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a-friendly-fangirl · 3 years

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My thoughts on Sex Education, season 3.

⚠️⚠️⚠️SPOILERS⚠️⚠️⚠️

First of all, please try to remember that this is just my opinion. I'm nobody to judge whether the season was good or bad and I don't mean to hurt anyone.

With that being said, I'd like to begin by admitting that I liked these 8 episodes overall... but there were so many things that felt wrong to me.

I loved Jean's journey during her pregnancy and the way she tried to take care of everyone at the same time (although I kind of disliked Jakob for some things he said).

I loved Aimee and her desire to heal after the assault. The way she really wants to make her voice be heard was heartwarming and inspiring to me. Plus, her friendship with Maeve is one of the most beautiful I've ever watched (about this, I'll say something later on).

I loved Viv and her ambition that slowly became less important than her peers and their rights. She really wanted them to be happy in the end. I think that she didn't really understand how bad things with Hope were until the trip to France. And she redeemed herself in a great way.

I loved Lily and her journey towards acceptance of herself, even when others thought she was weird and silly. It was empowering seeing her so confident in the end.

I loved Adam's growth. It taught that even the most simple of passions can turn into something meaningful and that, no matter how bad you are, you can change.

Above all, I loved Maeve finally getting the chance to do something amazing for herself for once.

All of these things were wonderful, truly. But so many others I didn't like and I couldn't really understand as narrative choices.

Let me begin with the one I found the most annoying: Isaac's fake redemption arc. I know what you might say: "Of course you hate it! You ship Maeve and Otis!". Well, yes, I do. But it's not all about that. I might be exaggerating... but Isaac deleting Otis' message was beyond disrespectful to me. If you remember, at the beginning of the second season, Isaac was really mean to Maeve... but he had the opportunity to redeem himself. He had the chance to say he was sorry and to be a better person to her, even though he had been around for so little time. However, when it came to Otis to have the same opportunity, he decided that he wasn't worth it. Isaac, who didn't really know Otis, took away from him the chance to at least say that he was truly sorry for being such an ass to Maeve. But, what feels even worse to me is that he took away even Maeve's possibility to decide. We don't know how it would have gone, if Maeve had listen to what Otis had to say. Maybe she would have forgiven him. Maybe she would have still chosen Isaac, because Otis hurt her too much. Who knows what might have been? No one. And why? Because Isaac decided for everyone. And I don't care if he thought he was protecting Maeve or if he was angry. It. Was. Not. His. Choice. To. Make.

Also, I didn't really understand why Maeve wasn't as mad as I was with him. Sure, she stopped talking to him for a couple of days. But the moment she started to speak with him again, they hooked up. Too fast, too soon, in my opinion. He apologised? Sure. But so did Otis. And he didn't get to be so easily forgiven.

But let's move to the another point I have a lot to say about: Otis and Ruby. I really liked them together. I found them cute and funny. But still... Ruby struggled for real to accept Otis for who he is. And Otis acted the way she wanted to keep her close. For example, he shaved off his moustache for her. Now, most of the fandom hated that moustache... but again, Otis seemed to care a great deal for it. He kept repeating that he spent months growing it. But Ruby didn't like it. And he sacrificed something he was proud of for her. But okay, a lot of people would do something like that for their loved ones. But then he had to dress like her friends to fit in. To be fair, Ruby gave up that idea pretty soon... but she just reacted to Otis refusing to do it. If I had to make a comparison between her and another love interest (not Maeve, 'cause I'd be biased), I'd choose Ola, of course. She was putting pressure on him in other ways, but she never wanted him to be any different than who he was. Love, after all, means acceptance. And perhaps Ruby loved Otis for he saw the hardest part of her life, without judging her. I wish it could have been the same for him.

About this, I've noticed many people being disappointed in Otis not saying he loved her too, because it means that he was just using her. Well... no? I mean, he was the first one to admit that, if she was willing to give him more time, he might have learned to love her. Should he have made it clear to her earlier in the relationship? Sure! Can we condemn him for not feeling the same? Absolutely not! Feelings can't be forced. And I'm also sure that he thought he was done for good with Maeve. He suffocated the love he had for her so much that the clinic made him sick and that he admitted his feelings only when pressured by Maeve herself.

In conclusion, I think that Otis and Ruby might have had a wonderful friendship, if they were only given the chance. They have that kind of chemistry.

Talking about people who are better off as friends: in my opinion, that's all Maeve and Aimee will ever be. I honestly can't see anything romantic in them. The purity of their friendship means so much to me and it's, at least for me, so different from the "Friends who are more than friends" energy. We're so lucky to have such wonderful actresses to play these characters... and what I see in their gestures and glances tells me of a great friendship. They're so different from Emily and Sue in Dickinson (they're supposed to be just friends, but they're clearly not) or even Judy and Jen in Dead To Me (another pair of friends that can be ambiguous with each other).

Moving to another couple, whose development I didn't understand: Adam and Eric. I'm not a great fan of their relationship. I like them both as individuals. But the bully-victim dynamic they used to have wasn't the best one to start a relationship with. I could see the appeal though. So much that, I was truly happy for them, when they said their first I love you's. And every step Adam made in the right direction made me smile, since that it took him a long time to grow up. Eric seemed happy with him too. Until he went to Nigeria. I sincerely loved the whole trip... but something felt wrong in him founding what he truly wanted there, where he couldn't even tell his family he had a boyfriend. The scene in the taxi gave me chills. I felt the risk he was taking by going with a stranger to a gay club. A stranger that he kissed almost out of nowhere (whether it was the heat of the moment or Adam not replying to him, I'm not sure). It's the second time he cheats on his boyfriend. And I think Eric deserves far better as a character.

My question about this whole drama is: "How come Eric found out that he wanted to be free in Nigeria and not in England?". If it's true that going to the club made him realise he wanted to be among people like him, it makes the whole situation even more absurd. Because there are plenty of gay bars and clubs in England. Why not go to one of them? My theory is that they wanted to build a good romance with Adam, then build tension between them and in us and end the whole thing with their breakup (probably to make Adam fall in love with Rahim).

I swear I'm almost done. I want to discuss one last topic with you all.

Maeve going to America like that felt so rushed. It's probably another strategy to make us want to see more of the show. And it surely worked. But still, it has, at least for how they developed it, nothing to do with Maeve maturing. The idea itself was amazing. I loved her getting the opportunity of a lifetime. But she literally decides to go the evening before (which is not even realistic. In real life, you have a deadline until which you can pay to go wherever you want. If you don't, your place is given to someone else), after getting the money from her mother. Now, where does that money come from? She might as well have stolen it, since she didn't have it before. In my opinion, this part of the story could have gone differently with little effort and the same outcome. How? Well, since that basically everyone thought she deserved to go to America, why couldn't have her classmates and teachers organised a fundraiser? Even in secret, so that she couldn't get angry for their "charity". It would have been so much better and so wholesome to see everyone in that school give a little sum for her, even to thank her for the help they got from the clinic.

Anyway, I'm so sorry for talking so much, but this season didn't go as expected and I truly needed to vent :P.

Thank you for listening❤

#sex education #sex ed netflix #sex ed #sex ed s3 #maeve x otis #otis milburn #otis x maeve #maeve wiley #jean milburn #ola nyman #isaac goodwin #ruby matthews #eric effiong #adam groff #asa butterfield #emma mackey #ncuti gatwa

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mostlysignssomeportents · 3 years

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How the IMF loan-sharks the global south

When you take out a loan or get a credit card, the headline figure is the “APR” — the annual percentage rate of interest. But anyone who’s ever borrowed because they were poor and needed money has learned the hard way that APRs are pure fiction.

To get the true APR (what economists politely call the “effective” APR) you have to factor in the fees, penalties and other gotchas that turn reasonable seeming interest rates into perennial, inescapable debt-traps.

Take student debt. During the 2020 presidential campaign, we had a debate about student debt forgiveness, whose opponents frequently cited the “unfairness” of allowing people to “escape their responsibilities.”

https://pluralistic.net/2020/12/04/kawaski-trawick/#strike-debt

In their telling, student debt forgiveness would reward fecklessness, allowing people who got the benefit of an expensive education to duck the costs.

Now, even if you ignore the farcical inflation in university tuition and expenses (for example, the 1000%+ hike in textbooks driven by ed-tech monopolists), that’s still a highly selective account of how student debt works.

Student debt is negotiated from a position of weakness and naiveté, which allows lenders to attack the poorest grads with incredible fees and penalties. “Chris” took out $79k in student loans in 1982. He’s paid back $190k. He still owes $236k.

https://taibbi.substack.com/p/student-loan-horror-stories-borrowed

That’s not the magic of compound interest. It’s the magic of loan-sharking. If you’ve ever used a payday lender (aka a “fintech startup” AKA a “loan shark”), none of this will be the least bit surprising. This form of usury is as old as Christ casting out the money-changers.

The payday lending industry didn’t invent these tactics, but they refined, automated and industrialized them, then they spent millions at Trump hotels and (in a stunning coincidence) all those tactics were blessed by the US finance regulators.

https://www.propublica.org/article/trump-inc-podcast-payday-lenders-spent-1-million-at-a-trump-resort-and-cashed-in

The normalization of loan-sharking sent the entire finance sector into a race to the bottom. America’s largest banks saw their profits soar during the pandemic due to record overdraft and other fees — in other words, collecting fines for being poor.

https://pluralistic.net/2021/04/22/ihor-kolomoisky/#usurers

The sums are jaw-dropping. In 2020, Jpmorganchase made $1.5b on overdraft fees, Bank of America made $1.1b and Wells Fargo made $1.3b. The biggest rake came from the worst months of the pandemic.

https://prospect.org/economy/big-banks-charged-billions-in-overdraft-fees-during-pandemic/

78.3% of all overdraft fees come from just 9.2% of bank customers. At $35 a pop, these fees turn the banks’ overdraft facilities into loans with an “effective APR” of 3,500%.

Three thousand.

Five hundred.

Percent.

These are the cold, bloodless numbers of the debt trap. They conceal a vicious cycle in which those with the least pay the most, a cycled that can’t even be outrun in death.

https://pluralistic.net/2021/05/19/zombie-debt/#damnation

Take a moment to (re)read Molly McGhee’s Paris Review essay from May 2021, “America’s Dead Souls,” about her mother’s death. McGhee’s mom made less than $10k/year and suffered “debilitating depression while caring for aging parents.”

https://www.theparisreview.org/blog/2021/05/17/americas-dead-souls/

Her mother was haunted by two warring clans of ghouls: debt collectors who harassed her through legal and illegal means, and con artists who located her through databases of struggling debtors and tried to sell her predatory consolidation loans.

48 hours after her mother’s death, these blood-suckers switched to harassing McGhee, as she grieved her loss. Unlike her mother, McGhee had the resiliency and wherewithal (a credit card) to hire a lawyer, whose boilerplate letter reduced the debt by 90%, over $250k, poof.

If you can afford a lawyer, your parents’ debts don’t become yours. If you can’t, you enter a cycle of intergenerational poverty, with each generation sinking deeper into debt.

When you have nothing and owe everything, debt collectors know that they have to terrorize you into putting their bills ahead of the others. The cruelty is literally the point — without it, you might pay your rent ahead of your mother’s old credit-card bills.

To quote Umair Haque, “America is the the world’s first poor rich country.” an “advanced economy” where a sizable portion of the population lives in conditions typical of the global south.

https://eand.co/the-worlds-first-poor-rich-country-c411afc68539

Not for nothing. The same tactics that impoverish the vast American underclass also work to keep the world’s poorest countries — rich in resources and talent — poor. The loan shark here is far more powerful than a payday lender or even JP Morgan — it’s the IMF.

A new report from the Center for Economic and Policy Research dissects the way the IMF uses fees and penalties to trap the poorest countries in the world in unbreakable cycles of debt — fees that drive up the IMF’s notional APR to dizzying, usurious heights.

https://cepr.net/wp-content/uploads/2021/09/IMF-Surcharge-Report-2.pdf

Like any predatory loan, these “surcharges” are levied against the countries that have the least ability to repay. They target countries whose debt:GDP ratio passes an arbitrary line. For the poorest IMF debtors, surcharges account for 45% of all non-principle repayment.

These numbers add up. In Egypt, surcharges gobbled up $1.8b between 2019–24 — triple the cost of fully vaccinating the whole country. Small wonder that the world’s 64 poorest countries spend more on external debt payment than they do on their own health care.

In its defense, the IMF offers the same tissue-thin responses that any arm-breaker offers. The claim that penalties and fees are a way to “incentivize” debtor nations not to overborrow, and to seek their credit from the private finance sector.

But these countries are borrowing to pay off their debts — often debts that date back to colonial times, in which the rich (white) world mercilessly looted their resources and fomented destabilizing political divisions.

This undermined domestic resistance to imperialism and allowed kleptocratic, corrupt leaders to thrive — leaders who borrowed heavily to finance vanity projects, corrupt enrichment of domestic elites, and militarized suppression of opposition movements.

All of that was funded by debts, often from the IMF, who tied lending to the dismantling and sell-off of state enterprises, from power to water to sanitation — which is how the world’s poorest get gouged by the world’s richest to drink their own water.

These countries don’t borrow because they want to live outside their means — they borrow because they want to live. They don’t borrow from the IMF because they’re too lazy to ask a multinational bank for credit — they borrow because they can’t get credit elsewhere.

But the IMF has another excuse for this: they claim that the fees they extract allow them to originate more loans, creating a virtuous cycle. But as the report makes clear, this is absurd on its face.

The IMF went into the pandemic boasting about $1 trillion in “firepower” (that’s creepy-cutesey IMFspeak for “cash reserves”). Meanwhile, the annual revenues from these fees is $1b — that’s three orders of magnitude less than that “firepower.”

That means that the IMF could simply give up on these punitive fees, levied against the poorest people in the world, at an annual cost of 0.01% of its reserves. Literally, the cruelty is the point.

The point of all of this? The victims of usury are all in the same boat — in the USA and around the world. The same tactics, the same excuses, the same misery, from Cairo to the Caribbean to Cleveland.

Not all debt is created equal, of course. If you’re Elon Musk or Peter Thiel, you can get sweetheart loans and roll overs that let you avoid almost all taxation through the fiction that you earn no income, even as you amass hundreds of billions.

https://pluralistic.net/2021/06/08/leona-helmsley-was-a-pioneer/#eat-the-rich

And of course, if you’re a government with debts denominated in the currency you issue, it’s not really “debt” at all — the only way the US government can run out of dollars is by ordering its employees not to type more dollars into existence in a central bank spreadsheet.

Indeed, you couldn’t ask for a starker example of the difference between monetarily sovereign nations and postcolonial countries that owe debts in the currencies of their former conquerors. Venezuela can’t spend its way out of US dollar debt by creating bolivars.

Like McGhee’s mother, whose debts turned out to be fictions that disappeared as soon as a professional with credentials and access to the levers of power printed out a boilerplate letter, these countries’ debts are cruel fictions.

The powerful and wealthy can indulge these fictions or ignore them, as they choose. For example, finance-friendly politicians can insist that the “debt ceiling” must not be raised, for political purposes.

When the US declines to do the trivial data-entry that would make the money to pay its sovereign “debts,” the consumption that the money would have funded still takes place — financed not by the democratic state, but rather by a loan-shark.

National financial “prudence” interrupts the normal and benign process of sovereign money-creation, opening space for usury — private borrowing from the vampires and ghouls whose 3,500% APRs are redeemed through terror.

The cruelty is the point.

Image: Sbw01f (modified) https://commons.wikimedia.org/wiki/File:Developed_and_developing_countries.PNG

CC BY: https://creativecommons.org/licenses/by/3.0/deed.en

Image: А. Н. Миронов https://en.wikipedia.org/wiki/File:%D0%98%D0%B7%D0%B3%D0%BD%D0%B0%D0%BD%D0%B8%D0%B5_%D1%82%D0%BE%D1%80%D0%B3%D1%83%D1%8E%D1%89%D0%B8%D1%85_%D0%B8%D0%B7_%D1%85%D1%80%D0%B0%D0%BC%D0%B0._XXI_%D0%B2%D0%B5%D0%BA.jpg

CC BY-SA: https://creativecommons.org/licenses/by-sa/4.0/deed.en

#pluralistic

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st-just · 3 years

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Hey, Cuba-anon again with a slightly different question. Less about Cuba, more about foreign policy and ethics in general. I am interested to know what you think about Nationalism and it’s place in the modern world. How should one view their relationship to their country versus their relationship to the global community?

To give my point of view, I think I am a pragmatic nationalist? I am not gung-ho about America because “it is the best nation ever and the president is never wrong, uwu”, but rather because I live here, my parents and grandparents live here, and if something in the world negatively impacts America it will by extension negatively impact me. I don’t think other countries are beneath me or anything, but I also know that the feeling is not always reciprocal. So, to me, putting the well being of Americans first and everything else second is similar to putting on your air mask first before helping others in the event of a plane crash.

Either way, would love to hear your point of view and see how others tackle the question.

(sorry for the delay in response, got halfway through writing this then saved it to drafts and completely blanked on it)

But okay, interesting question, and worth breaking down.

So, you know how through the '90s and early 2000's there was this just utterly overpowering narrative where the last chapter of every history textbook ended with a chapter about how national borders were less and less important and how through the magic of The Internet young people were more connected and cosmopolitan than ever, with the strong implication that the weight of history was pulling us inevitably towards a post-national utopia of frictionless exchange and understanding. Call it the Star Trek ideal.

Hasn't exactly worked out, of course. And to a large degree was bullshit even at the time (or the optimism of academics expecting all of humanity to think like they do, being charitable). But in my heart of hearts, that's still how I think things should work.

But okay, to get a bit less abstract, a bunch of barely connected thoughts-

- Nation-states (and states generally) are, at best, convenient administrative divisions of humanity. They have no value outside the services they provide to their residents, and certainly no rights or moral worth outside that. America doesn't deserve your loyalty or life anymore than the state of Ohio or city of Baltimore do (replace with wherever you live.)

-If you accept the basic idea of humans having equal moral worth (or anywhere close to it), then the entire idea that someone's entire life should be defined by what side of an imaginary line on a map they were born on seems obviously absurd as soon as you start thinking about it?

-Nations - in terms of borders, whose included, what characteristics are 'national', etc - are also both contingent and a great extent artificial, defined by state and cultural elites via a standardized language, a mythologized national history, patriotic holidays, nationalizing and creating traditions and rituals, national education and entertainment, etc, etc. There's nothing primordial or inherent there.

-Unfortunately, people really, really like having teams to identify with, and like excluding people from those teams and/or treating them like shit for not belonging to them even more. (People talk a lot about x or y horrible thing being fundamental to human nature, but I really think this is one of the places where human nature really lets us down.)

-Nationalism is an extremely easy and powerful way of dividing the world between us and them, and across the world there has been massive success using it as a locus for identity formation and to organize populations around basically every sort of project imaginable, from funding public education and welfare to genocide.

-Nationalism is, as mentioned, inherently exclusive - and no matter what it's proponents say, in practice there's always someone within the borders of the nation who doesn't quite fit (in the European context, Romani and Jewish people are the most obvious examples). Cases where the nationalist imagination doesn't perfectly overlap with state borders, or with the identity of some subset of the 'national' population also tends to go, uh, badly.

-However, within the national population, appeals to national solidarity or theoretically shared ideals can often be (to a limited degree) useful in transcending or working to ameliorate regional, ethnic, class, etc divides.

-While it's true that large chunks of the American (Canadian, British, French, Japanese, etc) populace benefit quite a bit from their position in the current international system, it's almost universally the case that what foreign policy elites consider 'the national interest' extends far, far, far beyond anything that provides concrete benefits to the average citizen - I'll just gesture vaguely towards Afghanistan, here. Or World War 1 - and quite a lot of death and misery is inflicted for the sake of a narrow slice of the elite's material interests and entirely meaningless concerns around national glory and prestige.

-To be frank, in specifically America's case, putting the interests of co-nationals first and everyone else second is less putting your own air mask on first and more launching a life boat at half capacity to make sure you have leg room.

-But, again, the fruits of pursuing the national interest really, really aren't evenly spread. Does the US government's tireless and vicious championing of stringent IP laws, regardless of how many needless deaths result from the constraints on the drug supply they create, really do much for the average American?

-Which, to go back to the air mask analogy, brings up the awkward point that very often it's not so much putting your own mask on first as tearing the masks off people around you so you have extras, just in case. How much less is the life of someone on the wrong side of the border worth? Half as much? A tenth? A thousandth? The pursuit of America's national security and national interests has a death toll well into the millions.

-Honestly, even if you don't care at all about foreigners, in terms of domestic policy it's just a useful heuristic to instinctively distrust anyone who relies too much on nationalist rhetoric to justify themselves. I mean, the music's almost always bad and anyone who actually gets invested in the symbolism of their flag is reliably a complete killjoy, but even beyond that - they're just very reliably the worst people. This is admittedly unkind and not always true. But, well, see that quote about patriotism being the last refuge of the scoundrel, which applies wonderfully to both people and organizations. If someone's trying to sell something by wrapping it in the flag, that usually means they don't want you looking too closely.

-Viewing the world through a nationalist framework and caring about zero-sum issues of national prestige also make it incredibly hard to coordinate around issues that don't care about national borders, or are going to disproportionately hurt people without rich and powerful nation-states defending their interests. Like, I don't know, global pandemics. Or climate change.

-Anyway, in conclusion, borders bad, nationalism bad, and also any officially codified 'Patriotic' culture is instantly cringe. Hopefully some of this makes sense.

#reply #anon #in this essay i will #this is theoretically a writing blog #nationalism #political theory

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hp-nextgen-fest · 3 years

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2020 HP Next Gen Fest Reveals!

The time has finally come for the 2020 @hp-nextgen-fest reveals! Thank you so very much to everyone who has made this fest such an amazing success! We were incredibly impressed with the overwhelming enthusiasm you all have for our favorite Next Gen characters. Everyone who submitted stories and art, and those who read, reviewed and recced: You guys are amazing!! It's been really great seeing everybody's fantastic creations, and we hope you all enjoyed the fest as much as we did! Without further ado, here's a list of all the amazing participants who worked so hard to create fabulous things for this year's fest!

ART

@miakagrewup drew AcciDental Magic [Rose, Hugo, & Grandparents | General] Hermione and Ron are called away for a case and left without their usual child-minder when Molly falls ill. Hermione’s parents step up to keep Hugo and Rose, in spite of Hermione’s warning that the two little ones have some big issues with accidental magic. The story is told comic book style, with illustrations and voice bubbles.

@eleonorapoe drew Woke up married! [James Sirius/Teddy | General] They get well and truly bladdered at Albus's stag do and wake up in bed together with matching wedding bands...

@mad1492 drew Sunday Practice [James Sirius/Teddy | General] Teddy thought that morning practice on Sunday was going to be something he would soon regret, but things may turn more interesting than expected.

@julcheninred drew Introduction [Albus, Severus, & Albus Severus | General] Albus Severus Potter gets to know the men he's named for by asking them about the experiences, memories, and motives that shaped their lives.

@garmrr drew Eyecandy [James Sirius/Teddy | General] After months of extensive Auror training, Teddy comes with the Potters to the beach. James. Cannot. Stop. Staring. At. Teddy. Shirtless.

FIC

@cassiaratheslytherpuff wrote We Keep Loving Anyway [Albus Severus/Scorpius | Explicit | 7.1k] After Albus finds out Scorpius is part vampire he can’t stop thinking about being bitten. He can’t stop thinking about Scorpius in general, but that’s been the case since he was fifteen. At least, when it comes to Scorpius he’s used to not getting what he wants. He’s happy with what he has, or at least, comfortable. That is until he accidentally asks for it, then it all starts to change.

@polly-darton wrote The perks of Veritaserum [James Sirius/Teddy | Explicit | 5.1k] James drank a long-lasting version of Veritaserum and is miserable and Teddy is having the time of his life. That is, until they’re both having the time of their lives.

@gracerene09 wrote Thunderstruck [Charlie/Teddy | Explicit | 2.6k] There’s not a lot for dragon tamers to do when stuck inside during a storm, but looking at this particular new recruit―well, Charlie can’t help but think of a few ways they could pass the time.

Quentin_threepwood wrote Hair Today, Hair Tomorrow [Albus Severus/Scorpius | Mature | 1.7k] Away on a book tour Albus Severus Malfoy grows a very creepy mustache, much to the horror of his still at home husband Scorpius Malfoy.

vitruvian8008 wrote Mission in Nairn [Draco/Lily Luna | Explicit | 7k] Lily Luna Potter is paired with Draco Malfoy for her first Auror Mission. On their last night, she decides to act on the lingering tension that had been building up between them.

@nerdherderette wrote No Other Alpha But You [Albus Severus/James Sirius | Explicit | 7.1k] Scorpius Malfoy has applied to be Albus' heat partner. There's no way James is letting that happen.

@aneiria-writes wrote The Scorpion King [Albus Severus/Scorpius | Explicit | 3.8k] Scorpius Malfoy, AKA the Scorpion King, has ruled Britain ever since his father turned his sights to conquering Europe. With his right-hand man and most trusted advisor, Albus Potter, Scorpius has a life of elegance and power. But he's had enough of the beautiful women that usually grace his bed. Scorpius has decided he wants something else in bed. Something more. Scorpius Malfoy wants Albus Potter.

@motherofmercury wrote Islands of the Upper Air [Lily Luna/Luna | General | 1.5k] Lily Luna has never liked her namesake, or her strange and sometimes absurd way of looking at the world. But a weekend full of ancient rituals and mountain forests is an eye opener, in more ways than one.

@shipperysails-bookofspells wrote Expecto Patronum!! [James Sirius/Teddy | Mature | 45.7k] James Potter had always known exactly what he wanted; to open a pub of his own, maybe travel the world, and live a simple life with the only man he’d ever loved. For years he waited, quietly determined to help Teddy see what could be between them. But just when everything he’d ever dreamed of was finally within his reach, it was ripped away in an instant. With Teddy missing, and presumed dead, James is left to pick up the pieces. John has no idea what he wants. He doesn’t even know who he is. But when he hears a strikingly familiar voice – on an otherwise ordinary day – he sets out to discover everything he can about the man that occupies his dreams. And Harry, well, Harry just wants to put his failures behind him. Until a series of unexpected events forces him to reexamine a case that he’d given up on solving. With the help of an unexpected ally, he just might find the answers he’s been looking for.

@lovealpenglow wrote lily's potter [Lily Luna/Lysander & Lily Luna/Draco | Mature | 8.3k] "But what if I keep it? What’s the contingency plan there?” She took a seat next to Lily. She spoke slowly, as if she was thinking about it for the first time, too. “Well, I mean, you keep your baby. You raise it. You love it. It goes on to do wonderful things because it’s a Potter.” Lily snorted. “It’s a Potter?” “Why not? I mean it’s just as much you as whoever is the father. Why shouldn’t it be a Potter first?”

@micheleblack wrote Snaked a Claim [Albus Severus/Scorpius | Teen | 1.6k] Everyone knew Albus was gay from age five when he would dramatically swoon every time Goncalo Flores the Quidditch player was mentioned. Twenty years later and Harry still tells the tale - much to Al’s embarrassment.

@ladderofyears wrote And I Fell Heavy (Into Your Arms) [James Sirius/Teddy | Explicit | 9.1k] When James Sirius Potter travels to America for three weeks, the turquoise-haired Healer Teddy Lupin misses his boyfriend very much indeed. Luckily, Teddy has (sexy) floo calls, charmed obsidian pendants and hastily made chastity promises to keep him busy. Based on the following prompt: Absence makes the heart grow fonder... Right? Smutty phone!sex? Longing letters? All up to you!

@veelawings wrote Dirty Duelling [Albus Severus/Draco | Explicit | 6.1k] Please, Please, Please Let Me Get What I Want (Or — fucked up Dirty Dancing with wand fights)

@eleonorapoe wrote Albus’ Private Lesson of Sex Education [Albus Severus/James Sirius/Teddy | Explicit | 4.5k] Albus has some doubts about sex. Luckily he has an older brother, who can initiate him. How does this lesson go? James will be the teacher, Albus his good and obedient student and Teddy will be more than happy to serve them as a learning tool. In which a delicious Teddy sandwich is served.

@faeheyjesper wrote Four Reasons [James Sirius/Teddy | General | 8.1k] There were a couple of things James should've considered more seriously before coming back to work at Hogwarts as the new Flying Instructor. His dad being the Defense Against the Dark Arts professor there, for one. The fact that he hadn't really flown since a career-ending injury had put an abrupt end to his Quidditch fame two years ago, for another. His ridiculous, teenage crush on Teddy Lupin, his friend and Hogwarts' newest Charms professor, perhaps most of all.

@26timesbrighter wrote An Interlude [Lavender/Victoire | Explicit | 4.9k] Victoire is supposed to be chasing a serial killer, not shagging her uncle’s dead ex-girlfriend.

@drarryruinedme7 wrote Mint & Apples [Harry/Teddy | Explicit | 4.3k] Teddy Lupin's not-quite-wolf has chosen Harry Potter as his mate, that's all. He hasn't got a crush on his best friend's father, really. He also definitely isn't obsessed with Harry Potter's scent.

crazyparakiss wrote This is Love [Albus Severus/Scorpius | Explicit | 24.8k] Most of Albus’s bad life decisions can be summed up in a word: James. When he got a shitty tattoo in the Fifth Year—done by some bloke in a dirty flat—well, that was James’s idea. When he got picked up by Aurors for doing hallucinogens—James was the one who’d convinced him to do them at a party. That time they stole the flying motorbike Dad gave to Teddy—James was the one who insisted it was a rite of passage to drive it over London at dawn. Neither Dad nor Teddy was impressed with that explanation. Now, here Albus is living another bad choice that was born of James’s influence.

@gaeilgerua wrote The Balance Between Studying and Relaxing [Rose/Teddy | Explicit | 3.7k] Rose has been studying non-stop for her upcoming barrister exam. With Hermione attending Hugo’s Quidditch trials for moral support and Ron away on business, there’s only one person available to keep an eye on her. And Teddy is only too happy to take the role.

@r00wscribbles wrote The last ones to know [Albus Severus/Scorpius | General | 5.2k] Albus and Scorpius have a very close relationship. Everyone can see it. Perhaps they are the last ones to know jus how close they are.

@ohdrarry wrote You've Got A Second Chance (You Could Go Home) [James Sirius/Teddy | Teen | 16k] “What about James?” James, dear Merlin, not James, not again. His boy, his son, the brightest star in the constellation of Harry’s patchwork family, not him. “I think he’s relapsed.” – They tried this when James was nineteen and Teddy was twenty five. It crashed and burned. Teddy ran away to Finland and James... well Teddy's about to find out what happened to James, now that he's back two years later.

@maraudersaffair wrote Falling for You [James Sirius/Scorpius | General | 1.2k] Scorpius didn't care about Quidditch until he saw James Sirius on a broom.

@diligent-thunder wrote Heart-Shaped Ottoman [Draco/Teddy | Explicit | 6.3k] Draco has had interns before, but none so bothersome as Teddy Lupin.

@whenshereads wrote Living With Our Eyes Half Open [James Sirius & Scorpius | Teen | 5.5k] James didn’t mean to get his brother-in-law kidnapped alongside him that morning, but that is definitely what happened.

@shiftylinguini and @gracerene09 wrote Faim [Albus Severus/Scorpius | Explicit | 9.6k] "So, this is the city of love!" Scorpius declared, adjusting the straps on his backpack. Albus wrinkled his nose. "City of pigeons, more like," he corrected, stepping around another fat, grey bird Or: Scorbus go to France.

@articcat621 wrote Unexpected [Lily Luna/Pansy | Explicit | 1.2k] Draco and Harry's engagement party brings about an unexpected, but not unwelcome, event.

@fidgetyweirdo wrote Remember to Forget [Albus Severus/James Sirius | Mature| 17.5k] The moment they kissed, James and Albus knew that they'd never be able to live without this -- too in love to walk away. Years later, and well into adulthood, the possible repercussions of their relationship feel very real and very scary. Without the strength to break it off, they're left with a single solution: a company that specializes in erasing and altering memories. Now the only thing left to do, is to say goodbye.

#scorbus #jeddy #jalbus #pottercest #jorpius #scames #dralbus #HP Next Generation #hp next gen #harry potter next gen #hpnextgenfest #hp femslash #hp cross gen #masterlist #reveals #2020 fest #mod post

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millennialdemon · 3 years

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Mars of Destruction is a single 19-minute long OVA that was released by Idea Factory in 2005, and was directed by Yoshiteru Satou -- the same man who directed and wrote its even worse predecessor, Skelter+Heaven, just 7 months prior. As with all Idea Factory productions, it is based on a game they produced, in this case a wildly mediocre visual novel that was never released outside of Japan.

Of all of the lowest rated anime I have seen thus far, Mars of Destruction is likely the most well-known, despite its age and obscure origins. It graces every Worst Anime Ever countdown I have found online, and is one of the first titles to come to mind when the topic of Worst Anime? is discussed anywhere. That is quite a feat for an OVA that is just a generic sci-fi action about useless rainbow-haired moe girls trying to shoot guns at aliens. It is really so generic that it could have stayed under the radar forever -- but for better or for worse, the absurdity of its badness saves it from the anonymity of its otherwise overwhelming mediocrity. Life Finds A Way.

For those of you who have no idea what this OVA is about, I’ll try to sum up the events as best I can (if you already know the plot of this OVA, skip this section by scrolling to the line break):

In the far away year of… 2010… humanoid aliens called Ancients are wreaking havoc in Japan, having mysteriously appeared after an exploration ship from Mars burned up during re-entry into Earth’s orbit. In response a group called AAST -- the Anti-unidenitifed Ancients Special Team -- is formed, consisting of four specialized police women, and one random high school boy named Hinata.

The first scene on earth is a battle between 3 Ancients and 3 AAST members, one of whom promptly gets her head blown off by a laser beam. The other girls charge ahead and miss every single one of their shots from their plasma machine guns, but Hinata appears in the MARS suit -- a special sort of armor suit that gives him increased strength and a laser sword -- to save them. In doing so he gets injured and the next time we see him he is in a hospital bed being treated by doctors, who also let us know that the headless girl is “totally gone”, just in case you had been holding out hope. During treatment Hinata has a flashback to his father forcing him to wear the MARS suit despite his protests.

Hinata recovers and it’s onwards to their next mission: transporting fragments from the spaceship that was destroyed in the opening scene to an airport to be sent to America for research. The Ancients ambush their convoy and a battle breaks out on the road, and the AAST girls along with Hinata face off against a bigger, stronger Ancient that seems to be leading the attack. The girls can’t seem to damage it at all, but then Hinata shoots it with a special plasma rifle, and it dies, saving them all again.

With that battle over, we cut to two men in America, seemingly a government official and a scientist. They discuss the fragments that are on the way, and the scientist says that just by looking at the available photos and data he “has the big picture”. He goes on to say that his analysis supports the theory that there was a civilization on Mars, and that DNA sampling from previous items taken from Mars shows that Homo Sapiens inhabited it at one time. Therefore “humanity was born and influenced by the DNA from Mars.” The official responds with “Humanity has roots in Japan? Impossible. Then what were those incidents in Japan? What are the monsters?”, a response that has nothing to do with any of the information the scientist has told him.

We cut back to Japan and see that the big Ancient isn’t actually dead. He gets up and grabs Hinata, telling him: “It was you who invaded this earth. We are the earthlings, the real earthlings, released by the virus that wiped out the martians.”

The AAST girls use their previously ineffective guns to shoot the Ancient, and this time it explodes. Hinata falls from his grasp and sits on the road in shock, repeating “We invaded this earth?”

Credits roll.

So yes, narratively speaking, Mars of Destruction is about as generic as is possible to achieve. Not only is its concept wildly underdeveloped within its genre, but it also shamelessly “borrows” concepts and imagery from Neon Genesis Evangelion, making it banal and brazenly derivative. When struggling to list positives, I have noticed reviewers claim that the narrative had potential, and its concept of ultraterrestrials could have been “interesting”, it was just handled badly. I completely disagree -- if anything, the ridiculous twist is what makes it worse than it would have been had it just ended after the battle. There is a reason it is the 2nd most derided element of the OVA, after all.

(I would say 1st place goes to the abrupt beheading that had to then be diagnosed by a doctor.)

But I suppose for its badness, the twist is a large component of what gained Mars of Destruction any kind of notoriety. Not only does it come out of nowhere, but it is also so poorly communicated that it’s difficult to parse what the twist actually even is. Humans originated from Mars and are thus the actual Martians, and at some point in the distant past they colonized Earth -- so the spaceship breaking apart in the atmosphere has what relation to the Ancients appearing, if not being a vehicle for the reintroduction of the Ancients on Earth? The big bad Ancient gives us the only line in the entire OVA that has anything to do with a virus: “We were released by the virus that wiped out the martians.” So a virus that was present on whatever material from Mars that the ship was bringing back to Earth awakened the Ancients that were already on Earth the whole time? But the virus is described as having wiped out the martians…which are the humans in this story. Yet the humans are still here, and there is no mention at all about a space-borne virus spreading on Earth that is causing mass death. Does he mean that there had been a virus that wiped out the human population on Mars, which is why humans are only on Earth now? Why would that --

-- There are easier ways to include ultraterrestrials in a story than to a) have a nameless scientist just tell another nameless guy that humans are from Mars because DNA samples from clay pots we found before the events of this OVA and b) have a nameless alien say he’s the real earthling while introducing the concept of a virus that simultaneously kickstarted this uprising, and yet was never mentioned at all before this point. The nameless American man’s comments about “humanity having roots in Japan” when he is told about their origin on Mars just muddy the water further.

As for the designs, “uninspired” is the word that comes to mind. The Ancient designs are dull and non-threatening, and all of the designs for the women (save for perhaps Tomoe, the stoic girl with dark-coloured, loose hair, mercifully spared of any gaudy ribbons) could fit into any early 2000s highschool dating sim. Which is to say, they’re tacky and they don’t fit Mars of Destruction’s setting, genre, or tone at all, because neither the VN or the OVA have any romance elements at all from what I can parse.

The animation is quite bad and in a sense, used sparingly. It is not so bad that it is a slideshow the likes of Ladyspo, or a jittering mess with no inbetween frames like Twinkle Nora Rock Me, but this OVA is mainly composed of still pans and shots of people talking whose only moving part is their mouth. Sometimes characters actually move in the frame, but the frame itself never moves -- all shots are either static or pans of still images, the “camera” never moves around a subject in a way that would require the drawing to be rendered in a different perspective. Most shots are just straight-on of the characters from the waist up, or straight-on of them from the shoulders up when they’re talking. Even static shots viewed at a higher or lower angle are a rarity, and even then they aren’t very extreme or interesting.

By far the most interesting element in Mars of Destruction is the soundtrack, if only because it gave me something to research. This sci-fi action horror anime’s OST consists of… famous classical music! Gymnopedie no.1, Barber of Seville, Ride of the Valkyries, and even Moonlight Sonata all get their turn in Mars of Destruction. Not once do these pieces ever even remotely suit what is happening on screen, and as if that’s not egregious enough, every time the OST switches songs it happens with an abrupt cut. One second you’re listening to Barber of Seville playing over a butchered action scene, and within one random cut to another character, Ride of the Valkyries suddenly replaces it.

This is just one example of the sound mixing being incoherent and amateurish. Sounds abruptly beginning and ending with cuts -- happening in the same scene! We aren’t talking cuts to different locations, necessarily, though it manages to be jarring in that case too -- is a constant occurrence, ambient sound effects are either non-existent or muffled, the dialogue regularly varies in volume for no particular reason, and there is a lot of dead air throughout. It is especially noticeable in conversations, wherein every character seems to wait at least a full second before saying their responses.

Both the voice acting and battle sound effects are stilted and awkward in this regard, though I suppose that isn’t inherently an issue with sound design, so much as it is direction. For every shot, we focus on one action, and it has one sound. Then we cut and go to the next action. Neither actions nor sounds ever seem to overlap and it causes fight scenes to feel like a slog where characters are just kind of, tepidly wrestling each other until one lets go, rather than an exciting fight to the death.

I have read in a few online reviews that this OVA is entirely composed of animated cutscenes from the PS2 game. If that’s true, that makes more sense than it having been made from scratch and explains the lack of credits to any animators that I can find -- but then again, Skelter+Heaven wasn’t, and it’s even more incomprehensibly cut than this. So it is difficult to tell with Idea Factory productions what really came first: the cutscenes compiled into an OVA, or the OVA being clipped and put into the game as cutscenes.

It is marginally better than Skelter+Heaven, if only because it gave me something fun to research for a bit and the events are not so incomprehensible that it is impossible to follow. But that is about all I am willing to give Mars of Destruction, and being second to last beside the most unremarkable OVA I’ve ever seen isn’t much of a feat.

1/10

#:Mars of Destruction #mars of destruction #hametsu no mars #makes me miss Dark Cat

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fascinatingbonanza · 3 years

Text

Bonanza chronology

(so far, which is the first 5 seasons)

As someone quite interested in history, I always enjoy stories set in the past and I always like to know when exactly in the past they are set. So recently I found myself trying way to much to figure out when does "Bonanza" actually take place. And It seems to be a far more difficult problem than I initially thought. But here's what I've got so far, after watching 5 seasons.

But then, as I was watching the series episode after episode, I quickly realised, that this 'canonical chronology' is bullshit and that time in "Bonanza" works in mysterious and extremely convoluted ways.

Generally the series takes place roughly somewhere in the 1860s. The first half of the decade to be a bit more precise, somewhere right before and during the American Civil War (something that is occasionally brought up in the episodes). That's literally what wikipedia says. However, as I dived a little into the fanpages and whatnot, I discovered that there seems to be a some sort of a more specific, canonical, chronology that basicly says that the pilot ("A Rose for Lotta") is set in 1859, then the first season is 1860, the second - 1861, the third - 1862 and so on.

(To be honest, that's quite cool actually, because it would mean that the series takes place exactly 100 years before it's premiere)

To realize that the canonical chronology just doesn't apply to the actual show, you only have to watch the first two seasons, where some episodes have literally a written year at the beginning.

We have it in season's one "San Francisco":

And that's ok, I mean, yeah, the first season (supposedly set in 1860) is coming to an end and now we are getting into the next year. It makes sense.

It still makes sense in the second season where we have "The Courtship", again with a date at the beginning:

Don't know why would they say it again, but all right, it's still 1861, no problem here.

And then, just two episodes later, comes "Bank Run" with this audacity:

What on earth happened here??? They just totally skipped 1862 and now we're a year later, with no explanation or a reason. And that's the moment when you realize that there is no such thing as 'linear chronology' in "Bonanza".

Especially when you also take into account all those stories involving real historical figures which were quite often in the first season. Sometimes the show just doesn't really care about historical facts and for example Lotta Crabtree (from "A Rose for Lotta") in 1859 would be only 12 years old. "The Julia Bulette story" is a bit closer to history altrough Bulette's death was changed a lot as in reality she died in 1867. Mark Twain, who appeard in "Enter Mark Twain", in reality visited Virginia City in 1863, so again, why is this a part of the first season which takes place in 1860?

Then you also have episodes which literally bring up real historical events, but they do it in such a clumsy way, that it's just painful. The one episode that strikes me the most with it is propably "A House Divided" which obviously quotes Lincoln's famous speech. Ben Cartwright even reads this speech in a brand new newspaper, but guess what, it's a speech from 1858, which is before the Comstock Lode was even discovered, so how can this whole episode be set around supplying the south with silver?! (But since it is about supplying the south with silver, I assume it must be around 1861, right at the start of the war)

After the first season "Bonanza" slowed down a bit with those 'history lessons', so in the second one there isn't really anything that could suggest any particular date (apart from "The Courtship" and "Bank Run" that I mentioned earlier). And maybe events from the second season do actually happen in 1861, as the canonical chronology would like it to.

But then comes my beloved third season, and boi oh boi, does it make an even greater mess. In "The Frenchman" the title character (apparently a reincarnation of Francois Villion) reads his last poem and starts with:

So we go back in time now? How nice. October 17th 1860, they couldn't be more explicit with it.

Towards the end of the season, we also get a little throw back to Bonanza's history lessons with "Look to the Stars" which tells a story of young Albert Michelson, future physicist and a Nobel Prize winner, who happend to live in Virginia City somewhere in the 1860s. The episode specifically focuses on his efforts to become a student at the Annapolis Naval Academy, which he started in 1869, so we can assume that this episode takes place around 1868-69. That's again a long jump in time.

The fourth season gives us even more specific dates and events to go over. First of all, right at the beginning, we have "The First Born", personally one of my very favourites, but that's not important here. The important thing is that Clay tells Joe that he was fighting in a war in Mexico:

But you know, that war in Mexico was kinda spread over time (from 1861 to 1867) so just mentioning it isn't quite enough to give us a more narrow period of time. Fortunately, Clay later tells just enough detail to do it:

So it's not all over yet, it's just that moment when the royalists won and the French took over Mexico for a while. From my very general knowlege about this I can guess that it's somewhere after 1863 then. Not much though. I like to think it's 1863 or 1864.

But all right, that may be to much guessing. Let's focus on those more obvious hints.

"The War Comes to Washoe" is one of those episodes that mention the Civil War and this time it tells a story of Nevada becoming a state. There's that voting and all, and basically it means that it's 1864, because that is when Nevade became a state (or maby 1863, because from thet voting to actually becoming a state it could've been a longer process). Just like that.

But the one episode that surprised me the most with the fact that it gives us a specific date is "The Last Haircut". And you can miss it, but right at the beginning we see an interesting banner:

So it's February 2nd, 1868... Well, that was easy. But again, a huge jump in time.

The fifth season greets us with another completely nonsensical historical figure appearance in "A Passion for Justice". From what I know, Charles Dickens never went west during his visits to America, but whatever. They wanted Charles Dickens in Virginia City so they put Charles Dickens in Virginia City. For the record, he was in America in 1842 and in 1868, so I guess we can pretend it's his 1868 visit. But still, it's just absurd.

But this season is mostly known for it's Laura and Will subplots, and you know what? We can actually precisely tell when it takes place. At the beggining of "The Waiting Game" we see Laura's husband's grave:

And look! February 20th, 1861! So that's when it all started. Later Adam says that it's been four months since Frank died, so we have June 1861. Then in "The Pressure Game" they celebrate the 4th of July, and in "Triangle" it is said that it had been a year since Adam gave Peggy her pony so now it must be around June 1862. And since at this point it all conects to Will's subplot, then "Return to Honor", "The Roper" and "The Companeros" must've happen somewhere inbetween.

Meanwhile there's also "The Prime of Life" about building the transcontinental railroad, and since we know that it reached Reno in 1868, then I guess the episode must be set somewhere right before that.

And to top it all off, in the season's finale, "Walter and the Outlaws", we get that one useless piece of information that Obie had last seen his sister in 1843, and it's been 16 years since then. So by easy maths we can say that the episode is set in 1859, just like the show's pilot.

And that's all for the first five seasons. What we get form it, is that "Bonanza" diefinietly doesn't have any chronology and that this canonical one is just right out of the blue.

To sum it up I can say that this show is just made out of random Catwright's adventures from several years and in no chronological order whatsoever. It's funny when you start to think about it and for example realise that when the Laura/Will story takes place, many of the adventures from previous seasons hasn't even happen yet.

Of course there's also four prequels that tell the stories about Ben's wives, but I think I'll leave it for some other time, because while talking about it, I would also have to talk about the ages of each Cartwright and generally it's a whole different complicated subject.

Also, if now there are episodes happening as late as 1867 and 1868, then when exactly did Adam leave the Ponderosa? Well that's something I'll have to think about while watching the 6th season. I hope there will be some answers to that.

[English isn't my first language so please excuse any mistakes. And I know there must be some.]

#bonanza #rambling on the show and episodes #60s tv #60s tv shows

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ugly-crying-over-bucky-barnes · 4 years

Text

Blue Eyes Part 24

Summary: After the Garrison is shot up, the youngest Shelby daughter finds a new home in London. She strips herself of her last name and tries to live a peaceful life far away from her brothers’ chaos in Birmingham. But fate leads her right back into it after she runs into Alfie Solomons.

Part 24: Alfie attends his first Shelby family meeting, Ella grows suspicious of a black cat.

Ella had been to plenty of Shelby family meetings. However, she had yet to take her husband to any of them. Mostly because Tommy wouldn’t allow it and Ella wasn’t too sure it would go over well for anyone.

“You’re going to behave, right?” Ella asked as Alfie opened the door for her.

“Behave? Love, I’m gonna be a perfect angel.” He replied but there was a glint of mischief in his eyes.

She sighed. “This is serious, Alfie.”

“I know. I know. Just let me get one jab in at your brother.”

“I suppose I can't stop you even if I tried.” Ella found Arthur speaking with Linda. “Has it started yet?” She interrupted their quiet but obviously tense conversation.

Arthur smiled when he saw his sister but it immediately got smacked off his face when he saw her husband had come along. “No. No, El, he ain’t a part of this.” He pointed accusingly at Alfie.

“Tommy invited him,” Ella replied firmly. If she had to go to bat for her husband, she always would.

“Well Arthur’s the chairman, Ella, he’s running this meeting,” Linda informed her in a stern tone.

She wasn't bothered. “That’s good news, Lin. But Tommy still insisted he be here.”

“Arthur, mate, I’m family now, ain’t I?” Alfie placed a hand over his chest as if appealing to him. Not that the man would ever grovel to a Shelby.

“No…”

“Your lovely wife is able to sit in, right, so Ella’s lovely husband should have the chance to sit in as well.”

Arthur’s hands balled up into fists and his face began to turn red. A common symptom of Alfie’s presence. “Ella, I said no.”

“Arthur, he’s here to help, nothing more.” She responded and linked arms with Alfie, walking into the meeting room. Polly, Lizzie, and Ada were already sat at the large table with a man Ella wasn’t familiar with.

Polly stood to greet her niece, kissing her cheek. “How was Paris?” She asked gently.

“Wonderful before we were so rudely interrupted by the stock market.” Ella attempted to smile but it felt forced in such an uncertain time.

Alfie pulled out a chair for Ella before he sat next to the unfamiliar man. “Lizzie, how are ya? How’re the little ankle-biters?”

The woman looked a little surprised that he was being so cordial. She’d never had a run in with Alfie before, but she was well aware of his reputation. During her days as Tommy’s assistant, she’d facilitated calls and meetings between the two and they often became heated. “Oh, uh, they’re fine, thanks for asking, Alfie.” She responded.

“How ‘bout you, Ada? How’s Karl?”

Ada looked mildly impressed and glanced subtly at Arthur. “He’ll be turning eleven next month.”

“Eleven? Fucking hell they grow quick don’t they?”

Ella smiled a little smugly. She knew that her family was just waiting for Alfie to kick off but she took pride in being able to shove that prejudice back in their faces. She reached for her husband’s hand and squeezed it gently.

“While we wait for Tommy,” Mr. Greene began with a smile. “Could I just lighten the gloom and express as a new member of this company, what a pleasure it is to be in a boardroom that has so many females. And females who are both sharp-witted and decorative.”

Lizzie, Polly, Ada, and Ella all made faces at the man’s comment. Alfie just chuckled and shook his head. “Oh, mate, you don’t know Shelby women very well do you?”

Arthur didn’t like Alfie speaking so he tried to gain control. “Yeah, we’re a very modern company, Mr. Greene.”

“Oh boy…” Ella mumbled and shook her head.

Finally, Tommy entered the room in a bit of a flurry. It looked like he hadn't slept at all. “How far have we got?”

Polly didn’t look up from the paper in her hand. “We’ve established that ladies are decorative.” Ella and Ada snorted in agreement of the absurdity of Mr. Greene's comment.

“We’ve just sat down, Tom.” His older brother answered from the head of the table. “I’ve got some documents.” He began to hand out papers down the table for everyone.

“What documents?” Tommy asked, not taking a seat, instead just standing. Ella reached over to hand him one of the papers outlining the outreaches of the market crash.

“Well, we’re fucked.”

“Tommy, mate, how fucked is the company?” Alfie asked.

“Excuse me, but if you’ve got a question, you can ask the chairman of the board.” Linda snapped before Tommy could even answer.

Alfie looked exasperated. “Pardon me, love, but your husband doesn’t take too kindly to me, now does he? Tommy, at least, answers my questions.”

“Because you beat him up and had him arrested.” She retorted, rising to the challenge of Alfie’s argument.

“Hang on, hang on.” He held out a hand before Ella could jump down Linda’s throat. “First of all, that were years ago weren't it? Second of all, I apologized for that, now didn’t I, Arthur? Tom?”

Tommy nodded silently and Arthur made a grunt neither confirming nor denying.

“I apologized, right, ‘cause that’s what me religion says I should do. Contrition, right? In fact, Linda, you and I’ve got the same God, now don’t we? You were the one who so kindly introduced Arthur to Jesus. Therefore, we can put our differences aside.”

“Arthur, Alfie is a part of this family now whether we like it or not,” Tommy spoke steadily, ignoring the death glares Linda was sending Alfie. “We’re going to use as much help as we can get.” Arthur still looked grumpy but sat down almost in surrender. “As for your question, Alfie, a large portion of our funds were invested in American stocks and shares.”

Ella’s husband scratched his beard. “Right, so you’ve dug your own grave and those of your family as well.”

“What is the return they’re offering now?” Ella touched Alfie’s shoulder to get him to drop it. It would do them no good to keep pointing fingers. They were far beyond that point anymore.

Tommy grimaced and removed his glasses to rub his eyes. “Five cents to the dollar.” The room buzzed with disbelief and worry. “There is hope.” He interrupted before they all got worked up over the news.

Alfie scoffed. “You gonna use some gypsy magic, Tom? Aye? How are you meant to fix the fate of America’s stock market all on your own, aye?”

“As nonexecutive director of the company, I need permission of the chairman.” Tommy pointedly ignored his brother-in-law.

“Let me guess.” Alfie continued, despite being snubbed. “You’re gonna go back to your roots, aye, Tom? That’s why you’ve asked me here. ‘Cause you know there’s nothing that makes me itch more than legitimate business. You want to get back to the good ‘ol days, that it? The man that fixed races then killed Billy Kimber.” He grinned. “Now that, is something I can get on board with. Tell us your plan then.”

Tommy hated that Alfie was right. He sighed. “We need to rely on cash. And there are very reliable ways to get large sums of cash.”

Ella pinched the bridge of her nose. “And we’re back to square one.” She muttered.

~~~~~~~~~~~~~~

“Ella Laura, as I live and breathe.”

Ella smiled. “Hi, Uncle Charlie.” She skipped a few steps to hug him tightly.

“Thought you’d forgotten ‘bout Curly and me.” He teased.

“I’m sorry. I’ve meant to visit but I’ve been busy.” She sighed, inhaling the familiar scent of the Yard. Burning coal and hay. “What’ve you got for me, then?”

Charlie chuckled and led her over to the stables. “Wild filly going to the tracks soon. One of Curly’s favorites, a draft mix. Only seven.”

Ella’s fears and worries melted away when she found herself enveloped in the warmth of the horses. The familiar scent and sound of their snorts and hoofs against the shavings. “You know I’m impartial to wild but I think I need something steadier. I need to clear my head.” She gravitated towards the large gelding with massive hooves and a stocky frame.

“I’ll grab his tack then.” Charlie agreed.

“Hello, love.” Ella cooed and stroked the horse’s soft muzzle. “You are handsome, aren’t you?” She chuckled as his lips mouthed over her hair and clothing, looking for a treat. “How’s about I give you sugar cubes after our ride, aye?”

~~~~~~~~~~

It was freeing to be out on a horse, riding past the city limits of Birmingham. The large horse, that Charlie said Curly had nicknamed Kennedy, plodded along the damp grass. His long and steady gait allowed Ella to process the company meeting. She blankly gazed at the trail ahead, her hands loose on the reins.

How could Tommy return his family to 1919? The days where nothing they did was legal and the threat of enemies and police were always looming over their heads? The days where trouble was always lurking around the corner. The days where their pub was shot up.

They’d come so far and Tommy promised that they’d be fully legitimate in the nearby year. No longer would they have to be concerned with legal issues or threats on their lives. They could just live as they were meant to.

It didn’t matter whose fault it was anymore. What matters was they were all at the mercy of money. And there was no telling what deeds Tommy would drag her husband into. It angered Ella that only in times of crisis did her brother invite Alfie into the family. Not when they were married years prior? But wasn’t that just how Tommy was? People’s worth was based on their helpfulness to him.

Deep in her thoughts, Ella was hardly paying attention to the road ahead. So, when a black cat jumped onto the path, she didn’t have enough time to gather the reins. Kennedy neighed shrilly in alarm and reared.

Ella desperately tried to grab ahold of the horse’s mane or the saddle, but it was too late. She was thrown off into the grass. Kennedy leapt over her, his large hooves only barely missing her as he took off back towards the Yard.

She groaned in pain and rolled onto her back. “Fuck…” Her arm had gone completely numb and she was familiar with the feeling. “Fuck, fuck, fuck.” She forced herself to sit up and found herself face to face with the black cat. It stood in the center of the path, staring at her with green eyes.

“You fucking…” She spat at the animal, making it hiss and run off into the long grass. “Fucking cat.” She staggered to her feet, clutching her arm. Kennedy had already gained a big head start and Ella could only hope that he was returning to Charlie’s or she’d never hear the end of it.

~~~~~~~~~~~~~

Alfie was down at the Yard by the time Ella finally made it back. Kennedy had, in fact, brought himself back to his stall sans rider. Charlie panicked a little and called up Tommy who told Alfie who rushed down to find his wife.

“El!” He hurried over to her. “What happened? You alright?”

“Think I broke my arm.” She mumbled. “I need to lay down.”

“Yeah, yeah, c’mon, love.” He wrapped an arm around her waist to lead her back to Watery Lane.

~~~~~~~~~~~

Polly helped get her niece into a makeshift sling. “Never too old to break your arm, isn’t that right, chavi?” She teased to lighten the mood.

Ella smiled weakly and sat at the edge of the bed. “Is Tommy around?” She asked.

“He was at the Garrison,” Alfie answered. “Do you need him?”

She nodded. “Yeah, I need to tell him something. You can stay, I don’t mind.” There were no secrets between her and her husband.

Tommy arrived at Polly’s after Alfie had called the pub to tell him what happened. “Did you ride that filly?” He asked. “I told Charlie she was too green, May needs to work with him a little longer.”

“No, I was out with the draft.” She shook her head.

Tommy frowned and sat down. “That thing’s never spooked at anything.”

Alfie crossed his arms over his chest. “Well it did and now she’s got a broken arm.” He retorted grumpily. “So, what’re you gonna do about it?”

“Easy. It’s fine, I’ve fallen off before.” Ella soothed. “But it was a black cat that spooked him.”

Tommy’s face paled a little. It had only been moments earlier that he was recounting his black cat dreams to his family.

Alfie looked confused as the siblings shared worried looks. “Black cat? Like it’s bad luck or something? That old wives tale?”

“Sort of.” After her miscarriage, she’d taken to paying more attention to omens and nightmares. It might've been from her time spent with the Lees, awakening the part of her that used to believe in such things. Whether it was just a coincidence or not, she wasn’t going to risk it. “It means there’s a traitor nearby.”

“I’ve had the dreams,” Tommy admitted and ran a hand through his hair. “I think you’re right.”

Alfie’s brow furrowed. “Hang on, it’s a fucking animal. I think you lot are looking for signs that aren't there.”

“Always a good idea to be wary of omens, Alfie,” Tommy replied calmly. “Otherwise you’re caught off guard when you could've been on alert.”

“And you’ve got no one else to blame but yourself for ignoring the signs,” Ella said quietly agreeing with her brother. An eerie feeling overcame her when she remembered who was missing at the family meeting. “When’s Michael coming back?”

He nodded as if they were thinking the exact same thing. “Soon. He’ll be here soon.”

“And you’re going to keep an eye on him?”

“Naturally.”

~~~~~~~~~~~~~~

“Alfie?” The frustrated sigh came from upstairs. Ella and Alfie had returned back to London and she was finding it difficult to function with her broken arm.

“Yeah, love?” Alfie was downstairs in his study reading about the market crash. It made his blood boil how just a few greedy businessmen could screw over the entire world, leaving destruction in their wake.

“Can you help me?”

He got up, glad to abandon the newspaper on his desk and go upstairs to his wife. Cyril followed him, alerted by Ella’s call. “You need something?” He asked as he entered the room.

“I can’t bloody get anything done.” She protested. It was natural to assume that after breaking her arm several times before as a child, she would be able to navigate. But she’d forgotten how strenuous it was to have only one working arm.

“Got a broken wing, little dove?” He smiled and stepped behind her.

“Lucky I have you then.”

“Mhm, I think I’m luckier to have you.” He kissed the nape of her neck and slowly undid the buttons.

They stood in silence for a second before Ella glanced behind her. “Alfie, things are going to be okay, right?” She whispered.

He couldn’t help the hesitation in his voice. “Of course, love. The stock market doesn’t have a fucking thing to do with our relationship. We’re gonna be perfectly okay.”

“But my brother…”

“He wants to get his hands dirty again, then he can. But I tell ya what, think he’s going to get in more trouble in Parliament than on the streets of Small Heath.” Alfie turned her around so she was facing him again. “He’s already claimed royalty in Birmingham. But he wants more, don’t he? There are fucking dangerous men in Parliament. You ought to warn him now, ‘fore he gets into something he can’t get himself out of.”

Permanent Tag: @papa-geralt-of-cirilla @giftofdreams @biba3434 @kimmietea @karmezii @enrapturedbythemoon @vampgirl1997

Tag list: @deaflikehawkeye @octaviareina @mylovelykelsifer @doubletriplepowerbomb @ramblingbaby @fuseburner @kaetastic

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arcticdementor · 3 years

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Identity politics doesn’t just make people annoying. It makes them stupid. If everything is ultimately about race, then, well, everything is ultimately about race. Tax cuts? Race. The Constitution? Race. Crime? Race. All of politics, with its nuances and its undulations, becomes nothing more than an investigation into skin.

There’s an oddball sketch from the British comedy troupe Big Train that mocks this sort of monomaniacal thinking. A new man is introduced to a couple of friends in a pub, and he responds to literally everything by contending that it must be a veiled reference to his not being married:

…

Enter Politico, which has a piece up today titled, The Real Origins of the Religious Right, the purpose of which is to suggest that the tens of millions of Americans who care deeply about abortion do not actually care about abortion, but are just good old-fashioned racists:

…

It would be worth addressing the historical argument being made here at greater length. But, for now, I want to push back against the broader implication of the piece, which was summed up well by the editor-at-large of Newsweek, MSNBC’s Naveed Jamali, who argued this morning that “the pro-life movement has always been about white supremacy.”

This is the sort of nonsense that one begins to spout when one has turned off one’s brain, and, instead of thinking questions through, decided that there can be only two sort of people in America: Good People and White Supremacist People. It is also a ridiculous non sequitur. It is not true that the pro-life movement came out of “white supremacy.” But even if it were — as is true of, say, the gun control movement, which until 1970 really was inextricable from racism — that would in no way imply that modern pro-lifers were motivated by animus toward people who aren’t white.

They’re not. Indeed, the argument doesn’t even make sense. Per a research paper put together by the Center for Urban Renewal and Education, and presented to Congress:

According to the 2011 Abortion Surveillance Report issued by the Center for Disease Control, black women make up 14 percent of the childbearing population, yet obtained 36.2 percent of reported abortions. Black women have the highest abortion ratio in the country, with 474 abortions per 1,000 live births. Percentages at these levels illustrate that more than 19 million black babies have been aborted since 1973.

Moreover:

According to the Departments of Public Health of every state that reports abortion by ethnicity; black women disproportionately lead in the numbers. For example, in Mississippi, 79 percent of abortions are obtained by black women; in Washington, D.C., more than 60 percent; in Georgia, 59.4 percent; in Alabama, 58.4 percent.

Clearly, there is no white supremacist in the world who would look at these numbers and say, “boy, we’d better stop that.” The idea is self-evidently absurd, which is why real-life white supremacists tend to be militantly pro-choice. When one adds to this that, per polling from last year, white people seem to have almost identical views on abortion to Hispanic people, the claim becomes sillier still.

#charles c w cooke #national review

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jamestaylorswift · 4 years

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Love’s a game, wanna play? A meta-analysis of the game of love and Taylor’s love of games

—

Before actually getting into this, I’m obligated to make the disclaimer that this is just my interpretation of some songs. I’m not claiming to be “right” about anything. I have no way of knowing whether my observations will hold true if/when Taylor releases more music. It doesn’t really matter. There are many ways to interpret music.

Games are not the only extended metaphor in her discography; if you understand one, you don’t necessarily understand them all. This essay is an exploration of how one particular metaphor could be so effective.

In addition, I am often the first person to say that “not everything is that deep.” Yet here I am, making something deep. I was only mildly curious about this metaphor at first. In the process of documenting my understanding, I surprised even myself as I realized how rich this metaphor is.

A warning…this essay is very long. (It’s either mildly interesting or completely ridiculous and nothing in between. Likely the second.)

—

The notion of a ‘game’ is often conflated with the notion of adversarial conflict. This misunderstanding is largely due to Western structural/cultural forces. Mathematicians and economists have a passion for framing most predicaments as zero-sum, or strictly competitive, where one player’s advantageous move by definition disadvantages their opponent. But collaborative and otherwise not strictly competitive games exist too.

Taylor’s fascination with games spans her entire discography. Artistic preoccupation is reason alone to analyze her work from such an acute angle. But pleasantly, Taylor also does not share the academics’ favorite pastime. She strays away from the zero-sum bias in very unpredictable ways. In fact, she has no bias. She prefers to mix and match her language to each situation as she sees fit. Her convolution of love and games is expressive, divorced from the logical framework by which games are defined. I think examining this facet of her work with a fine-toothed comb may be especially illuminating.

It seems counterintuitive to argue that games could (or should) be anything more than Taylor’s favorite metaphorical manifestation of logos. Yet revisiting a metaphor is itself communication, conscious or not. Advancing an understanding of this extended metaphor, in my opinion, substantiates what is usually intangible about Taylor’s songwriting brilliance.

On Games

Precocious and perceptive, Taylor has, for as long as she’s been writing, placed competition, strategy, and collaboration alongside conflict. Therefore, for the sake of coherence and relative brevity, analysis is scoped only to songs with significant mentions of games, puzzles, or game-related imagery. ‘Games’ are not conflated with general fighting, trickery, toying, revenge, mention of rules/strategizing, or winning/losing. ‘Puzzles’ are not conflated with disorder; puzzle pieces must be pieces of a larger, vivid picture.

Consider football. Imagery of high school football makes “Miss Americana & The Heartbreak Prince” fair territory. Someone shouting over a football game in a bar does not qualify “Mean.” The football helmet worn in “Stay Stay Stay” is an absurd and compelling detail in context, as likely to be fictitious as it is true, and hence more significant than a televised sporting event; “Stay Stay Stay” qualifies. In essence, games are interesting as a device rather than a simple detail.

Below is a list of the songs with significant game reference(s), categorized by implied type. Note that a song can belong to multiple categories if it contains multiple references.

Generic/unspecified games: “Come in With the Rain”, “Dear John”, “State of Grace”, “Blank Space”, “Wonderland”, “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Card games: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Dice games: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Board games: “Dear John”

Sports/contests: “The Story Of Us”, “Long Live”, “Stay Stay Stay”, “End Game”, “Miss Americana & The Heartbreak Prince”

Puzzles: “Red”, “All Too Well”, “So It Goes…”

Other: “It’s Nice To Have A Friend”

Like many people, Taylor habitually seeks structure to manage unpredictability. (Games provide structure for situational volatility, hence her artistic love affair with this metaphor.) The stylistic choices she makes to entertain this habit, however, are anything but consistent.

The games have a variety of different players, such as in “Dear John” and “Look What You Made Me Do.”

She does not establish strict parity between characters’ emotional affiliation and the competitiveness of a game. “Dear John” features an adversarial game. Conversely, her partner in “Blank Space” is a co-conspirator/collaborator. “All Too Well” analogizes autumn leaves as puzzle pieces; puzzles are collaborative games.

Taylor famously claims that love is a game in “Blank Space.” This song is colloquially understood to be about the love story we see play out in the media. Games can thus include all parts of her ‘love life.’ Arguably, she foreshadows this in “Long Live” by intertwining parts of her ‘America’s sweetheart’ image with professional success, which is derived from writing about love.

Taylor is not always a player in a game, such as in “Cruel Summer.” Her partner may not be either; see the crossword in “Red.”

In short, humans are unpredictable, as is love. It is clear that Taylor uses games as an incredibly powerful metaphorical device. They are a genuine reflection of her feelings about love.

Musical analysis usually begins with careful consideration of each track. Given a disparate and lengthy list of songs, it is probably more fruitful to go up a layer of abstraction. Of particular intrigue for this set of songs is the relationship between time and Taylor’s willingness to divulge more information about a metaphorical game.

We revisit the set of songs to list them in chronological order. The purely ‘generic’ songs are now bolded: “Come in With the Rain”, “Dear John”, “The Story Of Us”, “Long Live”, “State of Grace”, “Red”, “All Too Well”, “Stay Stay Stay”, “Blank Space”, “Wonderland”, “New Romantics”, ”…Ready For It?”, “End Game”, “Look What You Made Me Do”, “So It Goes…”, “Cruel Summer”, “Miss Americana & The Heartbreak Prince”, “Cornelia Street”, “It’s Nice To Have A Friend”

Specificity about a game seems to decrease with proximity to the 1989 era.

Lyrical imprecision in “Come in With the Rain,” a true outlier, probably boils down to youth.

“State of Grace” is a preamble about the themes of Red. “Begin Again,” though much later on that album, shares the same inspiration as “State of Grace.” Red is constructed as a sandwich between these two songs which present the album’s thesis. The album considered as a whole is thus a buffer for 1989.

reputation is a buffer for 1989 because the ‘generic’ game songs are heavily and intentionally front-loaded.

“New Romantics” is a coda for 1989, and its poker game reference is slightly ambiguous. What, exactly, is poker; what is all in the timing? The thematic material of “New Romantics” is most similar to that of “Blank Space.” ‘It’ is the same crude game played in the earlier track, the affair of collecting men. Perhaps this close relation subsumes “New Romantics” under the ‘generic’ game category. (Though this is a loose explanation.)

There exists an undeniable chronological pattern to game characterization. If you graphed the amount of game-related lyrical obscurity versus time, it would look like a shallow sand dune with the tip at the 1989 era. (Or a hill. Or a big pile of leaves. You get the picture.)

Armed with a basic understanding of Taylor’s career, one might say that her desire for personal privacy manifests as reticence to define metaphorical games. The 1989 era was the height of media attention on her. This caused more than a few issues. The art created around this time would have naturally reflected how she felt about the public eye. (See: the entire reputation era.)

But isn’t Taylor almost as famous as ever today? Sure, her name is not as saturated in the zeitgeist as it was in 2014. She’s still one of the world’s mega-stars. And does she not have a very private relationship today? Taylor’s work reflects her hardened personal boundaries, but boundaries alone do not explain the pattern of how she writes about games. Otherwise Lover would be filled to the brim with songs about ‘generic’ games.

To summarize, Taylor uses games as a perennial favorite metaphor to frame her experiences of love. Increased public scrutiny undoubtedly changed the way that Taylor approached songwriting; even so, fame was not a factor that changed how she wrote about games. The connection between time and types of games suggests that we cannot consider game metaphors in isolation.

On Love

The next piece of the puzzle (no pun intended) is what she shares about love. Which 1989 songs are most revealing? Technically…most of them, if you think hard enough. I’d like to draw special attention to “Wonderland” and “You Are in Love.”

Ah, “You Are in Love.” The musical gift that keeps on giving! Fitting, because true love should be too.

In “Wonderland,” Taylor says:

It’s all fun and games ’til somebody loses their mind

Shortly thereafter in the “You Are in Love” bridge, she proclaims:

You understand now why they lost their mind and fought the wars

And why I’ve spent my whole life trying to put it into words

Taylor reverses her opinion about the prospect of losing her mind for love. (The abruptness here is a consequence of a real-life relationship change, plus the fact that both of these songs are bonus tracks.) Of course, she also tells us an important connection between love and games.

I’ll pause here to say that I’m not going to turn this into a (frankly uninteresting) relationship timeline/proof post. But may the profound significance of “You Are in Love” and its subject never escape us.

“You Are in Love” is written in the second person. Taylor is the intensely guarded ‘you.’ We witness her emotional walls get broken down by her lover, the ‘he.’ Fascinatingly, Taylor departs from the second person point of view in the bridge. Suddenly, she alerts us to the presence of an ‘I.’ The bridge says that ‘you’ Taylor, whole and normal-person-in-a-relationship Taylor, finally understands true love. In the same breath, ‘I,’ writer Taylor, admits that she’s had it all wrong for years. (This is not to say that her writing pursuits before this moment were pointless.) Therefore, breaking the second person point of view to include the ‘I’ line shows that Taylor distills the nature of true love in that ‘eureka’ moment.

Yet she exposes the schism of writer Taylor and whole, normal person Taylor in a moment where, in theory, those two roles could not overlap more. Taylor has every reason to faithfully represent her feelings. Her sentiment is always sincere even though she may falsify details of a story. “You Are in Love” is (as far as I’m aware) the only song in which Taylor ever blatantly admits to writer-person misalignment. The schism must run extremely deep.

Taylor was—and surely still is—drawn to songwriting as a means to explore love. She tries to to capture its enigmatic essence with the written word. How fascinating it is that, at the very moment she communicates her deepest understanding of love, she says that the part of her that puts it into words is inherently disconnected from her spirit which feels it.

On Games And Love

We must briefly table the meta-implications of “You Are in Love” to return to the topic of games.

Love probably would have stopped feeling like a game after finding a real gem of a person who doesn’t mess with your head. (Love also probably would have stopped feeling like a game after dialing down on brazen PR tomfoolery.) Taylor has written several albums about her true love. It’s easier now to trace the arc of her feelings: it is a positive path, as anyone would predict.

Why would she continue to write about games after 1989? The obvious answer is that she likes doing it. It remains a useful metaphor.

But recall that chronology discourages us from considering metaphorical games in isolation. To clarify the principal function of the game metaphor in her discography, we must consider the writer-person dichotomy.

First, note that Taylor exposes the writer-person dichotomy in an honest, vulnerable moment. She confirms it as a human phenomenon. The phenomenon thus must extend beyond a singular moment during 1989. Distance between writer Taylor and whole, normal person Taylor—a measure henceforth called writer-person distance—is necessarily a function of time. Coincidentally, so is the measure of game-related lyrical obscurity.

Writer-person distance can grow or shrink. It was small in her youth; this is what pushed her into songwriting. It is small now, as she has told us in the albums since 1989 that true love has stitched her back together. Again, because writer-person distance is a human phenomenon, it changes slowly, smoothly. (“You Are in Love” simply marks the biggest distance.) Does this sound familiar? If you graphed writer-person distance versus time, the graph would look like a shallow sand dune with the tip at the 1989 era. (Or a hill. Or a big pile of leaves. Once again, you get the picture.)

To summarize, game-related lyrical obscurity and writer-person distance are smooth functions. “You Are in Love” is the inflection point of both measures.

With “Wonderland” and “You Are in Love,” Taylor tells us that games are linked to how she conceptualizes love. But not just any love. 🎶 True love. 🎶

At the same time, Taylor presents “You Are in Love” as a dividing line between ‘that which is a best attempt to understand something that inherently cannot be captured’ and ‘that which refines the thing that, against all odds, was captured.’ Our interpretation of games must synthesize an abrupt ‘eureka’ moment with both the measures’ gradual changes.

If we are to talk about metaphorical games, we also must talk about true love. But we know that if we are to talk about games, we also must talk about time. Vital to uniting these ideas is the revelation that Taylor conceptualizes the nature of true love as the nature of time. For doesn’t time define what is gradual and abrupt?

The most important line in “You Are in Love” is when Taylor finds it—‘it’ being love. A literal ‘eureka’ moment. This isn’t just a one-time coincidence.

Writer-person bifurcation clarifies why the game metaphor is surprisingly effective. As Taylor revisits the convolution of love and games, the metaphor morphs in tandem with her innate understanding of love.

Some Good Old-fashioned Song Analysis

Observing how games, love, and time are intertwined requires that we reject purely literal interpretations of game-related lyrics after “You Are in Love.” Of course, literal interpretations are still generally useful, even correct. Games are literal, so references to them should be interpreted as such. Also, lyrics about games are probably Not This Deep in reality. We didn’t have to do all this work to realize what songs might belong in conversation with each other; identifying lyrical callbacks would have been sufficient. Treating game lyrics as purely literal limits how we might decipher a recurring metaphor. Without the notions of game specificity or writer-person distance, we would lack a framework with which to fully interrogate how these songs are are connected (i.e. through time). And, after all, the ultimate goal is to understand why the game metaphor is so successful. But, I digress.

(We’ve also made it this far and we might as well keep going. Another couple thousand words…don’t threaten me with a good time, amirite?)

To observe how games, love, and time are intertwined, I propose the following rule of thumb: A game reference before “You Are in Love” is Taylor’s description of love, whereas a game reference afterwards is a pointer to past instances of that game. Such a reference is metaphysical, or more appropriately, meta-lyrical. If she’s referenced a game already, she knows how to use that reference again. If she introduces a new reference, she’s planting it for future use.

We can group the songs after “You Are in Love” by game type:

Generic/unspecified games: “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Dice games: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Card games: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Sports/contests: “End Game”, “Miss Americana & The Heartbreak Prince”

Puzzles: “So It Goes…”

Other: “It’s Nice To Have A Friend"

Analysis requires precision. We should pare down the duplicates, if possible.

“It’s Nice To Have A Friend” is tricky because it’s naturally sparse. “Video games,” for example, are more than a simple detail: they are an essential part of creating a childhood vignette. “Twenty questions” and the card game “bluff” function analogously in the later verses. The brilliance of this song lies in how Taylor illustrates the development of companionship and intimacy. The verse about marriage is the most significant verse because it reveals the meaning of the whole song. Thus, we may take the bluff to be more important than twenty questions, which is more important than video games. “It’s Nice To Have A Friend” ultimately belongs in the card game category.

Central to the pathos of “Miss Americana & The Heartbreak Prince” is the “stupid” dice game lyric. Of equal importance is the portrait of Americana, painted with lyrics about Friday night lights. This song truly belongs in two categories.

At the end of “…Ready For It?” Taylor fires a starting pistol, letting ‘generic’ games begin. “End Game” follows and we assume it must pertain to the same game. So Taylor intentionally places this song in the first category. The hook has lyrics about a varsity “A-team,” though this is probably just a nod to Ed Sheeran. The other truly interesting game-related lyric is the one about bluffing. Thus, “End Game” also belongs in the card game category.

Here’s the new list:

Generic/unspecified games: “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Dice games: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Card games: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Sports/contests: “Miss Americana & The Heartbreak Prince”

Puzzles: “So It Goes…”

Each of the four obvious groups of songs illustrate a different way Taylor weaves the natures of true love and time together:

Déjà vu: “So It Goes…”

Hindsight/wisdom: “…Ready For It?”, “End Game”, “Look What You Made Me Do”

Fate: “Cruel Summer”, “Miss Americana & The Heartbreak Prince”

Progress: “New Romantics”, “End Game”, “Cornelia Street”, “It’s Nice To Have A Friend”

Déjà vu

The puzzles category only contains one song, making it easiest to analyze. The namesake of “So It Goes…” is Kurt Vonnegut’s Slaughterhouse Five, famously constructed like a mosaic. Puzzles are central to the meaning of this song.

“All Too Well” contains the first instance of a puzzle metaphor in her discography:

Autumn leaves falling down like pieces into place

Taylor calls back to “All Too Well” in the chorus of “So It Goes…”

And our pieces fall

Right into place

Get caught up in the moment

Lipstick on your face

By referencing a previous song using identical phrasing, Taylor creates the illusion of a sudden ‘déjà vu’ moment. The effect is similar to “You Are in Love,” where she reaches sudden enlightenment.

Sonically and lyrically, the “moment” she gets caught up in is implied to be the one in which she gets lost in passionate sex. The déjà vu moment could be this moment, but it doesn’t have to be. Déjà vu is agnostic to the present in the sense that the feeling can be triggered in the strangest of times. The déjà vu moment is whatever prompted her to write this song.

This game lyric connection clearly shows how a moment of love is defined by a moment of time.

Hindsight/Wisdom

The bombastic group of singles, “…Ready For It?”, “End Game,” and “Look What You Made Me Do,” sets the tone for all of reputation. The ‘generic’ games in these songs are the same as those in 1989, particularly the crude (and, in Taylor’s case, often interchangeable) games of celebrity and dating. In “Blank Space,” Taylor spells out in gory detail what she does as an agent in the celebrity dating game. She does not explicitly define the rules of that game, though. It remains sufficient for her to prove that she knows how to play by them. (Musically, this is far more interesting.)

We know that the reputation singles’ literal proximity to 1989 indicates Taylor’s direct emotional response the previous era. The consequences of a ‘fall from grace’ underpin the entire reputation era. Therefore, Taylor uses lyrical connections from reputation back to 1989 to illustrate hindsight. She tells us what she learned from her mistakes and what she wished she would have done differently.

But first, she gets to be salty about it. In “Look What You Made Me Do,” Taylor laments the fact that she participates in public games to appease others. (Because, really, withdrawing from the celebrity circus would immediately solve a lot of her problems. Alas, megastardom is a Venus flytrap.)

I don't like your little games

Don't like your tilted stage

The role you made me play

Of the fool, no, I don't like you

Let’s return to “Blank Space” for a moment. Taylor’s boyfriend in “Blank Space” is considered a co-conspirator/collaborator with her in the celebrity dating game. Central to our understanding of that song, however, is the unequal power dynamic. Taylor is the strategic mastermind, whereas her boyfriend is just along for the ride. The two are on the same team, but they are not equals.

Taylor actually leans further into the games of the 1989 era in “…Ready For It?”

Baby, let the games begin

Unlike in 1989, her partner is an equal on her team:

Me, I was a robber first time that he saw me

Stealing hearts and running off and never saying sorry

But if I'm a thief, then he can join the heist

And we'll move to an island

She then connects “…Ready For It?” to “End Game”

Baby, let the games begin

Are you ready for it?

I wanna be your end game

Both Taylor and her partner are forced to play the same game and they share share the same goal. Her partner’s “end game” is Taylor; thus, Taylor keeps her true love by beating the celebrity dating game. They have to work together to achieve this difficult task.

Though the celebrity dating game is not true love, it impacts Taylor’s relationship with anyone who could be her true love. In hindsight, Taylor realizes how media games blew up in her face. It is wisdom—to keep her relationship private, to dial down on PR tomfoolery, to prioritize her happiness—that helps her pre-empt these problems for the reputation era. And indeed we understand the love story of reputation as the lovers’ prolonged attempt to hide from the public eye.

Hindsight comes with the natural passage of time. One only accrues wisdom, however, when they apply the lessons of hindsight to make better judgements about the future. Games again unite the ideas of love and time; they elucidate how Taylor uses wisdom to protect someone she loves.

Fate

“Cruel Summer” and “Miss Americana & The Heartbreak Prince” highlight the elegance of the meta-rule of thumb.

The dice game in “Cruel Summer” is a unique incarnation of the game metaphor because Taylor doesn’t confirm whether she is directly involved in this game:

Devils roll the dice

Angels roll their eyes

What doesn’t kill me makes me want you more // And if I bleed you’ll be the last to know

The song doesn’t reveal much about the nature of the dice game other than the fact that it is competitive. It could be a fitting description of what is going on in Taylor’s personal life. It may not be. What is more important is that Taylor positions herself as collateral damage of the outcome of the game.

This is also the dice game’s first appearance. By our rule of thumb, this lyric exists only to be a link to “Miss Americana & The Heartbreak Prince.”

“Miss Americana & The Heartbreak Prince” belongs to two different game categories, sports/contests and dice games.

First, dice games. We get a few more answers about the nature of the “Cruel Summer” competition:

It's you and me

That's my whole world

They whisper in the hallway, "she's a bad, bad girl"

The whole school is rolling fake dice

You play stupid games, you win stupid prizes

It's you and me

There's nothing like this

Miss Americana and The Heartbreak Prince

We're so sad, we paint the town blue

Voted most likely to run away with you

Both Taylor and her partner are forced to play the dice game by virtue of being metaphorical students. As a disgraced and about-to-be-vagrant prom queen, Taylor has finally realized that winning the school’s dice game is not worth the price of a ‘fall from grace.’

Next, sports/contests. With the understanding of these lyrics as pointers to her previous songs, sports/contests harkens back to “The Story of Us,” “Long Live,” and “Stay Stay Stay.”

“The Story Of Us” suggests that a shared quality of sports/contest metaphors is that conflict is nuanced, even hidden to outsiders:

This is looking like a contest

Of who can act like they care less

In “Stay Stay Stay,” football is connected to (for lack of a better word) violence, conflict that could result in emotional and physical harm:

I'm pretty sure we almost broke up last night

I threw my phone across the room at you

I was expecting some dramatic turn away

But you stayed

This morning I said we should talk about it

'Cause I read you should never leave a fight unresolved

That's when you came in wearing a football helmet

And said, "Okay, let's talk"

Finally, “Long Live” blends the ideas of small town Americana with Taylor’s personal and professional life:

I said remember this moment

In the back of my mind

The time we stood with our shaking hands

The crowds in stands went wild

I said remember this feeling

I passed the pictures around

Of all the years that we stood there on the sidelines

Wishing for right now

We are the kings and the queens

You traded your baseball cap for a crown

When they gave us our trophies

And we held them up for our town

And the cynics were outraged

Screaming, "this is absurd"

'Cause for a moment a band of thieves in ripped up jeans

Got to rule the world

The backdrop of “Miss Americana & The Heartbreak Prince” is not just any part of America. The juxtaposition of idyllic parts of American life with frictional, violent, yet sometimes subtle forces tells us that the song’s backdrop is an American culture war. It is conflict which unsettles everyone, but by nature hurts only some.

In totality, the function of the dice game metaphor is to position Taylor as collateral damage of an American culture war. (Chew on that one for a bit.)

Again, we probably could have surmised this by examining the lyrics closely. The song lends itself to being a signpost in the Lover chronology. It seems too autobiographical to be anything different. We all remember 2016.

However, “Miss Americana & The Heartbreak Prince” sticks out like a sore thumb from the album’s theme of “a love letter to love itself.” Revisiting games as a glue between love and time expands on the purpose of “Miss Americana & The Heartbreak Prince” in Lover.

The “Cruel Summer” bridge contains this lyric understood to be about her true love:

And I snuck in through the garden gate

Every night that summer just to seal my fate

Taylor identifies “that summer” in the 1989 era as the moment which she sealed her fate. Implicit in this confirmation is her perspective from the future. She is looking back on 1989 from the time when her terrible fate has just been realized.

The moment of realization is—you guessed it—the chorus of “Miss Americana & The Heartbreak Prince.” The chorus depicts post-prom queen defamation. Taylor is aware of every single action (many, probably deliberate) that helped her achieve royalty. She never divulges them. The song is scoped only to the time when she lives her fate.

We usually take observations about fate and love to describe how two souls are bound to each other. Taylor does not tell us much about her lover in “Cruel Summer” sans the fact that the shape of their body is new. Paying special attention to games reframes “Miss Americana & The Heartbreak Prince” within the Lover theme as a commentary on fate. However, the emphasis of fate should not be on her lover. The dice game connection tells us that Taylor views “that summer” in the 1989 era as the time when she sealed her fate as collateral damage in the American culture war. From the “love letter to love itself” perspective, the moral is that passion and excitement can make lovers forget the immutability of individual destiny. If you are fated to be with someone, both of you are at the mercy of whatever the world has in store for the partnership and you as individuals.

Progress

An eclectic group of songs shares a reference to bluffing in a card game. The game metaphor beautifully stitches these songs together into parts of the same story.

The first and most detailed description of the card game is in “New Romantics”

We're all here

the lights and boys are blinding

We hang back

It's all in the timing

It's poker

He can't see it in my face

But I'm about to play my ace

A bluff in poker is an attempt to trick one’s opponent into thinking one has a better hand than they do in reality. The opponent may call their bluff and challenge them to prove their hand is as good as they advertise.

Bluffing requires deception, often telegraphed by facial expressions. Here, Taylor says that she is good at bluffing because she doesn’t let her façade crack. She is not truly bluffing, though, because she possesses an ace, presumably part of her even better hand. Her opponent has called her perceived bluff to prompt to her to reveal the ace.

The opponent, “he,” behaves as though Taylor is bluffing. Taylor, strategic as ever, is prepared to counter by revealing the most powerful card. We should thus interpret this metaphor as the ‘bluffer’ exceeding expectations. (Remember that the first instance of a metaphor is a base case, so we must take its meaning more literally.)

Likewise, in “End Game” and “It’s Nice To Have A Friend”, Taylor is the bluffer:

You've been calling my bluff on all my usual tricks

Call my bluff, call you "babe"

However, “Cornelia Street” allows room for the interpretation that both Taylor and her lover are bluffers:

Back when we were card sharks, playing games

I thought you were leading me on

I packed my bags, left Cornelia Street

Before you even knew I was gone

But then you called, showed your hand

I turned around before I hit the tunnel

Sat on the roof, you and I

Taylor may have also been a trickster: “then you called” could refer to the lover calling Taylor’s bluff.

The recurring bluff metaphor coincides with progress or forward momentum in a relationship.

Recall a previous discussion of “New Romantics.” We defined the “it” which is “all in the timing” as a reference to finding romance. “New Romantics” is set in a club with a dance floor, boys, and blinding lights. It’s the kind of setting conducive only to landing one-night stands. Taylor plays games with someone in the club, but exceeds expectations for the outcome of that game. What was flirting or courting becomes something more serious than a one night stand (i.e. an actual relationship). The act of calling a bluff in a card game engenders (relationship) progress. Yet again, what is intrinsic to time is intrinsic to love.

This observation fits with each song.

reputation charts the development of Taylor’s relationship, but the card game bluff in “End Game” is at the beginning of the album. That’s exactly why this lyric works so well. Her relationship is still new, nonetheless significant, after 1989. Her verse mixes these ideas:

I hit you like bang

We tried to forget it, but we just couldn't

And I bury hatchets but I keep maps of where I put 'em

And I can't let you go, your hand print's on my soul

The “End Game” bluff represents how Taylor goes from wanting a steady relationship to wanting everything.

You might be able to see where this is going. “It’s Nice To Have A Friend” is the ‘discographical endpoint’ of the bluff metaphor. The verse about marriage delivers the song’s emotional punch:

Church bells ring, carry me home

Rice on the ground looks like snow

Call my bluff, call you "babe"

Have my back, yeah, everyday

Feels like home, stay in bed

The whole weekend

Notice, however, that the bluff metaphor occurs after the implied wedding. This is actually a beautiful sentiment. Intimacy, trust, and commitment are ongoing; growth doesn’t stop with a ring on a finger. The bluff, which represents delivering on promises and exceeding expectations for love, powers the relationship forward.

All signs point to the “Cornelia Street” bluff as the one that may have led to marriage.

Back when we were card sharks, playing games

I thought you were leading me on

I packed my bags, left Cornelia Street

Before you even knew I was gone

But then you called, showed your hand

I turned around before I hit the tunnel

Sat on the roof, you and I

So emotionally charged is this scene that we have to wonder what, exactly, Taylor’s steady partner could do to make her (1) walk out if she were being led on and (2) come back so quickly.

The most intriguing detail about this card game is that both parties may have been bluffing. The lover is leading Taylor on, but Taylor does not stay to call the bluff. She leaves. Usually in poker, one would not want their opponent to be able to prove the bluff with a good hand. (Think back to the ace in “New Romantics”.) But what if both players are on the same team at the end of the day? Calling a bluff is now setting oneself up for potential disappointment. Taylor walks out because she is frightened by the mere possibility of being let down.

Taylor is also bluffing, but her lover doesn’t let her walk away so easily. They pull out all the stops and concede their hand in a desperate attempt to get Taylor to turn around from the tunnel. It works. By our understanding of the bluff metaphor, the lover exceeds all of Taylor’s expectations. The events that transpire on the roof presumably are when Taylor reveals her own cards.

The topic of marriage fits with this emotionally charged scene. Of course both lovers would tiptoe around the topic and be scared to reveal their true feelings.

So following the bluff metaphor helps us follow the course of true love. Calling and revealing a bluff is the catalyst for Taylor’s relationship. However, it also is the nature of time which underpins progress.

I concede that interpreting the bluff metaphor as the catalyst of a story makes it vulnerable to any truth-fuzzing. Perhaps Taylor hasn’t ever written about a real-life engagement or marriage. We have no way of knowing. We instead should take comfort in the fact that her lyrics are beautiful and music is open to interpretation.

On Writing

Our beliefs about love are bound to change over time. As a writer, Taylor is in a unique position to capture this change by revisiting a metaphor.

Take “It’s Nice To Have A Friend.” The song is written as a series of vignettes to define the qualities of love that remain consistent while relationships change over time. The middle vignette, with its reference to “twenty questions,” could very well point back to the same day as the “Cornelia Street” card game. Feelings reoccur in certain moments—déjà vu. The first vignette is a picture of childhood. The last vignette is a picture of adulthood. Therefore, it seems just as natural to interpret the middle vignette as a picture of adolescence or young adulthood. Light pink skies, back-and-forth conversations, and brave, soft moments of intimacy illustrate a coming-of-age experience. The same moment that pulls Taylor forward in her relationship is the one that also pulls her back to a different time.

Then the coming-of-age experience is reminiscent of the portrait of Americana, the Friday night lights, marching band, and high school prom. During adolescence, we only have an inkling of our futures. We are less aware of all the ways we are connected to others and our world. Young and impressionable, our only job is to live, to change, to make memories and mistakes. Memories and mistakes define what was, and experience creates wisdom that shapes what will be. So Taylor captures this duality in fate. The moment a fate is realized is a moment that is equally a fossil of the past and a forecast for the future. The moment it all makes sense…eureka!

As an artist, Taylor’s job is to communicate her human experience. Listeners decide whether or not she successfully telegraphs what is universal about it. However, Taylor is no more of a spokesperson for the universal human experience than anyone else. She simply possesses the talent, work ethic, and privilege to make a career of it.

Consider Taylor’s own summary of the past decade:

I once believed love would be burnin' red

But it's golden

She consciously and elegantly edits her previous beliefs about love. (Obviously, she may plant callbacks to previous songs purely for fun. This one is certainly sincere.) These lines illustrate the craft she has worked hard to develop.

Manifested in her craft is the need to revisit her ideas. It seems as though certain recurring metaphors have become the only way for her to accurately capture some parts of love. They become self-perpetuating. Unforced yet expressive subconscious consistency constitutes artistry. It is artistry which compels us to believe in the universality of music.

The self-perpetuating love/games metaphor is especially fascinating. It is one of the purest examples, though perhaps also one of the strangest, of how writing about love engenders new experiences of it. Taylor translates love into game language. Games illustrate duality. Duality is love.

Perhaps this conclusion is something others already know about Taylor’s talent. I’ve never quite been able to put my finger on it until now.

To me, it seems like the songs are writing themselves.

#taylor swift #kaylor #gaylor swift #music analysis #my post

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