rounds of translation to give the dialogue a “classical” feel; fastidious attention to how katana swords should be slung, how women of the nobility should fold their knees when they sit, how kimonos should be colored and styled; and, crucially, a decentralization of the narrative so that it’s not dominated by the character John Blackthorne.'

It's undeniable that the 2024 production spent enormous amounts of energy on authenticity. But authenticity to what? To traditional depictions of samurai in Japanese media, not to history itself. The experts hired for gestures, movement, costumes, buildings, and every other aspect of the show were experts with decades in experience making Japanese historical dramas 'look right', not experts in Japanese history. But this appeal to 'Japanese authenticity' was made in almost every piece of promotional material.

The show had only one historical advisor on staff, and he was Dutch. The numerous Japanese consultants, experts and specialists brought on board (talked about at length in the show's marketing and behind the scenes) were there to assist with making an accurate Japanese jidaigeki. It's the difference between hiring an experienced BBC period drama consultant, and a historian specialising in the Regency. One knows how to make things look 'right' to a British audience. The other knows what actually happened.

That's fine, but a critical viewing of the show needs to engage with this. It's a stylistically accurate Japanese period drama. It is not an accurate telling of Japanese history around the unification of Japan. If it was, the horses would be the size of ponies, there would be far more malnourished and brutalised peasants, the word samurai would have far less importance as it wasn't yet a rigidly enforced caste, seppuku wouldn't yet be ritualised and performed with as much frequency, and Toranaga - Tokugawa - would be a famously corpulently obese man, pounding the saddle of his horse in frustration at minor setbacks, as he was in history.

The noble picture of restraint, patience, refinement and honour presented by Hiroyuki Sanada as Toranaga/Tokugawa is historical sanitation at its most extreme. Despite being Sanada's personal hero, Tokugawa Ieyasu was a brutal warlord (even for the standards of the time), and he committed acts of horrific cruelty. He ordered many more after gaining ultimate power. Think a miniseries about the Founding Fathers of the United States that doesn't touch upon slavery - I'm sure there have been plenty.

The final myth that 2024's Shōgun leaves us with is that it took a man like Toranaga - Tokugawa Ieyasu - to bring peace to a land ripped assunder by chaos. This plays into 19th century notions of Great Man History, and is a neat story, but the consensus amongst historians is if it wasn't Tokugawa, it would have been some other cunt. In many cases, it very nearly was. His success was historical contingency, not 5D chess.

So how did this image get manufactured, to the point where the Japanese populace - by and large - believes it to be true? Very long story short: after a period of rapid modernisation, Japan embraced nationalism in the late 19th century. It was all the rage. Nationalism depends on a glorified past. The samurai (recently the pariahs of Japanese history) were repurposed as Japan's unique warrior heroes, and woven into state education. This was especially heated in the 1920s and 30s in the lead up to the invasion of Manchuria and Japan's war of aggression in the Pacific. Nationalism + militarism = the modern Japanese samurai myth, to prepare men to obey orders unquestioningly from a military dictatorship.

This persists in the postwar period. Every year since 1963, Japan's state broadcaster NHK commissions a historical drama - a Taiga Drama, where many of this show's actors got their starts - that manufactures and re-enforces the idea of samurai as noble, artful, honourable people. Read a book - read a Wikipedia article! - and you'll see that most of it stems from Tokugawa-shogunate era self-propaganda. It's much like the European re-interpretation of chivalry. In Europe's case, chivalry in actual history was a set of guidelines that allowed for the sanctioned mass-rape and murder of civilians, with a side of rules regarding the ransoming of nobles in scorched-earth military campaigns. In Japan's case, historical figures that regularly backstabbed each other, tortured rival warriors and their lessers, and inflicted horrific casualties on the peasants that they owned (we have a term for that) are cast as noble, honourable, dedicated servants of the Empire.

Why does this matter to me? Samurai movies and TV shows are just media, after all. The issue, for me, is that the actors, the producers - including Hiroyuki Sanada - passionately extoll 'accuracy' as if they genuinely believe they're telling history. They talk emotionally about bushido and its special place in Japanese society.

But the entire concept of bushido is a retroactive, post-conflict, samurai construction. Bushio is bullshit. Despite being spoken of as the central tenet of 2024's Shōgun by actors like Hiroyuki Sanada, Tadanobu Asano, and Tokuma Nishioka, it simply didn't exist at the time. It was made up after the advent of modern nationalism.

It was used to justify horrendous acts during the late Edo period, the Meiji restoration, and the years leading up to the conclusion of Japan's war of aggression in the Pacific. It's still used now by Japan's primarily right-wing government to deny war crimes and justify the horrors unleashed on Asia and the Pacific during World War II as some kind of noble warrior crusade. If you ever want your stomach turned, visit the museum attached to Yasukuni Shrine. It's a theme park dedicated to war crimes denial, linked intimately to Japan's imagined warrior past. Whether or not the production staff, cast, and marketing team of 2024's Shōgun knew they were engaging with a long line of ahistorical bullshit is unknown, but it is important.

It's also important to acknowledge that, having listened to many interviews with Rachel Kondo and Justin Marks, they were acutely aware that they weren't Japanese, to claim to be telling an authentically Japanese story would be wrong, and that all they could do was do their best to make an engaging work that plays on ideas of cultural encounter and letting go. I think the 'authenticity!' thing is mostly marketing, and judicious editing of what the creators and writers actually said in interviews.

So... you hate the show, then? What the hell is this all about?

No, I love the show. It's beautiful. But it's a beautiful artwork.

Just as the noh theatre in the show was a twisting of events within the show, so are all works of fiction that take inspiration from history. Some do it better than others. And on balance, in the show, Shōgun did it better than most. But so much of the marketing and the discussion of this adaptation has been on its accuracy. This has been by design - it was the strategy Disney adopted to market the show and give it a unique viewing proposition.

'This time, Shōgun is authentic!*

*an authentic Japanese period drama, but we won't mention that part.

And audiences have conflated that with what actually happened, as opposed to accuracy to a particular form of Japanese propaganda that has been honed over a century. This difference is crucial.

It doesn't detract from my enjoyment of it. Where I view James Clavell's novel as a horrid remnant of an orientalist, racist past, I believe the showrunners of 2024's Shōgun have updated that story to put Japanese characters front and centre, to decentralise the white protagonist to a more accurate place of observation and interest, and do their best to make a compelling subversion of the 'stranger in a strange land' tale.

But I don't want anyone who reads my words or has followed this series to think that the samurai were better than the armed thugs of any society. They weren't more noble, they weren't more honourable, they weren't more restrained. They just had 260 years in which they worked desk-jobs while wearing two swords to write stories about how glorious the good old days were, and how great people were.

Well... that's a bleak note to end on. Where to from here?

There are beautiful works of fiction that engage much closer with the actual truth of the samurai class that I'd recommend. One even stars Hiroyuki Sanada, and is (I think) his finest role.

I'd really encourage anyone who enjoyed Shōgun to check out The Twilight Samurai. That was the reality for the vast majority of post-Sekigahara samurai

For something closer to the period that Shogun is set, the best film is Seppuku (Hara-Kiri in English releases). It is a post-war Japanese film that engages both with the reality of samurai rule, and, through its central themes, how that created mythos was used to radicalise millions of Japanese into senseless death during the war. It is the best possible response to a romanticisation of a brutal, hateful period of history, dominated by cruel men who put power first, every single time.

I want to end this series, if I can, with hope. I hope that reading the novel or watching the 1980 show or the 2024 show has ignited in people an interest in Japanese culture, or society, or history. But don't let that be an end. Go further. There are so many things that aren't whitewashed warlords nobly killing - the social history of Japan is amazing, as is the women's history. A great book for getting an introduction to this is The Japanese: A History in 20 Lives.

And outside of that, there are so many beautiful Japanese movies and shows that don't deal with glorified violence and death. In fact, it makes up the vast majority of Japanese media! Who would have thought! Your Name was the first major work of art to bridge some of the cultural animosity between China and Japan stemming from WW2, and is a goofy time travel love story. Perfect Days is a beautiful movie about the simple joy of living, and it's about the most Tokyo story you can get.

Please go out, read more, watch more. If you can, try and find your way to Japan. It's one of the most beautiful places on earth. The people are kind, the food is delicious, and the culture is very welcoming to foreigners.

2024's Shōgun was great, but please don't let that be the end. Let it be the beginning, and I hope it serves as a gateway for you.

And I hope our little fandom on here remembers this show as a special time, where we came together to talk about something we loved. I'll miss you all.

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