Edit: If you are going to comment on the length of this post, please don't. This is not a simple snark but rather an actual critical think piece about feminism and Taylor Swift.

Introduction

Pertaining to Taylor Swift, "Female Rage" has deviated from its intended meaning after Swift debuted a new performance of The Tortured Poets Department during the Eras Tour. Now, according to Swift's use of the phrase, female rage is interpreted as public backlash against Swift's dating choices rather than as a response to the broader injustices against women and women's rights. This post examines Taylor Swift's flawed feminism, philanthropy, branding, and the controversial trademark petition for the phrase "Female Rage: The Musical". Swift's background as an entertainer, indeterminate politics, and alignment with capitalism over feminism pervades her legacy, again threatening her public tolerance as not just an individual but as a brand.

Once Upon a Female Rage...

If you were cognizant in the early 2010's, you've heard countless jabs at Taylor Swift in the media. Magazines, radio, or online. Music critics did not take her seriously as a songwriter; parents put a woman on an unrealistic pedestal as the ideal role model for their children; she dated too much and used men as lyrical fodder. No matter the story, it inevitably spread, conjoined with everyone's respective opinions, and you'd be left to wonder, "Why does everyone hate this girl so much?"
Taylor's target demographic has always been young or adolescent girls, more so when Swift herself was one. She made music that spoke to the awkward misfit, cultivating a para-social relationship with fans on MySpace, then later twitter, Instagram, and YouTube, where Taylor posted relatable vlogs showcasing the life of a homegrown American girl. Taylor had a delayed public "growing up" and, compared to her female pop contemporaries, Swift never "gratuitously sexualized her image and seems pathologically averse to controversy" (and, apparently, never even had a sip of alcohol until she turned 21). She was more than happy to spin this narrative to allude to an inherent moral superiority above other women in the industry (Better Than Revenge, heard of it?), engaging in the very slut-shaming that she herself endured (the Madonna and Whore archetypes). The victim complex arose with the need to prove Taylor as a different type of pop girl. Based upon her holy and clean image, Swift had been dubbed "a feminist's nightmare", and that "[To Swift] other girls are obstacles; undeserving enemies who steal Taylor’s soulmates with their bewitching good looks and sexual availability." Feminism and Tennessee-Christian country values don't exactly mix, it seems.
Years later, Swift befriended Lena Dunham and thus experienced white feminism osmosis, where Dunham taught Swift that real feminists defend rapists, makes insensitive jokes about rape and abortion, and prioritize all-white casts. Swift then declared herself a feminist in 2014, saying,

"Becoming friends with Lena – without her preaching to me, but just seeing why she believes what she believes, why she says what she says, why she stands for what she stands for – has made me realize that I’ve been taking a feminist stance without actually saying so."

I suppose the male-centric songwriting subject that permeates Swift's discography contained covert feminism and that we just didn't see that. Perhaps, the "Bad Blood" song and music video were written only in jest and not about poor Katy Perry, for Swift, as a feminist, would "never make it a girl fight" or tear other women down (though all Katy did was date your terrible ex-boyfriend and allegedly steal three backup dancers from your tour). In 2013, Swift said, in response to Tina Fey and Amy Poehler's joke towards her serial dating, "There is a special place in hell for women who don't help other women."
There was that time in 2015 Taylor said that Nicki Minaj was "invited to any stage [she is] on" (as if Taylor expects to have access to every stage, award, and platform that Nicki might not otherwise have as a black female artist...yikes!) in response to Nicki's criticism of the white + thin VMA nominations. Later, Nicki responded with confusion, as Swift continued, "It’s unlike you to pit women against each other. Maybe one of the men took your slot..". Of course, this 'beef' was 'squashed' when Nicki performed with Taylor at the VMAs, with Nicki quite literally only having 38 seconds of stage time without Taylor. Maybe all that parading around with a legion of famous white women - similar to the way Taylor might've done with her numerous 1989-era handbags - was in fact a stance against gender inequality, and that this display of "girl power" should be enough to constitute Swift as a feminist icon.
Even while Swift says that Dunham informed her feminist outlook, she dances around the exact contents of those beliefs: "what she believes, what she says, what she stands for" is not exactly insightful towards what beliefs Swift might have inherited. Taylor never broaches women's rights topics such femicide, FGM, forced pregnancy & marriage, sex trafficking, women in slavery, women's financial and political oppression, women's educational rights, women's health, or women's autonomy, so we can assume she only gives a fuck about "girls supporting girls" (whatever that fucking means).
Despite some questionable (and sometimes vindictive) behavior, Taylor as a young woman did not deserve every media lashing that she received. We cannot deny that most headlines and criticisms perpetuated a misogynistic rhetoric which has plagued Swift for a majority of her career. Acknowledging events such as the development of her ED, her sexual assault trial, "Famous" lyric and MV depiction of Taylor, and the explicit Twitter deepfakes, for example, as both disgusting and unfortunate things that happened to a young woman in Hollywood does not negate the fact that Taylor is mostly a performative feminist.

Get Your Fucking Ass Up and Be a Philanthropist, It Seems Like Nobody Wants to Be a Philanthropist These Days

In 2013, Taylor Swift cut the ribbon at the grand opening of the Taylor Swift Education Center at the Country Music Hall of Fame in Nashville, Tennessee. The donation amount - $4 million - was the largest individual artist gift ever donated to the Country Music Hall of Fame, which is, of course, mentioned on Swift's website. The two-story facility features three classrooms, an instrument room, and an interactive children's exhibit gallery. Swift also performed at "All for the Hall" charity shows and has donated numerous artifacts from her career (such as notable guitars, tour costumes, etc) to the museum.
This was over 11 years ago, and it is still the only notable philanthropic contribution Taylor Swift has made.
For a woman of her net worth and stature, and a woman who recognizes the difficulties for women in film and music, you would think that Taylor Swift might establish a scholarship program for women to study the arts or something. Perhaps Swift might even consider becoming a member of organizations that support female artists, or one that supports LGBTQ+ causes (since she is now proudly an ally), yet she remains superficial with her graces. Broader philanthropy, such as donating relief aid to Palestinian women or women impacted by violence and discrimination will probably never receive any financial support from Miss Swift because then she'd be using her money towards philanthropies involving anyone but white entertainers.
She even says herself in Miss Americana, "My entire moral code as a kid and now is a need to be thought of as 'good'." Well, she's certainly thought of as good, though her actions say otherwise. She's more than happy to do a vaguely altruistic song and dance for a clip-worthy interview quote and mass appeasement, then fuck off to one of her mansions on a 20 minute private jet flight, rather than actually contribute to anything pertaining to the causes she has endorsed. Yet, far too many people continue to give a woman such as her their money, time, and energy, and she hoards these resources to herself.

I Like Some of the Taylor's Songs, But What the Fuck Does She Know About Feminism?

Swift continued with her self-proclaimed feminist campaign, positioning herself as a political activist and LGBTQ+ ally in the Miss Americana documentary. The primary focus of the documentary consists of the sexual assault trial, Andrea Swift's cancer diagnosis, Taylor's ED and body dysmorphia, media scrutiny, and, largely, finally speaking up about her politics publicly, mostly her opposition to the 2018 Tennessee Republican senate candidate, Marsha Blackburn, and Blackburn's beliefs. Swift says, following a scene discussing her experience during the trial,

"I just couldn't really stop thinking about it. And I just thought to myself, next time there is any opportunity to change anything, you had better know what you stand for and what you want to say."

We must ask ourselves, though: when has Swift ever spoken up to change anything? Okay, pulling her entire catalogue from Spotify because they didn't pay their artists enough and similarly pulling her catalogue from Apple Music are changes that she leveraged due to her revenue potential and power, but they are not pertinent to the average woman's rights. Moreover, these are issues that directly impacted Taylor's income, which was enough reason for her to protest in the first place. Swift has sold the most units for a female artist in first week sales, is the first female artist with 100k monthly Spotify listeners, is the first female artist to win the Album of the Year Grammy 4 times, and is the first female artist to do X, Y, and Z, all while being inoffensive and family-friendly to boot. The actual Taylor Swift seems unwilling to compromise the brand of Taylor Swift by contributing in meaningful ways to feminist causes, especially if it is for women outside of America and Hollywood.
The reason political anthems such as "The Man" and "Only the Young" of the Lover era feel disingenuous and corporate is because, well, it is. Taylor has taken every opportunity to advance her career or public image at the expense of other women. What is truly genuine to Taylor's outlook on other women is vying for male attention, taking down female competition, and vocalizing feminist injustices only if they directly impact her and her money. Some will argue that it's satisfactory for a woman with such a huge platform to even TALK about feminism, but that just isn't enough. It's even less impressive when you candidly look at the scope of her feminist lens: "If I was the man, then I'd be THE MAN", or "I really resent the ‘Be careful, buddy, she’s going to write a song about you’ angle, because it trivialises what I do", and, of course, "We all got crowns". Feminism, but only when it happens to me. It gets worse when you look at Taylor's track record of copying other famous women and removing other female artists as potential threats to her pop prowess.
It's good for PR to align yourself with certain blanket feminist and political beliefs, therefore good for branding, therefore good for ticketing and merchandise sales, therefore good for business. And Taylor Swift is a business.
She's not a feminist. Taylor Swift is a capitalist.

I Can't Pay Those Sweatshop Workers a Livable Wage or Benefits! How Else Would I Make My Billions?

Recently, Taylor's team filed to trademark the phrase "Female Rage: The Musical" after Taylor said during Paris N1 of the Eras Tour,

"So you were the first ones to see The Tortured Poets at the Eras Tour...or as I like to call it, 'Female Rage: The Musical'."

This trademark petition was filed last week on Saturday, and news comes about just as numerous unofficial fan-made merch designs have cropped up with this phrase plastered on Fruit of the Loom basics. I'm of the opinion Swift's team motioned for a trademark so that they can send out cease & desists to all those that make knockoff merch, which disrupts potential sales for Bravado, UMG's choice merchandising company; however, since it was filed earlier, perhaps Swift has bigger plans with the bizarre use of the gendered phrase. One Swiftie referred to the phrase "female rage" as "a funny Eras Tour joke". Could it be a possible fourth version of the Eras Tour Movie? Whatever the reason, the motion to capitalize off of such a concept is disgusting, but not unsurprising, for a woman that profits on her vain feminism.
Swift, through her company, TAS Rights Managements, has also trademarked over 200 phrases, including "1989", where she owns the property rights to this calendar year on keychains, phone cases, sunglasses, stationary, bags, beverage ware, clothing, entertainment services, your subconscious, and, of course, Christmas ornaments.
The vapid consumerism in Swiftie culture is, frankly, disgusting. Bravado's sustainability statement is non-existent, the quality control is abysmal, and the materials they use are horrible. The materials, such as acrylic and polyester, are made from petrochemicals. This means they are non-renewable, shed microplastics, and are quite toxic in production. The manufacturing process to make all of those lazy-rushed Eras Tour logo graphic tees is a huge blow to environmental well-being. Apparently, though, Swifties don't give a fuck. They sell out products in seconds and either have to face the manufactured scarcity or buy from a scalper that resells for 200% of the already ridiculous retail price. This doesn't include the environmental impact of vinyl records, CD, and cassette production, of which Taylor produces many variants that sell unsustainable amounts.
If we're talking about women's rights violations, why is no one acknowledging the women that work in the inhumane sweatshop conditions that have to pump out fugly t-shirts and hats? The millions of plastic microfiber dander they are inhaling, or the toxic dyes that touch their bare skin? Are they being compensated fairly for their skilled labour and are they in safe working environments? Do these women have minimal bargaining power, and do they have authority over their worker's rights? Is Taylor Swift female raging at their injustices? Does Taylor Swift ever feels bad that her wealth was built on the backs of women of color, disadvantaged by the demands of the global economy and garment industry? Do you think she ever says a little white feminist prayer for them before she goes to sleep at night?
What's even crazier is not that Taylor herself doesn't care, it's that Swifties don't care. There CANNOT BE ethical billionaires. You only make a billion dollars if you are exploiting other human beings for capital gain. Based on public perception of the possible "Female Rage: The Musical" trademark, it seems like Swifties are already asking for merch with this phrase. "If Taylor made it, I'd buy it." Oh, cool. So not only do you champion Miss Swift's avarice and billionaire status, but you also are unashamed to admit to your blind consumption of her music and merchandise, no matter where they might originate in production or sincerity. Just as Swift takes and takes and takes, Swifties' consumerism of Taylor Swift cannot be quelled.
The tortured artist's most vulnerable and sincere poetry...available now in 21 different versions!

I Am Tortured Poet, Hear Me Whinge

Look - even if Taylor's intention is to characterize TTPD as more "tortured" and "angry", the main thread of the album is "I was ghosted by my decade-long situationship with a controversial indie boy and my fucking stupid fans wrote a 'Speak Up Now' open letter prompting me to drop him" anger, which is adequately expressed in the lyrics and performances. The extent of Taylor's "female rage" on TTPD is on tracks such as "Who's Afraid of Little Old Me?", which contends with relentless media scrutiny; "But Daddy I Love Him", where Swift firmly states she'll date whoever she likes no matter how "Sarahs and Hannahs" may react; and "The Albatross", a track mythologizing her reputation and the consequences of dating her. Of course, these coincide with deep psychological wounds that formed during Swift's early years in the media, and so, from her feminist perspective, these subjects tackle the misogyny and double standards that she faced.
Yet Taylor Swift still has no grounds to be claiming that TTPD best exemplifies female rage and therefore she, in the context of this album, is female rage incarnate. As the daughter of a stock broker and mutual fund marketing executive, Taylor was born into wealth and allowed privileges like trips and subsequent relocation to Nashville all so that she might get a record deal. Her father even invested at least $120,000 into the then-fledgling label, Big Machine Records, which ensured Taylor's place with Borchetta after leaving her dead-end development deal with Sony. The fact that her parents were able to buy her a fucking brand new guitar for Christmas and pay for music lessons says so much about the financial security and safety of her childhood.
Money is privilege and protection, and despite Swift's experiences with misogyny and loser boyfriends, she does not know what female rage is.
Her rage is derived from her frustrations with her obsessive fans pulling the moral superiority card on Taylor in response to her rebound with Matty Healy. That's literally it. She's just pissed that the monster she created is no longer obediant, it's become a feral, sovereign entity that depletes the world of its natural resources and thinks it is more intelligent than it actually is because it's mommy has started to talk to it with big words. Apparently, 'illicit', 'elegy', 'nonchalant', and 'precocious' are considerably big words for the oafish monster, and I find it strange that this level of literacy is present in a group of fans that allegedly have GPAs of 3.5 or higher, but I digress.
Taylor Swift has never been one paycheck away from destitution. Taylor Swift has never experienced racial discrimination. She may have instances of gender discrimination, but she possesses the ideal white, blonde American beauty standard and therefore reaps the benefits of being a conventionally attractive woman. Taylor Swift has sufficient social capital. Taylor Swift is a billionaire woman prolonging her victimhood though she, as a woman, has mostly had control over her image and music (unlike her contemporaries). Taylor Swift is NOT entitled to be championed for her "female rage", nor should she be. Taylor Swift has never even been the struggling artist, for fuck's sake. I don't give a fuck if she's trying to fill the empty lunch tables of her past. Taylor Swift purporting herself, her unpolished album, and her lukewarm feminism as a musical bleeding with female rage is asinine.

Sigh Try and Come For My Job, Poors

Out there in the world right now is a 23-year-old woman, a recent college grad, who works as a barista. She has to wake up and get ready to go into a minimum wage job because she cannot get a job in her field. She doesn't have healthcare benefits or sick time, so she has to go into work no matter how she's feeling. All day long she is berated by vicious customers and creepy men, and, exhausted from being on her feet, she knows she has to go home to her shitty roommate that never does the dishes and her roommate's shitty dog. To comfort herself, she considers getting a treat, but thinks against it when she remembers that matcha lattes cost $15 and they taste like milky dirt. She knows that she needs to buy groceries this week, and so the woman resolves to go home, but notices that her gas tank is low. She goes to put gas in the car, but the pump stops at $27.86 because that's all that she has in her checking account. The woman, bereft and reeling, sinks into the driver's seat. "Well," she thinks, her head in her hands, "at least I don't have Taylor Swift's job. I just couldn't imagine."
Fame is somewhat of a choice. If at any moment Taylor feels that she is misunderstood, misconstrued, or overwhelmed by public opinion, she can LEAVE the public eye - Lord knows she has the retirement fund and residuals to do so. In "I Can Do It With a Broken Heart", the TTPD song about meeting the demands of your career-zenith mega-tour while in the relationship trenches, Taylor ends the song by rambling,

"You know you're good when you can even do it with a broken heart...you know you're good...and I'm good, cause I'm miserable, and no one even knows!...try and come for my job."

Yeah, obviously we wouldn't know, you recently passed the billionaire threshold and are the most famous and in-demand performer in the world right now. Taylor Swift makes an estimated $10 to $13 million dollars A NIGHT on the Eras Tour. Furthermore, the Eras Tour movie grossed $261.6 million globally, (which, as the producer, Taylor takes home 57% of the ticket sales) not counting the streaming revenue from Amazon Prime Video and the estimated $75 million deal that Disney paid to have it on Disney+. We're not even considering the income from cheap plastic popcorn buckets and drink cups plastered with colored squares in her Era-specific likeness.
It's funny. Taylor Swift often said that being famous wasn't hard, that she "isn't complaining". I'm sure it is difficult to always have to present in a good mood, else you'll end up misrepresented in the media, and I'm sure it's invasive to virtually have no privacy or semblance of anonymity. Still, Taylor Swift shows up each night of tour and performs. For a majority of her career, she has penned her sad songs while on the road. Most of "Red", her breakup album, was written in the thick of the Speak Now World tour. Now, some Swifties say they almost "feel bad" for attending the Eras Tour with Swift's revelations in this song, that they have had a 'dimmed experience' upon hearing Taylor's misery whilst performing. Despite the fact that Taylor said that "this was the happiest she's ever been" at Gilette Stadium in May, the lyrics "boohoo, woe is me, smile for the cameras and make the fans happy!!!" are jarring for Eras attendees.
While Taylor Swift was making double-digit millions a night in Rio de Janeiro, Brazil and feeling miserable, Ana Clara Benevides Machado passed away due to heat exposure. The concert promoters, Time For Fun, are now the subject of a criminal investigation due to their lack of adequate hydration and safety. Taylor Swift cancelled the Sunday show that was to follow and offered VIP tent tickets to Benevides Marchado's family, which was a kind gesture, but perhaps incongruous to the incident of which they were offered as consolation. Everyone grieves differently, of course, but I'm not sure attending the very show at the very same venue that my daughter or sister passed away in two days prior, where the singer CONTINUED the show despite her death, would be healthy for closure.
There was no female rage at the show as Swift never saw Benevides Machado pass out. There was no female rage towards the disregard for fans as humans while Swift elected to proceed with her Brazil tour dates despite the country being in historic heatwaves (at risk of overheatting herself). If Taylor Swift was so shaken by touring with a broken heart or a fan's passing, she wouldn't have added an additional North American leg of Eras just two months after the Matty breakup. She's brokenhearted but willing to mend the cracks with your money and move onward with her worldwide female rage induced pillaging.
No matter what happens, even if you die at a Taylor Swift concert, Taylor collects a big fat check and flies away. She doesn't know you as anything other than a conversion rate or earning potential despite what her nearly 20-year long parasocial relationship with fans might otherwise indicate. She knows that, while some Swifties are without disposable income, they feel obligated to spend on a "48 Hours Only!" exclusive vinyl variant instead of necessities because they are so entrenched in Taylor Swift's intoxicating celebrity, they'll prioritize materialistic fandom before their needs. This is good enough for her because this means she can expand her real estate portfolio and finance her cat's lavish lifestyles. They're worth an estimated $100 million dollars. Her three cats could pool their net worth and solve world hunger.
While you and I might be denied bereavement leave and barely surviving the current political and economic climate, Taylor Swift has to, instead of gets to, perform for stadiums at full attendance for three nights in a row across the globe. You and I might be replaced by AI at our longtime jobs, but Taylor Swift is threatened with losing more and more money each time you listen to a "Stolen Version" of her songs. If we don't buy every variant of all of her albums, then who is going to pay for the fucking cats?
It is tone deaf to spend as she spends and lives as she lives in this economy, but this is her reality. She was able to donate $100,000 to all of her tour truck drivers, and that's wonderful, but it leads me to wonder about the ethos of the 2020s where one woman can hoard such life-changing amounts of money. Remember in 2014 when she gave a fan $90 ($120 in today's money) to get Chipotle because she had no fucking clue how much it cost? This is a 34-year-old woman who is increasingly out of touch with the reality for working class people and women in general. Normal everyday adults must wake up and go to their thankless jobs, and yet Taylor Swift, despite all her riches, incessantly references the lows of her life and career as a public figure and entertainer to farm sympathy and drive sales. And still, the corporate women have latched onto "I cry a lot, but I am so productive! It's an art!" as their cubicle battle cry.
Do you think that, from up in her private jet, Taylor Swift gazes at the world through her poetic, tortured eyes, and thinks, "All the little people, in their cars, walking, going about their lives...all those girls that don't support girls...do they know that I've made an album about female rage?"

Conclusion/TLDR

Thank you for reading. I would love to hear your critical insights towards this entire ordeal: TTPD, the trademark, the implications of it all.
TLDR: Taylor Swift is a bad feminist and is delusional to think that the TTPD eras set exemplifies female rage at women's injustice.

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1. Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
   
2. Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
   
3. Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
   
4. Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
   
5. Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
   
6. Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
   
7. Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
   
8. Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
   
9. Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
   
10. Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
    
11. Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
    
12. Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
    
13. Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
    
14. Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
    
15. Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
    
16. Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
    
17. Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
    
18. Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
    
19. Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
    
20. Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.
    

A few days ago I chanced upon this new video by The Armchair Historian, titled: "China's Rivalry Against the West: Century of Humiliation".
Now, the telling of Chinese history is a difficult matter. Like the cats of T.S. Eliot's poem, they are understood by many names. The Armchair Historian perpetuates many common tropes about Qing China:

1. Qing China was harmonious: it supposedly maintained East Asian peace through a hierarchical tribute system with China as hegemon
2. Qing China was stagnant: it failed to advance centuries of science and technology, hence its subsequent subjugation by Western colonial powers
3. Qing China was a victim. Specifically a victim of Western imperialism that has unfairly wronged a peaceful Middle Kingdom.

The Armchair Historian managed to perpetuate all three tropes in the first minute of the video.

Peaceful Middle Kingdom or Colonial Empire?

At 0:17 of the video, the Qing empire was claimed to only possess 'occasional internal strife'. In reality, the Great Qing (大清) was twice the size of the preceding Ming empire, achieved through a series external conquests during the 18th century known as the 10 Great Campaigns, including the 4 invasions of Burma from 1765 – 1769 and the invasion of Vietnam in 1788 – 1789. The Qing also fought 70 years of war with the Dzungars, ending with the genocide of the latter, and the incorporation of Tibet, Qinghai and part of Xinjiang into its territories. None of these were 'internal strife', but external-facing invasions perpetuated by the Manchu Great Qing.
Now one could argue that there were some internal rebellions such as the Miao Rebellion. The issue with using the term 'internal' assumes that this was a civil conflict of sorts, when in fact, they are anti-colonial rebellions. The Miao peoples were majorities in their homeland until they became 'minorities' after being conquered. Nor were these peculiar to the Qing period: the Miao rebellions began as early as the Ming dynasty, during the 14th and 15th centuries. What we term 'internal' conflicts are in fact euphemisms for anti-colonial uprisings.
The Qing was thus no peaceful Middle Kingdom, but a colonial empire by all sensible definitions.
Source for this section:

• Millward, James How ‘Chinese Dynasties’ Periodization Works with the ‘Tribute System’ and ‘Sinicization’ to Erase Diversity and Euphemize Colonialism in Historiography of China, The Historical Journal, Cambridge (2024)
• Millward James 'We need a new approach to teaching modern Chinese history: we have lazily repeated false narratives for too long', academic blog (2020)

Interrogating Supposed Qing China's Economic Self-Sufficiency Through State-Led Policies

Part of the aforementioned mythos of a benevolent, peaceful Middle Kingdom necessarily involves the idea of strong government creating a powerful internal economy that did not require external conquests. At 0:36 of the video, it is claimed that Qing China had a 'self-sufficient' economy that was 'tightly controlled by the state'.
It is unclear what this meant, for the Qing's frequent external conquests in the 18th century was economically devastating. For instance, the suppression of Gyalrong tribal chiefdoms (modern Jinchuan) resulted in the loss of an estimated 50,000 troops and 70 million silver taels. Arguably, the relative weakness of 19th century Qing China to Western powers was partly due to economic overreach caused by excessive imperial conquest by the Qing in the prior 18th century century.
Furthermore, claiming an expansionary empire - such as the Qing - to be 'self-sufficient' is an oxymoron. One does not claim self-sufficiency if it needs to conquer others and extract their resources. The aforementioned genocide of the Dzungars in 1755 led to the Qing's policy of settlement of Han and Uyghur peoples in Dzungaria. James Millward astutely observes:

In territories newly acquired by the Qing, Han settler colonialism followed wherever farming was environmentally feasible...

Sources for this section:

• Theobald, Ulrich The Second Jinchuan Campaign (1771 – 1776) Economic, Social and Political Aspects of an Important Qing Period Border War (2010)
• Millward (2020), ibid.

The Stereotype of an Aloof, Inward-looking Qing Empire

At 0:58, it is asserted that 'internationally, China viewed itself as culturally superior and largely self-reliant, requiring little from the outside world'. There are many issues with this claim, chief among them the fact that the Manchu rulers emerged as a confederation of Jurchen tribes outside China, now ruling over an internal Han Chinese majority not always pleased by their foreign occupation. The assumption of a clear distinction between what's in and out of China is problematic to begin with.
The Qianlong emperor was aware of this, and even more the fact that the Qing ruled over more than just a Han majority, but numerous subjugated ethnic groups from the 10 Great Campaigns. Seeking to reinvent the Chinese civilizational narrative, Qianlong claimed that China is in fact an inclusive empire, it is not just for Han Chinese, but for all ethnicities in its embrace. The obvious intent is that Qianlong was Manchurian, hence he needed an ideological narrative legitimizing his rule over the Chinese.
The point here is that Qing China, or at least its Manchu rulers, does not so much as view their empire as superior to the outside world, as it was very consciously reinventing the Chinese civilizational narrative to justify their then-current imperial arrangement.

Rethinking the 'Century of Humiliation'

Let us conclude with the state of affairs that is 19th century China. To cast the 19th century as a Century of Humiliation isn't entirely unfair, but it is a half-truth at best. China was not unilaterally victimized by Western imperialism, for Qing China was also an imperial power in itself. The instability it faces, therefore, was not just from foreigners, but also from its subjugated peoples.
The subjugation is twofold: from the Han majority resentful of Manchu rule, and the conquered ethnic minorities. For example, the Taiping Rebellion demonstrate much anti-Manchu sentiments. This is unsurprising, for Manchu rule over China is reflective of a far older and deeper rooted memory of conquest by northern steppe empires (Mongols, Turks, Khitans, Jurchens), with the Western incursions being relatively recent by comparison.
The 19th century is thus not just a century of humiliation by Western powers, but also a century where the Manchu rulers could not hold the fraying empire from its dissenting Han majority and anti-colonial uprisings. It was not a Middle Kingdom humiliated by European powers, but a losing conflict between the Chinese colonial empire and European colonial empires.
Further Resources:

• Gina Anne Tam’s Introduction: Why ‘Decolonizing Chinese History?’ (2024)
• Magnus Fiskesjö’s The Legacy of the Chinese Empires Beyond “the West and the Rest”.
• Peter Perdue’s Eurasia in World History: Reflections on Time and Space (2008)

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Hi?
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Hi?
Do you need help with your technical assignments and exams? I can ace the following courses for you at a reasonable price.
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· CALCULUS
Differential calculus (concerning rates of change and slopes of curves), Integral calculus (concerning accumulation of quantities and the areas under curves) ETC…
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Trigonometry Angles, Unit Circle, List of Trigonometry Formulas, Trigonometry Basics, Euler’s Formula for trigonometry, trigonometry functions etc…
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Analysis of Financial Statement Presentation, Banking, Financial Institutions, and Society, Business and Economic Forecasting, Financial Management of the Firm, Financial Modeling, Fundamentals of Business Statistics, Mergers and Acquisitions, Organizational Behavior, Principles of Macroeconomics, Principles of Microeconomics, Statistical Methods in Business AND Venture Capital and Private Equity etc…
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I just discovered the ULTIMATE LIST OF ALL FILM GENRES KNOWN TO WIKIPEDIA – and I'm flabbergasted: There's just too many of them.
The link details them all, but here are the unformatted raw names, all 291 of them:
ActionArthouse Heroic bloodshed Hong Kong action AdventureSurvival Art Biographical Christian ComedyAction Black Commedia all'italianaSexy Bromantic Dramedy Gross out Horror Parody Mo lei tau Thriller Remarriage Romantic Sex Screwball Silent Slapstick CyberpunkJapanese DocumentaryAnimated City symphony Docudrama Mockumentary Mondo Pseudo Semi Travel DramaCalligrafismo Dramedy Historical Legal MelodramaKorean EroticCommedia sexy all'italiana Pink Sexploitation Thriller Educational Social guidance EpicSword-and-sandal Experimental Exploitationsee Exploitation film template FantasyComedy Contemporary Fantastique High Historical Magic realism Science Film noirNeo-noir Pulp noir Tech noir GothicRomance Southern Space Suburban Urban HorrorArthouse Body Cannibal Chinese horror Christmas horror Comedy Eco Fantastique Found footage German underground Ghost Giallo Holiday Japanese horror Korean horror Lovecraftian Natural New French Extremity Psycho-biddy Psychological Religious Science fiction Slasher Splatter Satanic Maximalist film Minimalist film Mumblecore MusicalArthouse Backstage Jukebox Musicarello Operetta Sceneggiata MysteryDetectiveOccult detective Whodunit Giallo Pop culture fictionCrossover PornographicHardcore pornography Softcore pornography (Malayalam) Propaganda Reality RomanticComedyBromantic Fantasy Gothic Paranormal Thriller Science fictionArt Comedy Fantastique Fantasy Gothic Horror Military New Wave Planetary romance Space opera Steampunk Tokusatsu Western Slice of life Slow cinema ThrillerComedy Erotic Financial Giallo Legal New French Extremity Political Psychological Romantic Techno TransgressiveCinema of Transgression Extreme cinema New French Extremity TrickBy themeAnimals Beach party Body swap BuddyBuddy cop Female Cannibal Chicano Colonial Coming-of-age Concert CrimeDetective Gangster Gentleman thief Gokudō Gong'an Heist Heroic bloodshed Hood Mafia Mafia comedy Mumbai underworld Poliziotteschi Yakuza Dance DisasterApocalyptic DrugPsychedelic Stoner Dystopian Ecchi Economic Ethnographic ExploitationBlaxploitation Mexploitation Turksploitation Extraterrestrial Food and drink Gendai-geki Ghost Goona-goona epic GothicRomance Space Suburban Girls with guns Harem HentaiLolicon Shotacon Tentacle erotica Homeland Isekai JidaigekiSamurai Kaitō LGBTYaoi Yuri Luchador Magical girl Martial artsBruceploitation Chopsocky Gun fu Kung fu Ninja Wuxia MechaAnime MonsterGiant monster Kaiju Mummy Vampire ZombieZombie comedy Mountain Mouth of Garbage Muslim social NatureEnvironmental issues Opera Outlaw biker Ozploitation Partisan film PrisonWomen Race Rape and revenge Road Rubble Rumberas SexploitationBavarian porn Commedia sexy all'italiana Mexican sex comedy Nazi exploitation Pornochanchada Nunsploitation Sex report Shoshimin-eiga Slavery Slice of life Snuff South Seas Sports SpyEurospy Superhero Surfing Swashbuckler Sword-and-sandal Sword and sorcery Travel Trial Vigilante WarAnti-war Euro War Submarine WesternAcid Contemporary Western Dacoit Western Fantasy Florida Horror Meat pie Northern Ostern Revisionist Science fiction Singing cowboy Space Spaghetti Weird Western Zapata WesternBy movementor periodAbsolute American eccentric cinema New Objectivity Australian New Wave Auteur films Berlin School Bourekas Brighton School British New WaveKitchen sink realism Budapest school Calligrafismo Cannibal boom Cinéma du look Cinema Novo Cinema of Transgression Cinéma pur Commedia all'italiana Czechoslovak New Wave Documentary Film Movement Dogme 95 Erra Cinema European art cinema Film d'art Film gris Free Cinema French New Wave German Expressionist German underground horror Nigerian Golden Age Grupo Cine Liberación Heimatfilm Hollywood on the Tiber Hong Kong New Wave Indiewood Iranian New Wave Italian futurist Italian neorealist Japanese New Wave Kammerspielfilm L.A. Rebellion Lettrist Modernist film Mumblecore Neorealist New French Extremity New German New generation New Hollywood New Nollywood New Queer No wave Nuevo Cine Mexicano Pan-Indian film Parallel cinema Persian Film Poetic realist Polish Film School Poliziotteschi Praška filmska škola Prussian film Pure Film Movement Remodernist Romanian New Wave Slow cinema Spaghetti Western Socialist realist Social realistKitchen sink realism Soviet parallel Structural Surrealist Sword-and-sandal Telefoni Bianchi Third Cinema Toronto New Wave Vulgar auteurism Yugoslav Black WaveBy demographicAdult Black Children and familyAnime MenSeinen Stag TeenShōnen Shōjo WomenChick flick JoseiBy format,technique,approach,or production3D Actuality AnimationAnime Art Cartoon Computer Stop-motion Traditional Anthology Art B movie Behind-the-scenes Black-and-white Blockbuster Cinéma vérité Classical Hollywood cinema Collage Color Compilation Composite Computer screen Cultmidnight movie Database cinema Docufiction Ethnofiction ExperimentalAbstract Feature Featurette Film à clef Film-poem Found footage Grindhouse Hyperlink cinema IndependentGuerrilla filmmaking List of American independent films Interstitial art Live actionanimation Low-budget Major film studios Masala Maximalist film Message picture Meta-film Minimalist film Mockbuster Modernist film Musical short Mythopoeia Neorealist No-budget One-shot Paracinema Participatory Poetry Postmodernist Reverse motion Satire Sceneggiata Semidocumentary Serial Shinpa Short Silent Slow cinema Socialist realist Sound Underground Video nasty Vulgar auteurism Z movie
So where do you stand? Which is your favorite?

1. Imagery: Creating vivid mental images through descriptive language.
   
2. Metaphor: Using figurative language to imply a comparison between unrelated things.
   
3. Simile: Drawing comparisons using "like" or "as" to highlight similarities.
   
4. Rhyme: Employing words with similar sounds at the end of lines.
   
5. Meter: Organizing lines with a rhythmic pattern, often in syllabic beats.
   
6. Alliteration: Repetition of initial consonant sounds in neighboring words.
   
7. Assonance: Repeating vowel sounds within nearby words for musicality.
   
8. Personification: Assigning human characteristics to non-human entities.
   
9. Symbolism: Using objects or concepts to represent deeper meanings.
   
10. Enjambment: Continuation of a sentence without a pause beyond the end of a line.
    
11. Repetition: Emphasizing ideas or emotions by repeating words or phrases.
    
12. Free Verse: Unrestricted by traditional poetic structures like rhyme or meter.
    
13. Stanza: Grouping lines together to form a distinct unit within a poem.
    
14. Theme: Central idea or underlying message explored in the poem.
    
15. Tone: The poet's attitude or emotional stance toward the subject.
    
16. Connotation: The emotional or cultural associations attached to words.
    
17. Irony: Presenting ideas in a way that signifies the opposite of the literal meaning.
    
18. Allusion: Referencing another work, person, or event to enrich meaning.
    
19. Syntax: Arrangement of words to create specific effects or convey emotions.
    
20. Diction: Careful choice of words to convey a particular meaning or atmosphere.
    

Hi?
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Differential calculus (concerning rates of change and slopes of curves), Integral calculus (concerning accumulation of quantities and the areas under curves) ETC…
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Trigonometry Angles, Unit Circle, List of Trigonometry Formulas, Trigonometry Basics, Euler’s Formula for trigonometry, trigonometry functions etc…
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Analytical chemistry, Biochemistry, Environmental chemistry, General Chemistry, Organic Chemistry & Inorganic Chemistry, Physical chemistry, Polymer and materials chemistry, Spectroscopy and crystallography, Thermodynamics, Bio Labs, Chemistry Labs ETC…
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Ecosystem and interdependence, Cellular structure and function, Anatomy, Body system, Botany, Genetics, Molecular biology, Population Biology, Evolution, Genomics
· BUSINESS, ECOOMICS, FINANCE, INVESTEMENT AND ACCOUNTING
Analysis of Financial Statement Presentation, Banking, Financial Institutions, and Society, Business and Economic Forecasting, Financial Management of the Firm, Financial Modeling, Fundamentals of Business Statistics, Mergers and Acquisitions, Organizational Behavior, Principles of Macroeconomics, Principles of Microeconomics, Statistical Methods in Business AND Venture Capital and Private Equity etc…
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+1 228 367 5048 (Call, Text and What's App)
Moraine#1489 (Discord)
Thank you in advance for your consideration.

Hi?
Do you need help with your technical assignments and exams? I can ace the following courses for you at a reasonable price.
Courses I can Ace for you...
NON-TECHNICAL AREAS
· English and Literature (Poem or book analysis; time period or context analysis; character analysis; literary analysis etc...)
· Business and Marketing Papers (Case studies; Ethics and Sustainability; Policy papers; environmental analysis; theoretical and practical frameworks; VRIO analysis, 5 Forces Analysis; Concept papers etc...)
· History and other Humanities
· Psychology (DSM-5 Diagnostic Criteria; Personality Theories; Emotion and Cognition; Statistical Concepts; Mental Examination etc...)
· Ethics and Philosophy (Relativism; Categorical imperative; Consequentialism; Virtue Ethics: Stoicism; Kierkegaard, Nietzsche, David Hume etc... )
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Descriptive Statistics; Frequency Distribution, Central Tendency, Variability or Dispersion…
Inferential Statistics; Regression Analysis, Hypothesis Tests, Confidence Intervals etc…
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· CALCULUS
Differential calculus (concerning rates of change and slopes of curves), Integral calculus (concerning accumulation of quantities and the areas under curves) ETC…
· TRIGONOMETRY
Trigonometry Angles, Unit Circle, List of Trigonometry Formulas, Trigonometry Basics, Euler’s Formula for trigonometry, trigonometry functions etc…
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Analytical chemistry, Biochemistry, Environmental chemistry, General Chemistry, Organic Chemistry & Inorganic Chemistry, Physical chemistry, Polymer and materials chemistry, Spectroscopy and crystallography, Thermodynamics, Bio Labs, Chemistry Labs ETC…
· BIOLOGY
Ecosystem and interdependence, Cellular structure and function, Anatomy, Body system, Botany, Genetics, Molecular biology, Population Biology, Evolution, Genomics
· BUSINESS, ECOOMICS, FINANCE, INVESTEMENT AND ACCOUNTING
Analysis of Financial Statement Presentation, Banking, Financial Institutions, and Society, Business and Economic Forecasting, Financial Management of the Firm, Financial Modeling, Fundamentals of Business Statistics, Mergers and Acquisitions, Organizational Behavior, Principles of Macroeconomics, Principles of Microeconomics, Statistical Methods in Business AND Venture Capital and Private Equity etc…
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Data analysis, Statistic, Database systems, Django, Machine learning in R and Python Coding, R SQL, SPSS, Stata SAS Jamovi MS Office, Programming, Excel ,ppt and Word Tableau, Jupyter Notebooks, Spark networking, Data structures and Algorithms etc...
Contact me through,
[morainechiri@gmail.com](mailto:morainechiri@gmail.com)
+1 228 367 5048 (Call, Text and What's App)
Moraine#1489 (Discord)
Thank you in advance for your consideration.

Hi?
Do you need help with your technical assignments and exams? I can ace the following courses for you at a reasonable price.
Courses I can Ace for you...
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· English and Literature (Poem or book analysis; time period or context analysis; character analysis; literary analysis etc...)
· Business and Marketing Papers (Case studies; Ethics and Sustainability; Policy papers; environmental analysis; theoretical and practical frameworks; VRIO analysis, 5 Forces Analysis; Concept papers etc...)
· History and other Humanities
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· Ethics and Philosophy (Relativism; Categorical imperative; Consequentialism; Virtue Ethics: Stoicism; Kierkegaard, Nietzsche, David Hume etc... )
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Descriptive Statistics; Frequency Distribution, Central Tendency, Variability or Dispersion…
Inferential Statistics; Regression Analysis, Hypothesis Tests, Confidence Intervals etc…
Other Tools; SPSS, ANOVA, Minitab, MATLAB, R etc…
· CALCULUS
Differential calculus (concerning rates of change and slopes of curves), Integral calculus (concerning accumulation of quantities and the areas under curves) ETC…
· TRIGONOMETRY
Trigonometry Angles, Unit Circle, List of Trigonometry Formulas, Trigonometry Basics, Euler’s Formula for trigonometry, trigonometry functions etc…
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Analytical chemistry, Biochemistry, Environmental chemistry, General Chemistry, Organic Chemistry & Inorganic Chemistry, Physical chemistry, Polymer and materials chemistry, Spectroscopy and crystallography, Thermodynamics, Bio Labs, Chemistry Labs ETC…
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Ecosystem and interdependence, Cellular structure and function, Anatomy, Body system, Botany, Genetics, Molecular biology, Population Biology, Evolution, Genomics
· BUSINESS, ECOOMICS, FINANCE, INVESTEMENT AND ACCOUNTING
Analysis of Financial Statement Presentation, Banking, Financial Institutions, and Society, Business and Economic Forecasting, Financial Management of the Firm, Financial Modeling, Fundamentals of Business Statistics, Mergers and Acquisitions, Organizational Behavior, Principles of Macroeconomics, Principles of Microeconomics, Statistical Methods in Business AND Venture Capital and Private Equity etc…
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Thank you in advance for your consideration.

"In the quest for knowledge, we often find, A chain of "whys" that intertwine. Each answer found unveils a door, To another "why" we can't ignore.
This infinite regress, a graceful dance, Of questions and answers in endless chance. For every truth that we unveil, Another question trails its tail.
It's the beauty of the curious mind, In every "why" new worlds to find. An eternal journey through the maze, Of life's great questions and wondrous ways."
It think it compliments the notion that we lack free will. I believe this so because I think there is an answer to every "why", the information just isn't readily available to us. So it leaves room for speculation, judgement, and misunderstanding.
I think you don't need to know the answer to every why, you just need to know that there IS an answer, no matter how unobtainable it is.
With this information, I believe it should be realised that there is a reason in which all causes emerge, and that all actions are exculpatory as a result of that understanding.
For example, we can use the argument of Charles Whitman. One brain tumour is the equivalent to the net biological and environmental luck that someone inherits which is cause for their amoral behaviours in life the answers just aren't as readily available and are much harder to obtain. Just like turtles all the way down, it's also like brain tumours all the way down.
In an effort to tie in why I believe this poem helps, I think if we were to have absolute knowledge as to why everything was caused, it would ultimately free all actions from blame, resulting in a more compassionate world.
Turtles, brain tumours and whys... all the way down...
What do you think?

...and also a comparison to the nuke allegory!
So this post is a means to seriously examine two things Godzilla stands for in a comparative way. As a symbol (or a much more direct representation) of nuclear weapons (or man's arrogance and cruelty against nature in general), and as a physical god. Of course, from work to work Godzilla can stand for much more, but these two are the ones I focus on because they are the most important to me. I should also note that I "take sides" here but I am well aware that that's kind of stupid and that ideally we enjoy all reflections in each their time. The reason I take sides is more so because it's fun and because I saw an opportunity to talk about something here that I don't see get talked a lot, thanks to the recent "Zeuszilla" meme. People state their feelings of awe about the "godly" aspect of Godzilla all the time, but there's no real reflection of it that I've seen. And I decided to do it half seriously.
Though... I should say, I have no credibility to do a real study. It should probably have been done by someone much better versed in mythology and maybe even in the movies. I apologize for what I get wrong.
But what do I mean by physical god? I define it as a god that represents a force or aspect of nature (or the whole of nature) and has immense power over this aspect (or over the whole of nature) but is still a person or a living thing in the flesh. If they are ever referred to as immortal, it is because they are simply too hard to kill, and not because it is a literal principle that they can't be killed. Godzilla is almost always this kind of god, though sometimes he has an incorporeal aspect, or for ultima's case he is beyond universal. But I don't think we can really make the case for those guys anyway that they are the kind of god we mention here. And we also run into them a lot in mythology, as for Zeus... He is certainly depicted quite often in such a way in media, though I am not sure if he was conceived in that way very often in ancient times, and I'm not sure anybody else knows that either. Maybe we can refer instead to modern day Hellenists? I don't know, I won't ask just for this post. I'm not that committed.
In any case, the exact limitations of such a being matters for whether we'll call it a physical god or not, but it doesn't matter for the sake of this discussion, because what truly matters here is the conception of a mythological physical god and Godzilla both as forces of nature that also act on it to order it from a place of authority. They are bound and not bound by the limitations of nature, at the same time. But I will extrapolate on this further down the post. And I think I am allowed to use this kind of conception to do the comparison, because, again, it's for fun, and we can assert that some mythic gods and the G-man has been conceived that way at least by some and certainly by media. After all, taking Zeus for example, several media makes references to his immense strength, but also says that even he is not above his fate, and if I remember right this conception even features in the Iliad. And I don't need to make examples for Godzilla. But will you take that conception of Zeus seriously as representative of mythology? That's up to you.
Now, I will mention that to make things easier for me I've, not just at the beginning of the post but in fact also for the rest of it, narrowed things down to Zeus to represent the "typical physical god" and Legendary Godzilla to make the comparison. I know that Legendary is in some aspects not very much like the Japanese Godzillas, which supposedly represent the essence of Godzilla more accurately. Once again it's up to you if you want to see this comparison solely for what it is or if you want to extrapolate it to other Godzillas and other physical gods. Is this just between one modern version of Godzilla and some modern media depictions of Zeus, or does it go beyond them? Or maybe it's ridiculous even if we keep it to one version of Godzilla and a few depictions of Zeus? You tell me.
Similarities between Zeus and Legendary Godzilla
1-Both are kings of their "pantheon". In both cases, "king" is far from just an endearing term, but a literal title that makes known their state as ruler of the earth/cosmos.
2-Both became king through applying violence to other gods/titans. Both continue to use much force.
3-Despite much use of force, they are also recognized as being wise enough to use that force to keep things running well.
4-Besides persons in flesh with power over these aspects, both are also seen as personifications of an aspect of nature. And, of course, Godzilla is not a robot literally created by the use of human technology, but was present in nature before humanity and was more accurately awakened by them. So similarly to Zeus being angered by, let's say, human hubris and becoming MORE present, Godzilla can be awakened and angered by human hubris and become MORE present. It's maybe more similar to a bounce between two players than one player and a wall.
5-Both were worshipped by humanity and given various sacrifices.
6-Both assisted humans in warfare (though, fair enough, in Godzilla's case it's more like humanity aids him)
7-Both have a muscular physique.
8-Both are revered as heroic figures and saviors but are also feared by humans.
9-Both have a power that shines brightly and that identifies them but was also given to them by an external force.
10-Seemingly well intentioned.
11-Is usually believed to be immortal.
12-If Zeus is interpreted as being weather events personified, both seem to have met the recent lack of human worship, with total apathy.
Now for some more complicated "similarities" that I shy away from counting with the others because they may be more controversial.
1-Zeus descends from titans. Godzilla is a "titan". Ok, this one is not complicated, it's just a half similarity.
2-They are both upright standing figures. I guess I have to expand on why that matters. I think there's something to say about the humanity of the greek gods that makes one think they represent both raw nature and, paradoxically, the power of man and civilization of controlling and dominating this nature and becoming above it. I believe that this exists as a subconscious aspect of these gods even if it's not a conscious thing, after all, it would be strange to think that Zeus can send storms that hurt humans and civilization and then also stand for their efforts against such disasters. I think you can see this in Godzilla as well. I guess it's a bit of a stretch to posit that him standing upright is because he also stands for humanity, it's more than likely because in the 1954 movie he was modeled after the t-rex and that's how they were thought to stand at the time. But I think this sort of effect has evolved over time even if it wasn't present to begin with. It fits in well with him often working with humanity, and also in a specific moment in GvK when Godzilla gets fed up with Kong and "goes feral" by switching to a quadrupedal posture. In theme, humans are an animal above the other animals, and godzilla is a monster above the other humans, and the old gods are both nature and above it.
Dissimilarities between them
1-Zeus is very sexually active and has sired many offspring. Godzilla does not seem to have sired any offspring and does not seem to have a sex drive at all, though this could easily be because his species is extinct.
2-Godzilla is aquatic, Zeus is aerial.
3-Zeus is usually active and involved in his community, Godzilla is more stand-offish, only stepping in when he has to.
4-Their physique is, besides muscularity and bipedalism, quite different.
5-Zeus is a Greek deity, Godzilla is in real life Japanese fictional monster and in universe a deity of various regions, though none seem to be Greece. (originally Odo Island, in the monsterverse we see a temple dedicated to him in the Atlantic and he also had a presence in the Hollow Earth, as well as him being depicted in various cave paintings)
Similarities between nuclear weaponry and Legendary Godzilla
1-Both are radioactive.
2-Both are extremely destructive and if they go out of order they could threaten the entire ecosystem. Godzilla is among the most powerful monsters and nukes are among the most powerful weapons of humanity.
3-Nukes were created to aid america in world war 2. Godzilla in the monsterverse was awakened by american nuclear submarines and was then repeatedly fed and strengthened by nukes. And originally in the 1954 movie he was awakened by hydrogen bomb tests, though sometimes it is said he was "created" by them instead. I mentioned this before, but it's less clear in 1954 than in the Monsterverse films.
4-Nukes in war can either be seen as an insult against humanity and nature by the misuse of science or as a quick burst of violence that prevents further violence that may come more slowly but also in greater casualties. This is a similar discussion to the in-universe discussion of whether Godzilla is a savior or a monster.
5-The appearance of both in the modern age has transformed their respective worlds. Nukes have given way to the cold war era and to fears of MAD scenarios in politics. The apperance of Godzilla and the other monsters have clearly transformed the monsterverse world similarly. There are also factions that try to gain control over the monsters for their own gains and other factions that try to give the monsters and especially Godzilla agency so that balance can be kept.
Dissimilarities between them
1-Legendary Godzilla's radiation never gives anyone cancer or anything like it. In fact the environmental destruction the monsters do is somehow only portrayed as something good, a sort of necessary destruction to heal the ecosystem hurt by industrialism. If i missed a scene where a negative impact was shown, I only care and apologize as long as it's not a background detail. background details don't count.
2-As a sort of continuation of similarity 4, The solution to avoid further disastrous use of nukes was and is presumably for states to slowly abolish them and in the meantime not provoke each other too hard. the solution for the rogue monsters problem seems to be to support the good monsters like Godzilla in favor of the bad monsters. "Let them fight", but also support the good guy basically. This seems awfully convenient if you see Godzilla in this movie as representative of America instead of Japan, and I do. In any case it's convenient even if we acknowledge only that he seems to work with the American military all the time. Way too convenient.
3-As a sort of continuation of similarity 5, the problem people of disastrous scenarios of nukes are almost always states, and the people who oppose the nukes are activists that often find themselves in necessary and unfortunate opposition to their own country. But the problem people in the monsterverse movies are private enterprises like APEX and eco-terrorist organizations like that of Alan Jonah, and the people opposing them often work with the government. The blame has shifted from governments to third parties. Though... Monarch gives a more nuanced impression of it's events than the movies, and Lee Shaw is somewhat of an outlier as an anti-government character that is not portrayed as a villain, though he also sides with Godzilla. I still see the moral relations of factions as generally a dissimilarity, as there's no one in the movies that strictly says "No monsters!" and is taken seriously. Even the character of Mark Russell who hates Godzilla because he killed his son, undergoes character development to begin to tolerate him. 1954 godzilla as well as modern day politics is anti-nuke, the monsterverse is more like "use nukes well" so long as you take Godzilla as an analogy of a nuke. Personally, I am still conflicted about it.
4-Nukes and Godzilla look nothing like each other. No "they are both fat" does not count.
In totality, counting both the numbers and significance of similarities and dissimilarities, it seems to me that Legendary Godzilla is more similar to a physical god than a nuke. But this is heavily a matter of opinion. So I welcome rebukes and different opinions.

1. Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
   
2. Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
   
3. Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
   
4. Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
   
5. Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
   
6. Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
   
7. Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
   
8. Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
   
9. Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
   
10. Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
    
11. Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
    
12. Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
    
13. Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
    
14. Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
    
15. Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
    
16. Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
    
17. Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
    
18. Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
    
19. Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
    
20. Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.