kind of wish I could get hype about communes as a concept but the thing is I think there's a huge blind spot around specifically power dynamics, agency and accountability which gets lost in utopian thinking

which is to say that yes in an ideal world a commune would have solid accountability and protections in place to tackle abuse and coercion

but we very much don't live in an ideal world and time and again I keep seeing people both in communal living situations and in less full-on activist and organising communities just sort of. plough on in the assumption that a) nobody in their community will be abusive and b) they'll Figure It Out if it does happen, they have all the Good Transformative Justice ideas and knowledge and resources!

For the record, this is a great summation of why I'm not an anarchist: because fundamentally, I think the best way to balance the conflicting needs of safety and connection is to have external structures that can be totally separate from our personal and communal chosen bonds. If you give that impersonal structure the power to enforce a common law, you end up reinventing a state. It doesn't have to be a capitalist state--personally, I like socialism--but you do end up there if you remove the element of choice. Sometimes certain things need to not be optional, like whether someone who leaves a community is entitled to their financial share, or whether we take care of people who are so broken that they become wildly unpleasant to interact with.

Thing is, you don't need malice to create an abusive situation. You don't need to construct a narcissist or a person who is always an abuser or even someone who doesn't love the person they're hurting. Conflicts, deeply dysfunctional situations, and abuse happen even in well meaning groups of generally altruistic, honest individuals, especially when people are operating beyond their individual thresholds in terms of the physical, cognitive, and emotional labor that they are trying to provide.

In particular, it is extremely common for people with complex trauma to feel that they are valuable only insofar as they can provide valuable labor to the community so they aren't easily replaceable, which generally winds up making them load-bearing community members... load-bearing community members who are relatively prone to meltdowns if they split or burn out. Which is common: if you think your only value is your labor, you can't withdraw that labor if you run into your reserves or you lose your community, so burnout with this particular pathology is quite high...

(I'm talking about me, by the way, and maybe a dozen other people I know, with varying levels of self awareness and determination to Not Do That. It's a common, common sort of person, especially in circles that care sincerely about building a more just world. It's not always a story that ends badly, but the rails are there.)

You cannot select these issues out of your community by only letting the right people in. They will pop up, no matter what you do. Even if you can magically make sure that everyone in your community is 100% honest and sincere and intends the best, you will find yourself in these situations. At these times, what matters is what you do about it--and as with any emergency, what you do when it gets real bad is strongly influenced by what you do when things are only a little bad.

Ohhhh my god man shut up. Even if we're not capable of utterly removing harm we absolutely are capable of building societies that undercut systems of abuse and silencing. We just have to acknowledge that those things are always a risk and not get complacent in ignoring the possibility of them. It just takes work and care, which a doomery 'oh who cares we might as well die' response makes less, not more, likely to happen.

We can be kind to each other. We can take collective responsibility for people's wellbeing and happiness. We do it all the fucking time! That's what friendship is!

and in an entirely honest and forthright and not patronising way: I am legitimately incredibly sorry if you haven't experienced the human capacity for non-abusive relationships, bc I know I didn't until my late 20s and it sucks.

but to build non-abusive societies we have to believe they're possible and that sounds woo but it's true. Like, until I had non-abusive relationships modelled for me I had very little ability to confront or criticise abuse because I didn't think there was another option on the table. Same goes on a sociocultural level. yeah there's abuse in every community but how they handle it and the harm it creates is different and we can learn from that and build on it. and we do that by acknowledging that the harm and the pain and the abuse is there, why it happens and is allowed to continue, and what works to minimise harm or prevent it.

no it's not going to be perfect! it's never going to be perfect! people are people and they will fuck up and rub each other up the wrong way and have conflicting needs and sometimes, even in the best society, act out of malice. there's always going to be pain. but there doesn't always have to be systematised abuse or lack of support or normalisation if we're willing and able to put the fucking work in instead of wanking on about the inevitable evil of mankind.

it isn't going to be perfect and it isn't going to be painless but we can make it better

bluh bluh bluh there's no good people we're all shit and evil abluh bluh bluh

shut the fuck up I love people. people harm each other constantly but not because people are Inherently Evil but because people are complex, reactive, overwhelmable and injured. people aren't cartoon villains (even though much of what some people do is cartoonishly villainous).

we're worth saving! we're worth loving! we're worth putting the work in to make people better to each other! we as a species don't 'deserve extinction' we have a responsibility to ourselves and the world to do better! we have to actually put in work instead of pulling the old 'I can't help it I'm just Bad' line. that's a fucking copout. we're not intrinsically bad. we're not intrinsically good. we're not intrinsically anything. we face a lot of seemingly intractable problems and it's up to us to figure out ways to chip away at them because what else is the point of being here if not to make things a wee bit less shit?

do you not believe in healing? do you not believe in joy? do you not believe in care? sometimes they're thin on the ground but they're fucking out there! and we can make there be more??? that's the point!

Oh good you said it so I didn't have to. Fuck! I saw the same thing in my notifications and I just--good grief! The very fact that we're having this damn conversation, about harm mitigation even when it's hard, that should be your reality check that it's not all hopeless despair forever! That should be the reminder that humans are trying to do better by one another, not a cue to descend into despair!

People aren't bad, just messy. It's hard to always predict the consequences of our actions and it's hard to keep our emotions in check and sometimes when our environments get overwhelming we stop being our best selves. But that doesn't mean that our best selves don't exist! It just means building in supports so that when we're all tired and ten minutes from meltdown and no one was trained for any of this, we can collapse on those supports for a minute while we sob it out and get ourselves back under control. It means building in guidelines so that when we're overwhelmed and scared we can find our way back into the light. It means building in systems like creep feeders so that small, vulnerable individuals can access resources that they might otherwise be accidentally shoved out of. We can work together to design an environment that has structures that reduce harm, even when conditions get tough.

We gotta build harm reduction approaches into our systems and philosophies, not pretend that goodness and badness are intrinsic traits of individuals. Harm reduction was invented by people grappling with addiction, but it's an excellent principle for building community structures or public health initiatives more generally: sometimes people are gonna do stuff that is not ideal, and what we collectively do about that should focus on reducing the long term harm of those behaviors rather than trying to moralize humanity into perfection. That philosophy was built by addicts and queers burying the thrown - away bodies of their friends and lovers and families in the middle of the AIDS pandemic at its worst: hardly a situation that seems tailor made to produce optimism. And yet they built something that helps us all forge pathways towards something better on top of creating programs that reduced the spread of diseases and kept one another safe. Doesn't that mean anything?

Just cause the work is hard doesn't mean it's not worth doing. Just because the system is imperfect and we disagree a lot doesn't mean we can't get somewhere better. We've already made so much progress relative to where we started! There's this book called A Good Time to Be Born by Perri Klass that talks about how humanity looked at fucking child mortality, an inescapable scourge we had carried for all existence, and decided to do something about it--and then did. Think about that! We're doing so much better than we used to!

The whole conversation makes me think of the parallel conversation my friend @findingfeather has been having this week from a historical perspective: we forget how far we've come because we idealize the past. When you look carefully at the realities of the past, you see how hard we have collectively worked to make a better world. Sure, it's not perfect and it never will be. Sure, it takes lifetimes of effort and plenty of mistakes to struggle towards better. But we muddle along together despite it. That's the human condition!

GUYS THIS IS AMAZING

SERIOUSLY

6000 YEARS

STORIES THAT ARE OLDER THAN CIVILIZATIONS

STORIES THAT WERE TOLD BY PEOPLE SPEAKING LANGUAGES WE NO LONGER KNOW

STORIES TOLD BY PEOPLE LOST TO THE VOID OF TIME

STORIES

GUYS LOOK AT THIS

OH MY GOD YOU GUYS

GUYYYYYSSSS

“Here’s how it worked: Fairy tales are transmitted through language, and the shoots and branches of the Indo-European language tree are well-defined, so the scientists could trace a tale’s history back up the tree—and thus back in time. If both Slavic languages and Celtic languages had a version of Jack and the Beanstalk (and the analysis revealed they might), for example, chances are the story can be traced back to the “last common ancestor.” That would be the Proto-Western-Indo-Europeans from whom both lineages split at least 6800 years ago. The approach mirrors how an evolutionary biologist might conclude that two species came from a common ancestor if their genes both contain the same mutation not found in other modern animals.” 

How do they control for stories that were borrowed, which almost certainly happened?

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“ Unlike genes, which are almost exclusively transmitted “vertically”—from parent to offspring—fairy tales can also spread horizontally when one culture intermingles with another. Accordingly, much of the authors’ study focuses on recognizing and removing tales that seem to have spread horizontally. When the pruning was done, the team was left with a total of 76 fairy tales.”

This article doesn’t say how, but I bet those methods are in the paper.

For this, they used a library of cultural traits for each culture a fairy tale occurred in, and then measured the likelihood that trait t occurs in culture c due to either phylogenetic proximity (inheritance) or spatial proximity (diffusion), using autologistic regression:

(Autologistic regression is a graphical model where connected nodes have dependencies on each other, except instead of an undirected graph, ALR is a special case that requires sequential binary data and assumes a spatial ordering.  In this case, the binary data are the cultural features).

Cultural traits states are generated using Monte-Carlo simulation and phylogenetic or spatial influence are fitted as local dependencies between the nodes in the graph representing cultural traits.  I can’t find this in the paper (though it may be mentioned in the citation of the method they used), but presumably if the spatial influence exceeds the phylogenetic influence by a certain threshold, the trait is removed.

THE GRATEFUL ANIMALS IS OLDER THAN DIRT!!! I FUCKING KNEW IT!!!

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happy to reblog this version with paper attached!

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Story… survives. :)

happy 3-year anniversary to this iconic video :)

Forever love having on-recorded-media the moment Tom Hardy realized his inside thoughts became outside thoughts and did so ON CAMERA.

OTW Elections 2023: Become a Member!

Thank you for your interest in participating in our annual election! As you might already know, the Organization for Transformative Works holds yearly elections every August to appoint new directors to its Board. If you’re interested in supporting your favorite candidates and their causes, you can become eligible to vote by becoming a member of the OTW. The process to become eligible to vote is straightforward, but there are time limitations – read on to learn more about how to become a member of the OTW. 

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The cutoff date for donations is June 30, 7:59 PM (19:59) Eastern time. So: Tomorrow. Get your donation in, this year is going to be important.

With so many elections coming up worldwide it's probably a good time to remind everyone that tumblr once got infested with agents trying to convince everyone not to vote, or not to vote left because the candidates weren't morally pure enough.

Also a reminder that they were better at tumblr than most of us, comrade interloper was great at memeing. Like, the talent!

Anyway don't fall for it. There is no morally pure option.

I was reading a book from 1945, where the writer describes being a 16-year old girl in 1930 Germany, contemplating what to vote if she were allowed but finding no morally pure option.

The Nazis, in 1933, only needed less than 44% of the vote to end democracy in Germany and start working towards a war that led to the most horrific genocide in memory.

It is normal, then, for young people everywhere, to look for a morally pure option. It's not new, it's simply the unwillingness to contribute towards evil and that is good and noble and beautiful.

But it can be weaponised.

If you do not vote for the greatest possible good...

That can be taken advantage of by the greatest possible evil. Because it gives them space.

Because those 44% was not, and I'm certain, 44% of the entire population elligible for voting.

It was 44% of the people willing to vote at all.

Some, I'm certain, didn't vote for moral reasons. Would that they had.

Hitler might have never become head of the German government.

Vote for the greatest good on offer, to help drown out the greatest evil.

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"There is no morally pure option" --- i respectfully but emphatically disagree.

The morally pure option is to do whatever you can to prevent the morally abominable from achieving power.

If you prevent the raging bigot from being elected by voting instead for the candidate who's policies aren't perfect, but who is not actively trying to destroy entire sections of society, well, that's the morally pure option.

There are no morally pure candidates, sure. Theres not a single morally pure human being in the whole entire world. But the morally pure option is to vote for the least bad candidate, so that you prevent the election of literal evil.

I mean there have probably been a lot of other good ones but I don't catch them all.

Thematically speaking, the most important thing Terry Pratchett taught me was the concept of militant decency. The idea that you can look at the world and its flaws and its injustices and its cruelties and get deeply, intensely angry, and that you can turn that into energy for doing the right thing and making the world a better place. He taught me that the anger itself is not the part I should be fighting. Nobody in my life ever said that before.

More lessons from Pratchett:

  • Good isn’t always nice (i.e. sometimes appearing nice is a luxury you can’t afford if you want to do the right thing) (this refers to setting bones and fighting evil, not to being pointlessly horrible)
  • Evil can appear very nice indeed (watch out for people who smile while they deny your basic humanity)
  • People can suck, be rude and actively work against their own best interests, but personkind is still something we must protect so they can keep being wonderful in between all the stupid
  • “Person” is always a broader category than you think
  • It’s not about who’s best for the job - it’s about who shows up and does it
  • Be very aware of how you treat those in your power; you will be judged on it
  • Respect women, which explicitly includes trans women (with or without beards and steel-toed boots)
  • Kings: no. Hard-boiled eggs: yes
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  • No one - not military leaders, not kings, not patricians, not gods - no one is beyond consequences or above justice
  • Addendum: those who think they are are often the worst of the worst
  • Kids understand more than we think and sometimes the best way to protect innocence is to arm them with knowledge, confidence, and skill
  • How you’re born is intrinsically less important and less relevant than who you make yourself into
  • I can’t put it into a pithy sentence but that bit where Magrat is like “let’s toss [Lily] off the tower” and Nanny answers with “go ahead then” and Magrat hesitates bc it’s easier to do something like that together than to make the decision alone… impactful.
  • Evil begins when we treat people like things.

i know it's been said many times before but i will never get over how jacob anderson, a british man with a british accent, not only nailed a louisiana creole accent but also developed a studiously (almost eerily) generic accent that louis uses in the present AND showed the first accent bleeding into the second accent at key moments as a way of aurally externalizing his character's inner journey. what did god put in this man when she created him.

@dedalvs anything to add about jacob anderson's accent/valyrian pronunciation work?

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Pardon me, but is someone praising Jacob Anderson without letting me praise him first?!

Backing up. It's October 2009, and my Dothraki is chosen as the official version for HBO's Game of Thrones. Absolutely the job of a lifetime. Conlangers were never hired to create languages for big budget productions, and language was central to A Song of Ice and Fire. The fact that this was on HBO guaranteed that it was going to be huge, and now I was going to get to be on the set of a TV show, work with actors, go to Hollywood parties, and create a language that would be as popular as Klingon.

June 2011, only one of those four things had happened, and of all things, it was going to a Hollywood party—the season 1 premiere event for Game of Thrones. It was very cool! None of the cast attended, but it was cool! But as for the rest, the idea that I would ever actually talk to any of the actors or be on the actual set was, apparently, laughable. And as for Dothraki, it had a very loyal following of about 6 or 7 people, all of whom I came to know personally. Dothraki was discussed in the press, sure, but nobody was going to learn it; there were never going to be any Dothraki conventions. It wasn't the next Klingon.

June 2012, and by this point I'd gotten used to seeing my work on screen—and by that I mean I'd gotten used to seeing it performed…so-so. Every so often it was really good, but for the most part, I got used to hearing jumbled consonants, dropped syllables, missed words… I've always been a perfectionist, so this was difficult, but I didn't have much choice. I had absolutely no control over it. I never got to work with any of the actors, so all they had were my recordings, and a series of dialect coaches who had absolutely no idea what they were doing with my stuff. (And, as I would learn later, just because an actor nails 9 out of 10 takes doesn't mean the editor won't like the one take they screwed up. Sometimes that's the take that makes it to the screen.) Basically, if someone has an English line on a TV show that goes "It looks like the mechanism got screwed up somehow", and what they say is "It locks like a manism got scroot up someho", they're going to reshoot the scene until the actor says it right. If that happens with a conlang, no one will notice or care. This was now my life.

July 2012, I get the opportunity to create High Valyrian (yay!), and then a "dialect" of High Valyrian to be spoken in Slaver's Bay. Knowing the history from GRRM's books, I knew this "dialect" was actually a full daughter language with lexical/phonological material from an extinct language (Ghiscari) that I wasn't being asked to create, so I was going to have to create two languages at once, and at least have an idea for a third one—and, in fact, there was going to be a lot of dialogue in this new daughter language. Consequently my focus was split. I can honestly barely remember creating Astapori Valyrian, because I wanted to be sure that High Valyrian was right (I knew book fans didn't care about Dothraki, but did care about HV). Despite the lack of attention, I did realize that Astapori Valyrian had a cool sound and a great flow (it really does!). I wish I'd had more time to appreciate creating it as a daughter language (I wish High Valyrian had been as complete as Dothraki was at that point), but I was pleased with the result. I was curious to see how the actors would handle it.

April 21, 2013. I am absolutely over the moon. I'd just for the first time saw a scene that I loved in the books because, for once, I predicted what was going to happen (as a reader, I'm sitting here thinking, "How do you trade your entire army to someone and not wonder if they're going to use it on you after they get it?!"), and it actually plays better in the show than the books, and it all hinges on a language I created. I still get chills watching that scene: Episode 304, Daenerys revealing she speaks Valyrian. To this day that's still the best thing I've done. The same issues I mentioned above were present, as always (watching thinking, "Did she say mebatas instead of memēbātās…?"), but they're minor. The scene is outstanding. I realized that whatever was going to happen after this, I would always have this scene. That was a good night.

April 28, 2013. After last week's episode, I wasn't really waiting for anything. In episode 305 there's only one scene with any conlang work in it—nothing really major. Introducing Grey Worm, characterization, etc. Everything in this episode is about what's going on in Westeros. At this point I'd heard a fair amount of Astapori Valyrian in Slaver's Bay. It was good! Definitely good enough. Did the trick. The prosody wasn't quite what I did with it, but it was good. I was somewhat interested in this introduction in 305. Grey Worm only speaks Astapori Valyrian at this point, so this actor wouldn't have had had any other speaking lines, and aside from one short line and saying his name at the beginning, his next line is a huuuuuge speech, comparatively speaking. I was curious to see how he would do.

Critters and gentlefolk, that night I witnessed a miracle.

NEVER had I heard ANYONE speak one of my languages better than me until that night.

Every word, every syllable, EVERY SOUND OF EVERY CLAUSE Jacob "You Heard My Name" Anderson uttered was ABSOLUTELY FLAWLESS.

I was stunned. My mouth literally hung open—probably for the rest of the damn episode, at which point I went back and watched that scene—again, and again, and again.

And so you don't have to go searching, this is Grey Worm's line (not the first two short ones—the big one [note: j is [ʒ], except in Daenery's High Valyrian name, where it's [dʒ], dh is [ð], q is [q], r is [ɾ] and y is [y], in IPA]):

“Torgo Nudho” hokas bezy. Sa me broji beri. Ji broji ez bezo sene stas qimbroto. Kuny iles ji broji meles esko mazedhas derari va buzdar. Y Torgo Nudho sa ji broji ez bezy eji tovi Daenerys Jelmazmo ji teptas ji derve.

That was my translation of this English line:

“Grey Worm” gives this one pride. It is a lucky name. The name this one was born with was cursed. That was the name he had when he was taken as a slave. But Grey Worm is the name this one had the day Daenerys Stormborn set him free.

That is a LOOOOOOOOOONG ass line. And go watch that scene. There is nothing on the screen but his face. It's a closeup the entire time. Any slight deviation would be visible as well as audible. Take a look:

This...KING just casually dropped the greatest performance I have ever witnessed on screen at a time when I had already given up on ever seeing a truly great conlang performance on screen.

And then he proceeded to do it again and again and again and again and again for the rest of the entire show. I don't think it's a coincidence that the very last conlang line of Game of Thrones is his. They knew how much I loved him—I told them. I told anyone who would listen and twelve people who wouldn't, along with their next of kin. He didn't take my language and make it his own—no, no. He is graciously allowing me to claim that I created his native tongue—the one he's been speaking since birth. THAT'S how good he is.

So yeah, accent work? In English? I guess I'm not surprised he's pretty good at that. Something like that to this…adonis, this living, breathing Master Class™ in perfection is like yawning to an ordinary human. Jacob Anderson can walk into my house in the dead of night, take anything out of my refrigerator, and then leave the door to the fridge and the house open when he leaves. He has earned no less.

To sum up:

So, going by the idea of "every truly great story has a random Texan" (see: Dracula, His Dark Materials), I asked my Tolkien encyclopedia wife what race/culture in The Lord of the Rings is the Texan equivalent. They got real mad when I suggested the Rohirrim (because horse culture, I didn't actually think that was the answer but I wanted to provoke my wife), and... I'm gonna step aside so my wife can rant about who in LotR is the actual Random Texan.

Horse =/= Texan.

See the thing about the Texan is that they’re alien, they think overly much of themselves, and they’re not actually as good at shit as they think they are.

You know who hits all those buttons?

LEGOLAS GREENLEAF.

1) he’s not familiar to the POV characters, being an elf.

2) He and all Silvan elves think very highly of themselves even when it’s not really justified anymore.

3) he foregoes a saddle in a situation where riding bareback is actively harder and more inclined to overexertion, probably bc he doesn’t actually know how to handle a saddle but is, bc of point 2, unwilling to reveal he has no idea what the fuck he’s doing.

Legolas Greenleaf is the Texan of Lord of the Rings.

I was thinking the dwarves myself, but yeah, this fits.

dwarves are miners, misunderstood, and live in the ancient mountains. Dwarves are Appalachian.

biden 2024 - making things work

This is why I honestly feel like Biden was the best possible choice in a shitty situation, even with his age and potential health issues. Because if nothing else, he is NOT REACTIONARY. He is methodical and dedicated. Do I wish he acted a little faster and with more of an eye towards progressive policies? Obviously yes. But given the choices, and given everything else that's happened, Biden has absolutely made the best of a bad situation. Sometimes you don't need a hero, you need a fucking repairman to come and just make it work until it can be fixed. And he's a damn good repairman.

Okay, I’ll give him the W for this one.

Of all the redemption arcs in popular fantasy media, I feel like Theoden's in The Lord of the Rings is the most overlooked.

The movies emphasize the magical control that the evil powers exercise over Theoden, but in the books, it's more obviously a depiction of bad kingship, in the British medieval sense. Theoden takes bad advice; he neglects his family; he fails to reward his knights; and he leaves his people vulnerable to attack. He also does not honor his kingdom's promises to help nearby kingdoms, as we can tell from Boromir's account of what Gondor has been going through.

Gandalf doesn't just cast out the curse and magically fix everything. He encourages Theoden to free himself from his bad advisor, but Theoden has to take all the subsequent steps. And those choices are not easy; after so much neglect, his knights are scattered, and his only option for defending his people is to gather them at Helm's Deep. The siege does not go well. His people are afraid and despairing. But nevertheless, he holds firm and charges out to meet the enemy -- and Gandalf literally meets him halfway, bringing with him the lost knights, whom Theoden welcomes and rewards after the battle.

Theoden could have just gone home after that. But when Gondor calls for aid, Theoden proves his worth by honoring his promises. He keeps his oaths not only to his people but to his allies.

And the climax of his redemption in the book is not his death, but his leadership. The ride of the Rohirrim against Sauron's armies is described in lavish detail, with an uncharacteristically heated pace: Theoden leads the entire line of Rohan, his banner streaming behind him in the wind as they race toward their foe. And that's the end of the chapter.

I love Theoden's arc so much, and especially that moment so much, because the message is not that he has to win battles or seek power. He just has to keep fighting. Theoden's greatest enemy isn't really Sauron: it's despair. And over the course of the book, he keeps choosing hope and action over despair and hesitation, until finally he can lead his people with courage.

As someone who struggles a lot with despair, I really needed to hear that story.

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and it’s contrasted against Denethor’s arc; who also struggles against despair, and doesn’t overcome it.

yooooo. so I literally wrote a 20 page english paper about the Hope/Despair theme in Tolkien’s work once. It was like ten years ago and I don’t think I have it anymore, but oh boy do I have feeeeeeelings about this topic. And I have drunk a little bit of wine tonight! So here are my unasked for thoughts:

Yes, Theoden’s greatest enemy is despair! Everyone’s greatest enemy is despair. It’s the biggest fucking theme of the series IMO and it makes me crazy how often it gets overlooked.

lord of the rings is a story written by a man whose experience of war was crouching in the bottom of a trench. People like to make a lot of hay about the charge of the light brigade and it’s similarity to the ride of the rohirrim, but no. Tolkien’s experience of war was getting fucking trench fever, not watching cavalry charges. Tolkien’s experience of war was listening to the shells fall around him, knowing that death could come at any moment. He experienced war in a way where the soldiers on the other side of the line were a faceless threat, and the closest and most present enemy was his own fear.

this is the hill I will die on. This is why I hate it when people talk about LotR as a morally cowardly story about fighting mindless orcs that exist to be cannon fodder. No. Lord of the Rings is about seeing the dark coming on the horizon, and fighting yourself. Fighting the fear and despair that rise up inside you. Struggling with your own terror and powerlessness, knowing that you are small, and nothing you do will matter in the face of this massive conflict—  you’re just here, one more meaningless soul to feed into the machine guns. Lord of the Rings is about taking a deep breath, and bracing yourself, and deciding that if nothing you do matters, all that matters is how you do it. The ring can’t possibly be destroyed— we choose to form a fellowship anyway. Helms deep will surely fall by morning— we still choose to fight. The quest can’t possibly succeed— and yet we choose to march into the teeth of mordor to distract the enemy. It’s not hope, exactly? But’s it’s not not hope.

I did at one point have twenty pages written about this. Tolkien was a deeply christian man— he believed in eucatastrophe. Salvation. A better world to come, after suffering, if you bore your suffering well. But he was also a world-class Beowulf scholar with a kinda viking-warrior-type view of the world. And do you know what the vikings believed? (Pls don’t anybody @ me for saying viking, I know it’s a verb and not a culture). The vikings believed that the time of your death was preordained, and that all you had control over was how you met it.

And that is some seriously Rohirric shit!! Like, we’re all mortals doomed to die, Ragnarok is coming, and this whole world is an inevitable grind down into oblivion… but if we’re fighting a long defeat, all the more reason to fight it gloriously!! That’s epic. Eomer approves the hell out of that message.

I’m gonna be a real nerd now, and quote from a poem called the Battle of Maldon.

Courage shall grow keener, clearer our will,
More valiant our spirits, as our strength grows less.
Here lies our good lord, all leveled in dust
The man all marred. True kinsman will mourn
Who thinks to wend off from battle play now?
Though whitened by winters I will not away,
But lodge by my liege lord that favorite of men;
By my dear one and ring giver intend I to lie.”

That’s a translation from an Old English poem that’s literally a thousand years old, but it always gets me how much it sounds like something Tolkien would write. Theoden and Eowyn are practically leaping out of that poem: We’re all going to die, I choose to meet my end fiercely. We’re all going to die, so I want to die beside my king.

It’s an acceptance of death, and even of failure, but not of defeat. Because— to get back to what I was talking about earlier— Lord of the Rings isn’t actually a story about battlefields. It’s a story about being at war with your own heart. Despair or faith? Hope or defeat? Tolkien wants you to know that even if your city is overrun by orcs, or you’re killed in a meaningless push for another 50 feet of french mud, you can still hold on to your courage with both hands and not cede up your soul to despair-- and that’s the battle Tolkien thinks is really worth writing about.

It’s a battle that every major character in the story fights. Frodo, Sam, Gandalf, Theoden, Denethor, Merry, Pippin, Boromir, Galadriel, Eowyn, Faramir, Eomer, Saruman, Gollum, Aragorn. Some of them hold onto hope through everything. Some of them break utterly. Some of them are defeated, and then with help find their footing again, and make a redeeming last stand.  

But the point that Tolkien hammers home again and again is: Death and failure are natural parts of life, and should be accepted. Despair shouldn’t be.

Tolkien says: hope is hard, actually. Fuck that Game of Thrones grimdark bullshit. Hope is hard fucking work. And even if you don’t have hope? Fight like you do. Because the world needs people working to make it better. Do the best you can with what you have, and whether you can see the mark you’re making on the world or not, the simple fact that you’re trying means the world is a better place.

Anyway, I fucking love these books. I am going to stop drinking wine, and go to bed now. :)

Does anyone have an update on where things are at with the writers strike? It's disappeared from my various feeds and algorithms.

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The writers' strike is ongoing and the studios are still not returning to the negotiating table. Unfortunately a lot of the coverage has tapered off because we're on 50+ days of striking and it's not new anymore. The last strike in 2007 lasted 100 days, so don't be surprised if this strike lasts as long, or even longer.

The biggest recent news is that the Directors' Guild of America (DGA) voted to ratify their new agreement with the studios (article from June 23), and it appears likely that the actors' guild (SAG-AFTRA) will also take a deal instead of striking (article from June 24). Although this is disappointing news, it's completely expected. During previous strikes, the WGA held its own without other unions going on strike. Which is to say—don't be disheartened by the news that there won't be a triple strike. The WGA is strong enough!

Please keep vocally supporting the WGA online to keep the pressure on the studios & to keep WGA members motivated and encouraged! There are many ongoing donation drives, such as the Star Trek fan snack squad (Twitter account required to DM the organizer) and the Our Flag Means Death snack squad (opens the PayPal fundraising page—no Twitter required). There's a longer list of ongoing donation drives here.

The Entertainment Community Fund is also always accepting donations to support entertainment workers affected by the strike. Please boost and encourage your friends to keep supporting the strike. Hashtag #IStandWithTheWGA #DoTheWriteThing to boost the cause!

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It's sad to see the DGA go the way they went. SAG-AFTRA are still, I think, waving in the wind.

But for the WGA, this strike is (borrowing a metaphor) Helm's Deep. We have to take the stand that will allow us to—in a month or two, or three (argh), when shit starts to get serious at the AMPTP's end)— roll up in front of Minas Tirith and let the other side hear the horns in the morning.

They think they're going to successfully wait us out. They are now slowly (however slowly) beginning to realize that we're waiting them out. Writers are USED to one form or another of the Great Hiatus. They're not. Their stockholders are going to get restive.

We can wait, though it hurts. It's what writers do.

I love videos like this, where you get to see someone genuinely skilled demonstrating those genuine skills via delivering an incredible performance while half-battling the technology. With eyes shut I wouldn't know this was a strained production, as it were.

Reminds me of that pianist who sat down to play with an orchestra and realised, as the concert began, that she'd practiced the wrong symphony. And while the orchestra played their opening bars she clearly wants to cry, and is sitting there with her head in her hands. And then it gets to her cue and she turns to the piano -

and plays it beautifully, because while she hadn't practiced it, she's still a classically-trained professional pianist, and "doing her best" means something phenomenal.

Same vibes here, like... this man is not a fluent English speaker and spends most of his time rapping. He's playing with half a body. He doesn't miss a beat.