Soap : Let's play two truths one lie, me first : I falsified my birth certificate, I beat up a superior officer before locking him in the trunk of his car, and I was arrested when I was 12 on account of suspicion of terrorist intent.
Gaz :
Soap : It was the last one, I wasn't actually arrested, they just paid a visit to my house to question me.
Ghost : My turn, I can't get married because I'm legally dead, my favourite colour is black, and I went to prison for murdering my family.
Gaz : I'm very scared because I know your favourite colour.
Ghost : Yep. I didn't stay long in prison though, don't worry, I had an alibi.
Price : I once caused a diplomatic incident that almost led to a war, I shot someone in the foot because he annoyed me, and I've been secretely married for ten years.
Gaz : I'm not sure I like this game, actually.
Ghost : I'm pretty sure I was to your wedding and it doesn't feel that long ago.
Soap : Wait, you're married??
Price : Yep! But it was only 6 years ago.
Gaz : Okay, my turn then : I don't think you're all fucked in the head, I'm scared for my own mental health and I want to go home, guess which one is the lie.
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I think the fans are underestimating how differently people can process things.
I am consistently seeing posts say "Ashton/Tal were repeatedly warned the shard was not for them/will 100% kill them", when this was absolutely not the case, and, more importantly, it is very likely for groups of people to completely misinterpret the warnings. Even if they've known each other and loved each other for a decade.
I certainly thought the warnings were not clear or frequent enough so I was shocked like lightning in the latest episode that they were meant to be absolute death flags.
Please note that I'll mostly refer to the fictional characters, I don't want to bring the people behind the characters too much into this.
First, I would like to point out, the show takes place over weeks and months with plenty of breaks and interruptions. That is plenty of time and opportunity for memories to get faded, muddled, crossed-over with other memories, etc.
The "warnings" happened two weeks to a month ago. And even when they were fresh on the cast's mind, here are the warnings verbatim (bold is my emphasis):
But be warned, holding the strength of the two in one vessel might sunder it. You bear the dormant strength of the empress. Find and bestow the might of the emperor.
- Evontra'vir, episode 74, aired October 5th.
The conversations move on to unrelated things with no followup.
Ashton: He also said it might be dangerous for these two shards to intermingle. Or he didn't say dangerous, he said that-- it could destroy me.
Orym: --A chance the vessel could break.
Laudna: --The vessel <air quotes> could break.
Fearne: Wasn't there something if you put them together with the right thing that it'll be okay?
Ashton: It might come together and be okay, yeah.
--
Dancer: Maybe if it were to meet one of its own ilk, it could awaken.
Allura: What you said as a point of warning likely is true. To have both within a singular vessel, it's possible one could survive, but it's also highly possible that it would rend you into a thousand pieces.
--
Allura: We're in a strange area of experimentation and unknown knowledge.
--
(after finding out Ashton has a fascimile of a Luxon beacon in their brain)
FCG: So he's got two things in him or them?
Allura: It would seem, which is why I'm a bit--Well, you're either the greatest weapon we could hope for in this time, or will be our end. I couldn't tell you.
Orym: Boy, maybe we don't add a third thing.
Ashton: I was put together by bits and pieces. This was not an intentional thing and it, I honestly shouldn't have survived it. It was, literally, I was put together with junk.
Allura: In an odd way, your fragmented nature might be what keeps all of this in check. ... Perhaps we don't put another powerful entity within your form.
- Various, episode 76, aired October 19th.
To me, these warnings were not clear in the slightest.
To me, these warnings were interspersed with so many words like "possible", "might", and "chance" that I completely misinterpreted the situation as "For Ashton it is dangerous but doable" instead of "The Game Master is telling you Ashton's character sheet will be ripped up."
This is the problem with using in-character voices and using descriptors that imply chance or flexibility. They can drastically weaken the meaning of a phrase such that people like me will mistake it for something else.
Because that's how my brain works. "May", "chance", "perhaps" suggest to me a reasonable set of odds for an action and does not come across as the grave warning a game master would want.
And as a reminder, these muddled warnings were weeks apart and weeks away, which can make remembering the meaning even worse if you've already misinterpreted them. That's why I was 100% on board with Ashton taking the shard. It seemed reasonable but dangerous, so when Matt said "I warned you." in that grave tone and with that grave look I was thrown for a loop. I went "oh no! those were serious warnings!?" and the panic started setting in.
Also a contributing factor was the pressure and lack of communication from Bells Hells.
Fearne did not want the shard, and finally stated that thought aloud to Ashton. For Fearne and Ashton, that meant the only choice left was Ashton, because, for one reason or another, the 5 other people in Bells Hells repeatedly assumed and pushed the shard onto Fearne and wrote themselves out of the equasion. FIVE characters absolved themselves of being active participants. Once the idea of Fearne came to mind and this Emperor Fearne/Empress Ashton/Callowmoore shipping dicotomy, Bells Hells just stopped talking about it and never once considered if any of them should take the shard should Fearne refuse.
So... yeah that's how my brain works.
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Radiodonts were early arthropods with specialized frontal appendages, disc-like mouths, complex compound eyes, and swimming flaps along the sides of their bodies. Once considered to be bizarre "weird wonders" of the Cambrian Explosion that represented a failed evolutionary experiment, we now know that they were actually a highly diverse and successful lineage that lasted for at least 120 million years.
While some radiodonts were the largest animals of their time periods, Stanleycaris hirpex here was one of the smallest known members of the group – although at around 10cm long (~4") it was still respectably big compared to most other Cambrian animals.
Discovered in the Canadian Burgess Shale deposits (~508 million years ago), it was originally known only from isolated frontal appendages and mouthparts, and had been assumed to be a fairly typical member of the hurdiid family. But the recent discovery of over 200 new fossils, including some exceptionally well-preserved full body specimens, has catapulted it directly from being poorly-known into now being one of the most completely known of all radiodonts.
And it had a very big surprise for us, right in the middle of its face.
It turns out that Stanleycaris had a huge third eye, unlike anything ever seen in a radiodont before. A large unpaired eye was also part of the five-eyed arrangement in opabiniids and Kylinxia, and finding a similar example in radiodonts too raises the possibility that this sort of well-developed "median eye" may have been more widespread in early arthropods than previously thought.
Along with the third eye, some of the Stanleycaris specimens preserve fine internal details of its nervous system and show that its brain was made up of two segments instead of the three seen in modern arthropods. It also had gills positioned on its underside, unlike most other radiodonts which had them on their backs.
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rereading The Bedlam Stacks: my feelings six years on
until recently, I'd only read The Bedlam Stacks the once - back on release, within the span of a few days. I'd enjoyed it at the time, though not nearly as much as my beloved Watchmaker, so I thought it was time to go back to it and see how my feelings on it have changed.
back in 2017, I recall enjoying the first third of the book a lot, finding the middle section a bit slow, and thinking that the ending was a bit sudden. Having reread it again, my thoughts are similar in some respects - I still think that the pacing is strongest at the beginning, and hits a sluggish section once Merrick gets to Bedlam. My feelings on the ending are complicated, because part of me thinks that it's missing something, but part of me thinks it has the best conclusion of any Pulley book so far.
Bedlam is a difficult book for me to critique. There is so much that I love about it, so many isolated scenes and concepts that stick with me, and the prose is fresher and more beautiful than I remembered. The scene where Raphael turns to stone for 70 years is so beautifully, horrifyingly handled. The markayuq are a haunting, fascinatingly original concept. Merrick and Raphael, while hitting a lot of the classic Pulley duo tropes, stand out in many other ways - the fact that their romance is only implied, and left somewhat ambiguous, is actually a novelty against the context of her other works. They also feel more...mirrored than other Pulley pairings? Most of her romances seem to thrive on difference. Differences in class, in race, in intellectual standing, in physical strength. And obviously Raphael and Merrick have some of that, but they're also markedly similar in a lot of ways. Even though Merrick doesn't have Raphael's strength, he does have the memory of being a much stronger and healthier man. Both characters have a past of physical violence, and they are both shown to be capable of it in the narrative itself, as with when Raphael shoots the passing traveller and Merrick strangles Martel to death.
Their relationship to disability is also similarly mirrored, because both of them are haunted by old versions of themselves. Raphael is watching himself turn into a markayuq, feeling himself lose time and mobility, knowing that his transformation is impending and inevitable. Merrick also knows that he will never again be the man he was before his leg injury; he has to adjust to it, to work around it and accept that it has changed him. The acceptance of inevitability is a really interesting theme in Bedlam, which feeds all the way through Merrick and Raphael's central friendship. They don't really get the best of anything - they meet under bad circumstances, for less than a month, and they will never have enough time together due to Raphael's condition and a thousand other factors. But that doesn't mean that their friendship isn't worth something, that it isn't immensely precious.
So there's a great deal that I love about Bedlam on a thematic level, but I do think that the actual plotting of the book is quite weak overall. There are lots of isolated scenes that I love, but the connecting tissue is somewhat thin. The middle of the book involves a lot of waiting - waiting for the snow to clear, waiting for Clem to return, waiting for Raphael to tell Merrick the truth and take him beyond the salt line. Merrick does not have a great deal of intentional impact on the narrative, so it does often feel like you're sitting around waiting for the plot to come to him.
That's not to say that the plot needed to be bolder or bigger. It didn't need to focus more on the search for quinine. Honestly, I don't think high-stakes drama is one of Pulley's strengths - her forte is small interpersonal conflicts between select units of characters. In Watchmaker, the conflict and stakes don't really come from the lurking bomb threat or the police investigation - it's about Thaniel struggling with his own desires over the impulse to do the 'right' thing. Grace represents a more conventional path for him - a wife, a house, a future with children, and the money to look after his sister and nephews. But Mori is who he actually wants. And those warring desires come into greater and greater conflict as the story moves from beginning to middle to end. Thaniel's goals are not static.
But in Bedlam, there isn't that same sense of escalating tension and raising stakes. Merrick has his reservations about Raphael and whether he is dangerous, but ultimately, those reservations don't really change the decisions he makes. So much of what happens feels like it was always going to happen, which means that a lot of the tension feels somewhat...inorganic. Intangible. There isn't even the threat of discovery for most of the book, because Raphael knows exactly why Merrick is in Bedlam and Merrick makes no attempt to hide the truth. He keeps quiet about the threat of the army, but even if Raphael had discovered it sooner, it doesn't feel like it would've materially impacted how the story played out.
So it's a hard book for me to articulate my feelings on. The themes and concepts and characters and isolated scenes are excellent, but the story feels - just slightly - like it is less than the sum of its parts. At times, it seems more like a series of episodic events than a narrative, even if those episodic events are still deeply enjoyable.
But the ending is immensely powerful. The melancholy and the joy of it. The simple devotion of Merrick being there when Raphael wakes, 20 years later, with a cup of coffee - which was what Merrick had gone to make when Raphael first went into stasis. It is simultaneously an act of mundanity, and also an act of incredible loyalty and dedication - and love often does shine brightest in those small moments of devotion.
A while ago, I was lamenting that Pulley only ever gives us happy, cosy endings rather than something more tragic and bittersweet, but I don't think I was actually accurate on that. The conclusion of Bedlam is desperately sad, for all its loveliness. Because while Raphael and Merrick are reunited, we can't know how long they will have together. The story denies us that knowledge, that closure, by ending just as Raphael laughs.
I'm so glad I reread it. It is a bit of an odd fish next to all of Pulley's other works, and that makes me appreciate it much more with retrospect. This reread also reminded me, on a more general level, of everything I love about Pulley's writing - the sublime weirdness and the quirky characters and the nonchalance with which she handles speculative elements. For all her flaws as a writer, nobody is doing it like her, and I truly cannot wait for The Mars House.
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