TIL that not only did Taylor get an interim contract with SAG AFTRA and meet all their requirements to create and distribute her Eras Tour film without strike breaking...
Not only did she give life-changing $100-$200k bonuses to all of the workers on the U.S. leg of her tour when it was finished...
Not only did she donate money to food banks in every city she toured in (which I learned when working with food banks in my previous role is a massive help to them and something they rarely get enough donations of)...
Not only is she undoubtedly releasing one of the films that will help keep movie theatres from going under while the AMPTP sit in their office buildings refusing to negotiate...
Not only is she, with that film, demonstrating the viability of what I genuinely believe is going to end up being the way forward for at least some of the entertainment industry, which is to cut the AMPTP out entirely...
But way back in 2018 or 2019, when she changed labels and negotiated her contract with Universal, she negotiated it so that if Universal sells any of its stake in Spotify, it has to share those profits not just with her, but with ALL of the artists on the label.
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I think, in a lot of ways, Monika and Sayori are reflections of each other.
Really, I think all of the girls are similar in a lot of their issues (self-esteem, anxiety, etc) and that's something emphasized in a lot of the stories, and a big part of why they all gravitate towards each other and work to create the club as a safe space for all of them, but I think Monika and Sayori in particular are just very much alike.
I think Trust really emphasized this similarity in the reveal of Sayori's poem, Become the Flower.
Prior to shifting focus onto the poem, Monika talks to herself about her real vision for the Literature Club. I think here, Monika points out what Sayori actually meant when she said that Monika was "trying to make the club [she] needs the most, out of anyone", even if she doesn't actually realize that yet. It's pretty clear that when she says that literature is a window to the real self underneath the person who's "forced to always smile and blend in", and is "forced to be perfect", she's really talking about herself.
I think that a lot of Monika's character throughout Trust is expressed more subtly, often in a roundabout way like this. A huge part of the story is centered around Monika's own personal struggles expressing herself, and that trait is pretty well exemplified in this indirect way of talking about her own struggles. I think that the reason why Monika's characterization here is so subtle overall is reflective of this.
And I think it's pretty blatant that this is statement is also meant to be reflective of Sayori, given that we immediately move from this statement onto the poem which reveals to Monika that she's been hiding her own problems. In this way, I think Team Salvato wanted to explicitly point out how similar they really are, and draw your attention to it.
I think that the way that Trust as a story is put together is meant to really emphasize just how similar they are even in their differences; spending a great deal of time focusing on Monika's own problems, to then showcase Sayori as the mirror to them.
I think the two of them make a very interesting pair in that respect, because a big similarity they have is that they very much place others above themselves, so they both end up individually building each other up while they put themselves down. It creates this strange back and forth where they each insist they suck and the other is great, when the reality is that they're both pretty fantastic.
In the statement Monika made to herself about her vision of the club, while it's clear she's talking about herself, she frames it in the context of somebody else getting those benefits out of the Literature Club, rather than herself. Throughout the entirety of Trust, she speaks dismissively of her efforts and her problems alike, while pointing out that Sayori is providing a lot of help. Sayori by contrast spends most of her time hyping her up and points out, explicitly, that Monika doesn't give herself enough credit. She also dismisses her own efforts, pointing out in most things she does, up into the climax, that Monika is a lot better than her at whatever she's doing. And when Sayori's problems are actually revealed, she explicitly says that she doesn't want Monika to worry about her, and that she doesn't want to have this conversation.
I think this all really shows that both of them are averse to tackling their own problems head-on, and I think this comes out of a fear of being vulnerable, since that's directly mentioned several times in Monika's issues openly expressing herself.
I think what makes Monika's particular brand of self-negging quite so disheartening is that she dismisses it out of hand as her being silly and dramatic, and in that way, she doesn't actually address the fundamental problem underlying it, nor does she actually address the statements themselves as incorrect. The amount of time she spends talking down her own problems as something trivial and silly, particularly in comparison to Sayori's problems, are a manifestation of her own desire to avoid the vulnerability of even having these problems, and it's just...heartbreaking. Sayori's denial is its own can of worms, but Monika's ability to so consistently minimize her issues when they are clearly still impacting her is so uniquely troublesome.
I think a big difference between the two of them in that respect is that Monika wears significantly more of her heart on her sleeve, so Sayori finds it a lot easier to directly target Monika's problems than Monika does in the reverse, but their individual habits of avoidance are coming from the same place.
I'm traveling a bit aimlessly in this essay, trying to tie things together nicely as I see them, but there are just a lot of similarities I notice between their actions and the way they think that showcase that they have a lot of the same problems, and a huge theme in Trust is expressing oneself, which both Monika and Sayori struggle to do, in much the same way.
I think a key similarity between the two of them is their tendency to catastrophize over a situation when left alone, mostly revolving around seeing the worst possible scenario for how they could've personally messed up the situation. I'm just rewatching Trust for this little essay, so there are two major moments I see Monika doing this, but I remember Sayori doing this...a few times, actually, throughout the side stories.
I think the spiral Monika goes into after reading Become the Flower is particularly important, as it exemplifies the habit of dismissing her own problems fantastically; in this case, she has an excuse. It's true that Monika's issues with her perfectionism seem silly and trivial in comparison to Sayori's, but that's exactly the thing: She shouldn't be comparing them in the first place! Her problems are real, and they clearly cause her distress, but because Sayori's own issues appear so much more serious than hers, she dismisses them wholesale as her being dramatic and silly. Because Monika's problems seem so small, she doesn't see them for the problems they really are. In the same way, because her own accomplishments and work seem so small, she doesn't see them for the accomplishments they are.
This spiral showcases Monika's biggest problem, the reason why she has such trouble expressing herself, and conversely, the exact same problem Sayori has. She doesn't want to be the center of attention.
Put another way, she doesn't think she deserves to be the center of attention. Her problems are so trivial; her accomplishments menial. Her fear of vulnerability isn't a fear that others will hurt her; it's a fear of being selfish.
Sayori is very similar, in that the reason she actively works to avoid showing any possible sign that anything is wrong is because she doesn't want anyone to worry about her. She doesn't want other people to dedicate time and energy to her.
I think that for both of them, this comes from low self-esteem. Sayori is self-explanatory I think, but I'd say Monika's perfectionism makes it exceptionally difficult for her to really feel accomplished in anything she does, which, coupled with her constant preoccupation with how she appears to other people (I think Monika places very high expectations on herself. I mean, Trust literally starts with her frantically apologizing and saying "I normally don't ever do this!" when Sayori finds her napping) makes it very difficult for her to feel confident in herself.
The fear both Sayori and Monika have in being vulnerable isn't that people will use that vulnerability to hurt them.
It's that people will try to help them.
And I think that's a really big part of why Sayori feels like she can trust Monika with her darkest thoughts, because she understands that they're the same in a lot of ways.
Monika created the club which she needed the most...and it was also the club Sayori needed the most, for the exact same reason.
I think it's kinda easy to overlook a lot of this because of the sheer amount of focus placed onto Sayori and the more explicit issue Monika has (insofar as the plot is concerned), but I think Sayori is exactly what Monika needs just as much as Monika is what Sayori needs.
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Okay but why haven't we had a time travel/fix it fic where after some shenanigans everyone decides to take down shinra, they split up to take out the important figures, sephiroth obviously takes hojo for any and all of a dozen good reasons.
And then hojo pulls a winter soldier sleeper code on him.
And then everyone is suddenly dealing with a brainwashed sephiroth.
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Hojo has to have some way to control sephiroth as he grew into his monstrous strength and power, yes? And learned helplessness isn't enough of a reassurance your prized military leader powerhouse isn't going to wake up one day and realise just how easily he could paint the labs walls red with chunks of you. And because hojo is obsessed with total power and control, dealing with a murder machine with huge mental issues, it'd only be fitting he create his own emergency shutdown.
In the most needlessly traumatic and mentally violating way, of course. Would sephiroth even know, if he couldn't remember? Would he have long stretches of emptiness in his memories that never get explained to him, or would he wake up where he'd blacked out, just another day in the labs?
Imagine, his allies watching on the cameras, as sephiroth stalks into the labs, a predator sighting its prey, exchanging a few cold words with hojo, raising masamune... And then hojos mouth opening, sephiroth going stiff like an animatronic, rearranging himself on the floor where he stood, face hidden behind his hair. Hojo leaves the room and he doesn't move, doesn't respond to any comms or passing scientists accidentally rolling a cart over his coat and hair.
Hojo ordering sephiroth to reveal their plans, their allies, their resources. Sephiroth doing it. Hojo deciding to punish sephiroth for the rebellion with lab procedures, or hojo ordering him to hunt down his co conspirators and end the takeover. Sephiroth doing so, heavy in his steps, crashing through walls and doors, heedless now of morals or civilians, silent, unresponsive. So completely unlike the jenova malice they'd been prepared to fight, that sephiroth had been bracing against. No arrogance, no mocking, no dramatic battlefield or hungry glowing eyes.
The puppeteer becomes the puppet, and with it, every trace of holding back. The perfect soldier.
I imagine the first trigger word would be lucrecia.
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