#well. ethnic and cultural diversity at least

[upwards-descent]

I think it's cool having a lot of OCs from all sorts of ethnic and cultural backgrounds. I control the diversity in this house and it's set to a solid 9 🔥

[britneyshakespeare]

This is just a map of New England (minus Connecticut the fake New England state)

[hyperlexichypatia]

This is a semi spinoff of this post, but really its own thought.

When a job pays less than a living wage, it generally attracts one of two types of employees:

Desperate people (usually poor and/or otherwise marginalized or with barriers to employment), who will take any job, no matter how bad, because they need the money, or

Independently wealthy people (usually well-off retirees, students being supported by their families, or women with well-off husbands*), who don't care about the pay scale because they don't need the money anyway.**

And sometimes, organizations will intentionally keep a job low-paying or non-paying with the deliberate intent of narrowing their pool to that second category.

People sometimes bring this up when discussing the salaries of elected officials -- yes, most politicians are paid more than most "regular people," but they're not paid enough to sustain the expensive lifestyle politicians have to maintain, and that's on purpose. It's not an oversight, and it's not primarily about cost-cutting. It's a deliberate barrier to ensure that only rich people can run for office.

The same is true, albeit to less severe effect, of unpaid internships -- the benefit of "hiring" an unpaid intern isn't (just) that you don't have to pay them; it's also that you can ensure that all your workers are rich, or at least middle-class.

When nonprofits brag about how little of their budget goes to "overhead" and "salaries", as if those terms were synonymous with "waste," what they're really saying is "All our employees are financially comfortable enough that they don't worry about being underpaid. Our staff has no socioeconomic diversity, and probably very little ethnic or cultural diversity." ***

This isn't a secret. I'm not blowing anything wide open here. People very openly admit that they think underpaid workers are better, because they're "not in it for the money." This is frequently cited as a reason, for example, that private school teachers are "better" than public school teachers -- they're paid less, so they're not "in it for the money," so they must be working out of the goodness of their hearts. I keep seeing these cursed ads for a pet-sitting service where the petsitters aren't paid, which is a selling point, because they're "not in it for the money."

"In it for the money" is the worst thing a worker could be, of course. Heaven forbid they be so greedy and entitled and selfish as to expect their full-time labor to enable them to pay for basic living expenses. I get this all the time as a public library worker, when I point out how underfunded and underpaid we are. "But... you're not doing it for the money, right?" And I'm supposed to laugh and say "No, no, I'd do it for free, of course!"

Except, see, I have these pesky little human needs, like food. And I can't get a cart full of groceries and explain to the cashier that I don't have any money, but I have just so much job satisfaction!

And it's gendered, of course it's gendered. The subtext of "But you're not doing it for the money, of course" is "But how much pin money do you really need, little lady? Doesn't your husband give you a proper allowance?"

Conceptually, it's just an extension of the upper-class cultural norm that "polite" (rich) people "don't talk about money" (because if you have to think about how much money you have or how much you need, you're insufficiently rich).

*Gendered language very much intentional.

**Disabled people are more likely to be in the first category (most disabled people are poor, and being disabled is expensive), but are usually talked about as if they're in the second category. We're told that disabled people sorting clothing for $1.03 an hour are "So happy to be here" and "Just want to be included," and it's not like they need the money, since, as we all know, disability benefits are ample and generous [heavy sarcasm].

***Unless, of course, they're a nonprofit whose "mission" involves "job placement," in which case what they're saying is "We exploit the poor and desperate people we're purporting to help." Either way, "We pay our employees like crap" is nothing to brag about.

[twistedlovelines]

You know those videos of white people trying ethnic food for the first time and literally burying their face in their plate?

Yeah that's how some of the twst boys act when you cook them any cultural dish for the first time, ESPECIALLY Deuce.

"Damn what else can you eat that well?"

Deuce still on a food high: " umm anything else you make?" Ace bullied him about it later on when Deuce told him (big mistake)

-🔱

YESSS LMAOOO

deuce my darling...he enjoys whatever new foods you place in front of them and is ur human garbage disposal for foods u don't like tbh. ace can make fun of him all he wants but he's just jealous he doesn't get portions of your home cooking after making a comment about how your kitchen smells weird. nước mắm (fermented fish sauce) is particularly pungent but it is a staple of viet food and if he insults it he will never taste my cooking again <333

truly deuce is the ideal bf. even if he doesn't like it or thinks the food smells unusual to him he'll try it at least once. and if he likes it? he doesn't even leave a grain of rice on the plate. not even a crumb. its an act of appreciation and its soooo endearing. just don't tell him about balut.

praising him by how well he eats...he feels so happy afterwards and he's so genuinely enthusiastic to learn more about your culture and augsihfd . . . also if u make kimchi or other labor-intensive foods he will be ur perfect helper. just tell him what to do and he can do most of the manual work of scrubbing and making sure each leaf is coated in paste. even asks to taste a bit of the paste if u offer him and gets starry eyed at how good it is.

also unfortunately. i think deuce might be weak to spice HSIDFJO. u can't feed him smthn too spicy without gradually building his spice tolerance or else he'll cry. he'll choke it down bc it tastes good and doesn't want 2 insult ur cooking. but he Will Cry .

ruggie is also someone who will be excited 2 try ur cultural foods but he will be able to handle spice and will lick the plate clean after eating <33 is also ideal bc he'll go out to the store and grab ingredients you're low on stock on <33 (however he grew up in an area where there was more ethnic diversity food-wise so he can tell u about similar dishes he's had lol)

[annymation]

The Kingdom of Wishes- A “Wish” Rewrite

Chapter 9- Tangible Things

Chapter 8

Asha and Aster are walking through the kingdom of Rosas.

There's people everywhere, walking through the streets, all of them wearing the same style of medieval clothings with dull shades of blues, yellows and purples. The people of Rosas are all very diverse in ethnicities... But their cultures are not showcased at all through their clothing styles.

Asha walks through the sea of people wearing her mom's cloak, she's wearing the hoodie so her face is not visible.

Meanwhile, Aster is "wearing" his human disguise, looking like any average human teenager... If you ignore the uncommon combination of brown skin and blonde hair, as well as his black clothes with a looong cape that doesn't quite blend in with everyone else's clothing style.

... And the fact he's as happy as Ariel on her first tour with Eric through the kingdom. Or Rapunzel getting to know her kingdom for the first time, yeah, he has those same big eyes full of wonder.

If you ignore all that, yeah he's just a normal human, nothing to see here.

"Okay Aster, stay close to me. We're almost at the plaza..." She got no response "Aster?" She looks behind her shoulder

... Aaaaand Aster is nowhere to be seen.

Asha scrunches her eyebrows in frustration, she's gonna have to put a bell on that star.

Asha feels a slight dejavu feeling from that dream she had last night.

She scrunches her eyebrows in frustration, now contemplating putting a bell on that star "*sigh*... At least you know how to behave, huh Valentino?" she says to the baby goat walking next to her, Valentino is just happily wagging his tail.

She takes off the her hoodie for a moment to get a better view of her surroundings

"Now where could he be?" She sounds worried, looking around, but there's no sign of the star.

Asha just took her hoodie for a moment...

But just a moment was enough for two people to notice her...

She hears someone calling her name in the distance

"asha! asha-when I catch you asha! asha! when I catch you- it is on sight!! you are so-"

The voice is getting closer. Asha looks around at the sea of people walking, but she can't seem to find who's calling her, the girl voice gets louder:

"do you have any idea what lives iN THAT FOREST? YOU ARE TOO YOUNG TO DIE BEING EATEN BY WOLVES! YOU'RE TOO BEAUTIFUL!!!"

A second voice joins in, male this time

"DAHLIA! WAIT UP *huff huff* I can't run that fast!"

Asha turns around and... Yup, it's Dahlia and Simon.

Despite the fact that Dahlia walks with a crutch she's moving way faster than him, that's not even to emphasize how slow Simon is, no, Dahlia just so happens to run really fast in general.

They finally reach the girl wearing the purple cloak, and she seems preeetty nervous about having to explain the whole situation

"Oh- hehe hey guys" Asha waves to her friends awkwardly

Dahlia was having none of that "OHOHO Don't "Hey guys" me! Where were you last night?? My mom was worried sick"

"We woke up early to go looking for you, we were just on our way to get the others" Simon said while trying to catch his breath

"I'm fine, really. I just needed a take a walk you know? Get some air, and then I slept in my old home." She tries her best to calm them down "Dahlia, you didn't have to organize a search party for me, I can take care of myself." She tells her best friend.

"Actually, it was Simon's idea, he's the one who went to wake me up"

That surprised Asha

"... Simon... Woke up early?"

"That's how worried I was" He said with his usual monotonous voice "And... I wanted to apologize, last night I accidentally-... I assumed that you were crying because of something YOU did, without knowing the whole story, I shouldn't have pressured you to tell us like that... I'm sorry"

(Aww Simon is so nice... I sure hope he never does anything lame or stupid or uncool to his friends, that would be so sad.)

Asha kinda needed that apology, she gives him a warm smile

"Thanks for saying that Simon, it means a lot. And sorry for stepping on your foot... And running away." She places a hand on the back of her neck as she says that.

"Honestly, if I found out that the king wouldn't ever grant my wish, I'd feel really awful too" Simon, ironically, is the one who comments this

Asha remembers... Oh yeah she mentioned that to them.

"Yeah speaking of which... What is up with that?!" Dahlia exclaims, looking outraged "I mean, they put you on the spot, call you to come in their house, get your wish, and then they just say "Oh actually noooo, we won't grant your wish" HUH?! That's not fair at all." She rants with her arms crossed

Asha is just kinda nodding in agreement, like, what really happened was waaaay worse than that but yeah Dahlia got the spirit.

Simon doesn't seem to relate with her frustration though.

"Did they tell you why they weren't gonna grant your wish?" Simon asks.

Asha analyses the situation... She could tell them the truth, she could tell them everything she has seen... But then again, if she tells them, they might be in danger... She told Aster that she wanted to plan this out before acting, involving her friends is a big risk, so for now... She would have to lie.

"They... They just said they couldn't do it, nothing else happened, really" She said, trying her best to sound honest but kinda failing, her friends didn't seem to notice though.

"... Seriously? They didn't even say why?" Dahlia is dumbfounded.

"... Now I understand why you were crying..." Simon sounds really sad for his friend "But even still, you shouldn't have gone to the woods all by yourself-"

"Who said she was by herself?"

Simon and Dahlia jump in surprise because of the unknown cheerful voice coming from behind them

They turn around and see Aster... holding a bouquet of purple flowers.

Asha can feel a drop of sweat running down her forehead... This might be way harder to explain.

"Aster where were y-" Asha is about to lecture the star, but she is stopped when he shows her the flowers he got by holding them right in front of her face.

"Asha look! These flowers are called "Aster" just like me! and they're your favorite color too!"

(Hahaah told y’all I’d reference these flowers!)

Aster hands her the bouquet, but in a way that her face is covered by the flowers for a second before she manages to hold it by herself

"O-OH Yeah I can see that... thanks Aster, they're really pretty heh heh" She says nervously, as she notice her two friends staring at Aster and then staring back at her.

"Uuuh so I take it your name's "Aster"?" Simon asks, looking at the boy from head to toe.

Aster turns around to greet them

"That's me! So nice to meet you two!"

Aster gives Dahlia a handshake...

And we take a look on what he sees

Now you see, Aster can naturally take a peek on what's someone's wants and beliefs, but when he touches someone... They can see something even more special.

He sees that person's star, their center, what makes them who they are.

When Aster touches Dahlia's hand, we see how her star looks like.

It's bright, red, and full of determination to achieve whatever she sets her mind to...

If confidence was a tangible thing, it would be Dahlia.

from the other's point of view, Aster is just shaking her hand quickly and very happily.

"Oh- Hehe I'm Dahlia."

Aster then goes on to shake Simon's hand and...

Aster's smile disappears...

Simon's star is still there but it's... weak, flickering away like a flame that is about to go out at any second

Aster feels a pain in their chest...

If hopelessness was a tangible thing, it would be Simon.

Aster let's go of the young man's hand, his eyes are downcast and he's frowning like he's about to cry.

He looks up to Simon and just says "I'm so sorry"

...

So needles to say our boy Simon is terrified thinking this weird kid Asha found in the woods predicts he's gonna die in 7 days or something.

(That’s it, that’s the face he's making. lmao.)

Simon gives Asha a panicked look, and she seems just as confused as him.

"Hey Aster?" Asha calls his attention placing a hand on his shoulder, the star turns to her curious "Did you uh- Pay for these flowers?"

Aster tilts his head to the side "What's pay?"

("At All Cost" ruined me, because every time I re-read this line my mind goes "What's pay? When I look at you no way-" and that's so funny to me)

Simon who happens to be the son of a cop the captain of the royal guard becomes even more suspicious of Aster, knowing this guy just STOLE something and then played innocent.

Asha just smiles at that comment and patiently explains to him "Okay, now you gotta put these back where you found them, can you do that please?"

Aster's smile returns as if it never left "Got it! I'll be back in a sec!"

Aster runs with an almost inhuman speed, leaving the three friends in an awkward silence

Simon breaks that silence.

"… Where did you find that guy?"

"And where can I find one for myself?" Dahlia asks as she watches Aster run off.

Simon: "What?"

Dahlia: "What?!"

This time, Asha kinda gives them a half truth

"Well... Let's just say Aster was at the right place at the right time... And he helped me feel better" That's technically true.

Simon looks very dissatisfied with that answer though

"... So you spent the night with a stranger in the woods?"

"Not a stranger though!" Aster pops out of nowhere behind Simon,

"OH GOSH-" Simon almost has a heart attack,

Asha realizes the longer Aster keeps talking with other people the more suspicious they'll seem, so she just grabs him by the arm

"Great talking to you two but we reeeeally gotta get going. So tell the others I'm fine, we'll be at the main plaza if you need me!" She says already running while dragging Aster with her.

The star boy is just happily waving them goodbye as he's dragged away by the arm. "Bye Dahlia! Bye Simon!" he exclaimed excitedly

"... Soooo how much do you wanna bet she actually just wished for a boyfriend?" Dahlia asks

(Dahlia is a self insert of me at this point, her lines are what I'd say in this situation)

Simon kinda ignores Dahlia's comment as he realizes something odd "Wait ... I never told him my name, how did he know I'm "Simon"?"

We cut to Asha and Aster in an alley.

“Okay, we need to talk" Asha begins, looking at the star boy seriously "If we're really gonna do this, we gotta establish some ground rules."

"Sure! We stars are all about rules!" The star says, sitting on some barrels while kicking his feet.

She begins listing the rules:

"So rule number 1: You can't run off without me, you gotta stay close to me at all times."

"Done!"

"Rule number 2: You gotta act as HUMAN as you can, that means do what I do, and use NO magic at all."

"Oh you don't have to tell me twice, that's a rule I already HAVE to follow as a wishing star anyway"

"And rule number 3: ..." She stops to think for a moment "Umm... I feel like there should be a third rule but I don't know what"

"I know! Rule number 3:... LETS HAVE FUN!" Aster exclaims with a beaming smile as he holds her hand and walks with her out the alley "You don't need to worry about a thing! I'll stay with you at all times. All you gotta do is focus on inspiring everyone with your music!"

Asha looks at the mandolin in her hand. She's honestly not sure if she'll be able to make any difference... But if she can make at least a few people consider getting their wishes back so they can grant it by themselves... Then it'll be worth it, because then they can start something.

She feels her hope returning, as a confident smile grows on her lips and a fire burns in her eyes.

"Yeah, and I know just the song for it!" She starts running faster, and soon she's the one who's in front, dragging Aster by the hand...

Aster can see Asha's star, and he looks at it with eyes full of what can only be described as disbelief and a passionate admiration.

Her wish was taken from her, just like Simon's, but Asha was different.

Unlike Simon, her light refused to burn down, her old wish was replaced by a new one, that shined just as brightly.

A star that wants to shine upon others and give them joy, guidance, something to believe in... To Aster, her glow was the most beautiful one of all... And when he looked at it he felt...

Actually, he couldn't describe it... It's still a feeling he can't put into words.

So for now, he doesn't know what tangible emotion Asha is.

But he'll probably find out eventually.

They both reach the plaza. There's a water fountain at the center of it, a few people are walking around and talking, but there's not much of a crowd.

Asha takes the mandolin and starts singing a song... Based on a poem her father wrote:

A Wish Worth Keeping

[Verse 1] Take it from someone like me When your hopes are in despair If your desires have strings Free them, give them some air

[Chorus] 'Cause any wish that's got your heart On the edge of breaking Is a wish worth keeping

[Verse 2] Yeah, everybody dreams To be something someday somewhere Even kings and queens Daydream to be free from their royal chairs

[Refrain] Well, any dream that's got your heart Even when you're not sleeping Is a drеam worth dreaming

[Bridge] Yeah, we all start as wildlings Playing in thе sun Then we grow up with wild dreams Just waiting for our day to come

[Verse 3] So if hope schemes against time

Tell them, "be nice, play fair" Yeah, they may kick and cry, yeah But just show them they're better when paired

[Refrain] 'Cause if they both can hold your heart There's no way you're not sowing A dream that will never stop growing

[Chorus] Yeah, any wish that's got your heart On the edge of breaking Is a wish worth keeping...

It's a poem her father wrote to encourage people to not give their wishes to Magnifico, but instead keep their wishes and fight for what they dream of. In this moment, she's playing her grandfather's mandolin, while wearing her mother's cloak and singing a poem her father wrote, it's like they're all there with her.

Asha sings in a more festive rhythm than the original "Wish Worth Making" from the Wish soundtrack, it's a song that makes people want to join in and dance with Aster, who's bringing in people around the plaza to join in.

And among these people there's also Asha's friends, they seem happy for her but also confused. Since when did Asha play the mandolin? And who on earth is that guy with her?

As Asha plays, she and Aster share a little duet in the third verse of the song, as if Aster also knows the poem too. Asha looks at the star dancing with such energy, doing literal backflips, twirls, jumping all over the place, bringing in people to dance with him and just being himself like no one's watching.

And for the first time, she actually feels her heart bumping faster by looking at the star, and not because they're a literal star or because he scared her by popping out of nowhere... but because he's himself.

(Yup, that's when she fell)

Everything is going well, Aster can even see the stars inside some of the people in the crowd shining brighter...

It's actually working.

Some of the younger people are actually considering not giving away their wishes, and others feel like maybe going after new wishes by themselves.

Aster moves with even more energy now... His eyes are closed.

Asha also has her eyes closed, lost in the moment as she plays the song.

The sky is full of thick grey clouds, the sun was nowhere to be seen.

If only Aster's new friend Sunny could've warned him who was coming.

Aster is spinning around quickly with his eyes closed and-

"OUCH!"

Aster bumps on someone and falls on the floor.

Asha hear's him falling and opens her eyes, she looks up to see who he bumped into...

She instantly stops playing.

Her face is horrified, and she quickly covers herself more in her mother's cloak.

Valentino who was hopping around also sees who it is and hides behind Asha's legs.

Aster is just laughing on the floor, still high on the adrenaline, their eyes are still closed as he laughs so he still hasn't seen who's right in front of him...

But he can tell that he just bumped on a man taller than him.

"Hahahaha sorry sir, I wasn't looking at where I wa-" Aster looks up...

Oh no.

“No problem at all, little one. Are you alright?”

The king and the queen are standing right in front of Aster.

It’s quite unusual to see them just out and about in a normal day, so the few people around start mumbling among each other.

… Aster doesn’t have a heart but somehow he could feel something in their chest sink as he looked up at the two monarchs…

He could see what they wanted, but to be honest the magic in his eyes wasn’t even necessary for him to see it, they looked down on him with the eyes of two hyenas staring at their next meal.

They wanted him... They knew what Aster was.

The star is just looking up to them with wide eyes like a deer in headlights.

“Here, let me help you.” Magnifico extended his hand to help them get up.

Aster knew very well what would happen in he touched that hand, and he was not looking forward to see what the king was like on the inside…

But then again, he promised Asha he’d act like a human, and most humans in Rosas would gladly shake the king’s hand, right?

So… Aster reached out for it, and once he touched it...

Aster had to hold in a gasp.

…

That is NOT a star.

See, Aster actually had heard from the other stars that there are many different kinds of people on earth.

There are those who are stars. Those who shine upon others by inspiring them, and make their own glow through their own actions. Like Asha.

There are those who lost their spark, those who no longer have hope or dreams to follow, they’re fading stars. Like Simon.

And then.

There are black holes.

Do you know how a black hole is formed?

They’re formed when a star dies.

Black holes have a gravitational pull that sucks in all the light around them, leaving nothing behind.

And in Aster’s eyes, Magnifico was a black hole.

Stealing away the light of all the stars around him.

Aster had heard that people who become black holes were very hurt in their lives, and thus their star died completely.

But Aster knew better... Magnifico choose to be this way, and he loves it.

He loves to pull others in only to steal their light away...

Aster felt disgusted.

... If selfishness was a tangible thing, it would be Magnus.

As the king pulls him up Aster's is glaring at him, no longer looking scared...

He's angry.

His brow furrowed, his pupils shrunk and his jaw was clenched. He was almost shaking.

It was like he was holding himself to not just jump on this man and punch him.

... Magnifico is content with this reaction.

From what he read, he knew that stars had "Eyes that see the truth", so Magnifico knew that the star could see who he really was.

With that in mind, his grip tightened on Aster's hand.

"Are you hurt at all, lad? You seem to be in pain or something." The king asks referring to the scowl on Aster's face, in a tone that for everyone else watching may sound like concern, but both Aster and the king know it's a mockery.

Aster actually didn't even realize he was scowling, he's just not used to hiding his emotions... But it surely not a "Normal human behavior" to glare at the KING after he just helped you up, is it?

So Aster takes a deep breath and... Smiles.

"I'm quite alright your majesty, just felt a bit dizzy from all the dancing hahaha" He laughs to himself.

Aster may not be the best liar but he is a surprisingly good actor.

"Ah I see." The king says as he let go of Aster's hand, he's now looking down on the young star with a friendly smile "And what a dance that was indeed. Why, we saw you two from our window and we just HAD to take a closer look."

Aster felt a stab of guilt... It's his fault for bringing too much attention.

"I don't think we've met this little rose in our garden before." The queen chimes in sweetly, reaching her hand to caress Aster's face "What's your name, my flower?"

Aster quickly takes a step back, escaping the queen's touch as if he's dodging a bullet.

"Ah- I- My name's Aster!" They stutter, the star really didn't want to be touched by this lady, who knows what he'd see inside HER soul.

Aster tries his best to pull it together, the star knows what to do, he has watched from above how people act around the royal couple. So all he had to do was mimic that behavior.

The young star bows down with one hand on his chest

"I'm humbled that our performance has caught your majesty’s attention. It's a great honor to meet your graces in person." The blonde spoke so eloquently no one could ever guess he's screaming internally.

The king and queen seemed pleased as they exchanged a quick glance to one another... This was going to be fun.

"What an eccentric partner you've got here, Asha" Magnifico says with a calm voice, now looking at the girl sitting by the water fountain, trying her best to hide her face with the hood of her mother's cloak...

… They recognized her? How?

"Aww and how lovely, you're wearing Sakina's cloak aren't you? It fits you so perfectly." The queen said, answering her question as if she could read Asha's thoughts.

Oh yeah... She forgot they knew her parents...

Asha gets up and takes off the hood, trying to act natural like Aster did.

"Thank you, your highness... I didn't expect we'd meet again so soon" she HOPED they wouldn't meet again so soon.

"What a nice surprise though, isn't it?" The king says casually "But speaking of last night... You've never mentioned you played any instruments Asha, I thought your only interest was drawing."

"I-I just didn't see any reason to comment, I'm still practicing is all" She says holding the mandolin close to her

The king chuckles at that "Now now don't be so modest my dear, you played so beautifully it almost seemed like..." he turns his gaze to Aster as he finishes with a knowing smile "Magic."

And with that, Asha realized what Aster already knew since the moment he saw the couple... They knew.

Somehow, they know Aster is a star.

The two teens are thinking the same thing, they gotta run.

Aster begins to walk backwards towards Asha as he says in a not so subtle nervous voice

"Aaaanyway, thank you so much for coming but I'm afraid there'll be no encore, we gotta take a break and-and it looks like it's gonna rain so-"

"Aw leaving so soon?" The king interrupts with a sad tone "We've got a bit of a crowd here. I believe this is as good a time as any for me to share two VERY important announcements... You both should stay and listen, I think they might be of interest to you." He says walking closer to them, to which Aster grabs Asha's hand and they both start moving away.

"O-oh sure the crowd is all yours. We're just REALLY in a hurry." Aster says while still walking backwards, keeping eye contact with the king with a forced smile.

"Hmm" The king hums while tilting his head to the side "Very well then, I'm sure the news will catch up to you two... Sooner than you think." He whisper that last sentence while looking at Asha with that same knowing smile.

And on that note, Aster and Asha just run out of there, leaving some very confused citizens staring at them. Including Asha's friends.

Magnifico follows them with his eyes with a confident and relaxed gaze... He can grab them later, now, it's time to set the stage.

"ALRIGHT! My people, please gather around!" The king says as he hits his staff on the ground teleporting him and the queen to the top of a stage in the plaza.

(Let’s say the stage looks like this… Disneyland stage… But I’ll not be counting this as a reference because that’s kinda reaching at this point.)

More people around the plaza come closer to see what this is all about.

Meanwhile Asha and Aster hide in a alley to hear what the king has to say.

The king begins loud and clear

"Now, I know you are all wondering about that little light last night-"

The crowd cheers, assuming the light was a gift from the king.

"... A light I did not command nor condone." He corrects their assumption

The smiles on his people's faces deflated

"As a matter of fact, that light wasn't even from this world... It was a THREAT from beyond our skies." Magnifico explains with a serious gaze as he summons a book with his staff, the book floats next to him as the pages flip.

"A threat that my family has dreaded for generations. A being that comes down to earth and consumes all the hope, joy and love they can find..." The book stops on a page showing the illustration of a wishing star individual, with golden hair. The drawing seem to have been altered though, to make the entity look more ominous.

"A fallen star. This VILE creature is hiding among us. They can take a human form, gain your trust, make you feel all happy and warm inside even, BUT DON'T BE FOOLED!" The king exclaims warningly as he shuts the book "They're after ONE thing... Your wishes." He says menacingly, pointing at the top of the castle in the distance.

All the citizens look horrified, mumbling among each other, fearing for their wishes and themselves.

Among the crowd there's Asha's friend, they're all scared but Simon seems specially concerned.

The king lets the fear sink in for a few seconds before he switches back to his upbeat friendly king persona.

"BUT HEEEEY! Relax! No need to panic ladies and gentleman. As always, you can trust in me to keep you, and your wishes, safe and sound. This star may be powerful, yes, but their magic is no match for me!" He illustrates his point by creating a light show with his staff, creating fireworks and briefly a dragon made of green magic.

The crowd cheers and claps, trusting Magnifico wholeheartedly.

Aster and Asha are just watching all this play out, hiding away in a nearby alley.

Aster is going through a lot of emotions, scared of what might happen if the king does capture him, angry at himself for not keeping an eye out like he promised he would, and sad that all those people just took everything the king said as gospel.

His animation (That is now 3D, but with a different frame rate depending on how he feels) becomes more laggy and jumpy, like he's not in control of his own body movements as he speaks.

"I didn't think he'd know what a wishing star IS. Had I known this was a possibility I would've NEVER suggested for us to get exposed like that... I'm sorry Asha" They apologize for something he couldn't have predicted.

"It's not your fault." Asha reassure him holding his hand "...But when we were playing, did you see if anyone changed their minds?" She asks curious.

"... Yeah, actually... I could see some sparks of hope! I could tell some people considered granting their wishes by themselves..." He says, calming down a little, his animation going back to somewhat normal.

Asha felt relieved by that, at least they did a little bit of a difference...

But that wasn't enough, they had to actually MAKE a difference, and the only way of doing that was by showing everyone the truth, and proving what was happening with their wishes, if only Asha could show them-

Wait... The king and queen... They're not in the castle right now...

Asha has an idea.

She holds Aster's hand tightly and starts walking out the alley, going through the plaza.

King Magnifico and Amaya are still there, he's answering a few questions about the glow and what people should do.

He follows the two of them with his eyes for a moment.

"Woah- hey I thought we were gonna run away from here." He says quietly to her, trying to keep up the pace.

"No. Come with me.” Asha starts running, pulling Aster with her.

They’re running towards the castle.

“O-okay so what's the plan now?”

“I'm tired of running away from them." Asha says determined

"Huh?"

She points at the castle.

"My wish, and the wishes of dozens of people in Rosas are in there. We can sneak in while those two are outside, then we can grab my wish and as many others as we can." Her eyes have a burning passion as she runs with Aster just in toe holding her hand.

"... Wait, but isn't that pretty much my first plan from yesterday? What changed?"

"What changed is that Magnifico and Amable aren't in the castle..." She thinks for a moment, then she looks back to Aster and gives him a thankful smile "And also, you've shown me that I CAN inspire people, I CAN show them the truth, we can do this together!"

Aster's eyes sparkle in awe when he sees her face.

She continues, now looking at the castle with no doubts left in her "We can even grab some wishes that they changed and show to their owners, to use as proof of what the king and queen are doing!"

Aster can see Asha's star shinning even brighter than before, a huge smile grows on his face.

"That's brilliant!" Aster lets go of her hand and starts running faster than her “Then let’s go! Last one there is a dusty nebula!”

The two are now racing to the castle, with Aster running considerably faster than Asha.

Both hopeful that they'll succeed.

...

They're far, but the king can still see them in the distance. He smiles.

It's adorable how she thinks she can actually change anything.

Asha and Aster don't hear as the king says to his people:

“Now… My second announcement is about this veeeery special wish that I’ve received last night...” he says with a smirk.

He summons a green orb in his hands.

He holds it, in a way that no one can see what's inside the wish yet.

"My dear people, as you all know, nothing in this life brings me more joy than making ALL your wishes come true- Well, that is aside from my beloved queen." He says giving the queen a passionate glance and kissing her hand.

"Oh you!" She giggles.

"However, yesterday something quite... Unfortunate happened, and I had to do something I swore I'd never do... I denied granting a wish." Some citizens gasp in surprise, thinking someone must have wished for something really bad

Asha's friends look surprised at that, they already suspect whose wish this is.

"I know, I know, shocking, yes. It was a wish that just- Well-Surprised us, really, I wasn't sure if I could allow it..." He looks down on the wish with a introspective gaze "But after putting some thought into it, I realized: Isn't this kingdom all about dreams coming true? No matter how outlandish they may seem? Well I say YES. That's what MY Rosas is all about!" The king announces passionately.

"So we decided to do something new... For the first time in my reign... We're getting a PUBLIC WISH GRANTING CEREMONY!" He exclaims. This is a big deal, Magnifico never granted a wish in front of people, only at night while they sleep.

The green gem in his staff glows…

Creating a huge hand made of green magic.

“I’ll just grab our lucky winner real quick, so we may get started.” The king says wearing a huge grin.

His predatory eyes are fixated on Asha running after Aster in the distance.

...

Aster was right about one thing.

It does look like it's gonna rain.

Chapter 10

Final Thoughts

... Soooooo yeah hahaha, we're getting to some INTENSE stuff in the next chapter, buckle up.

But about THIS chapter though, those sure were some good vibes at the beginning, huh? Aster getting to see the kingdom, giving Asha flowers, they promise to stay togetheeeer, and then they sing and daaaance and then Magnifico shows up and the good vibes are gone.

Like... I'm really proud of my work with him as a villain, like, if you're writing a character and YOU dread getting to the scenes that he shows up, you KNOW you're doing something right... I think, you tell me, how did you feel when he popped up?

I'm REALLY proud of how this chapter turned out in general. The idea of Aster seeing humans as tangible emotions just HIT ME one time when I was listening to "At All Cost" for the 1000000th time, and it just fitted perfectly with everything.

Shout out to @gracebethartacc I made Magnifico call Aster “little one” in your honor… And he’ll do it often.

Oh and one more thing, you may have noticed I'm implying that it's gonna rain... Yeah I'll just say one thing about that:

[ineffable-opinions]

BL: Romancing in a Bubble?

As always, please let me know if you have suggestions, critiques, comments or corrections.

I will only be discussing BL broadly (here I use BL as an umbrella term) and not just live action. I don’t want to club together BL and GL since in spite of their shared roots they are very different in their genre conventions, target demographics, and history. Also, I am not very familiar with it.

I consider BL a genre in itself – practically well as the way Masala is a cinema genre.

Please check the content/trigger warnings before diving into the works I have mentioned below. Feel free to message or ask.

BL / romance

I don’t think BL is romance or even a sub-genre of romance. A lot of BL is romance. Many more of them have at least a romantic side to them. There is enough overlap between those genres to give the impression that BL is romance. (I remember the discussion Killing Stalking had prompted.)

But there are plenty of BL devoid of romance. Like One Room Angel, Social Reform Season, and The Orc Bride. Similarly, BL is not exactly a porn sub-genre even though there are plenty of ero-BL.

Also, there are plenty of BL where romance takes backseat such as The Night Beyond the Tricornered Window, Blue Morning, Brother, Lawless Gangster and Thousand Autumns.

BL / queer

Queer – Can I call it a genre the way I call BL a genre? Even if one were to ignore queer as method in academia, it is still so complex.

Let me quote Taiwanese tongzhi (queer) author Chiang-Sheng Kuo:

[W]hat exactly is queer literature? Is it queer literature if queer people like to read it, or is it only queer literature if there are queer characters in the books? Or is it an appendage of the queer movement? If a queer author writes a book without queer characters, does that represent a certain aspect of queer culture?

(You can find the whole interview here.)

I think the problem persist even when I think of queer as a label.

Then there is the issue with conception of “queerness” itself. Like, in a way it is a limiting term. Is it fair to call normative or customary male-male erotic practices such as masti and Launda Naach, “queer” just because that’s how it is perceived elsewhere now?

To quote what Kaustav Bakshi wrote in Writing the LGBTIHQ+ movement in Bangla:

In the last decade, the question of decolonizing queer epistemologies was being raised periodically, whereby queer politics, despite having a shared agenda of toppling heteronormativity, and queer culture, albeit having a shared aesthetics, became more and more regionalist – not in a negative sense – but, with implications of difference, which can be interpreted and understood only when one subjectively experiences the ‘region’ with respect to gender, class, caste, ethnicity, physical and intellectual ability, access to education, metropolitan cultures, and most importantly, the internet.

[T]he attraction towards the launda is not understood as ‘queer’ – non-normative or out of the ordinary – but, as an integral part of sexual life, which is not always compulsively alert to the heterosexual-homosexual binary.

Imo, decolonizing queer epistemologies comes in handy when discussing BL since there are plenty of BL dealing with:

Historical BL set in eras and locations that had customary male-male sexualities and practices.

BL with special settings, like omegaverse, with different (if any) idea of queerness.

BL / other queer content

Just as Japan has gei-comi, and other manga like Shoujo Manga Artist Minamoto-San Comes Out, and Kieta Hatsukoi (shoujo), What Did You Eat Yesterday and My Brother's Husband (seinen) beside BL manga, different countries offer diversity in queer content with noticeable overlap. But clubbing them together would not be easy. Moreover, this diversity is as much cross-sectional as it is temporal (tanbi, JUNE, shonen ai, yaoi, BL in Japan).

BL the main difference between BL and other queer genres is BL’s focus on moe (affect). Anyway, BL predates LGBTQ+ acronym. It predates de-pathologization of homosexuality in many BL creating regions. Fu-people (BL fans) were creating BL before mainstream media started representing queer people in media. Fu-people battled state and its censors everywhere along with queer people. Live action BL is commercialized and we get mostly feel-good content. But that is capitalism (and the State) reaping the dividends of decades of fu-people’s labor of love.

I wonder if it is apt to consider BL the way western queer shows (such Verbotene Liebe, Queer as Folks, Os Nossos Dias and SKAM) as benchmark when discussing BL? Won’t it be better to evaluate consider BL in relation to local non-BL queer content in BL producing countries? But then, there are BL inspired by western queer culture such as Partners by Tamaki Yura.

Here are three gei-comi that I recommend for BL audience, through which they can get an insight into non-BL queer manga from Japan (created with androphilic men as target audience) :

Fire Code by Ichikawa Kazuhide

Fisherman's Lodge by Gengoroh Tagame

Coming Home by Go Fujimoto

Here is my BL versus gei-comi list which I think highlights their differences and similarities (I have included only Gengoroh Tagame’s works since they are probably the easiest to access/buy/borrow):

Do You Remember South Island P.O.W. Camp? by Gengoroh Tagame || Hitori de Yoru wa Koerarenai by Matsumoto Yoh

Arena by Gengoroh Tagame || Jinx by Mingwa

Cretian Cow by Gengoroh Tagame || The Orc Bride by Madobuchiya (Nishin)

Uo to Mizu by Gengoroh Tagame || Terpenoid by Okadaya Tetuzoh

My Brother's Husband by Gengoroh Tagame || The Story of My Brother by Ike Reibun

There is lot of overlap between BL and gei-comi. Gengoroh Tagame first published in JUNE (a magazine that contributed to BL we know now). There are magazines and anthologies (Nikutaiha BL) that offer crossover between different streams of queer content.

Similarly, there are danmei (Chinese BL) novel written by queer men such as the autobiographical works: Six Records of a Floating Life and Waiting Until 35 Years Old by NanKang BaiQi and Bei Cheng Tian Jie (北城天街) by FeiTian YeXiang.

BL / Queerness - exploration and conflict

Here are some live action BL (I’m not including some of the more famous ones like TharnType and Wedding Plan) where plot is rooted in character’s queerness and its exploration or implications:

Lan Yu – first danmei to get live action adaptation. The central conflict is rooted in the queerness of its characters, particularly Chen HanDong.

A Round Trip to Love and Irresistible Love – based on danmei by Lan Lin. These are part of a shared universe. The former has both ‘coming out’ (Cheng Yichen) and ‘leaving home’ (Lu Feng). In the latter, all the conflict is rooted in compulsory heterosexuality and we get the perspective of not only an amphiphilic (bisexual) man (Xie Yan) but also an amphiphilic woman (Xia Jun) of the same social class.

Boys Love: The Movie

No Touching At All (2014)

Udagawachou de Matteteyo (2015)

The Cornered Mouse Dreams of Cheese

Sing in Love (2022) – Queerness is part of the main conflict.

Mood Indigo

Life: Senjou no Bokura

Light on Me

I don’t keep track of these things usually, so this is based off memory.

In Japan, most BL has dealt with the struggles of being queer in a largely heterosexist society since the days of tanbi and shonen-ai (such as Zankoku Na Kami Ga Shihai Suru by Hagio Moto). JUNE gained notoriety for focusing on it and yaoi boom was movement away from that. Then yaoi gained notoriety for existing in a bubble. When BL started to treat heterosexism in society as a part of the narrative, it garnered praise for being ‘transformative’.

BL has managed to carry within it different modes of identity and queerness.

Take Okane ga Nai (No Money) by Hitoyo Shinozaki and Toru Kousaka for example.

It is often held up as the epitome of all that is wrong with BL (or yaoi as anglophone fandom calls it). What’s less talked about is the main character, Ayase Yukiya’s queer angst and his exploration of identity that spans several volumes of the manga series. Kano on the other hand doesn’t struggle with his identity at all since his attraction to Ayase is driven by a very strong, initially unreciprocated emotional connection dependency (formed when his father died and he was at his lowest). For him, sexuality is merely a form of expression of his attraction for Ayase. Therefore, it does not inform his identity in anyway.

Within cannon, Someya and Honda’s pairing offer contrast to Ayase and Kano’s pairing. In a way, Kano and Someya have post-queer and pre-queer identities, respectively. Someya is a self-actualized person who mentors other queer characters (club staff, Ayase, Honda, Kano). There is a lot of give and take that happens between Ayase and all the queer people he meets at Someya’s club. Ayase's and Honda’s struggles with identity and sexuality are juxtaposed with Kano's and Someya's self-assured disposition.

That is also why I don’t think I Told Sunset About You stands out much. It can easily fit into the BL fold because there are plenty of BL that approached the same theme as I Told Sunset About You in a similar fashion (including these live action BL: His - Koisuru Tsumori Nante Nakatta, Life: Senjou no Bokura and The Cornered Mouse Dreams of Cheese).  

I recommend the danmei novel Sissy by Shui QianCheng, the author of the works Beloved Enemy, My Stand-In and Meet You at the Blossom are based on, for a more detailed exploration of heterosexism, including femmephobia and homophobia.

Sissy, Beloved Enemy and Professional Body Double (the novel My Stand-in is based on) are all part of 188 group (a shared universe of novels).

There are plenty of other BL from other region that are focus on themes such as heterosexism and compulsory heterosexuality. Here is such a one-shot: Romantic by Motoni Modoru (part of the anthology Tanbishugi).

BL / terms

I like BL and associated terms like danmei because of the culture and the history associated with those terms. Tanbi and danmei are different readings of same characters 耽美 but they represent very different things. Shonen-ai literally translate to boy(s) love but that term (or BRM (boys’ romantic manga) as Emiko Nozawa puts it) carries within it so much history and specific artistic styles and sensibilities. Waai is derived from yaoi/yuri but there are fu-cultural processes, very different from that of yaoi creation, behind the production of Y-novels. I learned a lot from exploring these words alone.

[trojanteapot]

The writing blindspots in Infinity Train with respect to race

To get this out of the way, I love Infinity Train! It’s one of my favourite shows! I started writing fanfiction because of this show, and it still inspires me every day. 

I really do think that Infinity Train as a whole is a very thought provoking children’s show and I applaud it for exploring darker themes relevant to psychology and psychological well-being, which are topics often overlooked not just in children’s media but for adult media as well. However, I do want people to acknowledge some of its shortcomings, especially because it is a show that is dealing with such heavy and complex topics, and also positions its human characters as coming from a world which is pretty much a stand-in for our own.

Now I know that the storyboard artists for Infinity Train were quite diverse, but I don’t really know if it’s the same for the writer's room. The reason why is that as a POC viewer, it really does seem obvious to me from the way that the POC characters were written pre-season 4, that their race was mostly an afterthought.

Okay and to be perfectly clear, this is NOT A BAD THING. This is just a neutral thing. Obviously we don’t need every single story with POC characters to have to be about their experience as a specific racialized person. There are experiences that are shared among everybody no matter what race they are. I am not saying that you need to do super in-depth research into every single cultural nuance of every ethnic minority before writing them. It depends on if you really want to delve into how their heritage or traditions or specific life experiences inform their character arc. Not every character arc is about that. And it shouldn’t be!

With that being said, I do think that perhaps the writers should have tried to consider asking themselves very basic surface level questions on how being non-white would inform the problems and conflicts their characters would face. They don't need to know the ins and outs of each culture for each of their characters, but they could have just asked “How would I feel/react to others if people made weird assumptions about me based on my race? How differently would my parents raise me if they were afraid of prejudice or discrimination?” I think they should have reflected on that before setting in stone the backstories for their POC characters, especially with respect to Grace.

Part 1: GRACE'S PARENTS

So I am not Black myself, but I have had many conversations about Grace with one of my friends in fandom who is Black, and we both do get the sense that Grace’s race was very much just an afterthought to her characterization. To be clear, this is NOT because she has very wealthy parents. I am well aware that there are Black Americans with generational wealth. However, knowing what we know about affluent Black people in the real world, how Grace’s parents treated her makes absolutely no sense.

For example, among extremely wealthy people of any race, networking and knowing the right people is of the utmost importance. This is why so many rich people send their kids to prestigious private schools so their kids can get a heads start on knowing the progeny of other one-percenters. If you look up famous people with famous kids, chances are you’ll see a list of all of the very exclusive private academies that they all went to (looking at you, The Strokes). This is the case for wealthy people of all backgrounds, not just white people. And honestly, I imagine that the pressure is at least double for the kids of wealthy POC parents to get to know the right people as early as possible to be able to open as many doors as possible, in order to mitigate the inherent disadvantage of being a racialized person.

But what did Grace’s parents do? According to her, they never sent her to school of any kind, only having private tutors teach her, and her ballet instructor only made her join the other kids in her class once for a recital or something? This is, for lack of a better term... buck wild.

In addition, her parents are American diplomats. Diplomacy is an extremely people-oriented position. If anything, her parents would want her to not only be in the best private school, but to be the best student in school, to know the best people, to join the school clubs that all the other diplomats’ kids are in, and train her from a young age to be a social butterfly. Yes I know that diplomats will often leave their home country and be stationed somewhere else for long durations, and yes their kids could be taken out of school then, but some diplomats just enroll them in a different institution in the visiting country, or not take them out of school at all. This is what the IB Program was invented for, actually. Her parents being diplomats does not justify never enrolling Grace in school. In fact, it makes it less justifiable. 

The fact that they did the extreme opposite of that is so illogical to me that I wonder if perhaps the writers just cobbled together a whole bunch of tropes that they think apply to rich people without actually checking if any of it makes sense, doubly so for rich people who are non-white.

I think the reason why is because they wanted Grace’s parents to stifle her growth and her natural social skills, but on the Train, she can be who she truly is. I definitely agree that Grace finding herself and being able to truly blossom into the girlboss she is on the Train is a great plot point from a characterization perspective. However, I do not think that it should be because she was being stifled by her parents. The solution is staring the writers right in their face, but they can’t see it because it’s a blindspot for them.

What they should have gone with is: Grace's inability to become a social butterfly and a queen bee in her daily life is because she is a dark-skinned Black girl!!!

Her parents have extremely high expectations for her socially. They could have pushed her to make friends with kids she didn’t like just because they wanted to be on better terms with their parents for networking or diplomacy purposes – which they could have shown with that one girl from her ballet class. Missed opportunity! But no matter how hard Grace tries, she will never be seen as the perfect girl because of other people’s assumptions about her just based on her race. 

Once she’s on the Train, Grace then uses her people skills and finds that they’re a lot more effective there, because it’s no longer Earth’s society, it’s a different world, literally! Plus this even allows her to be a little bit more mean, a little bit more honest, something she wouldn’t be able to get away with in the real world without being punished for it harder than her white peers. We already see hints of this with how she interacts with Simon, a white guy who is the same age as her. 

CAVEAT: The dialogue where Grace reveals that she never went to school was something that she told Hazel in a private conversation. So it could be that she did go to school, but lied about it to seem more relatable to Hazel, who had never been around other kids before. Lying is in character for Grace because she would pretty much do anything to get on somebody’s good side. But the way that they had her voice actress deliver those lines, and the way that her expression changes when she talks about how lonely she was indicates that she was telling the truth. To be charitable, I suppose we can land on the reading that Grace told Hazel a half-truth. She did go to school, but she was frequently taken out of class or skipped semesters because of her parents’ jobs as diplomats. So her loneliness in that instant is at the very least truthful. Your mileage is going to vary on this interpretation of course.

This points to a weakness that I can sort of see in Infinity Train in general, where they push societal problems into purely the realm of personal failings. “It’s not because of society that Grace couldn’t succeed, it was solely due to her abusive parents” being just one example. 

Never forget this monologue from a Black father to his daughter in Scandal:

Part 2: JESSE'S ARC WAS PRETTY GOOD THOUGH

The thing is they actually did write a POC character having to deal with a problem that was society-oriented quite well, at least in my view. Although, I am still pretty sure it was still coming from a race-blind method of writing the characters. Otherwise I feel like Jesse’s status as an Indigenous American would have come up more than a grand total of one time. That they could do this well for Jesse makes the fact that they didn’t do the same for Grace quite disappointing. 

Jesse’s main issue that he had to overcome was he kept caving to peer pressure and had trouble saying no to others for fear of disappointment. Now, this problem is universal, and it’s not solely something that is specific to Jesse’s race or ethnicity or cultural background. In fact, I am quite certain that they wrote Jesse as a character without even considering that this problem he faces is relatable to POC experiences. But I definitely know a lot of POC in my life who do take on more responsibilities than they can manage, or feel a higher pressure to fit in with their peers. Hell, I’m that POC in many cases! It’s kind of like background radiation to us as minorities that we just have to do more emotional labour in order to be seen as equals. That’s just the reality of the situation. You can understand and relate to Jesse’s problem without being Indigenous/Native American, but at the same time it feels like a natural problem for him to have, because he is non-white!

I will admit that a personal blind spot of mine is I don't know and haven't had the chance to speak to too many Indigenous people, so there could be aspects of Jesse's arc that don't really make sense. If you are somebody who knows more than me, please feel free to correct me! I would love to hear how you felt about Jesse's characterization and arc as an Indigenous person!

Part 3: SEASON 4, THE ASIANS 

Alright now it's time to tackle stuff that I actually could have any ounce of authority talking about? Which is how they wrote Ryan and Min-Gi in Book 4. I myself am Asian-Canadian. Specifically, I am a first generation Chinese-Canadian but I've been in Canada since I was six so I find a lot of the experiences of second generation Asian-Canadians more relatable to me. In addition, my partner is fourth generation Japanese-Canadian, so his dad would be the same generation as Ryan's dad. (I also am really really into rock music, but that's besides the point.)

What they got right:

So first off, I could tell that they really did consult Asian people in writing this season, so good on them! The difference in how Ryan’s parents raised him in contrast to Min-Gi’s parents felt very natural and realistic to me. Ryan’s family is more westernized and has assimilated more into broader Canadian culture. 

The fact that Ryan has an English name and not a Japanese name immediately shows that. Min-Gi’s parents not choosing an English name for him is a bit of a surprise; very few Asian immigrants go without an English name back in the 20th century. Even nowadays it’s extremely common for us to go by English or Western names that we, or our parents chose, instead of names in our native language. But there are good reasons to not choose an English name. Perhaps Min-Gi’s parents wanted him to have a closer tie to his Korean roots, or perhaps if they travelled back to Korea to visit family it would be easier for them. 

Also, Min-Gi’s parents not supporting his dream of becoming a musician and want him to get a stable job in… I think it was finance? Definitely true back then as it is today. I’m not entirely sure how Ryan’s parents feel about his life choices, and we’ll get into that later.

The character arcs for Ryan and Min-Gi are excellent. This dichotomy of wanting to do the good, responsible thing that your parents want for you because they want you to have the best chance at a good life, and doing what your heart tells you to do, is an extremely relevant character arc. It’s a life decision that is not just an Asian thing, but something anybody can relate to. However, in East Asian cultures that were generally influenced by Confucianism, which includes both Korean and Japanese culture, upholding your duty as a child to not disappoint your parents in any way is something that Asian cultures are prone to emphasizing to a great degree. We see this in other media centered on the Asian immigrant experience as well, such as Kim’s Convenience, Turning Red, and Everything Everywhere All At Once.

What was a bit puzzling to me:

So I'll start off with the thing that definitely raised many many eyebrows if you were an East Asian or Southeast Asian watching the show: Why were Min-Gi's parents so friendly with Ryan's parents when they're Korean and Ryan's family is Japanese?!

So like, not to bring politics into it but… World War II happened. It affected, you know, the world and stuff. And in the Pacific Theatre (god I hate that term), the Imperial Japanese Army… invaded Korea?? Among many other countries??? And did a bunch of war crimes?????

Like, Japan was invading other countries well before WWII even started… This is common knowledge… for Asian people that is.

Yeah I know what you're gonna say. “But Ryan's family is Japanese-Canadian!! They wouldn't have done those war crimes! They would have been sent to internment camps!” Yeah dude, I know! My partner is Japanese-Canadian, remember?! And even if I didn't know him, we learned about the internment camps in history class. It's pretty common knowledge among progressives in Canada and the US. George Takei did a whole musical about it. 

But that's not how racism works. I can speak from personal experience that the scars of WWII trauma in Chinese and Korean communities run deep. Even my own parents needed a bit of convincing to be okay with me dating my partner, and my parents were born two decades after WWII ended. My partner said that one time when he and his grandmother got into an elevator with an elderly Korean woman, and at first she was friendly, but once she realized they were of Japanese descent, the elevator ride became deathly silent afterwards. 

So when you have Min-Gi’s parents, who were probably born during or slightly after WWII, immigrate to Canada, and then be like… totally okay and hunky dory pals with Ryan’s parents just because their kids were born the same day in the same hospital…? I mean sure, anything can happen. But it definitely speaks to how abnormally accepting, forgiving, and welcoming Min-Gi’s parents are. 

To be clear, this isn’t something that pulled me out of the experience, personally. Yes, it is strange, but it’s not impossible for a Korean family to be super okay and friends with a Japanese family. Maybe it’s because their small town has very few Asians and so they have to stick together due to solidarity or something. Maybe Min-Gi’s parents are the type of Christians that believe in the inherent goodness of everyone and giving everyone a chance. Maybe they are just extremely progressive and see Ryan’s family as Canadian more than Japanese (highly unlikely), or they know about the internment camps and that was enough to get over their biases toward them (also unlikely). I dunno, anything can happen.

The other thing that bugged me was that they really didn’t explore Ryan’s relationship with his family to the same depth as Min-Gi’s relationship with his family. 

They already set up the contrast of like, you have an immigrant who is more connected to their cultural background, and a third generation descendent who is less connected, and more alienated from his cultural background. That kind of stuff can really weigh on you as somebody who is a minority. You feel like you simultaneously aren’t Canadian enough because you aren’t white, and that you’re not enough of your cultural background because you had to assimilate, or were forced to assimilate. 

Yes it makes sense why Ryan would throw himself into his music, and be disconnected from his family. But they didn’t take the time to really explore why he is that way. Ryan barely talks about his family except randomly mentioning that they don’t care what he does with his life. I don’t even know if that really makes sense that they don’t care what he does? Maybe Ryan thinks they don’t care, but his assumption is wrong? Either way they don’t explore this point that much. Even if his parents were more assimilated they would still care if Ryan had a non-standard job, such as being a musician. There is a gap between Ryan and his family/parents that was alluded to, but not explored. Feeling like you come from two worlds but not neatly fitting into either is so quintessential to the immigrant experience of Canadians (and also Americans) it’s a shame they only paid lip service to it. 

I mentioned in a different post that Ryan would be monolingual while Min-Gi would be bilingual, and how this could cause tension between them. I imagine Ryan definitely feels inferior to Min-Gi in that sense of loss and disconnect with his heritage, just as Min-Gi is jealous that he feels he doesn't have the freedom to pursue his musical career in the same way that Ryan can. This is all stuff that can take a psychological toll on people, and is something which the Train as a metaphor for therapy should have been primed to tackle. But unfortunately we didn't really get that.

There is a term among the Chinese Diaspora known as “Hollow Bamboo (竹杠)” or “Rising Bamboo (竹升)” [more info]. It's an insult tossed at kids of Chinese ethnicity from judgemental adults for being unable to read/write Chinese or who cannot speak Mandarin/Cantonese/other Chinese languages fluently because they've been “too westernized”. They say we “look Chinese, but are hollow inside, like bamboo.” I don't know if there are equivalent terms for other Asian diaspora/immigrant communities but there must be. This term is controversial, and in my own opinion very unfair, because it blames the kids for this loss of cultural identity when there are so many different factors at play that makes them lose it, all of them outside of their own control. 

Again, I think this is a blindspot from the writers just not understanding how much this loss of cultural identity is such an integral part of the experience of being an immigrant, and that it's not only felt in first or second generation Asian-Canadians, but also third or fourth generation, and beyond. It's scary to go out there and redefine what your culture means to you, and how to pass it on to the next generation.

CONCLUSION

So there you have it, a summary of the strengths and the weaknesses in Infinity Train as it pertains to writing about racialized characters. Just want to restate that a lot of what I pointed out is pretty minor in the grand scheme of things and I do overall think the writing is solid. I am not going into this to say that I expected the writers to do a good job, because generally my expectations for media and pop culture to portray POCs respectfully is quite low. At least they didn’t fall back on tired stereotypes, which is a low bar to clear, but it is where the bar still is these days.

If on the off chance Infinity Train does get uncancelled and renewed for more seasons, I hope they take these lessons and craft better narratives for their POC characters. Maybe hire some more non-white writers while you’re at it!

[maya-chirps]

Painting a picture of the history of Filipino Tattoos

A photo of tattooed Filipino men posted on BBC and accredited to Joe Ash

Tattoos are often seen as integral cultural symbols in my different societies whether it be seen as something honorable or dishonorable. Even in the most straight-laced cultures, a tattoo acts as a mark of some form of the person's history and their standing in their communities as well as how people perceive them.

In a lot of modern cultures, the tattoo often have negative connotations, often associated with delinquency or criminal activity. Historically, however, they may have grander and more honorable significance in different societies. The communities that had existed in the Philippines prior to contact with Spain fits this similar pattern.

Before I start

As usual, the Philippines is a diverse country that has different traditions and histories that come from different ethnic groups and states, only being first unified under a government by colonization. Because of this, this post will only be able to cover parts of this culture and may not be able to fully encompass all Filipino traditions, practices, and beliefs about tattoos.

This is also given the fact that more specific information may be harder to come across or may not exist at all in a space I could easily access.

That being said, the general term for Filipino traditional (both precolonial and current) tattoo practices is batok, batik, patik, or patek depending on language or culture. It is also known as buri or burik in several other groups and languages. This word, however, isn't often used for typical tattooing in most modern communities.

The History

From a general understanding of a lot of precolonial Southeast Asian cultures, it can be assumed that precolonial Filipino societies heavily valued tattoos as their neighboring maritime SEAsian countries also had prior to the introduction of Abrahamic religions to the region which often discouraged or even forbade tattooing the skin.

Although this can be assumed, there were no known precolonial description nor record of these tattoos during the actual time period before Spanish contact. There is evidence found in some burial sites however, as discussed by social anthropologist Salvador-Amores in her paper The Recontextualization of Burik (Traditional Tattoos) of Kabayan Mummies in Benguet to Contemporary Practice (2012). In the paper, she focuses a section on the history of burik by explaining the Kabayan Mummies or the Fire Mummies of Benguet, Mountain Province.

An image of one of the Kabayan Mummies uploaded by Dario Piombino-Miscali on ResearchGate.net

These remains had been dated back to the 13th century and are associated with the Ibaloi, an indigenous ethnic group from Mountain Province found in the northern parts of the island of Luzon. This does confirm that tattooing had been important to the people who had lived in this area during this time period as, in Salvador-Amores's paper, it can be noted that the tattooed mummies seem to be prominent with the adults.

I do have to note that the Ibaloi people, who are part of the larger Igorot ethnic group, were not fully colonized by the Spaniards and therefore does not share the similar Hispanic culture and history that a lot of Filipino groups have. They had only fully been integrated into the Philippines during the American colonial period where they and the other Igorots had been properly colonized by American and placed under the rule of the American-controlled Filipino government. (x)

Regardless, this does show that at least some cultures in the archipelago held tattoos with high importance and did not consider them as something negative compared to the modern perception of tattoos.

The first known illustration of tattooed Filipinos, however, was first seen in the Boxer Codex (circa 1590) during the early Spanish colonial period, written and illustrated by an unknown author.

A page from the Boxer Codex (circa 1590), author uknown

This illustration seems to be that of the specific ethnolinguistic group, the Visayans as this page is next to another one labeled as "Biſſaya", a likely earlier spelling of Bisaya that uses the long s (ſ). This aligns with the description given as early as Antonio Pigaffatta, Ferdinand Magellan's chronicler, who consistently describes the Visayans that he has met as painted in his account of their arrival in the islands back in 1521.

The book The Philippine Islands 1493-1898 Vol. XII has compiled different first-hand and second-hand sources about the Philippines during the 15th through 19th century, with Vol. XII focusing on the early 17th century which aligns closely to the Boxer Codex. Within the text, there are several mentions of the "Pintados" or the Painted ones, even having an entire province be called the "province of Pintados".

It isn't made clear who the Pintados are besides the fact that they seem to be hostile towards the Spanish colonizers and had often fought battles with one of the letters even claiming that they had poisoned one of the Spaniards. It isn't until we reach the last part of the compilation which features Pedro Chirino's Relacion de las Yslas Filipinas which I had a hard time finding before but had now found a free and accessible copy. Within Chirino's writing, he explains that the Pintados seem to be a name given by the Spaniards to the Bisayans and further explains it as such:

"The people of the Bisayas are called the Pintados, because they are actually adorned with pictures --not because this is natural to them, although they are well built, of pleasing countenance, and white; but because they adorn their bodies with figures from head to foot, when they are young and have sufficient strength and energy to suffer the torment of the tattooing; and formerly they tattooed themselves when they had performed some act of valor."

Chirino even gives an explanation as to how precolonial Visayans tattooed their skin:

They tattoo themselves by pricking the skin until the blood comes, with sharp, delicate points, according to designs and lines which are first drawn by those who practice this art; and upon this freshly-bleeding surface they apply a black powder, which is never effaced. They do not tattoo the body all at the same time, but by degrees, so that the process often lasts a long time; in ancient times, for each part which was to be tattooed the person must perform some new act of bravery or valiant deed

It is notable, however, that not only did the Spanish not mention any tattoos on other Filipino groups such as the Tagalogs, but a lot of the illustrations in the Boxer Codex do not sport any tattoos at all which makes it confusing as to when had tattoos faded out of cultural significance in these other communities, likely even before Spanish contact.

Lane Wilcken, a researcher who studies the history of tattoos from the Philippines and the Pacific Islands, writes in his book Filipino Tattoos: Ancient to Modern (2010) that it may be possible that the Tagalogs may had lost their tattooing traditions shortly before Spanish contact during the recent islamization of their communities circa 1500 which was and specifically in the polity of Maynila. This may also be the case for the Moros which is a muslim ethnolinguistic group found in the island of Mindanao.

Either way. tattoos became more scarce within Filipino records after the arrival of the Spanish and the introduction of Christianity to the islands, save for some indigenous groups that were not fully colonized by Span like previously mentioned Igorot people.

Because of the spread and dominance of Christian and Islamic customs throughout the country, Batok, as it originally was, was lost to time with the lack of existing artists and cultural relevance tattoos. Tattoos didn't come back to the Filipino mainstream until modern tattoos became more prevalent especially in the mid to late 20th century, similar to its rise in popularity in Western cultures, and even then, it wasn't really what I would consider any traditional and is often negative.

Present Day

Like a lot of other countries, however, tattoos had seen a swing of opinion and is more accepted now as an art form rather than a sign of criminal activity but some stereotypes are still popular.

For instance, during the COVID-19 lockdown, the Department of Education provided modules for students to answer at home which would be then collected by the school from door to door. In one of these modules, Lea Salonga, a Filipino singer, complained on November 17, 2020 on her Facebook page of a discriminatory question that was found in one of the modules, pictured below

EN Translation:

White text: The answer is letter A based on the DepEd answer key. Module text: 3. Tattoos are a symbol of _____ A. being a criminal B. being a slave C. courage and beauty D. having a low standing in society

This controversy caused an uproar online and showed that there are a lot of Filipinos today that don't see a problem with tattoos and even see them as a positive. Two days after the image was posted on Salonga's page, the Department of Education publicly recognized the misstep and had issued that they officially recognized the controversial answer as an error.

It is important for me to note that, just like in a lot of countries, tattoos are typically not accepted in the corporate world and those who have them either have to get them removed or at least cover them up if they get hired at all. There's still a common idea that people with tattoos, if not dangerous, may be seen as unprofessional or even unclean which I do know is a similar thing that other countries may have as well.

As for batok, its comeback in the larger Filipino mainstream didn't return until some time in the late 2000s and 2010s when more international influence had resparked and interest in more ethnic cultures including the precolonial Filipino tattoos specifically because of the internet and the rise of social media. The current batok that we see outside of indigenous communities could be seen as a recreation of the extinct practices within the Philippines with some level of appropriation from related cultures (by appropriation, I mean this in a neutral way not a negative one).

It is argued whether or not the reconstructed practice could be considered traditional at all, but considering its heavy emphasis on the older designs found in historical illustrations as well as designs from indigenous communities that did not have practice eradicated by colonization, some also argue that the modern tattoos that has gained prominence because of modern technology and research is still valuable in a socio-anthropological sense.

As Salvado-Amore puts it

the successive phases and changes in the status of burik tattoos—enabled by the advent of modern technology, the Internet, and mass media—encourage an interaction between contemporary and historical influences rather than an extinction of past practice.

About Apo Whang-Od

A magazine cover of Vogue featuring Whang-Od, a traditional tattoo artist from the Butbut people, a subgroup within the Kalinga ethnic group. (The rest of this section pulls from the same article by Vogue)

Any research about Filipino tattoos, especially in the modern day would be incomplete without any mention of Whang-Od, the most popular traditional tattoo artist from the Philippines.

Apo Whang-Od (b. February 17, 1917, a.k.a. Maria Oggay) is a member of the Butbut people of the Kalinga indigenous ethnic group from Kalinga province, Philippines. She is often known as one of the last mambabatok in the country which earned her fame and recognition internationally. She started her tattooing practice since she was a teenager at age 16, under the mentorship of her father and was the only known female mambabatok during her time.

For years, she was called on by different communities within her locale in order to tattoo important and symbolic tattoos on members of her and different communities after they had received certain milestones. Men were tattooed for different reasons than women as men were given their marks when they succeed in activities like headhunting, which was ritualistically important for the Butbut people while women were tattooed for reasons like fertility or beauty.

Because of American colonization, however, headhunting was prohibited so she was mostly tattooing women from then onward.

She started gaining recognition some time in the mid-2000s to the 2010s after she started serving foreign tourists, although she doesn't give them the more traditional symbols. Non-members of the group are given a set of tattoos that she could tattoo on anyone without any strong connection to the original meaning of the art.

Since tattooing was passed through family and Whang-Od herself didn't had any children, she was known as the last mambabatok for a time which caused concern for the extinction of the practice as she was already in her 90s when she gained notoriety, but she has since started training her grandniece Grace Palicas and later on her other grandniece Elyang Wigan and the two, who are now in their 20s, has since helped their great aunt dealing with their clientele.

Due to her fame, she is often the subject of foreign media and interest, even being invited by Vogue magazine to pose for one of their covers (pictured above) and is now known as the oldest Vogue cover model earlier this year at the age of 106.

Despite her fame and arguably cultural importance to not only the Kalinga people but the Philippines as well as online petitions since the 2010s to give her the recognition, she is not eligible to receive the National Artist award— one of the highest awards given to artists of most artistic fields of which only 81 people had received. Victorino Manalo, Chairman of the National Commission for Culture and Arts (NCCA) explains that this is because her craft, tattooing, isn't covered by the NCCA but by the Gawad sa Manlilikha ng Bayan (GAMBA, en. Award for Crafters/Creatives of the Nation) but there has been some discussion within the commission about this issue which still ended with her being denied. In light of this, she is now currently on the running to possibly receive the GAMBA award.

She has an online presence managed by others and she can be found via Facebook and Instagram.

Tattoos now, from my experience

As I had said before, tattoos these days are not as negatively seen as they were in the 20th century and had received a more positive reputation thanks to the rise of its social experience due to the internet and social media's prevalence in the country. As an art student, in fact, it's wasn't that surprising when I learned that one of my classmates had a tattoo and it was even a full sleeve! Now, as least three had tattoos before they graduated with one of them actually being a close friend of mine who's planning to get more despite their parents' disapproval.

Despite this, I still do have people in my life right now that see tattoos as undesirable and unclean, with stereotypes still being prevalent. I had once heard people speak of them in such a negative way but then make an exception for the artsy type of people? It's odd.

As for batok or batik, I had not seen a lot of people with these tattoos in my own life and had only seen it through articles and images circulated around by other people who I don't even know. I guess it makes sense as most people who do get tattoos similar to batok or batik often do it in tourist-y places or are foreigners who want to get a piece of Filipino culture on their way out of the country.

Besides more culture-focused people, batik or batok isn't as prevalent as some of these articles might make it seem and most typical Filipinos who don't come from these cultures are more likely to either not have tattoos at all or have similar tattoos to those that you may see in other countries.

Either way, tattoos could be so personal to a person and whether it's something as deeply-rooted to culture like batik or if it's just the names of your favorite K-Pop idol, that tattoo is important and has special meaning. Get whatever tattoo that you want or don't if you don't want any at all!

[mariacallous]

The dinner table unites and divides, especially the question of what we eat and how we eat it. It is therefore not surprising that politicians frequently use food as a wedge issue to push their ideological agendas and define who belongs in a group and who doesn’t.

The recent political firestorm ignited by former U.S. President Donald Trump’s claim during a presidential debate that “In Springfield, they’re eating the dogs. The people that came in. They’re eating the cats,” has upended life in the small Ohio town—especially for its Haitian migrant population. The newly arrived refugees have been accused of eating their neighbors’ pets, leading to bomb threats to local schools and the suspension of in-person classes at nearby universities.

The repercussions of the event have been felt far beyond Springfield. On Sunday, vice presidential candidate J.D. Vance seemed to double down on the rumors he helped launch—telling CNN’s Dana Bash that “If I have to create stories so that the American media actually pays attention to the suffering of the American people, then that’s what I’m going to do.”

The baseless rumor Haitians immigrants eating pets in Springfield was promptly and summarily debunked by the town authorities. The soundbite was obviously meant to generate anxiety among voters who consider immigration a fundamental threat to the survival of the United States as we know it.

Whether it is truth or fiction does not matter. The Republican candidates’ divisive strategy has succeeded because of the symbolic meanings Americans—or any people—tend to attribute to certain foods that are seen to reflect and embody their identity as a community. These, in turn, generate strong emotional connections. Such reactions can easily bypass rational reflection. They feed instead off gut feelings. That’s why evidence negating Trump’s narrative may not actually change people’s knee-jerk reaction of revulsion.

The United States, due to its social and cultural diversity, is the perfect laboratory to test this kind of gastronativist messaging. Gastronativism can be activated not only via political affiliation, but also by class, religion, age, nationality, language and, of course, race and ethnicity. Throughout U.S. history, new immigrants have been accused of strange and disgusting culinary habits as a strategy to denigrate them and keep them at the margins of society.

German and Irish immigrants in the mid-19th century were identified with excessive consumption of beer and whisky, a habit that was considered with contempt in a society where anti-alcohol currents were strong and would, over time, originate legal arrangements such as prohibitionism.

The Chinese that settled on the West Coast to work in mining and in railway construction were frequently scorned for their consumption of rice as a main staple, which was considered a sign of their lack of civilization. As most of them were men, at least at first, rice was also interpreted as the explanation for their assumed lack of virility. They were also accused of eating rats, as well serving cats and dogs in their restaurants.

When new waves of migrations from Southern and Eastern Europe invested in the United States, it was the time for garlic and its smell to be derided as an inevitable trait of Italians. This time, well intentioned social workers tried their best to wean the newcomers from their excessive use of vegetables and spices and to convince them to increase their consumption of dairy and meat, which the nutritional theories of the time considered as indispensable to provide the necessary strength for those engaged in physical labor. As new populations arrived, it was their turn to see their food and culinary traditions disparaged as clear marks of their cultural and social inferiority.

The real issue, of course, was always who the “real Americans” were. And the specter of Black migrants eating pets has proved to be even more potent than old scare stories about the Chinese, Italians, and Irish.

Springfield, Ohio, has in recent years experienced a massive influx of refugees escaping political instability in Haiti. The new arrivals, who are there legally, have eased the local businesses’ need for workers, from agriculture to industrial plants. However, they have also have strained the city’s financial and welfare resources, eliciting strong reactions among locals.

While Ohio Republican Gov. Mike DeWine, acknowledging the inevitable growing pains that come with a sudden population increase, has pointed out the role of Haitians in the economic resurgence of Springfield, his fellow Republican, Vance, has ignored the migrants’ contribution to the town’s comeback in favor of spreading wild and incendiary rumors. The fact that Trump and Vance doubled down on a lie points to its usefulness in stirring apprehension among their supporters, with the goal of bringing them to the polls.

Haitian refugees have escaped a country devastated by gang violence and political disarray. Many of them are likely to have experienced food insecurity, an issue that has plagued the island of Haiti for decades and has intensified due to the recent instability. Moreover, Haitians are Black, which itself constitutes a threat for certain segments of the white electorate who feel that their way of life and their privileges are being unfairly usurped by non-white newcomers.

It is easy to project on foreigners who come from a poor country a readiness to feed themselves in any way possible, including consuming animals that better-off people would not consider food.

Haitians, in particular, are often portrayed as practitioners of voodoo, an Afro-Caribbean religion that syncretizes Catholic saints with West African deities. Born out of the culture of enslaved Africans in the New World as a form of resistance and transmission of their original culture, voodoo is connected with practices that include spiritual possession and, on occasion, animal sacrifices. American popular culture has played a central role in making these customs visible and, in many cases, terrifying—partly due to the connection between voodoo and zombie lore in films and horror literature.

The apprehension about the supposed religious practices of Haitians has deep roots in American culture. The anxiety about the mysterious habits of people of African descent has been a longstanding historical phenomenon in the United States since the colonial period. Such fears were intensified by the fact that enslaved people grew and cooked the food that their owners consumed.

Black women at times were tasked with breastfeeding white children and, in many cases, raising them. Against this background, tales about Black magic and juju abounded, indicating a clear ambivalence between the need for products and meals that came from Black hands and the awareness that those exploited in fields and kitchens may hold a grudge.

Given this history, the fake news regarding Haitians in Springfield is far from unexpected. It is through food that we distinguish “us” from “them.” And of course, “we” are inherently better than “them.”

Although Trump also mentioned wild geese being hunted, the fears about Haitian newcomers focused on pets, and in particular dogs. This particular phobia has a long lineage. Some native populations in North American did consume dog meat, causing disconcertment among European settlers. A 2018 regulation, the Dog and Cat Meat Trade Prohibition Act, was included in the Farm Bill, prohibiting the slaughtering of cats and dogs for human consumption, with the exception of native ceremonies.

Dog eating, however, was also a custom in China, South Korea, and the Philippines, among other countries, all of which have seen substantial migration toward the United States. The rapidly growing numbers of Asians in the United States intensified existing anti-Asian sentiments and racial intolerance, which increased during the coronavirus pandemic, attributed by many politicians to China. To emphasize its foreignness and blame Asians for it, Trump referred to the coronavirus as “kung flu.” The stereotype of the “dog-eating Asian” had a temporary resurgence, together with slurs and taunts that were often dug out from the past.

While dog eating is still legally practiced in some areas of China, it is in decline (Shenzhen became in 2020 the first city to outlaw it), and dog slaughtering as livestock has been banned in the Philippines since 1998, with an exception for rituals in indigenous communities and despite the persistence of some residual illegal consumption. In 2024, South Korea passed a law against the breeding and slaughter of dogs.

But reality does not seem to affect the circulation of food-related conspiracy theories, whose effectiveness is predicated on their capacity to strike emotional chords. The power of gastronativist fantasies grows precisely out of the centrality of eating in defining our identity and belonging. Facts end up losing relevance.

The incidents supposedly taking place in Springfield echo preexisting narratives with a long history, making the rumors feel familiar enough that lies begin to sound like truth. The emerging storyline of pet-eating Haitians responds to the needs of the politicians who peddle it while reflecting the ideological worldview of their followers. The victims—in this case a migrant community from a beleaguered country—are the collateral, calculated damage.

[max1461]

The Zionist argument is especially weird considering nobody gets an ethnostate except them

Well, some places are functionally pretty close (like Japan). Japan's ethnic homogeneity is overstated by it's still pretty high, and more or less actively maintained by state policy. And like all ethnostates, in fact like all nation-states, that homogeneity is at least to some degree constructed by stamping out internal diversity—in Japan's case, this has meant assimilation and cultural genocide of the Ainu and Ryukyuans since the Meiji period. In Israel's case it means, well,

[fluorescentbrains]

might regret engaging with this topic but I find the question “are jewish people indigenous to the land of israel?” to be at best irrelevant to the current geopolitical situation and at worst antisemitic for real, and it’s very frustrating to see people fall into its hole again and again. being indigenous doesn’t make it okay to bomb hospitals. there is a lot to say about the diverse ethnic groups living in israel and how they each came to live there, but it wouldn’t change the reality of human rights violations one way or another.

so when I see people spend their time and energy trying to argue that jews—or at least, some kinds of jews—actually have no ancestral connection to israel, I find that suspect. what does your position gain by asserting that jews are secretly white people in funny hats? well, I guess it makes the argument that israel is a colonial project more straightforward. but if you need jewish people to be alien invaders to strengthen your support for palestinian liberation, I question what is actually pulling on your moral compass. yes, the connection between the people and the land is something that is important and honored in many indigenous peoples movements. but I think there is a tendency for those with a more superficial understanding of the concept (and a certain cultural predilection) to revert to a blood-and-soil impulse that holds the nomadic and diasporic in contempt. violence is more justified if it’s against aliens. violence is more contemptible when perpetrated by aliens. it’s an impulse that, no exaggeration, has been one of the primary killers of jews for hundreds of years.

wherever you believe the jews “really” came from, the people of that place probably disagree with you. my jewish ancestors came to states to escape persecution in eastern europe.* they were considered aliens there, despite their long history in the region. and in gentile imaginations jews are frequently not only aliens but some sort of deceitful, nefarious changelings who merely pretend to belong—who must be rooted out and expelled for the health of the nation.

so, do you see why leaning on “the jews don’t belong there” as a pillar of your understanding props up an antisemitic ideology? do you at least see why many people are going to judge you to be antisemitic no matter how strenuously you insist you do not personally have any problem with jews living in your country? this is not an argument that will lead you anywhere productive. at best you will waste your time on pseudoscientific inquiries into the genetic history of the jewish people. at worst you will find yourself platforming actual nazis.

[fipindustries]

Actually this is sort of more interesting with things that aren't pieces of media

Reverse-unpopular opinion: The United States of America

oof, that depends on what context youre asking, in some places it can be incredibly controversial to attack the united states and in other it can be controversial to defend it.

ill defend it.

i think america is actually one of the most diverse, progressive, least xenophobic countries out there. specially when you see how other countries treat other races, ethnicities and nationalities. in some senses you see all the racial tensions in the united states because the united states has more diversity of races than in any other part of the world.

i am a firm believer in the american experiment, in the liberal democratic project, set with checks and balances with representative leadership, in a country willing to take immigrants from the world and contribute to the great american project.

a lot of people dont recognize that america actually dedicates millions (maybe billions) in foreign aid and disaster relief over the world and it can only really do that because of its position as one of the richest countries in the world.

even more controversially i am not actually that opposed to this idea of america being the police of the world. honestly better them than china or russia. i think there have been many military interventions on the part of america all over the world that were actually perfectly justified, righteous in cause and a net good for most people involved.

for all its horrors, its oppression, its colonialism, its sadistic greedy capitalism, its vapid consumerist culture, and all its other flaws i do think that america at its best is the best planet earth has to offer.

now at its worst... well, is not quite the worst humanity has to offer either, obviously there are far worse examples, a lot of its evils are fairly mundane and unglamorous, but the scale at which they are perpetuated is probably one of the largest in human history so, there is that too.

[goodbyeapathy8]

Departure letter

As mentioned in this post, that outlines why I needed to let this be my last message in the Kindergarten Mafia Discord server... here is the Scathing Letter™. ------------------------

It is time for me to go. 

I absolutely loathe having to do a departure announcement because this is not an airport and I’m sure not a lot of people care. 

But as someone who has spent 10+ years of their life actively decolonizing and liberating my viewpoints, it would be absolutely remiss for me to not leave final remarks here expressing my utter disappointment and feelings of not being safe in this space. Not just as POC but someone chronically ill and autistic. Y’all have not made it kind for someone who has any sort of marginalized identity, as evidenced by the public dogpiling in this thread as well as the now deleted messages in clarifications.

I’m not going to address the majority of the drama except for what started it all : someone refusing a Native person’s (well-deserved) call out for a culturally appropriative phrase. 

It is devastatingly clear to me that a large portion of folks in this server have a poorly curated personal life extremely lacking in diversity. 

The defensiveness and elitism (really? Dictionary definitions?). Refusal to actively listen and instead attack others about lacking critical thinking. Self-claimed expertise. I could go on. 

So I revise what I had posted previously. Everyone is a little racist and this server is full of white supremacy tenets. 

https://rrapp.hks.harvard.edu/the-culture-of-white-supremacy-in-organizations/

This is my last attempt at educating some of you, which will go poorly, I’m sure. 

I spent an inordinate amount of time/energy/spoons to provide coherent context the last time but to find the entire thread deleted with no respect for the effort I spent there, has been one of the final straws. 

Frequently mentioning your volunteer status is frankly laughable. I have volunteered for quite a few places, including mutual aid organizations, and across multiple timezones and never have I seen so many excuses to say that y’all do not care about POC. (1/2)

I don’t care how old anyone is, what their job IRL is, what works you’ve posted with how many kudos, etc. I *do* care about the fact that multiple people, when speaking up, are treated with callousness and hurtfulness. That is a larger indication of your mental age and capacity than any other words you can type. 

That I felt safe enough to be so vulnerable in this space for a while was an illusion. There are continued indicators that POC words are ignored, especially calling out that I know both Jynx and William have requested their labor be deleted in the server but have not been. 

Last, but not least, I’m sure people will read this and think oh it’s Phoenix banding together with their friends. I say this with as much passion I can muster : I would have the same amount of disdain for the actions seen in this server without any personal friendship ties and emotions. That is how the social justice aspect of my autism works. 

You all have so much work to do when it comes to respecting other human beings that have different experiences than you. If I weren’t so consumed with the feelings of my actual divorce, recent termination, and the continued trauma of world events like that in Falasteen, I’d feel bad for you. 

As it stands, I believe my energy is precious and I simply cannot spare any more in spaces where I (and others) am not welcome or given respect to. Let it be noted that I’ve actually gone viral on social media before and I still have not left THOSE spaces and yet am choosing to leave this one. The troll comments I received on Tiktok can be ignored because they are from complete strangers that I do not give a single fuck about. The ones here, purportedly from those who claim it’s “safe”, are even more insidious in nature. 

Whatever race or ethnicity you are, to take people who have shown you their vulnerabilities and turn around to show your entire behinds in the least sexiest way ever, is not a good look. Ever. 

Leave the ass scenes to KinnPorsche. 

[alatismeni-theitsa]

https://twitter.com/Nervana_1/status/1646262493482811392?t=O3lpnJa8SR06sP2HiW3svg&s=19

*big sigh* again they decided to make a Cleopatra documentary by casting a black actress instead of a Greek or at least Mediterranean.

No hate on the actress she just did her job!, it's the producers fault for deciding that they prefer skin colour diversity or ethnicity.

I am sorry...... are Mediterranean skintones something like a canvas or a "default" color to the USAmerican producers of the movie and the platform itself?? Are we a coloring book or something to them?? We are not a people but an idea or something? The mindset behind this change is disgusting! As a Macedonian Greek I feel so repulsed by how they erase us every fucking time because they refuse to do a one-minute Google search.

Did they COMPLETELY ignore how North Mediterranean people look (Cleopatra's family was North Greek) in order to give some hollow Black "representation?" Cleopatra wasn't even Black! (And we don't consider her Brown either!) If we are at a point where racebending historical figures who were most famously Not Black is widely accepted, we really need to examine how this "historical revision" is spiraling.

Next time you hear USian media "respects culture" and it's "inclusionary" please know that this is a load of bullshit. They are ignorant and entitled still, but with a performative goodness as a cover.

On what grounds do the producers and the actors feel comfortable taking representation away from Mediterraneans? A representation we need, mind you, because as it's APPARENT, people don't know how we look!

Especially USAmericans who produce worldwide media and are responsible for the image of the Greek culture and people around the world. They have no freaking idea. They don't know how to spot us or recognize us! And they still insist on racist stereotypes from the 1920s-1940s because of almost nonexistent Greek representation (and North Greek representation)!

The Tweet is made by an Egyptian btw! And Egyptians do well to speak for the USAmericanization of their culture because they are at the same boat as us Greeks when it comes to how we are perceived worldwide due to USAmerican media.

Also since there's an overlap on how Greeks and Egyptians look, it would be fine if an Egyptian or any other Mediterranean would play her honestly. But for Cleopatra, the first person you consider is a Greek woman! (North Greek woman specifically, if you want to accurately capture the mixes of that area)

The trailer is even worse because there's a Caucasian (for a lack of a better term!) Egyptian guy saying "I imagine her like me, with curly hair" while he doesn't have Black hair. Yet the documentary pretends they somehow fulfilled his wish by casting an actress who has Black hair.

Also I think we have depictions of Cleopatra so the way you imagine her, even if you are Greek or Egyptian, you need to take this into account as a guideline. "I imagine" is not how you respectfully depict historical figures!

The point is they relied on that comment to decide she must have curly = aka Black hair. Which..... is not the case. If you go around in Curly Hair circles there are different types. And Black people also know that protective styles for their hair won't protect the curly hair of Caucasian people. I knew a few North Greeks who have this type of hair - as this guy - and they are definitely not Black.

Oh, and the actress doesn't have a skin color like this guy, he is much lighter and, according to USians, he is Brown, not Black. (I hate using the terms but whatever) The actress who plays Cleopatra, Adele James, isn't even partly Egyptian or Greek from what I know?

And the fact that the documentary depicts the Ptolemys (North Greeks) and North Egyptians as Black USians (African Americans)?? The people in these lands.... don't look like this! Just GO to these places and see the people living there, SEE their ancient depictions that give us images of people in these lands thousands of years back! The fucking audacity and the outright racism to assume things about how people look just from stereotypes, and then sell that for money!

Then we have this random woman from the US... They use a quote from her "No matter what they tell you in school, Cleopatra was Black". Sure... Sure fam

How tf is it acceptable to take a shit on the effort of the Greek and Egyptian huge archaeological teams and expertise by saying "ACTUALLY, you guys don't know your own history! You are primitive and you cannot POSSIBLY have the tools or the knowledge to examine how Cleopatra looked!"

Anyways, take some faithful reconstructions of Cleopatra, based on her depictions, where she looks Mediterranean and Greek!

[the-gnomec-college]

The Bvanu People

The Bvanu Gnomecir, commonly called Bvaneim or the Bvanu People, are a diasporic, often nomadic, people who defy easy categorization. They have been alternatively described as a race, an ethnicity, a religion, a society, a school of thought, and/or a neurotype. Bvaneim may embrace or reject any of these labels to varying degrees, but generally agree that the Bvanu People defies reductive categorization into any one of them, opting instead to describe themselves simply as a people.

Literally translated, their name means “children of the knowledge-seekers” and refers to their heritage as descendants of those who fled the destruction of the Gnomec College. The question of “Who Is/Isn’t Bvanu?” is contested within the Bvanu community but generally includes any descendants (adopted or blood-related), any converts to the Bvanu religion, or anyone who can access Bvanu memories through the craft of mnemonec dreaming.

The ethnogenesis of the Bvanu people can be traced back at least to the society of the Gnomec College, though a proto-Bvanu people existed in the region for centuries prior. However, due to the practice of outgathering outlined in the Gnomec Charter and their displacement following the destruction of the College, they can be found across the world with diverse cultural and religious traditions.

Bvanu are more likely to identify as queer than the general population, though whether this is due to an actual higher incidence of queer people or a culture that is just more open & accepting of queer identity is up for debate. There are three widely recognized sexes with corresponding gender roles in Bvanu culture—male, female, and liminal—though transgender & non-trinary identities are generally accepted as well.

The Bvanu neurotype is a neurodivergent spectrum that overlaps (but doesn’t correspond one-to-one) with ADHD & autism. Due to differences in how they process information, Bvaneim commonly experience texture, photo, and frequency sensitivities that can be unpleasant, if not debilitating. A notable example of this is a sensitivity to the hum that emanates from certain energized metals like honeygold; this can make it easier to hear said hum, but can also be overwhelming if exposed to energized metal for too long or in high enough quantities. Differences in neurological makeup are understood to be a part of what enables Bvaneim to practice mnemonec dreaming.

The Bvanu religion is a gnomec-mnemonec tradition, emphasizing knowledge and memory. Bvanu gnomecism revolves primarily around their holy text, the Bvanu Librarium, and study at Bvanu Academia, while their mnemonec practice involves the keeping of commemorative holy days, the wearing of symbolic traditional clothing, and mnemonec dreaming.

They use a lunar-solar calendar with holy days that mark phases of the moon, seasonal/solar events, and historical events they consider significant. The most important Bvanu holy day coincides with an astrological event called the Indigo Moon and memorializes the destruction of the Gnomec College.

[spop-romanticizes-abuse]

Is funny to me how the crew in She-Ra always talks how important is for them to make the cast with body diversity, but them they have three male characters with the same body type

If you pay attention you can notice that Sea Hawk, Bow and Mikha all have very similar body types (broad shoulders, small waist and descent amount of muscle) which is funny for a show that cares so much about representativity

And the LGBT representation seems very disgenuine, it doesn't seem natural like the writers or animators were having fun on making the characters gay, just look like they made them like that for obligation, it doesn't look genuine. And then we have the cultural and racial diversity that is...lacking, to say the least

Like, yeah we have a bunch of characters with different skin tones, but they never seem to be an actual ethiniciy? Like, Catra aparently is supposed to be latina but nothing in her character actually looks latina other than her skin tone and Mermista i guess is indian? I always headcanon her as indian because of that dress she uses in princess prom that looks a lot like a Sari, but we also never see anything in Selinia culture that may indicate that. I know that is a fictional world, but Avatar was able to mix real life culture with their shows lore, so She-Ra could also do the same, the characters would really benefit for that cause would make them more unique and would make Etheria actually look like a planet with different people and countries instead of a fairyland straight out of a child dreams

oh yeah. i've noticed only female characters seem to have some diversity in the body types, while all the male characters look pretty much the same. i guess micah has a slightly wider body than bow and seahawk but it's still not a huge difference. hordak and horde prime also have the “standard male body”. kyle is skinny but that's not really breaking any norms, especially since he's portrayed as a weak loser who doesn't matter to the plot.

it is nice to have female characters who are chubby or muscular or different from the norm, but why can't we also have that for men? (and non-binary people but the show literally only had one enby character so..)

the ethnicity thing is a little more tricky since it's a fantasy story, and a lot of fantasy shows tend to go this route since it doesn't take place in the real world, so for example, we can't really say a character is asian if asia doesn't exist in a fantasy universe.

but yeah, the thing with spop is that the worldbuilding is really poor. we don't get to see much about the cultures of the different places in etheria. if they had taken more time with the worldbuilding and differentiated each culture, we could have gotten a more compelling storyline. other than avatar, the dragon prince also does this pretty well. the different types of elves are shown to have different cultures, ethics and practices. they also show how these cultures sometimes clash with the human cultures and norms, it's pretty interesting.

but yeah, it feels like spop just added diversity for the sake of diversity. it's not that they're interested in representing people of different ethnicities or sexualities, they just did it for the brownie points.