I wasn’t a hardcore fan back then, but I definitely listened to her songs everyday, bought merch, got tour tickets…stopped being a fan after the whole Matty thing.
Just my theory and opinions here.
I think she did love her relationship with Joe, they did have great years. Then who knows what, probably the reconnected back with Matty, the new rush made her feel like “that’s what I really want! My soulmate!”, she was probably over Joe right away.
It’s disgusting to me that, even though she’s the one moved on right away, she still had to “win” this breakup. Had all her friends unfollow Joe, all those acting moments during the tour, happily enabling fans to attack her ex.
Then MH is over then Travis arrived. Like many said before, she likes the feeling of in love. I think she doesn’t know that part anymore, surrounded by yes men, ass kissing “friends”, even there’s love it’s not as attractive as being worshipped. After all, love comes with honesty and equality.
But one thing she knows is hate. She holds a grudge so long, even people like me (I consider myself hard to let things go) are weird out by her.
A friend of mine once said, “yeah I know she’s popular she’s pretty, but I feel like there’s nothing real about her, like, what does she actually enjoy doing?”
TTPD is so boring. Big words don’t mean poems. Big words sad vibe talking about some guy, always about guys, my god there are more than just men in this world. Always the victim, never the “maybe I am somewhat responsible”. Idk, it’s not very relatable when a billionaire white woman talks about things.
Also fans comparing her influence with Beatles and MJ. People can immediately all go “na-na-na-na-na” with Hey Jude, Thriller plays during Halloween and crowds feel it right away. That’s influence. I’ve been to many events/parties, when a crowd is mixed with all different ages, songs like Dancing Queen, Bohemian Rhapsody play, everyone just join, it’s like a spell lol.
One more thing, it’s funny how she sings about men missing their chance to true love by not staying with her…come on…

How do the poets present the effects of conflict in Poppies and one other poem?

In this essay, I am going to explore how Jane Weir presents conflict as affecting someone not directly involved in war by analysing how Weir presents the mother of a young soldier feeling during a war. I will contrast this by discussing how Simon Armitage presents someone directly involved in the Iraq War (Guardsman Tromans) as being mentally scarred by his involvement. I will mainly focus on how war effects people emotionally / mentally, whilst also exploring how Armitage presents the physical effects of conflict in Remains. Additonally, i will consider how the idea of propaganda during wartime affects how people feel about the conflict.
In Poppies, Weir decided to make the poem be through the lens of a mother. The name of the mother or son is never given, rather she utilises vague pronouns such as “You” to describe the son, perhaps this was deliberate as to make the poem reflect a universal experience, which may highlight how many people conflict can effect, therefore presenting conflict as having a major effect, not just on the people fighting it, but everyone. Also, “Armistice Sunday” is a combination of Armistice Day and Rememberance Sunday, perhaps Weir has left the war being remembered ambiguous, as to increase the number of people who share this experience, yet again foregrounding the sheer number of people who have felt this way. It creates the impression that Weir has made this poem to act as a microcosm for the shared experience of every mother with a young son going to war, therefore reflecting the sadness and fear those not fighting in the war feel, raising the awareness of this issue to those who hadn’t considered it as a result. In contrast Armitage created Remains to highlight the experience and effect of conflict on only one person – Guardsman Tromans. Remains juxtaposes Poppies, since Remains cannot really be seen as an attempt by Armitage to reflect a common experience from war. This is because the poem can literally be viewed as a first hand account from Tromans himself. This may be indicated by the fact that Armitage has made the poem have an unreliable narrator, which can be interpreted as Tromans himself trying to distance himself from the “looter” that he killed, as if it will alleviate him from the guilt and psychological effects of the killing. This is seen at the start of the poem where the looter is described as being “Probably armed, possibly not.”. Here, two adverbs “Probably...possibly” are utilised in short succession to foreground how Tromans is trying to make himself believe that the looter was a danger to him, which would give him a reason to kill the looter, however, the comma acting as a hesitation and “Possibly not” suggests Tromans believes the looter couldn’t hurt them. When coupled with the fact that Tromans is so clearly emotionally disturbed by this moment, one can interpret that the man was not armed, perhaps being the reason for Tromans guilt.
Also, in the first half of Remains Armitage presents the physical effects of conflict by describing the brutal murder of the looter. He creates a semantic field of agony and suffering which contrasts the playful imagery created before “Tackle some looters...”. As a result the death of the looter is foregrounded via the juxtaposition, as it would have made the reader shocked. Also, the verb “Tackle” suggests that Tromans before the murder may have not viewed war that seriously, perhaps indicating he has been so greatly disturbed by the murder as it made him realise the war was real. It also gives connotations to the WWI propaganda poet Jessie Pope, who convinced many young men that war was “a game”. The idea of propaganda affecting people during conflict is explored in Poppies too. In the first two stanzas it is unclear whether the mother is sending a child of to school, or a young man to war. This may suggest how the mother was affected by propaganda, since she is not immediately frightened by her son going to war. Additionally, the son is described as being “Intoxicated” when the world is presented to him. This verb may suggest the young man as being almost drunk on excitement, like he himself believes that the war will be a fun game, rather than a horror. Whilst it may seem the mother also believes the war may be a “game”, Weir utilises biblical imagery through the hair of the boy being described as “gelled blackthorns”. “Blackthorns” may allude to the crown of thorns Jesus wore during his crucifixion. As a result, it could be inferred that the Mother thinks her son is being sent to war as a sacrificial lamb, undergoing great pain to ultimately assist in salvation (ending the war).
As discussed earlier, Armitage creates a semantic field of agony through the way he describes the looter’s death in Remains. An example of how this is achieved is through the declarative metaphor “I swear, I see broard daylight on the other side”. “I swear” suggests that Tromans wholeheartedly knows the severity of the murder. This further suggests just how significant the mental effects of the war have been on Tromans, as he has replayed this scene so many times he is fully sure this happened. “Broard daylight” is visceral imagery created by Armitage, suggesting the man was shot so many times there is a hole big enough to see daylight on the other side. This is coupled with the euphemism “Sort of inside out”, this almost suggests that the looter was in such a bad state that Tromans cannot even bring himself to describe the image, or that his vocabulary is this limited, which foregrounds how this experience is uniquely his, as the narrative voice reflects Tromans own. By using these techniques, Armitage presents the physical effects of war as being strong enough not just to kill someone, but to completely destroy the body itself.
Finally, both of the poets highlight how the effects of war are long-lasting on those affected. In Remains, Tromans’ PTSD is shown in the second half of the poem. This is after the volta “And then I’m on leave”, Armitage suddenly includes a volta after the description of the murder to show Tromans’ poor psyche due to his PTSD. Whilst in the first half, Tromans clearly recounts his experience with high detail, the second half shifts in topic and location suddenly, suggesting that Tromans is entering and exiting the world, perhaps the “drink and drugs” he is self medicating with are causing him to lose large track of time. But i think Armitage does this to show how Tromans’ PTSD occurs so often and suddenly. It also explains how Tromans is able to recount his experience in Iraq so clearly. As he has replayed the moment so many times, showing how conflict affects people long after the fact. Similarly, in Poppies the mother hopes to hear her son’s “Playground voice”. This suggests the mother wanting to remember her son as a child, we can interpret he is dead as she is at the “war memorial”. By doing this, Weir creates the impression that the Mother has, and never will have closure regarding her son’s death, as she wants to hear him one more time. We can infer his death was a result of war, therefore showing how war effects people after it has ended, since people are still grieving for those who died in the process.
In conclusion, both Weir and Armitage present war as having long-lasting powerful effects, both emotionally and physically in Armitage’s case. They present how war has wide-reaching effects, as well as arguably stronger effects on individuals directly involved in conflict. The theme of propaganda stemming from conflict affecting people is also suggested in both poems.

Below I summarize and paraphrase Fanon's essay into a schematic fashion. Hopefully this will be useful to some.
Original: https://proletarian-library.neocities.org/en/on-national-culture

The three phases of the colonized intellectual

Phase 1: Racial and regional culture.

Colonialism asserts that the colonized are barbarians without nations or culture, who need colonialism in order to be saved from themselves. It does not bother with making a special case against the existence of any individual nationalism, but for the sake of efficiency, instead chooses to deny the existence of culture on regional or racial grounds. This also has a reciprocal effect on the colonizing Europeans nations, forming them into an international mass of whiteness.
In an attempt to negate the Europeans' claims, the colonized intellectuals assert an international or interregional culture, such as Pan-Africanism, or Pan-Arabism. The colonized intellectual first finds the qualities that define white culture: dull reason, stifling logic, rigidity, ceremony, protocol, skepticism - qualities of the capitalist colonialist venture and the cold calculation of surplus value. Within these limits, the intellectual then defines the regional culture by finding the opposite of those qualities: poetry, exuberant nature, naivete, petulance, freedom, luxuriance - portraying the colonized as irresponsible. Although it emphasizes international solidarity against colonialism, the simple negation of racial capitalist culture does not culminate in an overall antagonistic contradiction to colonialism. The intellectual who forwards it desires most of all to be seen as equals to the Europeans. They attempt to combat the colonizer on their own terms, resorting to racialized claims to match the concept of whiteness and the vision of a universal Europe. Equal footing in this case then could only mean that the colonized intellectuals meet the European intellectuals as the exploited to their exploiter.
However, soon objective problems undo this attempt at regional culture. The intellectual finds that the fight against colonialism differs in progression amongst the nations of the region. They abandon their asserted regional/racial culture once these objective problems make it clear that the decisive unit of struggle against colonialism is the nation, not the region or race. As culture is a reflection of struggle, it too differs amongst the nations, revealing that culture is first and foremost national. To be connected to reality, productive, and substantive, culture must be a national culture, not a pseudo-continental culture. The problem with the racialized cultures, is that they are a negation without transcendence of the colonialist's whiteness, whereas national culture is the progressive negation of the colonialist claims of barbarity. In order to really find a regional culture and cultural unity of a region, first there must be national liberation for all nations in that region. Specifically national problems expose racial universalization as immaterial, returning the intellectual back to the nation.

Phase 2: Stuck between the colonizer and the masses.

Phase 2A: Persuading the colonizer with defensive shallow national culture.

As the intellectual returns to the nation, their approach to the national culture has been altered. In the period preceding colonialism, the intellectual has a dynamic attitude towards the people’s culture, but after colonialism, this is replaced by a static attitude full of concrete particularism. The intellectual claims that national culture is the folklore of 'the people', turning it into simple self-discovery and at attempt at defining an abstract people through historical appeals. National culture becomes defined by narrow terms and limits, a rigid structure. Particulars of the nation are elevated to mystical proportions to signify the nation's historical roots. The intellectual brings forth cultural items in a mechanical way, finding the most surface level cultural items to display the existence of a national culture. It is loud, it is bold, and it is cliche.
This aesthetic of particularism is a defense mechanism to preserve what remains of the old culture and life before colonialism. It is also an attempt to assert the nation to the colonizer. The intellectual hopes they can stop the colonial occupation by putting the shallow culture under the occupier's nose. But to do this, they must necessarily make the culture comprehensible to the occupier, translating the culture into a language they will understand. This locks the intellectual into the style and aesthetic of the colonialist, dooming the culture to shallowness, and especially making it alien to the national masses.
The national masses have their own relationship to the national customs. Following conquest, they continue to practice the customs of pre-conquest culture. They do this as a means of asserting their nationhood, in the only way they know how. In doing so, they prove by themselves that their nation does exist, despite the colonizers' claims to the contrary. This demonstration of nationhood upsets the racial (nation denial) justification of colonialism and is subsequently prohibited by the colonizers. When, in spite of prohibition, the masses go on practicing the customs, the colonizer responds with repression, calling forth a correspondingly violent reaction by the colonized. Such violence unites and emboldens the national masses, furthering their claim to nationhood.
But this practice and defense of customs is not in itself a struggle for national liberation. Rather, the violence is too only a defensive reaction to prevent losing what little remains of material life before domination. Customs are built by, and reflect the needs of, struggles that existed before the fight for national liberation. In their practice, the masses parade out something that is dead and try to pretend it is alive. Culture, on the other hand, reflects the living, always adapting needs of the present. Culture becomes solidified into custom through changes in the economic structure. Thus, asserting that customs are the primary symbol of the nation deteriorates the culture, making it lifeless, highlighting the past while ignoring the issues of the present. However, there is a positive side to the masses continual practice of customs under colonialism. By experiencing the masses’ demonstration of nationhood, the intellectual sees that the nation is being created through the masses' struggle against colonialism.

Phase 2B: Moving towards the masses, recreating their struggle.

The intellectual starts to identify with the masses through their movements and their development of national consciousness, moving the primacy of the contradiction within themselves towards the masses. The longer any open battle and combat for national liberation persists, more intellectuals will be moved from phase 2A, through 2B. The national masses' staying power, their ability to persist in their struggle despite repression, setbacks, and any other attempts to stop their struggle, impresses the intellectual and impels them to stop whatever else they were doing.
The intellectual begins to openly criticize colonialism, rather than attempting to persuade it. When the intellectual first attempts to prove the existence of the nation, they, in a kind of clumsy way, raise above all else the particulars of custom. But now, the masses have displayed their fresh vibrant quality of creation in the struggle. By counterposing this quality of the masses to the qualities of the colonial administrator, the opposition between the colonialist and the intellectual are brought to an antagonistic contradiction, progressing past the racial and regional culture of phase 1.
The intellectual’s work now changes forms, from poetry to novels, short stories or essays. The work becomes more direct. The abstract indirectness of poetry fades away as the intellectual becomes involved in the masses' struggle. The content of the work changes as well. Gone are the intellectual’s emotional cathartic outbursts towards the colonizer, which were always acceptable to the colonizer anyway. As long as violence is left to the domain of art, and doesn’t make its way to the masses, these outbursts will always be applauded.
But now the audience is shifted. In phase 2A, the audience is still the colonizer, while in phase 2B the masses become the audience. The intellectual now insists on describing the sacrifices of the national masses. They attempt to capture the masses in their moment of national creation. The intellectual analyzes and describes the moment of revolt with unnerving precision, creating a careful rendition of truth. But Fanon asks if this version of truth is real, or if it is outmoded, irrelevant, called into question by the actual reality being created by the masses.
Despite their rationality and commitment, the intellectual still fails to live up to the rationality and irreversible commitment displayed by the masses actually in motion. The intellectual is not capable of showing the reality of the nation this way, because culture is the continual never-ending struggle of the nation. As soon as the artist sets down to catalog the moment, it has passed. The intellectual that attempts to create culture and a work of national significance by simple replication of motion is chasing a dead end.
The intellectual who is intent on describing the national culture must make a full break with their colonial side. The intellectual is still caught in a contradiction that makes the creation of culture impossible. They must decisively define the masses as their subject. This objective choice must first begin within the intellectual, through recognizing their division between their colonialist education, and the colonized nation. Fanon calls this the intellectual’s alienation. This alienation is a result of what the intellectual has taken from colonialism. The transaction has been one-sided; the colonizer did not actually give what the intellectual took. Everything ‘given’ has been in the interest of colonialism, making the intellectual the one who was really taken. In an attempt to reverse what they gave, the intellectual proclaims against the colonizer, proclaims for the nation, proclaims against being divided, attempts to reunite with the nation through old dead customs. But to really reverse what was taken, the intellectual must give instead to the masses. The intellectual must reunite with the masses and the living culture of the present struggle. This will suddenly call the alienation into question.
The intellectual of 2B begins with simply highlighting the contradictions between the nation and the colonizer. But culture is authentic when it reflects the reality of the nation, and the reality and culture of the colonized nation is not just its life under domination, but actually its liberation. The culture describes where the nation is going, not just where it is at or where it has been, calling upon the whole people to join in the struggle for the existence of the nation. They must move to rousing the masses to liberation.

Phase 3: Revolutionary national culture

The intellectual transitions into their role of delivering marching orders for the liberation struggle, becomes more direct and calculated. It is only by calling the national masses to combat that the intellectual can assist in proving the existence of the nation. All other attempts at proving the nation's existence are for the colonizer only. The present colonial situation is no longer a matter simply for the intellectual, for their personal anguish, which they only communicate to the oppressor, but instead is channeled out to the national masses in every direction. The intellectual is called to the masses in their struggle for national liberation, but just the same, the intellectual calls the masses to rise for national liberation. Fanon’s word choices: rouse, galvanize, combat, signal that this is not a portrayal for artistic sake but for the purpose of revolution.
Only the intellectuals who are rousing the masses for the current national struggle at hand, speaking directly to the masses, are creating works of national culture. In all other roles, they fall short. Until they reach this point, the culture of the nation does not exist for the intellectual. They cannot create national culture, nor proclaim the nation by extension, until they rouse the people to combat. Then the intellectual can finally create, and finally becomes creative. To fight for national culture means fighting for the liberation of the nation. The intellectual who wants to fight for culture, must take part in the action by spurring the people into further action, fostering hope and using the past to open up the future.
Phase 3 creation does not 'trifle with the reality' of the nation, a characteristic of phase 2 creation, but rather reinterprets the images of the country for revolutionary purposes. It also finds the exact moment of the struggle, place of action, and ideas around which culture will form. The word 'will' is the main difference between phase 2 and 3. Phase 2B describes where the moment of struggle took place, rather than where it will take place. Phase 2B tells us about the struggle after it has passed, while phase 3 leads and amplifies the wave of the struggle.
Phase 3 literature is pedagogical. It presents things in a clear manner, and its account is meticulous and develops progressively. The most esteemed praise Fanon places upon the intellectual is to say that, through understanding their creation of national culture, the masses have performed an intellectual and political act:

To understand this poem is to understand the role we have to play, to identify our approach and prepare to fight.

This is the outline to any combat. The colonized national masses understand their position within the chain of command, the battle plan, and are ready to deploy at any moment. Fanon says that all colonized subjects will perform these acts when they receive the message of the national culture.
The intellectual and the masses' real movement against the colonial world is the determining factor for the culture. National liberation defines the national culture in explicit terms, determining the shape the intellectual’s work takes. Customs in all art forms will be upset during the revolutionary upsurge, updated to be relevant to the current struggle. The rough skeletons of customs are kept while the content and form are changed, transforming customs into living dynamic culture. New amateurs join in the creation of national culture, pushing old intellectuals to adapt to the new forms. Comedy and farce as artistic forms become less important, and drama is no longer simply for the intellectual only, but becomes part of the national masses regular experience, part of the struggle. Characters are portrayed in action or in combat, or instead of depicting single subjects, multiple people.
The degree to which the new culture reflects the old customs, is only determined by the capacity for the old customs to be appropriated to the new ends of advancing the national struggle. In practice, appeals to custom are not excluded by a set of rules, but rather the awakening to the real national culture, which is always in the moment changing, naturally excludes custom by definition. Custom is stagnant and in contradiction to the radical reality grasping required by revolution. National culture deteriorates and erodes all customs obsolete to the present. Involving or carrying through the customs is not the critical part of the formation of the new national culture, but rather the nation adapting and struggling against their colonialist, neocolonialist, or imperialist reality, creating national culture along the way. The intellectual’s appropriation of the nation's history is progressive only in the context that it is used for national liberation.

Summary

We began with the intellectuals' attempt to negate the European colonialists' claim that the colonized have no culture. And this attempt has gone through three phases, where only the final phase has not been a dead end. In the first phase, the intellectual is insignificant to the national masses. This is a historically transient phase, upset by national realities. In the second phase, the artist is producing for the nation and for the colonizer. It is probably the most prevalent and common phase, and the one most commodified. In the third phase, the intellectual is a revolutionary, intertwined with the masses and the creation of culture.

"AN ANNOYINGLY LONG BUT HOPEFULLY USEFUL POETRY-ESQUE PIECE OF CHAOTIC REPRESENTATION OF MY MANIC MIND" originally typed on the facebook app
These are annoying thoughts, But I guess I have to think them sometimes. Do people even like me? Does it even matter When I am in love with me? I know I'm not perfect But even my flaws Look like genius sometimes When we really boil it down. Or maybe this is just the narcissist in me.
Why would I even care When I know who I am And trust in my essence? My condolences truly For the lost ones Who live each day For the approval of others.
I mean, sure. It's fun seeing the clicks. Engagements are like a dopamine rush. But you're worth so much more empty likes. But... Then again, don't let me shame you. We all like what we like. You're welcome to that And you are loved either way.
But don't you think it would be so much better If you knew at your core That love was yours to hold? Don't you think you could sleep better at night If you enjoyed that person in the mirror? And sure, maybe this is triggering for some, I can't really say much about that. I mean, I guess I could. But that isn't my business.
I'm just here in this moment To remind you that you can have a great life. You can genuinely love yourself Flaws and all. You can choose to be yourself in life And get the most out of it, too.
So many of us are taught That the best way to be Is a composed version of who we are. But guess what! You don't need that. You deserve to be loved as you are, Imperfections and everything else.
Either read these words and believe it, Or walk away with slight annoyance. I have no control over the way you absorb my light. But one thing I hope it does Is inspire you to shine your own. And there really is no right or wrong.
I mean, I won't advocate for actively harming others, But at our core We are meant to be lovers. And there's no 1 way to be with that concept. I know, this isn't really a poem But it might look like it's meant to be On the surface. But I never cared about surface-level. I mean, sure I *care* about it, But it's not my favorite cup of tea. I prefer the messy, manic, and unimaginably wild.
Maybe that's cause I have it in me somewhere, Maybe I'm more than proud now To embrace this chaos. Cause believe it or not, The parts we deny Are the ones that tend to fly And cause the most damage. So, if you really want control, Learn to let it go. Just be who you are. Some people won't love it, But most likely, Those are the ones misaligned with you. Accept it. Embrace it. Embrace yourself.
Or...at least try to. And sure, it probably will hurt at certain points. But I'm telling you Once you push through the pain And learn how to manage it The outcome is so much better than whatever else you've known.
But then again, This might not be for everyone, And I have to humbly accept that. I have no idea if I would even read all the way through Something so heavy like this whatever-you-wanna-call-it. Yeah, I can be a mess. But you gotta love it. I mean, *eye* have to love it. That's the first step to receiving love from anyone worth loving.
And I don't know. Maybe this is my self-critic coming out, But I know I'm young in the physical. I know I have a lot to learn. Socrates did some of the most important philosophical work, In my humble opinion. And one weird thing I've found Is that when you genuinely enjoy the journey It makes it easier to learn And easier to get what you want (Debatable whether or not this is the purpose; ask your local guru) (Maybe even ask me via email if you found this chaotic post inspirational)
Another thing I've learned, Which is so hard to conceptualize for some of us, But there are people that exist Simmering in so much self-hatred and bitterness That even a whiff of you and I Openly loving ourselves Is enough to make them want to break something or lash out.
Wild. I know. My condolences for those growing souls. I can only imagine the pain you feel on a daily basis. And so sorry (but not enough obvi cause I still posted) to you If I trigger your darkness. One thing I can guarantee Is that if you allow that to sit And instead of running, you ask genuine questions, You will find yourself in a much better mood than before. Ideally.
We all have different experiences, And who the fuck am I To tell you what would work for you? The beautiful audacity, Right? Ugh. Sometimes I do hate myself. Lately at least, I've been gently battling some aggressive inner thoughts. And sure, maybe I blamed it on not doing my affirmations as much. Maybe I blamed it on jealous haterade energy. It doesn't matter. I experienced it and I had to deal with it.
However you deal with your demons is up to you. And I can only wish that you start to see the importance Of being gentle with yourself. Be kind to yourself. Cause it is an unfortunate truth of this earth realm But the only person you can truly depend on in every moment Is yourself. Even if other people intervene and help, You still need to accept that help. I mean, you could be strapped down and forced guidance. But how often do people learn from forced "help"? I don't know the answer to that; I doubt anyone's ever done a poll on this particular question. But it doesn't matter. Nothing really matters. Except... Whatever we choose to matter, obviously. And then, of course This beautiful present moment is what matters.
And wow. If you're still reading at this point, A part of my ego does want to thank you immensely, Cause it feels good to know my works aren't being created in vain. Or maybe you're reading this And you think I'm insane. I would be lying if I said I didn't care a tiny bit. But I don't care enough to make too much of a difference. Cause this was a piece of prose Straight from the subconscious dome.
Maybe I'll do these more often. Maybe I'll lose interest in the concept cause a lack of likes And you'll only see this on Patreon (shameless self promo was added to the original) Whatever. It doesn't really matter, Cause you're here with me (technically) in this moment, And that's such a magical thing.
I know, This post was a rollercoaster, And I would be lying if I told you I wasn't impressed with my chaotic mind. Cause I am. A part of my ego hates that I don't get thousands of engagements yet. But we all know it'll happen eventually (Though my soul knows that this isn't the end goal and I'm thankful to not focus on such frivolous endeavors anymore) Whenever the time is right. Whenever the energy is ultimately in alignment.
Or if, Cause life is a big "what if" sometimes. And we have to accept it. I mean, we don't really *need* to do anything we don't want to, But it helps to embrace the possibilities. To lean into the terrifying notion That maybe we are working in vain. AHHHHHH no god (That's me internally screaming for comedic effect) Maybe our efforts are silly and going to be unnoticed forever.
But then you recognize that the internet is vast And there's no way That nobody is affected by a long-ass chaotic post such as this. It's a possibility, But for my ego's sake, I have to believe otherwise. I have to believe that there's someone out there Reading these words and gaining something from them.
Or maybe not. Maybe I'm just manic And expressing whatever filtered thoughts sound slightly poetic. Maybe I'm not even real. Maybe you're not real. But wait, let's not go that deep Cause I lost my most recent book on the matter (True Happiness: The Teachings of Ramana Maharshi) And it actually was a slight disappointment. I had planned so lovingly To read and annotate that bich. But alas, Hater ass jealous energy made me leave it where it shouldn't have been.
Anyways. Let's not go that deep, Cause I know I'm way too real Even when I'm putting on a show To ever doubt my existence. But sure, Big philosophy says That nothing is real The universe is infinite But at the same time just you and I Dancing in a simulation together (there's a Lorde lyric that says this beautifully fr) Or however we want to think about it.
But let's be careful. I don't want you to think about it too deeply; You just might break the system And we'll have to start all over again. But then maybe next time You'll be a dolphin, Or a cat. I recently joked about being a cat. I would hope sincerely that I could learn how to communicate as a kitty, though. Cause I do imagine that the language barrier can be frustrating.
Hell! The language barrier between myself and "other" humans can be a pain. Anyways. I think I've made this a little longer than it needed to be, So let me thank you for being with me And you get an energetic cookie (maybe an internet 1, too? Idk how those work fr) For sharing your attention energy with me. You are very much appreciated And I hope you have a nice rest of your day/night. But obviously only if you want to.
You can choose to have a terrible experience, Believe it or not (a lot of people don't want to believe it unfortunately). And I hope you choose the ultimate timeline for your soul's growth. Unless, this ain't what your soul desires. Maybe you're just meant to have a good time. Maybe you're meant to fuck up other peoples' day So they can learn how to transmute and ignore undesirable energy. I don't know. My mind is just doing the best job right now And I hope you are treating your beautifully twisted mind With care, love, and respect. I mean, please don't treat your mind with a hammer (intrusive thoughts are intrusive and not to be trusted 99% of the time). Please Sincerely Take care of yourself today. Or tonight.
It doesn't matter what timezone you're in. Just enjoy the moment And check out the link that I provided however many paragraphs ago, Cause a boy's gotta eat And not going viral is such a meanie at this point. I have been creating content far too long to go unnoticed still. So, if you give a damn about what I've typed in long post Or you claim to care about me as a person, Share this silly post And bring whatever feeling you felt to another person.
Or don't. Continue scrolling by and get 8 years bad luck if you choose (maybe I'm kidding hehe). The weirdly beautiful thing (also terrifying at times) about life is that we each make our own choices every moment. You got to choose between what you ate this morning, Or if you even consumed anything. Sure, there are those in terrible life circumstances who couldn't even eat breakfast. We pray for them They are in our (or my own, you selfish bastard (jk)) thoughts.
Anyways. I said I would close this out And I find myself still typing. This is how manic I am lately. I should have taken a nap earlier when I wanted. But then this masterpiece of a mess wouldn't exist. And that would be boring, Right?
Okay. Truly. Sincerely. I'm done.
Have a great rest of your day/night. Peace & Joy (if you want it) Tariq Rashad G

"AN ANNOYINGLY LONG BUT HOPEFULLY USEFUL POETRY-ESQUE PIECE OF CHAOTIC REPRESENTATION OF MY MANIC MIND" originally typed on the facebook app
These are annoying thoughts, But I guess I have to think them sometimes. Do people even like me? Does it even matter When I am in love with me? I know I'm not perfect But even my flaws Look like genius sometimes When we really boil it down. Or maybe this is just the narcissist in me.
Why would I even care When I know who I am And trust in my essence? My condolences truly For the lost ones Who live each day For the approval of others.
I mean, sure. It's fun seeing the clicks. Engagements are like a dopamine rush. But you're worth so much more than empty likes. But... Then again, don't let me shame you. We all like what we like. You're welcome to that And you are loved either way.
But don't you think it would be so much better If you knew at your core That love was yours to hold? Don't you think you could sleep better at night If you enjoyed that person in the mirror? And sure, maybe this is triggering for some, I can't really say much about that. I mean, I guess I could. But that isn't my business.
I'm just here in this moment To remind you that you can have a great life. You can genuinely love yourself Flaws and all. You can choose to be yourself in life And get the most out of it, too.
So many of us are taught That the best way to be Is a composed version of who we are. But guess what. You don't need that. You deserve to be loved as you are, Imperfections and everything else.
Either read these words and believe it, Or walk away with slight annoyance. I have no control over the way you absorb my light. But one thing I hope it does Is inspire you to shine your own. And there really is no right or wrong.
I mean, I won't advocate for actively harming others, But at our core We are meant to be lovers. And there's no 1 way to be with that concept.
I know, this isn't really a poem But it might look like it's meant to be On the surface. But I never cared about surface-level. I mean, sure I *care* about it, But it's not my favorite cup of tea. I prefer the messy, manic, and unimaginably wild.
Maybe that's cause I have it in me somewhere, Maybe I'm more than proud now To embrace this chaos. Cause believe it or not, The parts we deny Are the ones that tend to fly And cause the most damage. So, if you really want control, Learn to let it go. Just be who you are. Some people won't love it, But most likely, Those are the ones misaligned with you. Accept it. Embrace it. Embrace yourself.
Or...at least try to. And sure, it probably will hurt at certain points. But I'm telling you Once you push through the pain And learn how to manage it The outcome is so much better than whatever else you've known.
But then again, This might not be for everyone, And I have to humbly accept that. I have no idea if I would even read all the way through Something so heavy like this whatever-you-wanna-call-it. Yeah, I can be a mess. But you gotta love it. I mean, *eye* have to love it. That's the first step to receiving love from anyone worth loving.
And I don't know. Maybe this is my self-critic coming out, But I know I'm young in the physical. I know I have a lot to learn. Socrates did some of the most important philosophical work, In my humble opinion. And one weird thing I've found Is that when you genuinely enjoy the journey It makes it easier to learn And easier to get what you want (Debatable whether or not this is the purpose; ask your local guru) (Maybe even ask me via email if you found this chaotic post inspirational)
Another thing I've learned, Which is so hard to conceptualize for some of us, But there are people that exist Simmering in so much self-hatred and bitterness That even a whiff of you and I Openly loving ourselves Is enough to make them want to break something or lash out.
Wild. I know. My condolences for those growing souls. I can only imagine the pain you feel on a daily basis. And so sorry (but not enough obvi cause I still posted) to you If I trigger your darkness. One thing I can guarantee Is that if you allow that to sit And instead of running, you ask genuine questions, You will find yourself in a much better mood than before. Ideally.
We all have different experiences, And who the fuck am I To tell you what would work for you? The beautiful audacity, Right? Ugh. Sometimes I do hate myself. Lately at least, I've been gently battling some aggressive inner thoughts. And sure, maybe I blamed it on not doing my affirmations as much. Maybe I blamed it on jealous haterade energy. It doesn't matter. I experienced it and I had to deal with it.
However you deal with your demons is up to you. And I can only wish that you start to see the importance Of being gentle with yourself. Be kind to yourself. Cause it is an unfortunate truth of this earth realm But the only person you can truly depend on in every moment Is yourself. Even if other people intervene and help, You still need to accept that help. I mean, you could be strapped down and forced guidance. But how often do people learn from forced "help"? I don't know the answer to that; I doubt anyone's ever done a poll on this particular question. But it doesn't matter. Nothing really matters. Except... Whatever we choose to matter, obviously. And then, of course This beautiful present moment is what matters.
And wow. If you're still reading at this point, A part of my ego does want to thank you immensely, Cause it feels good to know my works aren't being created in vain. Or maybe you're reading this And you think I'm insane. I would be lying if I said I didn't care a tiny bit. But I don't care enough to make too much of a difference. Cause this was a piece of prose Straight from the subconscious dome.
Maybe I'll do these more often. Maybe I'll lose interest in the concept cause a lack of likes And you'll only see this on Patreon (shameless self promo was added to the original) Whatever. It doesn't really matter, Cause you're here with me (technically) in this moment, And that's such a magical thing.
I know, This post was a rollercoaster, And I would be lying if I told you I wasn't impressed with my chaotic mind. Cause I am. A part of my ego hates that I don't get thousands of engagements yet. But we all know it'll happen eventually (Though my soul knows that this isn't the end goal and I'm thankful to not focus on such frivolous endeavors anymore) Whenever the time is right. Whenever the energy is ultimately in alignment.
Or if, Cause life is a big "what if" sometimes. And we have to accept it. I mean, we don't really *need* to do anything we don't want to, But it helps to embrace the possibilities. To lean into the terrifying notion That maybe we are working in vain. AHHHHHH no god (That's me internally screaming for comedic effect) Maybe our efforts are silly and going to be unnoticed forever.
But then you recognize that the internet is vast And there's no way That nobody is affected by a long-ass chaotic post such as this. It's a possibility, But for my ego's sake, I have to believe otherwise. I have to believe that there's someone out there Reading these words and gaining something from them.
Or maybe not. Maybe I'm just manic And expressing whatever filtered thoughts sound slightly poetic. Maybe I'm not even real. Maybe you're not real. But wait, let's not go that deep Cause I lost my most recent book on the matter (True Happiness: The Teachings of Ramana Maharshi) And it actually was a slight disappointment. I had planned so lovingly To read and annotate that bich. But alas, Hater ass jealous energy made me leave it where it shouldn't have been.
Anyways. Let's not go that deep, Cause I know I'm way too real Even when I'm putting on a show To ever doubt my existence. But sure, Big philosophy says That nothing is real The universe is infinite But at the same time just you and I Dancing in a simulation together (there's a Lorde lyric that says this beautifully fr) Or however we want to think about it.
But let's be careful. I don't want you to think about it too deeply; You just might break the system And we'll have to start all over again. But then maybe next time You'll be a dolphin, Or a cat. I recently joked about being a cat. I would hope sincerely that I could learn how to communicate as a kitty, though. Cause I do imagine that the language barrier can be frustrating.
Hell. The language barrier between myself and "other" humans can be a pain. Anyways. I think I've made this a little longer than it needed to be, So let me thank you for being with me And you get an energetic cookie (maybe an internet 1, too? Idk how those work fr) For sharing your attention energy with me. You are very much appreciated And I hope you have a nice rest of your day/night. But obviously only if you want to.
You can choose to have a terrible experience, Believe it or not (a lot of people don't want to believe it unfortunately). And I hope you choose the ultimate timeline for your soul's growth. Unless, this ain't what your soul desires. Maybe you're just meant to have a good time. Maybe you're meant to fuck up other peoples' day So they can learn how to transmute and ignore undesirable energy. I don't know. My mind is just doing the best job right now And I hope you are treating your beautifully twisted mind With care, love, and respect. I mean, please don't treat your mind with a hammer (intrusive thoughts are intrusive and not to be trusted 99% of the time). Please Sincerely Take care of yourself today. Or tonight.
It doesn't matter what timezone you're in. Just enjoy the moment And check out the link that I provided however many paragraphs ago, Cause a boy's gotta eat And not going viral is such a meanie at this point. I have been creating content far too long to go unnoticed still. So, if you give a damn about what I've typed in long post Or you claim to care about me as a person, Share this silly post And bring whatever feeling you felt to another person.
Or don't. Continue scrolling by and get 8 years bad luck if you choose (maybe I'm kidding hehe). The weirdly beautiful thing (also terrifying at times) about life is that we each make our own choices every moment. You got to choose between what you ate this morning, Or if you even consumed anything. Sure, there are those in terrible life circumstances who couldn't even eat breakfast. We pray for them They are in our (or my own, you selfish bastard (jk)) thoughts.
Anyways. I said I would close this out And I find myself still typing. This is how manic I am lately. I should have taken a nap earlier when I wanted. But then this masterpiece of a mess wouldn't exist. And that would be boring, Right?
Okay. Truly. Sincerely. I'm done.
Have a great rest of your day/night. Peace & Joy (if you want it) Tariq Rashad G

I just love it, every time I am feeling stressed about something, or a little depressed just pop open the Lord of the Rings and instantly my mind is on fire with happiness, questions, fond memories and everything else.
I am re-reading the books again and at this point I have lost count of how many times, and there's just so many little details that I love.
Every time I read them too I find myself preferring one part or another on that time. This time I am way less about the action and way more about the dialogue heavy chapters, Shadow of the Past, The Council of Elrond, Flotsam and Jetsam....the chapters where the characters just sit and discuss the history of Middle Earth of the recounting of an event earlier in the books. There is so much lore that it just feels like I am reading the history of a civilization that existed before my time.
And the language is just beautiful. As I get older and find myself appreciating the use of language more, and also the fact that I no longer live in a country where English is the native language, I just find joy in the use of certain words or phrases. The examples he uses in his similes to describe the smell of the air, or the feeling of fear at that particular moment, even describing the different kinds of darkness at night is just amazing.
And the speeches/songs/poems/monologues are just fantastic, lately one of my favorite passages is the Gleowines song at the eulogy of Theoden
“Out of doubt, out of dark, to the day’s rising he rode singing in the sun, sword unsheathing. Hope he rekindled, and in hope ended; over death, over dread, over doom lifted, out of loss out of life, unto long glory”
Just that one line, 'he rode singing in the sun' captures the glory of Theodens last battle so well
and the questions I find over such small things like in the chapter where Sam meets elves for the first time (Gildor I believe it was) and the narrator describes it as one of the chief events of Sam's life....I always wonder, is the narrator referring to Sam's mood at the time, as in, up until this point it was one of the chief events of his life.....or does his first meeting of the elves, and first true experience still ring out as one of the chief experiences of his life even after passing through Rivendell, Lorien, and everywhere else he has been on his journey.
Did the ents truly forget their own strength while thinking the march to Isengard may end up killing them all, or were they preparing for a bigger battle?
How badass was Boromir to have killed more than 20 fucking uruk hai solo?
Was the hobbit who supplied Saruman with pipe weed just happily accepting more than the usual price from a stranger and none the wiser of who he was actually selling too, or was it someone hoping to eventually use Saruman to get more power in the Shire?
Would Sam, Merry, and Pippin have enjoyed such great lives post-journey had the Scouring of the Shire never happened?
How soon after arriving in the Undying Lands did Frodo pass away?
Who in the name of god is Tom Bombadil?
and more
And I love not knowing the answers to some of them, and knowing I never will. When I need hope, I always have a quote from LotR to work with

For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.

When I need motivation I can always get a lil from the ol gaffer
'It's the job that's never started that takes longest to finish'
When I need to remember to be more open-minded I can look to Gimli the dwarf, who despite the stubbornness of his people kept an open-mind and always paid respect to those around him, be they elf, hobbit, or a marshall of the Riddermark who needs to be learnt gentle speech
I could go on forever, but I was just listening to the Shire theme while reading the scene where Faramir questions Frodo in the woods of Ithilien and the excitement made me nearly leap out of my chair

A 70s stinker, big monster, off the path and more this week.
The TL;DR The Visitor: A remarkable cast is wasted in this bizarre Italian semi-sci-fi riff on The Omen, The Fury, and others. The Ruins: Absolutely riveting tourism gone wrong horror. Deathgasm: Top tier horror comedy that hits similar notes to Dead Alive. My Heart Can’t Beat Unless You Tell It To: Part family drama, part thought experiment. A look at a trio of people who are dead inside, each in their own way. The Lake: Special effects are the star of this “Thaiju” feature, but there isn’t much else to it. Moloch: Needed some edits but fans of folk horror should enjoy this Dutch offering. Lovely, Dark, and Deep: In the forests of the night, it gets credibly creepy. Low budget, but a great lead and fine visuals.
The Visitor (1979): “I can’t kill children – only the evil part.” After a psychedelic encounter on a planet with a lava lamp atmosphere, an old man lets blond space Jesus — who has been telling hairless kids about how “Commander Yahweh” slew the demonic Sateen — know that a spiritual descendant of Sateen has been reborn on Earth. Cue 70s style soundtrack, and here we go! Or would go, if anything ever happened. The film is a total mess, with bizarrely long takes of John Huston (!) and others pacing or staring or driving in one scene and rapidfire edits in another. Lance Henrikson’s (!) Ray is more robotic than Bishop, and Shelley Winters (!) and Sam Peckinpah (!!) don’t make much of a difference. Allegedly, the cast only participated to gain a free trip to Italy, which I hope they enjoyed. Huston’s distinctive voice is the film’s only redeeming quality, but you’re better off hearing it elsewhere. Gore: 1/10. Nudity: None. Tubi.
The Ruins (2008): “Aren’t you glad you came?” Iceman and Jena Malone (who had a memorable makeout session in Neon Demon) venture with their friends to some off the path Mayan ruins, where the locals welcoming in a “We wish you’d never, ever leave” way. As it turns out, I’d already seen this one long ago; hearing the “cell phone” ring immediately tipped me off. But it was very much worth a second watch, and if you haven’t seen it absolutely do so. It’s well worth the $3 and change. Then consider the aftermath. Gore: 6/10. Nudity: None. Prime rental
Deathgasm (2015): “Hail Satin” Horror comedies face the same challenge as regular comedies: keeping the laughs going after the first 15 minutes, when the dramatic plot kicks in. Tucker and Dale did this very well; Zombeavers not so much. Deathgasm, fortunately, is a lot closer to T&D, finding ways great and small to inject humor in and around the more serious scenes. And damn, what lines — I had to pause more than a few times to laugh my arse off. As a metalhead in my youth, I appreciated a lot of jokes more than I might have otherwise, but anyone with a stomach for gore and naughtiness will enjoy this one. Gore: 8/10, but it’s a funny 8/10. Nudity: Brief. Tubi
My Heart Can’t Beat Unless You Tell it To (2021): “We shouldn’t be doing the things that we’re doing.” Two siblings care for the third, who is sickly and has special nutritional requirements one might term the “Lugosi Diet.” Not heroin — the red stuff. This is only peripherally a vampire movie. It’s much more a psychological drama about caregiver fatigue, the struggle of the able to aid the disabled and how even a family full of love can collapse under the weight of their burdens. There’s no backstory given, no mythos to justify the situation, just a family struggling to do what they have to do to keep their youngest member alive. It’s good, with the leads providing a bleak window into their day-to-day existences, though a little humor would have been nice. It’s an existential, thought-provoking vignette that may linger with you. Gore: 3/10, bloodletting. Nudity: Just a man and his underwear. Screambox, which I apparently still have.
The Lake (2022): “Compose yourself. Don’t get out of the car.” I wanted a big monster flick, and this Thai production says it has one. I just hope I don’t have to wait forever for it to sho—ah, 3 minutes in and there it is. No build up at all. Huh. A fan of Bong Joon-Ho’s The Host (2006) apparently got hold of a decent budget and put together a “Thaiju” film of their own, and it’s…okay. While the editing is all over the place, it does keep the story moving, and the creatures are interesting to look at and well rendered. There are speed bump human dramas, but they don’t account for much; characters are uni-dimensional, and the film unfortunately lacks much in the way of a binding narrative. If you’re in the mood for a big beast exercise in special effects, you could do worse. Just don’t expect much else. Gore: 4/10. Nudity: None. Prime.
Moloch (2022): “You science boys, you’re uninformed.” This Dutch folk horror tells — at a modest pace — the story of Bietrik and her family, who have suffered substantial losses over the generations. Events lead her to believe that her family may be cursed, haunted by some local entity. All in all, it’s a decent movie, wrapped around its own eerie mythology and leading to a striking conclusion. There’s a scene in a field that should have been left on the cutting room floor, and the second half lacks the sense of urgency and discovery that can really carry a movie, but I’d still recommend it for the atmosphere and some fine, creepy moments. Not bad for a writedirector’s first full length feature.
Gore: 3/10. Nudity: None. Trivia: While Moloch has often been thought of as a deity to whom children were sacrificed, more recent research suggests it was instead a type of sacrifice, one that involved children and was performed for various gods in the Levant, including the god of the Hebrews. Shudder
Lovely, Dark, and Deep (2023): “You’ve taken from us.” Georgina Campbell (Barbarian) is a forest ranger taking her first 90-day assignment in the deepest part of the woods in her fictional park. We see her settle in, go on multi-day walkabouts, and wrestle with a loss in her past. It’s a slow, scenic build to the weirdness, but it snowballs quickly. There’s a “walking simulator” aspect that follows which may not be everyone’s cup of tea, but Campbell kept me invested with her performance. While the film follows some tropes (things there one moment and gone the next, for example), it turns others on its head. While “in the forest” stories can go very different ways (as The Ritual, Gaia,and In the Earth demonstrate), I finished LD&D thinking of it as a folk horror. I’m curious if you agree. Gore: 5/10 for some red moments. Nudity: None. Trivia: The title comes from a Robert Frost poem you may have encountered in school. Tubi
What fine or forgettable flicks have been on your list this week?

Kyoshi book 1 is the epitome of ‘a meeting that could have been an email’. Its book that should have been a graphic novel. A story that should have been a wikipedia page.
SPOILERS, though I am saving you the read.
TLDR: The story telling is mediocre, and the story would have been just as compelling as a bullet pointed list of story facts. It flubs, glosses over and skips all portions of story that would have required any amount of clever writing or skill. The story is comprised of cringey tropes. This book will not sit among the original series in the annals of history. It sits below Korra and just above M Knight’s film adaption and the disgraceful Netflix reboot.
First, the idea of there being immense trouble identifying the Avatar is a good plot point. Having Kuruk’s team find and teach the next Avatar and have opposing ideals is also a good plot point. Yee also describes the martial arts okay enough, but this is an inherent obstacle when turning highly visual source material into text. This concludes my praise.
Yee tells, but doesnt show. Show more teambuilding and friendship between Kyoshi, Rangi and Yun. They only come together once in the same room to hang out before the main conflict happens, and its a superficial scene straight out of an 80s slasher movie. They come together solely to ‘show’ them being a team as they hang out and exchange banter. This is the first of Yee’s pseudo-“show, don’t tell”. It appears like the story is showing us something, but it is still telling us. It is characterized by vapid, juvenile writing in a scene that is largely inconsequential to the story.
Make the misidentification of the Avatar weigh on each of them and test friendship. Show her being found by Kelsang. The jump forward 9 years is jarring and leaves logic way behind. If she was raised by Kelsang, why didnt he finish testing her as the Avatar? Why did he take pity and raise her after traveling the world and seeing other homeless children? Why didnt she give back the clay turtle relic? Kyoshi is abandoned when she is old enough to remember being abandon, but doesn’t remember where she got the turtle. This line is another example of pseudo-show. Why don’t we dont get any insight into the moment she is abandon? We do not know any of these things. Including these scenes in the book would have made it longer, but its the juiciest piece of the character development. The length of a book is largely forgivable if it is captivating. This is like if you order a burger and they only bring you a bun and a slice of bib lettuce. Its missing the most crucile part.
Show Yun being incorrectly identified as the Avatar. This scene has to be so interesting. There is nothing in the book about this at all. This seems like another artful dodge around having to write something clever, and that tends to be difficult.
Show Kyoshi’s Avatar state. ‘Blacking out’ is not a mysterious way to tell stories. Its a cop out of writing something the author finds difficult. Also, a character can black out and not remember doing something AND the author can still describe it as it happens to the reader. Choosing to ommit more juicey story speaks more to the writers lack of confidence in their writing.
The fans and helmet of her parents are forced clumsily into the story at the height of the inciting incident. They could have been introduced any time. For example, when Kyoshi connects with her parent’s old crime ring and they could be presented to Kyoshi as relics of the group’s deceased leaders. Instead they are introduced to the reader by Kyoshi dropping her luggage and they fall out in the rain and mud. It reads like a scene that is meant to be a story board for a cartoon or comic.
We dont get any insight into Kyoshi’s parents being dead or alive. Kyoshi doesnt seem to ask anyone either. Why? Seems like a reasonable question.
Kelsang realizes Kyoshi is the Avatar when she does some improv poetry that happens to be Avatar Kuruk’s favorite poem? That was the best idea you got?
Kyoshi has a sky bison named PengPeng? Find a new method of transportation, the flying bison had been done before. Pengpeng is also only used as transportation. She doesnt have any personality like Momo and Appa. Total strikeout.
When something new develops that is supposed to surprise the reader, like Kyoshi’s mother being a disgraced airbender, Yee doesnt show this. This is explained away in a moment of dialogue like “once upon a time, this happened.” Then the plot moves on. And what motivation did she have for keeping this from Kelsang? Maybe they knew each other? They are both airbenders who have killed before, which is significant in the fiction. This could have been an opportunity to connect characters and create intrigue. But we only learn this at the end of the book for no reason.
Love between ATLA characters is subtle in the show. Katara and Aang will end up together and we know this implicitly. Sokka loves his friends, particularly Toph, because of the actions we see him take to help her. Rewatch the show, you will see what I mean. However this is not a major plot point that is touched on each episode. Zuko and Mei are together but they are pulled apart temporarily by character motivations. It skips the filler and gets right to the interesting part. However in Kyoshi book 1, love between Rangi and Kyoshi is vapid and foreshadowed from the first pages. Lets set lesbianism aside, its not the issue. The issue is that this love story is not compelling chiefly because we are told they care for each other but are only shown this in the back half of the book on a surface level. Even when we are shown these things, its not believable. The characters act like teenagers do in 2024 America, not like how teenagers would act in a world coming off the heels of a 100 year war. The characters are young, but they have roles, careers, and the responsibilities of adults. This stems from the same problem Yun has with Kyoshi and Rangi. We don’t see them becoming or being friends. We are told they are friends. Thats it.
This connects to Rangi’s character being ambivalent and emotionally indistinct. Rangi is played as a tough, no nonsense soldier that is hired as Yun’s personal bodyguard, the most important job next to being the avatar yourself. But her expressions of love are juvenile and childish. In one scene she is scolding Kyoshi on her duty toward being Avatar then in the next she acts playfully excited like an American weeb teenager when Kyoshi bends water for the first time. Rangi is poorly written and has poor motivation to her Avatar duty. She contributes nothing practical or technical to the story but love interest. If she is a child prodigy badass that earned the job of protecting the Avatar, she should act like it.
Hei Ran, Rangi’s mother, does nothing consequential to the plot. Why have this character? It is stated she knew Avatar Kuruk. The least she can do is bring it up more.
AND FINALLY, Kyoshis character is very opposite from who we see in ATLA. Obviously this is to show growth, but the timid Kyoshi inexplicably switches to confident and intimidating Kyoshi without any growth, then switches back to timid again. We know kyoshi as a tall, confident, matter of fact, powerful bender who sees no difference between murdering Chin the Conquerer and letting him fall to his death. But here we see a still tall, but petulant teen. She is afraid of her bending. She is inconsistently overconfident. She is squemish about murder. Perhaps the growth occurs in book two, but then again change is gradual. We should see some examples of change now. She grew up a homeless street urchin. She needs to act like it.
Yun struggles with his bending but also keeps smiling and acting like everything is ok. This trope is exhausted to death by anime. We do not see a human side of Yun. He is not tortured by the training or the fatique of not being able to bend fire or the pressure and expectation of being Avatar. He just smiles and flirts with Kyoshi. He also asks her to go with him to a peace treaty signing with pirates all because he wants to have her there so he feels loved. But this thinly disguises the fact the author needed a reason to have her at the signing so she can earthbend and save everyone. Take Rangi, your apointed body guard.
Yun returns at the end of the novel as a deus ex machina and kills Jianzhu in an admittedly badass way. 10/10. However, Yun is dead, reappears as a ghost, then earth bends. The possibility of this within the fiction is near zero UNLESS FC Yee is trying add to the lore of spirit magic and bending. To that I say “Learn to be a better writer first.”
Kirima is an okay character. We traditionally see water benders as good guys, but she is a tough leader of a gang of criminals. Again we are told that, not shown. 5/10. Mid teir.
Wong is a worse comedic relief than Sokka. Where Sokka learns to become a leader from a close minded sceptic and redeem this quality, Wong is indistinct from any other background earth bender. He eventually becomes Kyoshis earthbending teacher and he starts to fill out a teacher role but is still indistinct. Up until this time, he carrys no air of educator at all. Remember, he’s a pirate criminal. This turn of character seems to come from the team learning that Kyoshi is the Avatar, something she kept secret. But Wong is the only one who changes their behavior based on this. Meeting the most important person in the world doesn’t effect them, I guess. Doesn’t seem reasonable.
Lek is a kid that idolizes Kyoshi’s parents, but acts out like a toddler when she speaks poorly of them. I am left feeling disatisfied by a criminal outlaw that throws tantrums when someone speaks ill of their pseudo mommy and daddy. Lek is poorly written as a rival to Kyoshi, if if fact that was Yee’s intention. You see it in their banter and interactions. Lek is killed by a poison that only incapacitates all others effected. It was like the author needed him to die real quick and didnt know how to do it, but also didn’t want to rewrite the chapter.
Now is a good time to mention that characters can be annoying to other characters, but they should not be annoying to the reader. Doing this is a form of self sabotage. Its like serving up raw eggs for breakfast on purpose and calling it art. You just wouldn’t do it.
Lao Ge is poorly written too, despite being an interesting character idea. Lao is meant to be Kyoshi’s spiritual leader in this story. He leads her to the ancient technique of prolonging ones life with spirit magic. But this man reads like an embarassing drunk uncle that no one responds to when he speaks. He acts like he’s cool, wanders off constantly and returns covered in blood to a group thats asks no questions. Criminals still ask questions. In fact, they are more paranoid on account of being criminals. For example, there is a scene where they leave without him and realize they forgot him and have to go back. This scene amounts to nothing. Why was it in the book? Whoops, he’s also a master assassin. We are told this over and over but never see it in action. Boo. Don’t suggest violence. Show us violence.
Why is this group of criminals still together anyway? They lost their leaders, Kyoshi’s parents. Wouldn’t the find new jobs? Thin the herd. Theres too many characters.
Jianzhu acts more suspicious after he is identified as the villain which is a trope found in childrens television to remind children he is bad now. The fact it is here insults the readers intellegence. His villain motivations are not explained well. Does he care more about identifying the Avatar than his lifelong friend Kelsang or the life of the innocent? Also, a villain doesnt need to kill someone to be identified as the villain but youll find that trope here too. Clever writing can remedy this all the same. He does do cool evil guy things, but they are explained after the fact instead of showing him coniving these schemes and putting them into action. His death is awesome, but his final confrontation with Kyoshi is not spectacular. There is no final battle like one might expect. He the one that ghost Yun kills.
It is unclear if this book is meant for a YA reader audience or the adult audience that watched ATLA as kids. The story is grittier, bloodier and violent with explicit deaths and torture. All the while bearing a sheen of squeeky clean Nickelodean dialogue and unfunny humor that has an obvious limit. The book says they swear, but the exact words do not show up in dialogue. Characters are impaled and gored, but the 3rd person narration takes breaks from descriptions of this for quippy commentary on the things happening. Who says these things? Kyoshi? But its in third person. This clashes with the perspective and shows indecision on the part of the author.
The perspective is stuck between 1st and 3rd. 1st serves better for the YA audience where Kyoshi might think these quippy things to herself or have thoughts that help the reader understand context better. 3rd person would serve the adult audience better with a matter of fact telling of the story. Maybe even change between characters in some chapters and fill in some of these gaps. Instead the book strattles the line between these two perspectives and suffers greatly. You have humorous commentary and scene descriptions coming from the same source. It breaks immersion when the reader is stuck wondering who is telling the story.
YA is an oversaturatedand flawed genre anyway. Its almost designed to trick teens into thinking they are reading adult books.
Yee includes too many comparisons, similies and analogies. Each one is meant to create world building, where the text compares a creature in the ATLA world to a situation at hand. But they start coming up too often in the back half of the book. This also seems to rise in frequency as descriptions get vaguer. It felt like Yee lacked the proper lexicon to describe what was happening as the story approached the end. Analogies should be used to explain difficult things, not just thrown in recklessly.
One moment sticks out from this book that reminds me of ATLA. While Yun and Kyoshi are silently trying to meditate before Jianzhu summons a spirit to finally identify the correct Avatar, the two teens speak for a second. Eyes closed, Kyoshi whispers “You know what would be funny? If neither of us were the Avatar.” This captures elements of friendship between the two kids, character humor, and SHOWS these two still care for each other no matter what happens next. Yun’s response isn’t even remotely appropriate, memorable or clever. The opportunity is a total loss.
Another moment of total loss and tonal dissonance is when Kyoshi, Rangi and the convicts go to a hidden secret criminal town that is described as being so cut throat, you don’t even look at people in the eye. Just then the group sees two men collide after turning a blind corner and drop their stuff. Page 224. They exchange appologies, act very polite, and depart. (This is told to the reader, not shown with appropriatly funny dialogue). Lek then explains the two men will meet tonight on the challenge grounds and fight to the death. However, that night at the challenge grounds, you don’t see those characters; a total whiff on Yee’s part. Instead you read about one man bludgeoning another man to death with barehands in pure gladitorial bloodsport. This scene shows the whimsy of ATLA, the gorey violence that Yee wanted and his befuddled attempt at writing something that blends the two.
All of this leads me to conclude the book is for a YA audience, which is unfortunate because ATLA was for everyone; YA, adult and children. It is a children’s show that adults can find a surprising amount of depth and humor in. Yee’s doesn’t hold a candle to the writing of Aaron Ehasz.
The argument that this books is allowed to be bad because its for kids falls apart for the same reason. The expert writing of Aaron Ehazs in ATLA is what imortalizes it to this day; the dialogue, the characters, and the story. ATLA is a kids cartoon by which all cinema and television are compared. This is simply not on that level.
When this level of integrity is left to be followed up by an author with one previously published work, underdelivery should be expected. Kyoshi book 1 is FC Yee’s second published work and it shows. I would be interested in learning more about FC Yee’s past unpublished experiences in writing and qualifications.
So again, this book is like a meeting that should have been an email. The story is not “worth the read”. The historical facts are more valuable. For example, telling someone that Kyoshi’s dad is a pirate earthbender and her mother is a disgraced criminal airbender is a total surprise and sparks good speculative conversation. But the way the novel presents this information is clumsy and ignorant of how rare these circumstances are within the fiction. These historical facts are just as compelling when read on the Avatar wiki page, negating the necessity for a book in the first place. I think this is symptomatic of writing a prequal too. We know enough about Kyoshi to be interested in her character, so the facts about her should be presented interestingly with art and showmanship.
This book leaves me with the sneaking suspicion that most of what FC Yee knows about writing was learned from anime, a genre so polluted its not worth even sifting through to find quality content. Hot take, I know.
His other books on Genie Lo (2017, 2020) are teen dramas with ‘the chosen one’ trope, as the summaries suggest. That must be why that shows in this book. Maybe FC Yee can only write one type of book.
Yee is also not an author by trade. He said in an interview that he works in mobile gaming as the guy who makes “everything less fun by adding stuff to the game you have to pay for.” He went to college for Economics, or so I read on his wiki page.
His book publisher proposed the two book series idea to Nickelodeon, it was not a matter of the creators carefully hand picking a writer. He also only worked with Mike DiMartino. In his interview, he says he did not work with Bryan Konietzko and never even mentions Aaron Ehasz. I believe this is to the great detrement of the story.
I’ve heard that people really liked this book. However, I wonder if that is genuine affection or the same kind of denial Star Wars fans had when the Phantom Menace came out. I draw this parallel because my father was that person. He recomended this book to me and gave it high praise in the same way he did when Phantom Menace released.
The fans, my father and myself included, are starved for any canon ATLA material. Feeding the fans undercooked meals is no way to make a fanbase grow. The ATLA fanbase already got food poisoning from M Knight’s movie. It recovered, but at a cost. I hate to think what might happen after the Netflix show and the animated movie of adult Aang.
I understand that Yee was a fan of the material. In fact, he and I share the same favorite character. So know that this is not an attack on a fellow fan of ATLA, I simply believe Yee is not the man for this job. Avatar deserves better than to be relegated to a YA novel lost in a sea of overproduced assembly line YA content. Avatar deserves a better writer. Save your fine cutlery for fine dining, don’t use polished silver to eat fast food.
To end, I leave you with this: if you want more Avatar content, gather some friends and play the Avatar rpg by Magpie Games. It is the most fun I’ve had in the ATLA world since I was a kid. If you play it right, you get that same sense of magic you got back in 2005 when Book Water came out.
Below is a link to an interview with Yee.
https://thenerdsofcolor.org/2019/07/15/from-fan-to-avatar-writer-f-c-yee-on-developing-the-story-of-avatar-kyoshi/amp/

I was reading some texts by Foyan when he mentioned Seng-ts'an and his writings. I decided to share and comment on the whole poem which is called Hsin Hsin Ming. The poem is huge, so buckle up!
On having no preferences.

The Perfect Way is only difficult for those who pick and choose; Do not like, do not dislike; all will then be clear. Make a hairbreadth difference, and Heaven and Earth are set apart; If you want the truth to stand clear before you, never be for or against. The struggle between "for" and "against" is the mind's worst disease; While the deep meaning is misunderstood, it is useless to meditate on Rest. It [the Buddha-nature] is blank and featureless as space; it has no "too little" or "too much;" Only because we take and reject does it seem to us not to be so.

If you support and objectify something outside yourself, that is already a preference. And then you will reject any view that denies your view of truth. However if you do not have such an object to look towards, what will you do? What would it look like not to fight against another view?
On taking things as they are.

Do not chase after Entanglements as though they were real things, Do not try to drive pain away by pretending that it is not real; Pain, if you seek serenity in Oneness, will vanish of its own accord. Stop all movement in order to get rest, and rest will itself be restless; Linger over either extreme, and Oneness is for ever lost. Those who cannot attain to Oneness in either case will fail: To banish Reality is to sink deeper into the Real; Allegiance to the Void implies denial of its voidness.

There is no use to clean your glasses with your own fingers, it will only smudge them more. By trying to fabricate states or change your current state hoping to have a nicer experience, you will only get further estranged from yourself. By reacting to emotions, you will create even more emotions. Why force rest or peace? Why prefer something more real? How can something other than this experience be more real?
On intellectualization.

The more you talk about It, the more you think about It, the further from It you go; Stop talking, stop thinking, and there is nothing you will not understand. Return to the Root and you will find the Meaning; Pursue the Light, and you will lose its source, Look inward, and in a flash you will conquer the Apparent and the Void. For the whirligigs of Apparent and Void all come from mistaken views;

This reminds of the monk who got to go on a walk with his master and they watched the sunset together. At one point the monk could not help himself and said "How beautiful!". His master never allowed him to go on a walk with him. Of course, this is an extreme case, but by expressing / looking for the beauty in words, it is no longer the same beauty. It is, as if, examined by one and no longer of-itself.
On duality of "Is" and "Isn't".

There is no need to seek Truth; only stop having views. Do not accept either position [Assertion and Negation], examine it or pursue it; At the least thought of "Is" and "Isn't" there is chaos and the Mind is lost. Though the two exist because of the One, do not cling to the One; Only when no thought arises are the Dharmas without blame. No blame, no Dharmas; no arising, not thought.

From the One Mind are born "this" or "that". It can flower in any direction, but don't consider it your own and see it as an arbitrary view.
On me and you.

The doer vanishes along with the deed, The deed disappears when the doer is annihilated. The deed has no function apart from the doer; The doer has no function apart from the deed. The ultimate Truth about both Extremes is that they are One Void. In that One Void the two are not distinguished; Each contains complete within itself the Ten Thousand Forms.

One void, not two, not me, not you. So tell me, who knows more than others? Who has views that others don't see? Who argues with another?
On having no fixed path.

Only if we boggle over fine and coarse are we tempted to take sides. In its essence the Great Way is all embracing; It is as wrong to call it easy as to call it hard. Partial views are irresolute and insecure, Now at a gallop, now lagging in the rear. Clinging to this or to that beyond measure The heart trusts to bypaths that lead it astray. Let things take their own course; know that the Essence will neither go nor stay; Let your nature blend with the Way and wander in it free from care.

Only a fool would try to put a nail in the sky. What is subtle and what is surface understanding? There is a point where they no longer mean anything separately. What then? When things are seen for what they are, as appearances in the One Mind, all boundaries begin to crumble. In nature some branches grow short, some long, all is the body of Buddha.
On splitting the hair in half.

Thoughts that are fettered turn from Truth, Sink into the unwise habit of "not liking." "Not liking" brings weariness of spirit; estrangements serve no purpose. If you want to follow the doctrine of the One, do not rage against the World of the Senses. Only by accepting the World of the Senses can you share in the True Perception. Those who know most, do least; folly ties its own bonds. In the Dharma there are no separate dharmas, only the foolish cleave To their own preferences and attachments.

Don't sit in your meditation or emptiness and reject everything. Don't sit with your Zen texts and reject what is not in your Zen texts. There is One Dharma and it manifests as all. Estrange yourself from your perceptions and senses and you will estrange yourself from the One Dharma.
On no differentiation.

To use Thought to devise thoughts, what more misguided than this? Ignorance creates Rest and Unrest; Wisdom neither loves nor hates. All that belongs to the Two Extremes is inference falsely drawn- A dream-phantom, a flower in the air. Why strive to grasp it in the hand? "Is" and "Isn't," gain and loss banish once for all: If the eyes do not close in sleep there can be no evil dreams; If the mind makes no distinctions all Dharmas become one.

I see this as river, it does not look for the best course, it just flows into the best course. It does not blame rocks for being in the way, it just goes over them. What do you blame? What is it that you want to accomplish and what is it that stands in your way?
On the end of complication.

Let the One with its mystery blot out all memory of complications. Let the thought of the Dharmas as All-One bring you to the So-in-itself. Thus their origin is forgotten and nothing is left to make us pit one against the other. Regard motion as though it were stationary, and what becomes of motion? Treat the stationary as though it moved, and that disposes of the stationary. Both these having thus been disposed of, what becomes of the One?

When you wake up from a dream in the morning, it instantly becomes unreal. In the same way, when all subjective complications are forgotten once and for all, the only flow of existence is revealed to have never ceased. Eternally This, ever flowing.
On freedom.

At the ultimate point, beyond which you can go no further, You get to where there are no rules, no standards, To where thought can accept Impartiality, To where effect of action ceases, Doubt is washed away, belief has no obstacle. Nothing is left over, nothing remembered; Space is bright, but self-illumined; no power of mind is exerted. Nor indeed could mere thought bring us to such a place. Nor could sense or feeling comprehend it. It is the Truly-so, the Transcendent Sphere, where there is neither He nor I.
For swift converse with this sphere use the concept "Not Two;" In the "Not Two" are no separate things, yet all things are included. The wise throughout the Ten Quarters have had access to this Primal Truth; For it is not a thing with extension in Time or Space; A moment and an aeon for it are one. Whether we see it for fail to see it, it is manifest always and everywhere. The very small is as the very large when boundaries are forgotten; The very large is as the very small when its outlines are not seen.

Thusness is the place of non-abiding. No one does the non-abiding so we can say that it happens of itself. This is the freedom that is sought after through endless kalpas of thoughts and emotions. Who would have thought that even thoughts and emotions are of themselves, part of it.
William Blake says:

To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour. 

On the futility of words and trusting the Heart.

Being is an aspect of Non-being; Non-being is an aspect of Being. In climes of thought where it is not so the mind does ill to dwell. The One is none other than the All, the All none other than the One. Take your stand on this, and the rest will follow of its own accord; To trust in the Heart is the Not Two, the Not Two is to trust in the Heart. I have spoken, but in vain; for what can words tell Of things that have no yesterday, tomorrow or today?

Here we meet the paradox of being and non being, of using words to describe the word-less. What does it really mean to trust the Heart? We cannot convey that in any direct way using language. To be honest, we cannot convey much directly using language. Seeing things as not two, or not separate is to have trust in the Heart, or to put it in another way, not closing yourself off via intellectual analysis or emotional reactions is to have trust in the Heart. What is your take on all of this?

Discovering Delicacy in the Quinzaine Form**
Summary:
A quinzaine is a poetic form with roots in French literature. It comprises exactly fifteen syllables, distributed across three lines. This concise structure encourages poets to convey meaning with precision and brevity, capturing moments of beauty or insight.
Examples:

1. "Spring Day" by Paul Verlaine (translated).
   
2. "Night" by Louise Glück.
   
3. "Quinzaine" by Raymond Queneau (translated).
   

Tips for Creative Writing:

• Syllabic Economy: Make each syllable count; the limited space demands precision.
  
• Focus on Imagery: Use vivid and evocative language to create a powerful image or emotion.
  
• Play with Line Breaks: Experiment with line breaks to enhance the poem's rhythm and impact.
  

Questions for Exploration:

1. How does the brevity of the quinzaine impact the reader's engagement?
   
2. Can you identify contemporary poets who have embraced the quinzaine in their work?
   

Additional Resources:

• Explore the works of French poets such as Paul Éluard for classic quinzaines.
  
• Read modern poets who experiment with syllabic constraints for inspiration.
  

Creative Writing Prompt:
Step 1: Choose a moment, emotion, or image to capture in your quinzaine.
Step 2: Compose three lines, ensuring they contain exactly fifteen syllables.
Step 3: Experiment with different line breaks to enhance the poem's rhythm and meaning.
Example:
Cherry blossoms bloom, a delicate array (5) Soft petals whisper, a fleeting ballet (5) Spring's sweet quinzaine, in nature's display (5)
Remember: The quinzaine's succinct nature challenges poets to distill profound moments into a compact form.

This is the most plausible answer. I think this is exactly how he did it using facts from sermons, emails, texts, news, interviews, maps, and extensive experience with parasitic Narcissistic sitic abuse. If there is anything that I am incorrect on please let me know and I will recalculate. After typing this up two days ago, I stumbled upon Mica’s father‘s interview, and it completely solidified it to the point where I started violently shaking. I think this is what happened.
I was told Winslow‘s property backs up against that state forest. 200 acres. Right down the road. Now remember. Somebody on his staff was told to go and trim back the overgrowth on that specific property shortly before all of this happened,
I think Mica at some point had conversation with Winslow and agreed to come and talk to him at his property, a “safe place JP wouldn’t know.”, thinking she could trust him. I think mica went to winslows and JP was waiting there for unknowingly.
I think Winslow has JP‘s phone and I think JP has Winslow‘s phone so they’re not gonna ping the towers. All they saw was the license plate they never verified He was actually there.
I think JP and Winslow met at a undisclosed location and swapped vehicles. JP went up to Winslow’s NC property with Winslow‘s vehicle and cell phone, and Winslow went down south with JP cell phone and truck. I can’t quite place the girlfriend, but she is an alibi therefore she is aware that something has happened or is going on. I cannot figure out whether or not Winslow was with JP and she took the vehicle down south either or we need to find out the location of where the girlfriend was and where Winslow was. That could all be found by bank financial records of the days in question. Nobody uses cash in 2024 for an entire getaway.
Didn’t they say he got a new truck? There was something new about the truck? Did he get a new one so it wouldn’t have any of Winslow’s DNA inside of it? If Winslow drove it, his DNA/finger prints on the steering wheel would easily be on the steering wheel. Why else would he need to drive Winslow‘s vehicle if there were indications, he was driving the vehicle. Now remember one of them is a lawyer he knows what they look for. JP‘s and Winslow‘s vehicles both need to be tested for gunpowder residue.
Mica shows up to Winslow’s property, JP is there with Winslow’s vehicle, ambushes her OR Winslow is there too and the girlfriend took her phone and truck south. He already has a plan of where he’s going to take her to unalive her before she arrives. JP drives Mica’s car with Mica in it to the final location parking lot, walks her into the woods kills her, puts her stuff down and walks back to Winslow property through the woods. Girlfriend says she was with him, I think she stayed at the property or she drove a vehicle to come get him after he was done if she was there. either way Winslow or girlfriend somebody picked him up or was waiting or he went back to the property and gotten Winslow‘s vehicle and left. Remember it’s not that far away..
Now, after reviewing the 911 recording again, I do not think it is AI. The biggest reason why I know it wasn’t AI is because if you listen to the fast response when asked for the phone number, there wasn’t enough time to record that and send it at the same time. So she replied too fast. Now, when have you ever heard a 911 operator asking somebody for their phone number? That never would have been written. You still have the type stuff in the AI creators. Also, she delayed pause between every number, how would she have replied in half the time it would have taken to type all of that out. Think about it, he would have had to type a number hit space type a number hit space over and over. In a rush I know I mess up you don’t think he would have messed up? He never would have been able to get that recorded smoothly quickly in the time it took for her to respond. Again, when have you ever heard of 911 asking for your phone number?. I believe he is in the car with her after they just left Winslows property. I believe he’s sitting right next to her in the car and allows her to make the call thinking it’s going to cover up everything and benefit him. She was sending out the whistle to her family and She’s trying to buy time for them to locate her. He knew to turn off the location because she mentioned She turned it on notice how it ended at that?. My point with this is at the end.
Logically speaking if she was purposely driving to that park, she would have known the name to GPS it. She would’ve known the name of the park to give the operator. That’s why she was pausing, probably looking to him to see where they’re at. That’s why she says “yes that’s it” cause he nodded. he had enough time to process what the operator was saying before Mica was able to answer that’s why she was able to reply quickly because the operator was speaking slowly. He heard the first word and nodded. She didn’t know, but now suddenly she knew? If she was going to purposely take her own life, and she really wanted her body found, why wouldn’t she have found the name of the park before she called to give them proper location?
She would have seen oh look it’s a park and read the sign and pulled into it. She didn’t know the sign because she was terrified because he was with her. She just knows she’s in a park.
I would possibly look to see if there was any dirt roads that led to where her vehicle is at back to Winslow’s property. That might be why she didn’t see a sign. I haven’t looked too much into that part but it’s a suggestion if anybody wants to do any homework.
SO That’s why the phone was put on airplane mode so cops wouldn’t track them into the woods at the site of the incident and he would be able to get away in time into the woods without being seen.
Also airplane mode was turned on while in the car, at the end of the 911 call, I think he took the phone put the airplane mode on which is why the airplane mode was put on because she mentioned it out loud specifically, he knew the cops were coming time to MOVE, can’t follow us to the woods though. THATS why there’s no bird sounds, they did it in the car after they got to the parking lot. I think subconsciously she thought knew this was going to happen. Kinda like I told my family this was going to happen, and then it clicked what she needed to do. He brought the phone with them to paint the picture. Why would she turn off her location herself if she wanted to be found? She was already going to enter her life right? She was obviously not going to wait a long time right? Listen to her voice when it got emotional when she said she was going to kill herself. If she was unsure, why did she skip up in the exact moment? She was almost free, she had fought so hard. When you’re almost free, what would make you think she would want to stop now? Listen to me clearly, he was in the car. She needed to send out a dog whistle to the people she had told she she told him she would admit to the suicide if she could have her body found. She knew she was going to die and she knew she needed to make sure her family could piece this together. Therefore the only plausible answer is he was in the car with her. She was emotionless probably because the gun was already on her, the phone was removed from her because she mentioned the airplane mode specifically he thought they can’t trace us out to the woods, airplane mode goes on. He walked out to the woods. He needed Time to get away and couldn’t have them knowing exactly where he was to go to first so he could escape right after.
Now he goes into the woods by possibly dragging her which is why she has a bruised wrist. That might be why she started crying. She might have tried to get away when she knew what was going to happen or that it was happening hence why there’s multiple rounds. This led to possible yanking, and then the gunshot, which is why the fisherman heard the crying. Then it was over. Put her in the water he placed her belongings and Then he walked back towards Winslow‘s property. I want to know if there’s a phone call between mica and Winslow, was this drive scheduled day of or days prior and gave enough time for it to be planned. I believe at that time he got back into Winslow’s vehicle met somewhere with Windlow switched vehicles again. JP going to his home and Winslow going back to his home. The funeral and everything was already preplanned and scheduled due to the fact they already knew what was going to happen and already had it pre-planned and needed to make sure it was swift and left no room for delay. Her family, knowing they would want to see her, he manipulated them into signing the cremation holding her body over their heads. Taunting them via text message blaming them to create the narrative. Otherwise, what would be the big deal of allowing them to see the body without needing something in exchange? He knew they would have questions afterwards. At that time all they had was the 911 call and a body, sometimes you need time to process. You know when something happens and then later on you’re like wait what? He wanted to make sure that body had no stop on the cremation process to get rid of all evidence before thosequestions inevitably came. He got ahead of it so there was no hiccup in delays because he knew he had to allow them to see the body to the public that would be the moral right thing to do. Not allowing them to see the body would be suspicious. He figured out how to make it work for both. He talks about laying with her body four times and trying to raise her from the dead, was this guilt or was it like when somebody puts a deer head on the wall?
Now remember, she has already been predisposed to trust Winslow. He mentions Winslow in an email to her previously, obviously showing that he & his wife were a trusted friend of hers as well. It’s 100% a possibility that Winslow told her to come up and talk where she was protected and JP wouldn’t find them, and Winslow left with the truck and met with JP and they switched. Winslow south, JP north. Winslow had asked his staff to clean up that overgrowth on the property. It being a wooded area, was this done so that the roadway was assessable for the plan? she probably drove down some type of dirt road, and he ambushed her in some manner. North Carolina Woods are dense, therefore easily to hide when she pulls over.
Now, how do I think that JP convinced Winslow to help, I believe JP convinced Winslow , Mica was going to tell on all of them and ruin their lives. This could have been backed up by the fact that all the documentation that she had previously collected had gone missing, and was brought to Winslow to paint Mica as an enemy so this was enough for him to convince Winslow that their future and freedom was inJeopardy. When JP was actually afraid she was going to tell on his abuse and life and ruin him. So they killed her to protect their life.
They said something yesterday about breaking news how they found that the notary was forged? Thats enough for me to draw speculation because it was done by Winslow that he is now in on the dirty dealings. He is a part of the actual dirty dealings against mica He knows something is being done wrong and he is condoning it.
That notary that was done on the power of attorney from mica was falsely notarized. Mica was not present for the notary. There was an article on earlier I was looking at but I was in information overload. I just know It was not legally notarized. This shows that Winslow does not have integrity. How far is he willing to go to protect JP and all of their secrets?
I think she told JP she just wanted her body to be found for her family and she would go without a fight. I believe that it was a dog whistle to her family. The clue they would need to know this wasn’t suicide. She told them and now she needed them to remember. She knew she was going to die and everybody needed to know about the gunshot specifically that she warned everyone about days prior. He didn’t know she told people close to her that that. That’s why her voice broke up when she said she was going to unalive herself. She did not want to die. She just wanted people to be able to solve the crime. She manipulated him into thinking he was going to get away with this because she is admitting to it being a suicide. Not knowing She had whistled what was going to happen, she needed people to listen. She offered up no extra information during the 911 call which then delayed the process hoping they would find her location. She told her dad days prior she’s getting a gun for protection. I think she got it before she drove up there just incase and the bruises on her hand may be him wrestling it from her. Maybe at arrival.
A search and rescue dog can smell from weeks to months after somebody has left the area, and if anybody can get something of his and be able to place him there in the woods, you have convincing beyond a reasonable doubt.
After writing this up yesterday when I was complete, I got super sick to my stomach. I was shaking. I could see it completely out in my head where all the facts completely aligned. I believe tthis is the only plausible theory there is.
What people need to realize at the end of the day the good attention and bad attention is still attention to a narcissist. He is enjoying the intention is getting from this primarily from getting away with it. That’s why I believe he visited her body four times after she was deceased. Because he already had a girlfriend, he already talked about going and getting a hot wife and then after she dies, he does an interview about how she’s the most incredible wife and supportive. He made the obituary about how awesome he thought she was to still collect her validation and the validation he got from being her husband because she was good. She was light and he was jealous of that. He wanted that that’s why he had that position. She loved him so much he claimed and how she was so wonderful he claimed yet she didn’t want him when she had a no contact order and wanted a divorce obviously, he wasn’t that. and if you guys don’t think he groomed her go to the memorial of life sermon and listen to the poem again. Now switch the words, “school” and “church.” And follow the story line.
He killed Mica Miller.

Spoilers ahead…
Dear Karthik Subbaraj,
Congratulations on yet another interesting movie, and for resisting the impulse to name this one, too, after a food item. Iraivi is an unusual feminist film, in the sense that it’s seen entirely through the prism of sympathetic male characters. Your men aren’t monsters who drink or cheat on their wives or subject them to torture. They do these things, yes, but… differently. Arul (SJ Surya) drinks, but only to drown out his sense of failure – he’s a director and his film is in the cans, being held hostage by a sadistic producer. Michael (Vijay Sethupathi) has sex with Malarvizhi (Pooja Devariya), and he continues to lust after her after his marriage to Ponni (Anjali) – I love that all your women have names that suggest classical heroines, including Arul’s wife Yazhini (Kamalini Mukherjee) – but it’s a marriage he committed to in a hurry and he still hasn’t reconciled himself to it. He’s being a bastard, certainly, but he’s not a one-note villain. And the torture they inflict isn’t the stubbing-a-cigarette-into-the-wife’s-bare-arm variety. It’s more mental than physical.
So we get women who are collateral damage – and I include Arul’s comatose mother (Vadivukkarasi), and the nurse who’s not allowed to do her duty – of men being men. They’re being babies, really. Yazhini tells Arul that he should get on with his life, write another story, make another movie. He says it’s like her trying to have another child while still pregnant with their daughter. (Yes, all these men end up with girl children.) He’s a wallower – but maybe all artists are. You like to do that, don’t you Karthik? Even in a film like this, you deliver a commentary about filmmaking and the artist. Why, even Arul’s father is a sculptor, and though we never see him ill-treating his wife (thank you for sparing us the clichés of raised hands and raised voices), we’re informed that he’s responsible for her state. His son’s following the father’s footsteps. Maybe you’re trying to say that the wives of obsessed artists are doomed to become collateral damage. Your films make us think, Karthik, so thank you for that.
All your stories have at their centre a filmmaker, or at least (in the case of your first film, Pizza) a storyteller. And through them, we seem to hear your voice. “Works of art should not be in places where they are not respected.” “Namma padam pesanum, naama pesa koodadhu.” You compare masala movies to a massage with a happy ending. (I laughed, but please don’t judge me when I say I rather like massages with happy endings – I refer to masala movies, of course.) We even get a line of dialogue about Dolby Atmos. (What will the B/C-centre audience make of this, Karthik? But then you don’t really give a shit, do you? More power to you.) And you like your insider jokes. That crass, egoistic producer who does not care about art – he reminded me of the crass producer from your earlier film, Jigarthanda. You like Rajinikanth too. You referenced Thillu Mullu in Pizza, Thalapathi in Jigarthanda, and now you have Arul singing Malayala karayoram, Michael singing Oorai therinjikitten.
Or is that more of an Ilayaraja homage? You like to keep the audience guessing, right? When the Bobby Simha character in Jigarthanda said he was a Shankar-Ganesh fan, it appeared that you were mocking the endless Ilayaraja nods in Tamil cinema, but here you are, doffing your hat to the maestro. “Raja Raja dhaan.” Arul says this… twice. (By the way, which is that nightclub which plays Maanguyile poonguyile? Do let us know.) And the reuse of Unnai thaane – first in a scene between Michael and Malarvizhi; later in a scene between Michael and Ponni – is the kind of Easter egg we come to your films for. Let me list some others, though I’ll probably need to watch the film a second (or third) time to get them all. The name of the bachelors’ quarters is Ambal Mansion – it goes with your theme and title. I didn’t get the bit about the windmills (something connected to the gust of wind that makes the row of cycles fall over in the first scene?), or why you showcased the book of Shanta Shishunala Sharif’s poems. (I confess. I Googled up that name. I can’t remember the last time a Tamil film made me Google something up. Madras, maybe.) And despite your note at the beginning that Iraivi is inspired by the works of K Balachander (he made female-centric films, but I don’t know if I’d call them feminist films), this is really more of an ode to Mani Ratnam, isn’t it? Specifically, Aayidha Ezhuthu. The three men, one of them – the impulsive one – named Michael. The film starting out as Arul’s story, then becoming Michael’s story, and finally Jagan’s (Bobby Simha) story. The finale with the woman on the train. Plus, the arc of the Madhavan-Meera Jasmine plot was essentially about being easily misled (in the case of the man) and becoming collateral damage (in the case of the woman.) And yes, the rain. All that rain. As though the skies were weeping for these women.
Am I digressing, Karthik? If I am, I’m just following your style, which is the opposite of simple and linear. As a result, I find your films longer than they need to be. (You may feel the same about my reviews.) For instance, I did not care for the scene in the nightclub where a director is felicitated. I realise it was there as a last straw for Yazhini, but it felt redundant. But I suppose they couldn’t be any other way, because you like these shaggy-dog stories that you then embellish with novelistic detail. I love the way you introduce your characters, the time you take with them. Our films lay out characters and their relationship to each other the minute we set eyes on them, but you make us wait to know how Arul is related to Jagan and where Michael fits in and so on. And when it appeared that a semblance of a plot was kicking in (something about Arul needing money to buy back his film), I dug out my phone and checked: it was a whole hour into the movie. Borrowing an image from Malarvizhi’s profession (oh wait, she’s an artist too; she’s literally an artist), it’s like daubs of paint slowly forming a bigger picture.
And you really like an expansive canvas. Not only does the crass producer have a brother, you also bring in his wife later on, to conclude a deal he began making. These segments practically form a mini-movie, with another woman left reeling by the actions of her man. Your films have this… density. They’re packed – with characters, with complications, with information doled out in bits and pieces. (A character says, “Un kitta onnu sollanum.” And instead of hearing what he has to say, we cut to someone else.) Take the scene where Michael asks Arul for money he is owed. You just need to get Michael to Arul’s antiques shop, so the next part of the plot can be staged. Arul could have told Michael to collect the money at the shop. Instead, this is what we get. Arul tells Michael to wait for a week, when he can get the 50 lakhs he is owed. Michael says he wants only 10 lakhs. Arul says he has only 8 lakhs, he’ll give the remainder later. Michael goes to Arul’s father, in the hospital. He has only 5 lakhs. And he directs Michael to the shop, to get the remaining 3 lakhs. Your signature intercutting adds to this texture, Karthik. Shots of Michael and Arul’s father in the hospital are intercut with shots of Arul hunting for booze. Shots of Michael and Jagan outside a courtroom are intercut with shots of Arul being consoled by his father. Happenings are stretched and meshed the way they would be in real life, and not compacted according to the page-per-minute requirement of screenplay-writing textbooks.
I could never predict where the film was going (win!), what these people were going to do (again, win!) –though I must admit I found this to be the weakest of your “twists.” The subplot about stealing sculptures, too, I found rather conceit-y, something half-heartedly cooked up to fit with the title and the theme, rather than something plausible, something these people would do. When Michael, here, commits murder, with a hammer, I went, “This mild-mannered chap? Really?” But then, even in Jigarthanda, I wasn’t quite convinced that the characters would do the things they did. They seemed to be puppets of a screenplay rather than credible human beings, whose actions evolve organically from who they are (or at least, who they seem to be).
But even if I am not convinced by the overall trajectory of your characters, I love how fleshed-out they are on a moment-to-moment basis. I loved the scene where Arul barges into Yazhini’s house, after their separation, on the day of her engagement to someone else. In a lesser film, she would have asked him to get out, and he’d have dug his heels in, and she’d have cooled down and… But here, she rushes straight into his arms. And you make us see why. She was frustrated, fed up with him. But she’s also confused. Was she hasty in abandoning this man? Should she move on with another man? Does she even need a man? With just this one scene, you’ve compensated for the underwritten heroine of Jigarthanda. The story arc may be Arul’s, but Yazhini registers as a fully formed character. Similarly, Michael’s arc allows for the delineation of Ponni and Malarvizhi, and through Jagan, we get glimpses of his mother, and possibly of all womanhood as viewed by a compassionate man. And then you say that women don’t need even this compassionate man (poor chap!), that they have to emancipate themselves instead of looking for a penis-wielding emancipator. What delicious irony, given that you begin the film with women talking about marriage, tying themselves to a man!
Or not, in the case of Malarvizhi, who is easily the film’s most interesting character. Her husband is dead, and she doesn’t want love anymore – only sex. When Michael buys her a diamond necklace, she gives it back to him – she can buy her own trinkets, thank you very much. But the character feels shoe-horned into the film, Karthik. I felt betrayed – and I bet she did too – that after a point, she was used simply as a plot device to get Michael and Ponni together, and also to illustrate Michael’s (who is now standing in for all of mankind) hypocrisy. I felt she deserved more. And yet, I appreciated your generosity in fleshing her out like all the others, without judging her. She gets to be the rare woman in Tamil cinema who dumps the man, and the way she lets go of Michael is echoed in the way Arul lets go of Yazhini, with a heavy heart and some playacting. A side effect of the Malarvizhi subplot is the reassurance that Vijay Sethupathi is still interested in making cinema, rather than just massy entertainers targeted at the box office.
Ponni gets a better deal (and Anjali is terrific, raw and expressive in a way she has never been). In a great scene – rather, a set of book-ending scenes – Michael tells Ponni that he was forced to marry her, and she’s going to have to “adjust” to this if she wants to be with him. Much later, she throws the “adjust” word back on his bearded face when he asks her if she slept with someone else. In a different kind of movie, we’d be invited to see this symmetry, stand up and applaud. But you’re too subtle for that, Karthik. Iraivi is your subtlest film. Which is why I winced at the melodramatic lines about men and women, most of which came towards the end. Aan, using the long-sounding vowel, versus penn, with the shorter one – for such a visual filmmaker (this is another outstandingly shot film, less showy than Jigarthanda and probably richer for that), do you really need the crutch of linguistic special effects from another era of filmmaking? Also, when the rest of your film is so allusive, isn’t there another way you can explain the twist without having a character resort to such an inelegant information dump?
And why is it that your films come together more in the head than in the heart? Why are they easier to admire than love wholeheartedly? I used to think it was because your characters are essentially deceitful, self-serving and unsympathetic, so though we were invested in what they did, we didn’t really warm up to them. But here, you have Ponni and Yazhini and Malarvizhi – and they’re still remote. But perhaps this is bound to happen when there are so many people, so many strands, when we don’t follow one person’s simplistic “you go, girl” journey like we do in, say, 36 Vayadhinile? But when the parts are so well-crafted, we don’t complain as much about their sum not adding up to a satisfying whole. I am sure that you will, one day, make that wholly satisfying film, but for now, thank you for these parts. Thank you for the ambition. I felt there were too many songs (some good work by Santhosh Narayanan), but thank you for ensuring that they don’t break character, the way songs usually do when a character speaking in his or her voice suddenly segues into the playback singer’s voice. Thank you for giving us SJ Surya, the actor – I never dreamed he had such a capacity to hold a scene, to hold the screen. Thank you for continuing not to sell out. Thank you for trying to do so much, even if not all of it needed to have been tried. And thank you for making me fight with myself, for not making it easy to decide if you’ve made a “good” film or a merely “okay” film. For now, Iraivi is a fascinating film, and that’s enough.
Sincerely, etc.

My name is Emily. I'm from the United States and I wanted to end my 20's with a bang, and I'm happy to say that I ended my 20's in Korea.Actually, Korea was not a country that I had much to do with.Originally, I was a person who was immersed in Japanese culture since college.Japanese anime became my friend. There's a lot of interesting things about Japanese anime, like the fact that they depict real places in Japan, and they depict real food, and so I fell in love with Japan, and I even traveled to Japan a couple times, and I thought that Japan was the sum of everything that I longed for.
But then, in my late 20s, I met a friend who would change my life. It was a simple meeting with a long-lost college classmate, Sarah, who had gone on to work at a large firm in New York City, and whom I had shared anime and Japanese food with in my dorm room in college. She told me honestly that she had recently traveled to Korea and was seriously thinking about moving there. Unfortunately, the large company she worked for in New York had recently gone through a business crisis, and she was laid off.
She said that she was confused by the sudden betrayal of a well-known company, and to clear her mind, she went to the airport with the intention of leaving anywhere. She thought she would go to Japan, but when she arrived at the airport, she changed her mind. When she thought back to the places and restaurants she frequented most often while working at the company in New York, she remembered that she often went to Korean streets and Korean supermarkets in New York, and she thought that going to Korea on an impromptu trip was a really good idea, so she chose to go to Korea rather than Japan, which she already knew.
And buying a plane ticket on the spot at the airport was more than twice as expensive as booking a ticket in advance, but Sarah said that she didn't care, because she was depressed after being fired from her job, and she went to the airport to leave, but the curiosity about Korea that came over her made her want to leave right away, even if she had to pay for the expensive plane ticket.
He expressed that although he went to the airport courageously, he knew that the plane ticket would be too expensive, and he thought that maybe he should just go back home again, but his curiosity about Korea came from somewhere deep inside him, and it exploded like a bomb, and he was naturally drawn to it.
Sarah, who likes emotional things like essays and poems in college and enjoys such poetic expressions, but even so, I wondered if it was a little overdone, but when she said that she had been to Korea, I became more focused on her story.
However, I was able to understand why she expressed herself in such an over-the-top way after listening to her Korean stories.
"Korea is an amazing place, the people are so kind and warm, and most of all, the employment system is very well organized. There are many programs and support for job seekers, which is very helpful for people who are in a difficult situation like me."
When Sarah started with this story, I realized that she was really traumatized by being laid off.Now, she had been through a big ordeal and was in the process of recovering from it through Korea, so I decided to focus more on her story."You said you traveled to Korea, so what else did you do?" I asked."For example, what kind of programs were there?" I asked her.
"I happened to visit a job fair in Korea," she said, "where job seekers can get free career counseling and get the training they need." "I got a lot of help there, and it gave me the strength to get back on my feet, and maybe even get a job in Korea." "And most of all, the work culture in Korea is really family-like," she said, "I was impressed by how much my coworkers cared about each other and supported each other."
Sarah said that she was curious about what Korea was like, so she visited a large convention center in Korea and participated in various fairs, one of which was a job fair, and she interviewed with several Korean companies, and the Korean companies were ready to accept her as a colleague if she applied as an American. I also learned that Korea has many companies with global reach, and they are open to foreigners with various experiences, but in Korea, unless it is a large company, people don't prefer them, so if it is a small company, they want foreigners, but there is a sad reality that no one applies.
Unlike in the U.S., where you have to report your performance every week, and if you fall short, you are threatened with termination, Korean companies are definitely not more performance-oriented than in the U.S. They value their employees and do everything together to grow together, not threaten them with termination. In the past, I knew that corporate culture in Asian countries such as Korea was more collectivistic than individualistic, and as a student, I thought that such a collectivistic culture was a bad culture with a high level of disease in Asia, but after experiencing social life in the United States, I heard that the tendency of companies to be extremely individualistic, talking about job insecurity, and treating people ruthlessly, caused me to be fired from a good job overnight, and the future plans I had planned in advance became uncertain, and I even talked about envying the Korean culture that does not have such disadvantages.
Sarah, who has never worked in Korea, but was always afraid of being fired, said that she learned a lot about Korean corporate culture by interviewing many Korean company officials.
She said that she even considered settling down and living in Korea because, besides the culture, there were so many other conveniences and benefits.
She talked about her experience of working in New York, being left alone in the office to get things done because of her performance, having to leave late at night and being afraid to go home, sleeping in the hotel next door, and having to live with the exorbitant rent in Manhattan and the two-hour round-trip commute to work, and how she realized that unlike in the U.S., where it is difficult to see a doctor, she would not have to worry about these things in Korea.
Sarah's story made me even more curious about Korea.The warmth, systematic system, and various charms that she experienced in Korea couldn't help but have a great impact on me.I've been experiencing a lot of stress every day due to the pressure of performance and the threat of being fired, and I've recently been undergoing expensive psychotherapy.I decided to learn more about Korea, and eventually decided to travel to Korea.
Of course, I didn't travel to Korea with the intention of moving to Korea or settling down in Korea, but rather to spend my last 20s in a new country, Korea, and to see a different world than the familiar Japan.
I made my preparations and headed to Korea sooner than I expected, arriving ten days before my birthday and extending my itinerary beyond what I had originally planned, staying in Korea until after my birthday and then flying back to the United States.
The first day I finally arrived in Korea, I started walking around the streets of Seoul.The first thing that greeted me was the warm spring weather in Korea.The sky was clear and the air was crisp.I was told that it is common for Asia to have very bad air quality in the spring due to the influence of China, but I didn't have to deal with that during my trip.
The streets of Korea are very different from the United States, and everything was new to me.There were many beautiful flowers in bloom, and the well-maintained trees were really beautiful.It has been a long time since the common people's neighborhoods in the United States have such beautiful landscaping because of people who destroy these trees and flowers for no reason, or secretly take them and sell them.But this was not the case in Korea.The streets were like a beautiful flower garden.
I was walking down a beautiful street lined with flowers, and I was looking at them, looking at the big big map that was displayed on the screen at the bus stop.I was just curious to see what my neighborhood looked like, so I was looking at the map and taking my time, and a middle-aged woman came up to me and said, "Where are you looking for?" She didn't speak fluent English, but I was so grateful that she was trying to help. I was too embarrassed to tell her that I was just looking at the map, so I told her one of the destinations I was planning to go to, and she gave me direct directions to the place I was looking for, and I was able to get there without any difficulty.This unexpected kindness opened my eyes to the Korean people and warmed my heart at the same time.
I was ready to accept everything in Korea with an open mind.The first impression was very good, I was touched by the kindness of the people.I couldn't ask for anything more from Korea.The food was so fresh and amazing to me.I visited Gwangjang Market, a famous traditional market in Korea.
Unlike a regular restaurant, it was a place where you could sit down and try a variety of food. As a traditional market, it was full of Korean food. There were no pizza, pasta, or burger joints, but I liked it better that way. It was a place where you could see the traditional look and feel curious about everything.
I also tasted foods such as tteokbokki sundae and hotteok.Everything else was fine, but I was a little worried when I first tried sundae because it looked so strange and a little gross, but I decided to give it a try and the moment I put it in my mouth, the rich flavor filled my mouth.Korean food often seems difficult to eat, but when you try it, you can see why it is so popular in Korea.
I stayed at Gwangjang Market for a long time and tried a lot of different foods, especially kimchi and pajeon, which I still remember because of their crispy texture and spicy flavor. I would recommend them to everyone.Experiencing the deep flavors of Korean food firsthand made me fall in love with Korean food.
And then there was a shocking thing that happened to me in Korea.I was having a lot of fun traveling around Korea and everything was interesting, because Korea is really the best place to be, you know, you're running around, you're busy, you're going from place to place, and I had the misfortune of losing my passport, which was really stupid.
I was traveling in Korea, and I got an international call. Someone was calling me from Korea, and when I saw the international call indicator on my phone and realized that the call was from Korea, I had a million questions.
I thought I shouldn't answer the call, but then I realized that it was an international call, and I thought maybe they were calling me because they had some business to take care of. I answered the call, and I was told a really crazy story, because I heard a calm English voice asking if it was Emily, and she introduced herself as a police officer and asked if I could come to the nearest police station.
I thought I had done something terribly wrong, because I had just eaten delicious tteokbokki and sundae, kimchi and pajeon, and I was so happy to eat them, and afterward I was just walking around the streets of Korea, smelling the flowers and seeing the pretty trees.
I started to check my belongings one by one and realized that my small pouch containing my passport and some of the money I had exchanged was missing.
I quickly headed to the police station, which was where I was told to go, and from the front gate, I was controlled as to what I was visiting.
The great thing about Korea is that even for someone like me who doesn't speak Korean, it's not difficult to navigate these government offices. Not all Koreans speak English, but at least the ones I've met have been able to communicate with me in a simple way. Even if they don't speak perfect sentences, they understand most of the words, so I was able to communicate the reason for my visit to the police station.
I had never been to a police station before, even in the U.S., but here I was in Korea, and I was greeted by friendly people.The pouch with my passport in it had my contact information written on the inside, and they said they would contact me with that.The bag was found in a marketplace, and the first person to report it was the stall owner of the place where I had my first sundae.It also had all of my clean, new Korean money in it, which I had exchanged separately.
I was so impressed with how conscientious Koreans are and how good they are that I was able to find the pouch, sign the paperwork, and walk out of the police station.
I went back to Gwangjang Market, and when I got there, the owner recognized me and looked like he was about to say something. I held out the bag and showed it to him, and he smiled and liked it.
I thanked the Korean boss, and we ate another snack on the spot. It was an experience that made me realize how heavenly Korea is.
And like Sarah said, I didn't just want to see how clean and pretty Korea is, I wanted to see what an American working in Korea could do and what life would be like.Through the Reddit community, I was able to get in touch with Americans working in Korea and even met some of them in person.
David, the American I met, works for a company that is not a large Korean company, but rather a small or medium-sized company. As Sarah said, Korea is a country where products are produced for the global market, and many things are actually exported overseas.
However, in Korea, unless it is a large company, every company is experiencing a job shortage, and because of the atmosphere in Korea, where foreigners are not welcome at all, it is not difficult to get a job in a company that specializes in exporting overseas, even if you are in the United States.
And David told me that he put all his passion into the first company he worked for in the U.S., and even made a lot of money for the company, but when he didn't perform, the company fired him without mercy, and he said that he was so shocked, not to mention the feeling of betrayal, that he took depression medication at that time, and it was so hard that he took depression medication, and then he found Korea by chance and settled in Korea, and now he is so happy. He told me that he was fired from his job because of the unrelenting treatment in the U.S., that he found a second chance in Korea, and that he is happy with his life here.
I'm not sure I have the courage to move to Korea right now, but I learned that there are a lot of people like Sarah and David who have been hurt so badly that they end up leaving the country. I'm scared that this could be my future, but I also learned that Korea is an option for me if it happens to me.My trip ended like this: experiencing the culture, food, and hospitality of Korea, and getting to meet and talk to Americans living in Korea, made my trip much more rewarding than my trip to Japan, which could have been an anime trip.
Korea has given me new perspectives and experiences, shattered my notion that Japan is only good, broadened my horizons, and opened my eyes to another gem that is Korea.
I now like to say to my friends, "Go to Korea, you'll see how good it is." Korea has taught me so much, and I will cherish my experience in Korea, which now holds a special place in my heart.
If Sarah goes to Korea and settles down, I will be there to congratulate her and support her in her new relationship in Korea.

1. Islam is the only religion not named after a person or a tribe.
2. The literary irreproducible miracle is well supported.

Even scholars agree. That's the consensus.
Arthur John Arberry said "to produce something which might be accepted as echoing however faintly the sublime rhetoric of the Arabic Koran, I have been at pains to study the intricate and richly varied rhythms which constitute the Koran's undeniable claim to rank amongst the greatest literary masterpieces of mankind."
Karen Armstrong said "It is as though Muhammad had created an entirely new literary form that some people were not ready for but which thrilled others. Without this experience of the Koran, it is extremely unlikely that Islam would have taken root."
Oliver Leaman said "the verses of the Qur'an represent its uniqueness and beauty not to mention its novelty and originality. That is why it has succeeded in convincing so many people of its truth. it imitates nothing and no one nor can it be imitated. Its style does not pall even after long periods of study and the text does not lose its freshness over time."
E.H. Palmer said "That the best of Arab writers has never succeeded in producing anything equal in merit to the Qur’an itself is not surprising."
Also, another quote "Scholar and Professor of Islamic Studies M. A. Draz affirm how the 7th-century experts were absorbed in the discourse that left them incapacitated: “In the golden age of Arab eloquence, when language reached the apogee of purity and force, and titles of honour were bestowed with solemnity on poets and orators in annual festivals, the Qur’anic word swept away all enthusiasm for poetry or prose, and caused the Seven Golden Poems hung over the doors of the Ka’ba to be taken down. All ears lent themselves to this marvel of Arabic expression."
Also, "Professor of Qur’anic Studies Angelika Neuwrith argued that the Qur’an has never been successfully challenged by anyone, past or present: “…no one has succeeded, this is right… I really think that the Qur’an has even brought Western researchers embarrassment, who wasn’t able to clarify how suddenly in an environment where there were not any appreciable written text, appeared the Qur’an with its richness of ideas and its magnificent wordings.”
Not to mention Hussein Abdul-Raof. "Hussein Abdul-Raof continues “The Arabs, at the time, had reached their linguistic peak in terms of linguistic competence and sciences, rhetoric, oratory, and poetry. No one, however, has ever been able to provide a single chapter similar to that of the Qur’an.”"
Yes, all of them are experts in Quran and in Literature. Lots of credible scholars say that the quran is inimitable.
Laid Ibn Rabah, one of the poets of the seven odes, stopped writing poetry and converted to Islam because of it.
The Qur'an's rhyme scheme is very organized, some of the best out there. Not to mention that it came out spontaneously.
It uses ten rhetorical devices in 3 words at one point. Someone tried to use more. Even though it does, people still mocked it for how it didn't meet the challenge. He used punctuation. (https://www.reddit.com/exmuslim/comments/18o5y0w/the\_rationalizer\_had\_a\_version\_of\_the\_quran/)
And apparently, if it were by a human, it would not contain a challenge, because he would be afraid people would complete it. This book issued a challenge that apparently nobody completed.

1. The Qur'an predicted that the Byzantines will win the Byzantine-Sassanid war within 9 years, even though they lost the recent battle.

The Romans have been defeated in a nearby land. Yet following their defeat, they will triumph within three to nine years.

(https://quran.com/30?startingVerse=3)
Now this is massive because it is unthinkable that a defeated army would win a war.

1. The Qur'an knew that pain receptors are in the skin.

Surely those who reject Our signs, We will cast them into the Fire. Whenever their skin is burnt completely, We will replace it so they will ˹constantly˺ taste the punishment. Indeed, Allah is Almighty, All-Wise.

(https://quran.com/en/an-nisa/56 )

1. The Qur'an knew about the rose nebula.

˹How horrible will it be˺ when the heavens will split apart, becoming rose-red like ˹burnt˺ oil!

(https://quran.com/en/ar-rahman/37 )

1. The Qur'an knew that wind holds the clouds up.

And it is Allah Who sends the winds, which then stir up ˹vapour, forming˺ clouds, and then We drive them to a lifeless land, giving life to the earth after its death. Similar is the Resurrection.

(https://quran.com/en/fati9 )
The USGS say, "Even though a cloud weighs tons, it doesn't fall on you because the rising air responsible for its formation keeps the cloud floating in the air. The air below the cloud is denser than the cloud, thus the cloud floats on top of the denser air nearer the land surface". (https://www.usgs.gov/special-topic/water-science-school/science/condensation-and-water-cycle?qt-science\_center\_objects=0#qt-science\_center\_objects)
The 'Scientific American' says, "Upward vertical motions, or updrafts, in the atmosphere also contribute to the floating appearance of clouds by offsetting the small fall velocities of their constituent particles. Clouds generally form, survive and grow in air that is moving upward". (https://www.scientificamerican.com/article/why-do-clouds-float-when/).
Peggy Notebaert Nature Museum says, "There are several reasons clouds float: first, the droplets in a cloud are small. Very small..................The second reason that clouds can float in the air is that there is a constant flow of warm air rising to meet the cloud: the warm air pushes up on the cloud and keeps it afloat". (https://www.naturemuseum.org/the-museum/blog/how-do-clouds-float#).
(https://www.reddit.com/DebateReligion/comments/eg25t7/the\_quran\_is\_a\_scientific\_gem\_quran\_miraculously/ )

1. The Qur'an knew that the atlantic and pacific ocean are different colors. They don't mix.

Q55:19-20

He merges the two bodies of ˹fresh and salt˺ water, yet between them is a barrier they never cross.

( https://quran.com/55?startingVerse=19)
If that's not true, how does one explain this photo. ( https://www.livescience.com/planet-earth/rivers-oceans/do-the-pacific-ocean-and-the-atlantic-ocean-mix)

1. The odd-even miracle.

Add the verse count to the chapter number, we get 57 odd and 57 even sums.
All 57 odd sums add up to 6555. Not only is that odd, that is all numbers from 1-114 added up.
All even numbers add up to 6290. That is how many verses in total there are in the Qur'an .
(https://www.reddit.com/exmuslim/comments/ds6juf/yaa\_ayyuhal\_kafiroon\_the\_quran\_is\_mathmetically/ )
Muhammad was illiterate, so how could he even remember his own numbers?
Also, a verse in the Qur'an hints at it, 89:3.

By the dawn, and the ten nights, and the even and the odd, and the night when it passes! Is all this ˹not˺ a sufficient oath for those who have sense?

( https://quran.com/89?startingVerse=1)

1. The Qur'an gets embryology right in considering that it looks like a leech at one point, looks like a lump with a bite taken out of it at another. Also in that hearing is before sight.

You can see Keith Moore, an embryologist show his work with this document. ( https://pdfs.semanticscholar.org/1194/79036bd3704127bbb25378174bfcd5b9f088.pdf)
Don't say "Galen" because Galen and the Qur'an contradict on embryology. Also, how did Muhammad know about Galen's work?
This paper by Nadeem Arif Najmi explains it in more detail. (https://www.call-to-monotheism.com/a\_muslim\_answer\_to\_criticism\_of\_\_embryology\_in\_the\_qur\_an\_\_\_by\_nadeem\_arif\_najmi)

1. The Qur'an knew about altitude sickness.

Whoever Allah wills to guide, He opens their heart to Islam. But whoever He wills to leave astray, He makes their chest tight and constricted as if they were climbing up into the sky. This is how Allah dooms those who disbelieve.

(https://quran.com/6?startingVerse=125 )
The highest mountain is Saudi Arabia is Jabal Dakkah, at 2585 meters. (https://peakery.com/jabal-dakah-saudi-arabia/ ) Already, altitude sickness has begun at that height (https://www.betterhealth.vic.gov.au/health/healthyliving/altitude-sickness ), but I don't think that Muhammad has even climbed that mountain.

1. The Qur'an knew that the ocean is darker as one goes in, and that there are internal waves in the ocean.

Or ˹their deeds are˺ like the darkness in a deep sea, covered by waves upon waves, topped by ˹dark˺ clouds. Darkness upon darkness! If one stretches out their hand, they can hardly see it. And whoever Allah does not bless with light will have no light!

(https://quran.com/24?startingVerse=40 )

1. The Qur'an knew about the water cycle.

Do you not see that Allah sends down rain from the sky—channelling it through streams in the earth—then produces with it crops of various colours, then they dry up and you see them wither, and then He reduces them to chaff? Surely in this is a reminder for people of reason.
(https://quran.com/en/az-zuma21)

We send down rain from the sky in perfect measure, causing it to soak into the earth. And We are surely able to take it away.

(https://quran.com/en/al-muminun/18 )
Infiltration and runoff mentioned.

We send fertilizing winds, and bring down rain from the sky for you to drink. It is not you who hold its reserves.

(https://quran.com/en/al-hij22 )
(https://www.thelastdialogue.org/article/water-cycle-mentioned-in-quran/#Miracle\_in\_the\_use\_of\_word\_%D9%85%D9%8E%D8%A7%D8%A1%D9%8B )
13/14. The Quran knew about the big bang. The Quran also knew that before the devonian age, life was not on land.

Do the disbelievers not realize that the heavens and earth were ˹once˺ one mass then We split them apart? And We created from water every living thing. Will they not then believe?
(https://quran.com/en/al-hij22 )
The second part could mean that even non-carbon life needs water.
Don't say Thales because Thales said that everything came from water, not life.
Bonus: The Sunnah knew that the Arab lands were once green.

The Last Hour will not come before wealth becomes abundant and overflowing, so much so that a man takes Zakat out of his property and cannot find anyone to accept it from him and till the land of Arabia reverts to meadows and rivers.

(https://sunnah.com/muslim:157c )
The Sunnah not only knew that arabia is turning green at the moment, it also knew that Arabia was once green. Ta'ood doesn't mean become, but it means revert. So, it does not mean that it will mean become.
There are lots more prophecies in the Quran and Hadith that have been fulfilled. You can see the yaqeen institute's list right here. (https://yaqeeninstitute.org/read/papeed/the-prophecies-of-prophet-muhammad )

I am gobsmacked that season 3 comes out tomorrow. I have had such a blast writing up these rewatch recaps. For anyone that's curious, I'm watching all four episodes when I wake up tomorrow morning (probably around 7AM EST), then heading to lunch to debrief with my cousin before we rewatch a second time.
This is my absolute favorite episode of the series. I've watched it so many times, it's just such a great finale. So, I say this begrudgingly, thank you to Jess Brownell for writing such an excellent episode. If you keep up this energy in seasons three and four, I will gladly eat my words.
"The Viscount Who Loved Me" finds the Bridgerton family recovering from the fallout of Eloise's scandal, Kate recovering from her injury, and the final ball of the season, hosted by the Featheringtons.
Benedict appears for the first time in this episode when he arrives at the Danbury House, his valet having noticed Anthony carrying Kate inside. He asks Anthony if he's alright, and you can really see his concern for his brother. When Anthony says everything is his fault, you can clearly see the look on Ben's face change, and I just love Luke T in this scene.
We see Benedict again in the Bridgerton drawing room, a week having gone by, strewn over his favorite chair, next to Eloise as he sketches away. When Anthony enters, making demands, Ben looks a bit irritated with his brother, especially as he begins to berate Colin, declaring "he is one and twenty, Brother." Anthony dismisses him, saying, "Keep to your doodling," clearly offending Ben, before he leaves along with the rest of the siblings.
Also, non-Benedict related comment, but I never noticed that in the scene where Footman John drops off the parcel with the hidden message inside from Theo, Eloise's dress has a distinct floral pattern on. So I apologize to Theloise truthers, but even in a scene involving Theo, there are obvious signs pointing to Sir Phillip.
We don't see Ben again until about twenty-two minutes, where Ben is happily painting Tessa when Rupert walks in, calling Ben's work "remarkable" and his best yet, before saying that the people at the Academy assumed he'd be "all drink and no paint." Suddenly Ben's confidence washes away, as he asks Rupert to clarify what he means. Rupert admits to Benedict that Anthony has made a large donation to the school, which ultimately secured him a place. He says he thought Benedict knew, but we all know he did not, and you can just see the pain in his face as he realizes he did not in fact get into the Academy based on his skill, but rather based on his last name and the financial support Anthony gave. This would have taken place right after Benedict rattled off his "what is it truly to admire a woman," poem, Anthony having responded, "you should apply yourself more often, Benedict." I often wonder if Anthony had wanted Ben to do exactly that, and apply himself, recognizing his brother's potential, and made the donation so Ben would have the opportunity. But, regardless, this absolutely shatters Benedict's confidence in himself as an artist, and is likely the catalyst for his journey in season three.
Also, more floral patterns on Eloise's dress during the "break up" with Theo.
And we have the swing scene, Benedict approaching his sister looking rather worried for her, obviously knowing of her scandal. He says, "you seem to have the melancholy of heartbreak about you," and Eloise fires back "what would you know of heartbreak?" Benedict kind of scoffs, replying, "I would not, really." We all know what this is: Benedict is probably just eight-ish episodes away from having his heart shattered in a million pieces if I had to guess. This conversation is just so great, both siblings feeling like imposters, both wanting something more out of life and feeling like it's been taken away from them. Benedict tells Eloise that when looking at a Bridgerton painting, one feels "disappointment" and "lack of inspiration." He is, of course, describing how he currently feels about himself. He's disappointed in the fact that his art skills did not get him admitted to the Academy, and is no longer feeling inspired because of that. Perhaps he just needs a muse? I think it's likely he will find that muse very soon, and his underlying story next season will probably revolve around that "lack of inspiration." But, aside from all this, we do have a really lovely moment between these two siblings. I wonder if they will be more at odds next season because of Eloise's friendship with Cressida, or if we will be blessed with more swing set scenes.
Benedict is next seen arriving at the Featherington Ball with Anthony, Violet, and Eloise, looking like he really does not want to be there as he bites his lip and walks off. He then returns, nudging Eloise in the arm, saying, "Steady." Eloise looks to Violet, replying, "And ready," the two walk off, Benedict smiling as they go.
Benedict appears again after Penelope runs off, having heard Colin's words for her, encountering Anthony. Benedict tells him he's leaving the Academy because of his donation. Benedict admits to Anthony that he knows he was trying to help in his own "misguided way," before telling him that he believes Anthony did it because he recognized that Benedict just wasn't good enough. Anthony tells him, "If you want to paint, paint. It is one of your many talents, chief among them your natural girl for seeing what others need, even when they cannot see it themselves." He admits it has taken him too long to realize it, and Benedict brushes off the compliment, his confidence lost entirely, and tells Anthony to enjoy the rest of his evening. This is how the season is wrapping up the kind of back and forth between the brothers, where Benedict is constantly reaching out to Anthony, and Anthony is dismissing him. Finally it's Anthony who is reaching out, telling Benedict he is essentially sorry for not realizing sooner that Benedict was always seeing in him what Anthony himself didn't even realize. But now Benedict is shutting his brother out, in a switch that may give Anthony room to help his brother through this dark period next season.
Finally we see Benedict in his studio, closing his box of art supplies (with four fingers, leading to the season four theory), effectively closing this chapter of his life.
Benedict appears in the epilogue, playing pall mall with the family and Kate after they return from their honeymoon. Six months have gone by. He looks distinctly less happy than he did for most of the second half of this season, part of him missing, but he does smile at Newton running off with Anthony's ball. He grins at Daphne as they watch Anthony so in love, laughing a bit when she declares it means they are cutting out. Benedict makes his last appearance this season, walking off as Anthony and Kate hold up the pall mall game, pleased that his brother has finally found true happiness.
And thus concludes our Benedict-centric rewatch of seasons one and two. His ending is rather sad here, having given up the Academy, which made him so happy throughout this season, but we have a rather good idea where we'll find him in season three. Hopefully he will find his muse when he is least expecting it, but we know he's feeling unconfident and beaten down by the fact that his admission to the art academy was not based on his talent. Colin's travels and Anthony's marriage will likely leave Benedict feeling like he has nothing at all. As Bridgerton likes to beat down their leads before their season begins (Penelope got a one-two punch in the finale, as her friendship with Eloise ends and then she overhears Colin saying he would never court her), so I expect Benedict to be kicked down rather effectively in the season three finale. It will be sad to watch, but worth it knowing what's coming.
I'll probably be muting both this sub and the main one tonight so I don't see any spoilers before I finish season 3 tomorrow morning, but I hope you have all enjoyed going on this ride with me. I'll see everyone tomorrow, when we have more Benedict to analyze!
Best Benedict quote from this episode: "Imposter party of two?"

Rituals are the bread and butter of any magical practitioner worth their salt. But an issue that many people run into is that they read a ritual in a book or online, complete it, and then don't get any results. One main reason for this is that they fundamentally misunderstand what they are doing.
Rituals aren't a beckoning call to the Universe; they are setting a boundary for you to walk through.
Let me demonstrate this:
The average Joe actually does a number of rituals in his life. There's a ritual when he completes school, there's a ritual in which he declares his love for another person, and there is a ritual when a loved one passes aways. All of these things are major changes in his life, and the rituals serve to bookmark one phase of life as he walks into another. The sky doesn't change color when your mom dies, nor do you gain ten pounds (at least not immediately.)
So, we have a prescribed set of actions we do together to mark this change. This means that rituals are doorways. They make intangible changes in the world tangible.
Then, there's the second level of ritual; the kind that marks time as it passes. These are your Christmases, your Halloweens, your Yom Kippurs, your Ramadans, and if you want to get more frequent, the solstices, esbats, Shabbats, and daily prayers. These all take a thing that's happening in the world externally (usually astrologically), and then tie it to an action, be it as large as throwing a party, or a small as taking a moment to self-reflect. These actions become boundaries.
If you reflect on your place in life every new moon, you develop a backlog of times you do this, and every month is adding another point to the log. You break your time up into chunks, which charts your trajectory in life, and that alone will give you the energy to change it. We are already talking powerful stuff here, and I haven't even gotten to the magic!
But we see where this is going, right? Casting a spell is walking through a boundary between the life you have and the life you want. In order for it to work, you need to believe in it as much as you did when you graduated or when you got married. The door doesn't become real until you believe in it. And being able to believe in any door you wish to walk through will unlock so many possibilities for you in your lifetime.
So my advice: Do as many rituals as you can. As you brush your teeth, thank God for fresh breath. As you drive to work, plead with God not to get hit by an accident. Recite your favorite poem every morning, afternoon, and evening. Charge your coffee with good energy and feel it coursing through you as you drink it.
You walk through thousands of potential doorways every day, you just need to do a bit of work to notice them and walk through them consciously.
But if you build the habit, and you want something... All you need to do is walk through a new door.

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.

[I wrote this article about Macbeth for my college's newspaper, and I thought this subreddit might enjoy reading it!]
I have joked before that Shakespeare’s two favorite subjects–surpassing love, murder, madness, and crossdressing–are botany and birds. If you’ve been to New York City you might be aware of the “Shakespeare Garden” in Central Park, whose theoretical aim (though it proves nigh-impossible in practice) is to house specimens of all the plants which Shakespeare mentions in his plays. As it turns out, Bard quotes make for quite a diverse garden: there are roses which assuredly would smell as sweet by any other name; there are daffodils, that come before the swallow dares, and take the winds of March with beauty; there’s holly, heigh-ho; there’s rosemary, that’s for remembrance, there’s pansies, that’s for thoughts, there’s fennel for you, and columbines–no word on whether or not they could find any violets, though. I suppose there’s no objection to be made against those who complain that Shakespeare’s language is “flowery”; even as vicious a villain as Iago deigns to express his philosophy on life by way of botanical metaphor: “Our bodies are our gardens, to the which our wills are gardeners.” And, of course, the plot of A Midsummer Night’s Dream revolves around a magical flower which makes people fall in love.
I doubt anyone will object to my claiming of birds as Shakespeare’s other poetical fixation: I suspect that the majority of falconry knowledge which most non-falconers have today comes from reading footnotes in their copies of Shakespeare plays, explaining exactly what Richard II means by “How high a pitch his resolution soars,” or why Hamlet says “Hillo, ho, ho” to Marcellus. But while plants are so common in Shakespeare that I don’t know of one play which we might say is especially densely forested with references to them, there is one play that stands out as particularly full of birds in comparison with the rest of the Shakespearean canon. That play is Macbeth.
This is the sort of thing that one only notices after having read a play so many times that the actual events of the plot become akin to the meter of a poem–beats which must be hit, and which start to feel so natural that one hardly notices them–and one’s attention drifts away from the big, important speeches and toward the more utilitarian words and odd little moments that bridge them. I am not the first to point it out, but it is, all the same, a delightful quirk of the play, and could be a good way for Sophomores to throw their classmates for a loop in seminar [Note: Students at our college study Macbeth during their Sophomore year.]: why are there so many birds in Macbeth?
KING. Dismay’d not this/Our captains, Macbeth and Banquo? SERG. Yes,/As sparrows eagles… -Act I, Scene II
LADY. …The raven himself is hoarse/That croaks the fatal entrance of Duncan… -Act I, Scene V
BAN. This guest of summer,/The temple-haunting martlet, does approve/By his loved mansionry, that the heaven’s breath/Smells wooingly here: no jutty, frieze/Buttress, nor coign of vantage, but this bird/Hath made his pendent bed and procreant cradle… -Act I, Scene VI
LADY. Hark! Peace! It was the owl that shriek’d, the fatal bellman… -Act II, Scene II
LADY. I heard the owl scream and the crickets cry. -Act II, Scene II
PORTER. …come in, tailor; here you may roast your goose… -Act II, Scene III
PORTER. ‘Faith, sir, we were carousing till the second cock… -Act II, Scene III
LENNOX. New hatch’d to the woeful time: the obscure bird/Clamour’d the livelong night… -Act II, Scene III
OLD MAN. …On Tuesday last,/A falcon, towering in her pride of place,/Was by a mousing owl hawk’d at and kill’d. -Act II, Scene IV
MACBETH. …Light thickens; and the crow/Makes wing to the rooky wood… -Act III, Scene II
MACBETH. If charnel-houses and our graves must send/Those that we bury back, our monuments/Shall be the maws of kites. -Act III, Scene IV
MACBETH. Augurs and understood relations have/By magot pies and choughs and rooks brought forth/The secret’st man of blood. -Act III, Scene IV
LADY MACDUFF. …the poor wren,/the most diminutive of birds, will fight,/Her young ones in her nest, against the owl. -Act IV, Scene II
LADY MACDUFF. How will you live? SON. As birds do, mother. LADY MACDUFF. What, with worms and flies? SON. With what I get, I mean; and so do they. LADY MACDUFF. Poor bird! Thou’ldst never fear the net nor lime,/The pitfall nor the gin? SON. Why should I, mother? Poor birds they are not set for. -Act IV, Scene II
FIRST MURDERER. What, you egg! -Act IV, Scene II
MACDUFF. …there cannot be/That vulture in you… -Act IV, Scene III
MACDUFF. …O hell-kite! All?/What, all my pretty chickens and their dam/At one fell swoop? -Act IV, Scene III
MACBETH. The devil damn thee black, thou cream-faced loon!/Where got’st thou that goose look? SERVANT. There is ten thousand– MACBETH. Geese, villain? -Act V, Scene III
Above I have listed every ornithological reference that I’ve found in the Scottish Play; as we peruse them, we certainly cannot conclude that every individual reference is of the same kind, or carries the same import. I will not pretend, for example, that, just because geese and ravens are both birds, the Porter’s invitation for the imagined English tailor to cook his goose in Hell merits as much attention as Lady Macbeth’s ominous declaration that “the raven himself is hoarse”. Nor do I think that any individual reference particularly demands explication; by itself, any one of these bird-invocations seems perfectly natural. Shakespeare’s talent is such that he can repeat a motif in such a way that on the macro level it is obvious yet on the micro level it hardly feels present. But that macro level is what interests me here: what impression is created, on the whole, by the presence of so many birds in this play? I have a theory, which, though it may seem far-fetched, I think merits at least some consideration, and which, at the very least, I have not seen stated elsewhere, and so may make a novel contribution to the conversation.
Macbeth is both Shakespeare’s most supernatural tragedy and his most Sophoclean; these two superlatives are inextricably related. The appellative Weird given to the opening scene’s three Sisters–derived from the Old English wyrd, meaning destiny, and famously given its more familiar connotation by Shakespeare himself in this very play–is, among the Bard’s works, unique to Macbeth; and just as that word appears nowhere else in Shakespeare, so is the concept it represents absent in all tragedies but this one. Though Hamlet may cry out against outrageous fortune, and though Othello may rhetoricize about how no man can control his fate, it is only in Macbeth that we truly feel that the events we see play out before us are fated, predestined, inevitable. [See Note 1.] The ghost in Hamlet commands his son to revenge his foul and most unnatural murder, but does not tell him it is certain that he will succeed; indeed, would not the drama be sapped of its intrigue if that level of certainty were present? Meanwhile, the supernatural interlopers in Macbeth offer the Scottish thane not a mission, but a prophecy: All hail, Macbeth! that shalt be king hereafter! From its mystical opening word–When, not If–the Scottish play makes us aware of the certainty of all that is to befall our tragic antihero. Macbeth is thus a different sort of tragedy than Shakespeare’s others, and it works by an inverted mechanism. While the tragedy of, for example, Desdemona’s death is that it may have been prevented, the tragedy of Macbeth’s destruction is that it represents the fulfilment of fate; and this is the very same mechanism by which Oedipus Rex operates, complete with its own “Weird” character in the form of the seer Tiresias. Though Calvin managed to accept that some men are destined for greatness and others for ruin, this idea is, to Shakespeare and Sophocles, nothing short of agonizing–the stuff of tragedy.
Now: what does all of this have to do with birds? Consider these words from Antigone, spoken by Tiresias to Creon:
You shall learn, when you hear the indications of my art! As I took my place on my ancient seat for observing birds, where I can mark every bird of omen I heard a strange sound among them, since they were screeching with dire, incoherent frenzy and I knew that they were tearing each other with bloody claws, for there was a whirring of wings that made it clear… (Lloyd-Jones translation)
Consider next these words from Oedipus Tyrannus, spoken defensively by Oedipus to Tiresias:
Why, come, tell me, how can you be a true prophet? Why when the versifying hound was here did not you speak some word that could release the citizens? Indeed, her riddle was not one for the first comer to explain! It required prophetic skill, and you were exposed as having no knowledge from the birds or from the gods. No, it was I that came, Oedipus who knew nothing, and put a stop to her; I hit the mark by native wit, not by what I learned from birds. (Lloyd-Jones translation)
The practice of divining the future from birds–be it from their behaviors, their cries, or their innards–was, to Sophocles and his contemporaries, not superstitious hokum, but a practical science at which one could be skilled or unskilled, and it bodes ill for Oedipus that he is so quick to disregard it in favor of his own native wit. [See Note 2] By Shakespeare’s day, the practice had long been relegated to the realm of outdated hocus-pocus, but the Bard still saw some truth in it; in Macbeth, there is a recurring sense that, when the world is sick with some great wrong, its first symptoms manifest in the behavior of birds. When the “fatal bellman” the owl shrieks in the night, Lady Macbeth takes it as a sign that her husband is about his bloody business. The day after the murder of Duncan, as Ross converses with an Old Man about the strange things they’ve seen the previous night, “unnatural/Even as the deed that’s done”, the killing of a falcon by a mousing-owl–an omen straight out of Sophocles–is mentioned before the madness and cannibalism of Duncan’s horses, even though the latter would surely be more immediately noticeable and ghastly than the former.
These are the most obvious examples of birds as ill omens in Macbeth; yet even the more innocuous invocations of birds throughout the rest of the play continually turn our thoughts back to the ancient Greek understanding of fate and prophecy, and thereby remind us that, however savagely he may fight at Dunsinane, Macbeth’s fate is as fixed as that of Oedipus. The birds have already foretold all.
Note 1: The closest thing there is to this kind of fatalness in another Shakespearean tragedy is the several superstitious occurrences in Julius Caesar–both the soothsayer’s message of “Beware the ides of March” and the bestial portents such as the lack of a heart in an offering and the whelping of a lioness in the streets. Still, I will insist that these omens do not convey a sense of fatedness to the audience as strongly as the Weird Sisters in Macbeth by virtue of their being told to Caesar himself, not to Brutus, the play’s true protagonist, and by the fact that Shakespeare elsewhere uses dialogue to throw some doubt upon the idea of predestination: "Men at some times are masters of their fates:/The fault, dear Brutus, is not in our stars,/But in ourselves, that we are underlings." -I.ii
Note 2: The Liddell-Scott Greek Lexicon identifies at least two separate verbs referring to bird-based divination, both of which are present in the quoted passages: Tiresias uses ορνϊθοσκοπέομαι, observe birds, interpret their flight and cries, while Oedipus uses οιωνίζομαι, take omens from the flight and cries of birds. The latter term comes from οιωνος, a large bird, bird of prey, such as a vulture or eagle, and so distinguished from a common bird, while the former comes from ορνις, which more generally refers to a bird, including birds of prey and domestic fowls. Birds of both kinds are present in Macbeth; there are οιωναι, such as the “falcon, towering in her pride of place”, as well as ορνες, like the Porter’s goose and cock. I therefore see little value in interrogating the kinds of birds invoked by Shakespeare, the specific cultural associations and significance of the owl, the raven, or the wren; rather, if we reduce them down to their barest existence as birds, animals of the class Aves, and consider them in an ancient Greek light, then things become a bit clearer.

There is a growing realization among a handful of observant bible prophecy watchers around the world that Donald J. Trump perfectly fits the descriptive criteria for the end times beast/antichrist given to us in both the old and new testament of the Bible. At present, no other AC candidate comes close to fitting all of the criteria like Trump does.
If the millennial day pattern prophecy is true, 30-33 AD (Christ's crucifixion) + 2,000 years (church age) - 3½ or 7 years (tribulation period) = 2023-2026 (Rapture?).
Assuming this chronology is roughly correct, the Beast/Antichrist must be alive and breathing on earth today, if he is to fulfill his important role in the end times.
The exact day or hour of Christ's return will never be known, but we are told in scripture that we will know the season of His return, and that it won't catch us off guard like it will for unbelievers. I strongly believe for multiple reasons that we are in the final moments of the church age. We must continue to prepare ourselves mentally and spiritually for what's coming.
On the 14th of June 1946, during a blood moon, Donald J. Trump was born in the New York City borough of Queens. On that same day, Infamous cabal occultist Aleister Crowley sent a letter to fellow Thelemite occultist John McMurty that the members Jack Parsons, L Ron. Hubbard, and others were producing a "Moon Child"; the Freemasons "Chosen One", that is, the biblical Beast/Anti-Christ.
In the following decades, masonic movie directors in Hollywood have released many iconic movies featuring arcane esoteric references to Donald Trump, as well as other related events of deep occult significance.
Donald Trump appears to have peculiar numerological connections to the magic numbers 88, 777, 911, and 1776.
700 days after Trump's birth, the prophetically significant rebirth of the modern state of Israel would occur on 5/14/1948.
Further, 70 years, 7 months, and 7 days after his birth, he would be inaugurated as the 45th president of the United States.
Seven months after his inauguration, the first Great American Solar Eclipse would occur on 8/21/2017, with the moon's path of totality dividing the continental USA in half, entering over the 33rd state, exiting at the 33rd parallel. This eclipse also passed over seven towns with the name "Salem". Trump himself infamously observed this eclipse with the first lady from the White House balcony, briefly looking up at the sun without eclipse shades.
Precisely two years to the day after the first solar eclipse, on 8/21/2019, Donald Trump made the odd proclamation "I Am the Chosen One" and also sent out a tweet likening himself to the "second coming of god" and the "king of Israel", which is blasphemy to God.
In another strange coincidence, exactly halfway between the dates of these two eclipses (December 14, 2020), the first mRNA covid vaccine was administered to a patient in the USA.
In 2018, a secret 80-minute cell phone recording recording was taken during a Washington, D.C. donor dinner with President Donald Trump, Rudy Giuliani, Lev Parnas and Igor Fruman in attendance. Parallels are drawn between Trump and the Jewish Messiah using gematria. Parnas then presents a unknown gift to Trump from “the head rabbi of Ukraine” and "some rabbis in Israel". He explains that according to Jewish numerology, known as gematria, the letters in Trump’s name add up to 424, which is the same total attributed to the long-awaited Messiah. (watch here)
On 10/15/2017, Donald Trump made a cryptic remark: "Maybe this represents the calm before the storm". When asked by a reported what he meant, he said "You'll find out" and winked his eye.
Donald Trump has also narrated the cryptic "Snake Poem" at countless rallies. The final line that Trump emphasizes after the woman receives the viscous bite is: "You knew damn well I was a snake, before you let me in!"
When Trump is asked by political commentator Frank Luntz in a now infamous video if he ever asks God for forgiveness, he coldly responds: "that's a tough question," proceeds to say that he identifies as a "Protestant," and his pastor was "the late great Vincent Peele" (who incidentally turns out to be a 33rd degree Freemason). Trump then continues dodging the original question, so Luntz asks him once again if he asks God for forgiveness. Trump then looks at him smugly and finally admits that he doesn't, and that he simply moves on from his sins without repentance and "tries to do better" on his own accord.
The sinister Qanon cult movement began in the murky depths of the web during Trump's rise to power on the campaign trail. It has since become a worldwide grassroots movement, with fervent and fanatical followers perceiving Trump as a messianic figure who is the one that is destined to "take down the Satanic pedophile globalists" and save America - even the whole world itself.
On 4/29/21 Donald Trump proclaimed himself "The father of the vaccine". Under Trump's term as president, Operation Warp Speed sent untold billions to pharmaceutical companies to rapidly develop and produce the mRNA covid vaccines. Trump likened this project's significance to that of a "2nd Manhattan Project".
Trump also has a remarkable obsession with nuclear weapons, which was demonstrated during his "big button/little button" threats made against North Korea, as well as the occasional remark such as his suggestion to nuke incoming hurricanes to stop them and more recently against Iran with WW3 looming in the horizon.
https://www.gq.com/story/the-cult-of-trump