okay very preliminary thoughts on mitski's new album BUT i think there's something with how "laurel hell" felt like a goodbye to the music industry (can't find the source but i remember reading that it was intended to be her last album under her contract) like i'm sorry anthony fantano but if you interpret the back half of "laurel hell" as being generic breakup songs you're missing like 80% of the context. to me TO ME it feels so clearly about her negotiating her relationship with fame, how she can't love her fans the way they love her, and how she feels like she sold her soul to her job, so the only thing to do is step away. but THEN "the land is inhospitable and so are we" was created after mitski decided to renegotiate her contract, specifically because she loved making music enough to deal with the negative aspects of the work. and then all the songs are about the ghost of love she can leave behind, despite the present pain or emptiness, and like. do you see it. do you see it.
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i'm seeing a lot of Pokémon SV DLC analyses where people say 'Oh, Kieran's fixation on Ogrepon is because he sees it as a path to strength; Carmine's bullied him long enough that his shield against admitting his weakness to himself is adoring a legendary creature'. And don't get me wrong – these interpretations certainly hold water – but I've actually been working from basically the opposite angle for all this time.
By all means, Kieran idolises strength, but he inhabits Carmine's shadow – he's the weak sibling, and probably has been for a long time. Yet, rather than fixate on the fantastical power of the Loyal Three, he identifies himself with Ogrepon – the downtrodden, ostracised creature cast out to eke out a subsistence. A terrible demon that wasn't quite terrible enough to cause anyone any lasting harm. The creature defeated by heroes, rather than the perfect, heroic figureheads themselves. He's enamoured with the downtrodden; he sees himself in its grief, in its being cast out and excluded. He's been cast out and excluded all his life (and he can't be a bad person, right? It's not fair – he's hated senselessly, surely, rather than for some reason?) – he sees himself as harmless; so the ogre, too, must be harmless, mis-blamed. Strength is thus in resistance; in growing a shell to tolerate others' inexplicable cruelty. So Kieran looks to Ogerpon, and he thinks that the meek shall inherit the earth, and it gives him the strength to tolerate long nights with poor company. Others are villains – not him, not this creature – and he's safe in the knowledge that at the end of the day, at least an ogre can go down in mythology as the putative sole survivor of its trials.
In this sense, Kieran's like Penny – he finds himself in a position of weakness, of being victimised, and forms himself an armour of being an underdog, of being the thing that bites back. Yet while Penny's position is that the underdog might muster the strength to bite back and restore justice, Kieran's view is that at least the underdog was worth loving. He's inert and preoccupied with his inertia. He can't understand that maybe he could be a human, with the capacity to grow, the capacity to sin. And when Carmine is cruel to him, he reaffirms his own contrarian mindset more – she says I am worth little for my weakness, so my weakness is all I am worth; my weakness is my strength.
And yet he chases strength, because he has to to survive. So when the player comes by, and supports him, maybe he has the safety to walk away from his preoccupation with being an underdog, to enjoy strength for strength's sake. And then, he starts losing, but this time, there are stakes, since he can't just withdraw and be consoled by the fact that withdrawing is right, is right, is right. Thus, he must get stronger. And then, when Ogerpon turns out to favour Juliana, who's become Kieran's idol for all that strength means, rather than Kieran, who's Kieran's selfsame designated weaklingpatheticscumidiot——well, what can Kieran do but fracture, since his whole ideology, his whole premonition that he might have the right to inherit the earth, has been fractured? And, under stress, he pivots from one extreme to the other. All he knows is that weakness is now unbearable. He must get stronger. Must get stronger. Must get stronger—because otherwise he's doomed, he's nothing. He has no myth to dissolve his identity in any longer, so he reshapes himself around the only other standard he's ever known. And it twists him and it breaks him into tiny pieces, because suddenly, the last thing he can bear to be is Kieran: Kieran, the downtrodden and meek boy. He has to flip on his axis; he must become the designated villain of his story by popular imagination, or else be subsumed in the fact that he's going to die someday without any place in the world. He has to play a part, because he's been consigned to one so long, and he can't think of anything other than heroes and villains, enemies and martyrs. He can't be the bad guy. Strength is now goodness; weakness is now evil. And he can't reconcile who he thought he was with who he must become, and as a result, all he can do is try to destroy the person who's destroyed his ideology.
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I do think there's something special about the way that audio drama creators seem to love including cameos of voice actors from other popular audio dramas. Obviously, part of the reason why actors from one show might pop up in another is because the audio drama creator community is relatively small and interconnected, and also because those actors are very talented.
But there's also often such a sense that creators are having fun with these cameos. Like Greater Boston casting audio drama heavyweights Briggon Snow, Zach Valenti, and Felix Trench as famous film actors Matt Daemon, Ben Affleck, and Mark Wahlberg respectively. Or Faux and Stallion having Tom Crowley (who plays a Victorian detective in Victoriocity) pop up as Dr Watson. Or Unseen casting Beth Eyre and Felix Trench as characters who are twins. Or Arden getting Emma Sherr-Ziarko to play an actor impersonating a character played by her former Wolf 359 costar Michelle Agresti (with Michaela Swee also appearing as an actor impersonating the other main Arden lead).
In these cases, it's not just that there's a cameo, but that the cameo is given particular (often comedic) significance to those who are aware of the featured actor's other work. The vast majority of people wouldn't recognise any of these voices. But by doing these very intentional cameos, these creators show confidence that a fair chunk of their audience will know these actors and enjoy the link. There's an awareness that listeners of one audio drama are fairly likely to listen to (or at least be aware of) other fiction podcasts, even when the shows in question aren't of particularly similar genres. Recognising these cameos feels like being in on a secret. It feels like these shows are giving a little nod to listeners to say that we're part of the same club.
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On this New Year's Eve, are you too thinkin' bout season 8's: "I did everything I could to get you out! Everything... I did not leave you!" "Nothing you could have done would have saved me, because I didn't want to be saved... After the things I did... I didn't deserve to be out." and season 15's: "I left, but you didn't stop me."?? Because let's be real - Cas would *not* have stayed if Dean had stopped him as he didn't think he deserved to have Dean's acceptance/love. (can't believe that 3yrs later on I am doing 180 on this - i.e. initially thinking that Cas not staying was a result of Dean not asking)
anyways, I guess this is your usual reminder that Dean saving Cas from the Empty & saying "you don't think you deserved to be saved/loved?" is the only series conclusion that would've made perfect sense. See you with the same message, just rephrased differently, next year!
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One of my hcs for the truce au is that Killer and Dust are both kinda touchstarved but Killer reacts to it by provoking people (because fight is a kind of touch right?) and Dust reacts to it by isolating (because he doesn't feel he deserves touch after what he did).
The cats are a big help for Killer because they provide a lot of casual touch and affection without annoying somebody into throwing him across the room (Cross also does a little of this once he's settled and starts to pick up on this). Horror is like Dust's service skeleton and slowly acclimates him to gentle touch without the flare-ups of guilt that he used to get.
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Whenever I try to imagine Dean and Cas reunion, all my brain can conjure up is Dean wordlessly walking then gradually running towards Cas and then pulling him in for a hug as soon as his hands can reach him. Music abruptly stops during the hug and they show like 2 quick replay shots of this like it’s the climax of a romantic k-drama series. Then the kiss happens and the beat drops and we see one medium shot followed by several close up shots of Cas being taken aback and Dean’s tears streaming down his face and him pulling Cas closer and Cas closing his pretty blue eyes and—
Whenever this crosses my mind I’m like hmm maybe that’s a little too dramatic but then I remember 15x19. One call from Cas and Dean comes flying running up the stairs quick fast and no hesitation, dramatic music and all. And 13x06. Why did they delete that. Why did they delete that. Why did they delete that?
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