dlwlrma

mostly kdrama. stan : bts, iu

[sunlightnmoonshine]

There's me before watching when life gives you tangerines and there's me after. I will never be the same.

[anime-to-the-t]

[saffron-reblogs]

Shinobu here is speaking theoretically, her tone and wording are put in a manner of sarcasm, mocking the thought of a pacifistic demon.

I admire how her anger is portrayed in such a manner that's truly unsettling.

She's naturally angered at the despicable nature of demons, so that stirred together with her initial hatred towards the second upper rank, would be enough to fuel a fire.

She's trying too hard to imitate Kanae, going as far as superficially adopting her ideals, pretending to have faith in them. In reality, she definitely believes that demons are unredeemable, foul and vicious.

At least until she met nezuko.

[sahicore]

There's this quote that says "Every woman becomes their mother. That's their tragedy. And no man becomes his. That's his tragedy." While I don't wanna go the later part of this, I'll talk about how this is so close to reality as shown in the show when life gives you tangerines.

Aesun, who dreamt of becoming a poet, was from a poor family. Her mother works overtime, bending her back to make sure her daughter gets everything, with an absent biological father.

While she had gwansik all the time beside her, who is her source of strength, the burdens she had to carry as a woman in such a small town is overwhelming.

Aesun's mother who led a life full of struggles and work, doesn't want her daughter to lead such life which is why she didn't let her become a hanyeo, or go near the sea to be exact. She didn't want aesun to live the life of a maid.

Losing her mother, trying to run away, getting caught, being expelled because she's a woman, unable to graduate, forced to get married to an adult which is set up by her (future) mother in law while she's a child, getting asked by the man if she slept with that guy, forced to part ways with her lover..the amount of torment she had to go through as a child, while she had to burn away her dream of becoming a poet was sorrowful. She had to face absurd situations, just because she's a woman.

Post wedding, we constantly see her working in the kitchen. We also see several indicators of patriarchal society here. Her getting the least nutritious food, her mother in law and the grandma making her work and pray while torturing her physically and mentally,telling her not to mix peas because they'd get uniformly distributed, she had to work while they take geum myeong to the sea, and without her consent they decide to make geum myeong a hanyeo. Aesun is utterly devastated. The sea that made her mother sick, the sea that took her mother away, the sea that she wants to run away from..has been now decided to the home of her daughter.

While she lived a life that her mother didn't want to, she won't let her daughter live like her. Surely, like she said, she had moments of sunshine, but would she really let geum myeong live like her? No way.

No wonder she said "It's better to be a cow in Jeju than a woman."

Which is why, "Every woman becomes their mother. That's their tragedy." This hold very true to most of the women in real life and I love how they portrayed it in this drama. I'm so in love with this show. The drama is set up in 1980s but most of the things hold true even today when it comes to hardships of women. A mother daughter relationship is the most unexplored relationship in the media and I love how this show portrays it - the complexity, the love, the hate, the regrets, the anger and everything.

[firelilylily]

and it's also so sad cause if ae-suns mother had lived perhaps aesun could've gone to college and fulfilled her dreams and her mother's dreams for her

Even though she fought so hard to make it to college to become a poet, because of her circumstances and her hardships she still didn't succeed. And it's so realistic because life isn't fair while some of the audience might think wow this family is so unlucky, unfortunately that's how life is. Some people are a lot luckier or unluckier than others and that can be through generational circumstances, societal expectations, lack of opportunities or j plain dumb luck

And here we also see the pressure geum-myeong faces not only for her own dreams but her mother's as well. That's why Gwang-sik's support also stands out soo mich without worrying about whether she's a disappointment he tells her that it doesn't matter if she fails or doesn't want to do it, he will always be there for her

[sahicore]

when they ask me what i want but i cant say whatever geum young has with her father so i just reply with alot of money instead

[sahicore]

There's this quote that says "Every woman becomes their mother. That's their tragedy. And no man becomes his. That's his tragedy." While I don't wanna go the later part of this, I'll talk about how this is so close to reality as shown in the show when life gives you tangerines.

Aesun, who dreamt of becoming a poet, was from a poor family. Her mother works overtime, bending her back to make sure her daughter gets everything, with an absent biological father.

While she had gwansik all the time beside her, who is her source of strength, the burdens she had to carry as a woman in such a small town is overwhelming.

Aesun's mother who led a life full of struggles and work, doesn't want her daughter to lead such life which is why she didn't let her become a hanyeo, or go near the sea to be exact. She didn't want aesun to live the life of a maid.

Losing her mother, trying to run away, getting caught, being expelled because she's a woman, unable to graduate, forced to get married to an adult which is set up by her (future) mother in law while she's a child, getting asked by the man if she slept with that guy, forced to part ways with her lover..the amount of torment she had to go through as a child, while she had to burn away her dream of becoming a poet was sorrowful. She had to face absurd situations, just because she's a woman.

Post wedding, we constantly see her working in the kitchen. We also see several indicators of patriarchal society here. Her getting the least nutritious food, her mother in law and the grandma making her work and pray while torturing her physically and mentally,telling her not to mix peas because they'd get uniformly distributed, she had to work while they take geum myeong to the sea, and without her consent they decide to make geum myeong a hanyeo. Aesun is utterly devastated. The sea that made her mother sick, the sea that took her mother away, the sea that she wants to run away from..has been now decided to the home of her daughter.

While she lived a life that her mother didn't want to, she won't let her daughter live like her. Surely, like she said, she had moments of sunshine, but would she really let geum myeong live like her? No way.

No wonder she said "It's better to be a cow in Jeju than a woman."

Which is why, "Every woman becomes their mother. That's their tragedy." This hold very true to most of the women in real life and I love how they portrayed it in this drama. I'm so in love with this show. The drama is set up in 1980s but most of the things hold true even today when it comes to hardships of women. A mother daughter relationship is the most unexplored relationship in the media and I love how this show portrays it - the complexity, the love, the hate, the regrets, the anger and everything.

[lunaristars]

When Life Gives You Tangerines (2025)

episode 4

[traffys]

"kill them with kindness" wrong. MIL FLEURS GIGANTESCO MANO: STOMP🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵🦵

[soaked-doors]

“no one is born in this world to be alone!”

[longingstreet]

why is it always "I love you" and not "I'm not going to fire you! It's childish to fire you just because you told me you like me. And if we ever run into each other after I fire you, we'll have to ignore each other and that already makes me get indigestion. I already have tons of people who make me feel uncomfortable in my life. And I'm not going to add another person on the list. I feel bad that I have to endure people like that. So I won't do that with you. [...] I'm going to attend you grandmother's funeral. And I want you to come to my mother's funeral. So just be honest with me. Don't try to suck it up on your own. From now on, I'm going to treat you exactly how I treat my teammates. So you can do the same. And be nicer to others. [...] It's true that the employees weren't that friendly to you. But I'll make sure they change, so you should change too. I'll see you work until the end of your contract. And you'll be complimented at your next job. So if we run into each other decades later, I'm going to greet you and I'll be glad to see you again. I'm not going to ignore you because we've become awkward. I'm going to greet you with a smile. Let's do that. Please. Let's do that. Buy me another pair of slippers."

[subakunosaara]

Shinobu Kocho - Beautiful Vengeful Butterfly: A Character Analysis

Conclusion: She’s a Bad Bitch

Shinobu is one of my favorite characters ever. Most of Demon Slayer’s characters make the list due to Koyoharu Gotouge’s impecable character writing. Absolutely gold tier. Literally a model for writers everywhere.

I wanted to do an analysis on her because I also think she’s one of Demon Slayer’s more complex characters. Girl has layers. And she’s so interesting.

This analysis is basically an expanded version of this post from my main blog.

Quick Spoiler Warning! This post will contain Demon Slayer manga spoilers! I don’t want anime-onlys getting all sensitive on me.

Contents:

Part I: Her Anger

Part II: Shinobu’s ‘Dream’

Part III: Giyu and Shinobu - The Inferiority Complex Pair

Part IV: Shinobu and Her Sisters

Part I: Her Anger

When we first meet Shinobu, she and Giyu are being sent to help the lower-ranked demon slayers on Natagumo Mountain.

[Image Description #1: Manga panel. Shows Shinobu smiling and saying to Giyu (not shown), ‘It would be nice if humans and demons could get along. Don’t you agree, Tomioka?’]

While traveling with Giyu, Shinobu tells him that she wishes they could be friends with demons. But later, when she’s fighting the daughter spider demon, it becomes clear that she doesn’t really want to be friends with demons as she displays unnecessary cruelty toward her opponent by giving her false hope that she will help her. Then, she attempts to kill Nezuko without hesitation.

Shinobu’s outwardly calm, cheerful personality is quickly revealed to be a facade. Shinobu is just masking her hatred for demons.

Then, during the rehabilitation arc, we learn the most important detail about Shinobu’s past. Kanae’s death.

Tanjiro sees what other people can’t, or to be more accurate, he smells it. Shinobu’s anger. At all times, despite her outwardly calm demeanor, there is anger burning just below the surface.

She’s angry that Kanae was murdered. She’s angry that her parents were killed by demons. She’s angry that all the other butterfly girls lost their families to demons. She’s angry that all her Tsuguko except Kanao died. And most importantly, she’s angry that she’s ‘weak.’

Shinobu is a character consumed by revenge, which has made her incapable of living an ordinary life. She will avenge Kanae no matter the cost.

"Yes, I'm angry, Tanjiro. I've always been angry. My parents were killed. My older sister was killed. And all my Tsuguko except Kanao were killed. If demons hadn't murdered those girls' families, they'd be living happily with them right now. It really makes me furious!" ~ Shinobu Kocho

Part II: Shinobu’s ‘Dream’

[Image Description #2: Two manga panels. Top panel shows Shinobu’s profile while she speaks to Tanjiro (not shown), she says, ‘I thought I could entrust you with my dream.’ Bottom panel shows the back of Shinobu’s head while she says, ‘When I think you’re succeeding at my sister’s dream, it soothes my anger and I feel better inside.’]

The dream Shinobu entrusts to Tanjiro isn’t really her dream, it’s Kanae’s. I think, to Shinobu, this dream was always wishful thinking. It was something Shinobu herself didn’t really understand. But that made her feel guilty.

She felt like it was her duty as her sister’s successor to inherit her will, but she struggled to do that. No matter how hard she tried, she just couldn’t believe in that dream the same way.

By the time Shinobu meets Tanjiro, she’s already planning her own death. She knows that there is no one to inherit Kanae’s will after she dies. It’s her one regret about dying: Who will carry on Kanae’s will after her?

Kanao is Shinobu’s successor but like her she shares a deep hatred for demons. Shinobu knows that Kanae’s will cannot be passed to Kanao even if she inherited her skill.

But then Shinobu meets Tanjiro, who genuinely believes that demons are creatures who deserve sympathy and kindness. And now Shinobu has someone to pass Kanae’s Dream to. She doesn’t have to be burdened by the idea of Kanae’s dream dying with her. Not only that, but Tanjiro can carry on Kanae’s dream better than Shinobu could.

"How can you feel sorry for something that's killed humans? I've never heard of anything so absurd. But if that was how my sister truly felt, then I must carry it on.” ~Shinobu Kocho

Part III: Giyu and Shinobu - The Inferiority Complex Pair

After a lot of careful thought, I figured out why Giyu and Shinobu’s characters are often paired up. It’s because they both feel inferior to the other Hashira. Neither believes they are truly worthy of their titles.

Giyu believes that Sabito should have lived while he died, making him unworthy of his position. And Shinobu thinks of herself as weaker than the other demon slayers.

[Image Description #3: Three Manga Panels. First shows Shinobu’s hand covered in blood. Second shows Shinobu looking at her hands and asking ‘Why are my hands so small?’ Third shows Shinobu and Kanae’s height difference while Shinobu asks ‘Why didn’t I grow taller?’]

[Image Description #4: Two Manga Panels. First shows Shinobu in the background while she says to herself, ‘if I had been just a little bit taller I might have taken the demon’s head and defeated him.’ Second panel shows the muscles within an arm and a leg while Shinobu continues, ‘Arms and legs, the longer they are, the more muscle they have, which is an advantage but…’]

[Image Description #5: Two manga panels. First shows Shinobu and Kanae’s height difference while Shinobu says, ‘Kanae was delicate, but she was taller than me.’ Second panel shows Himejima’s profile while Shinobu says, “I envy Himejima. When he comes to the rescue, everyone breathes easy.’]

She wishes that she had been taller and stronger so that she could behead demons.

Shinobu also has an inferiority complex about her personality. She says she wants to always display the smile that Kanae loved so much even if she’s angry, but I think there’s more to her phony cheeriness.

When you watch the flashbacks of Shinobu when she’s younger, she’s basically a different person. Her personality is a lot more abrasive. The thing about her calm demeanor is that she’s copying Kanae on purpose.

She feels the need to be Kanae for the people around her (i.e. the butterfly girls). She doesn’t think that she’s good enough, so she tries to embody Kanae as much as possible.

If there's a way not to kill these pitiful demons, I have to keep trying to come up with it. Without ever extinguishing the smile my sister said she loved..." ~ Shinobu Kocho

Part IV: Shinobu and Her Sisters

Part of the reason that Shinobu suffers from an inferiority complex is because of Kanae’s last words to her. In her final moments, Kanae begs Shinobu to leave the Demon Slayer Corps and live a normal life. She’s afraid that even though Shinobu is working hard she’ll still die. Shinobu believes that Kanae was going to tell her that she would loose to Doma if she attempted to fight him. This stays with Shinobu after her sister’s death.

[Image Description #6: Manga panel showing Shinobu crying with her head bent downward. She says, ‘“But perhaps you will lose to that demon.” She started to say that but stopped.’]

This is why Kanae’s appearance during Shinobu’s battle with Doma is so important.

[Image Description #7. Manga Panel showing Kanae standing over a kneeling and bloody Shinobu. Kanae says, ‘Pull yourself together. I won’t allow you to cry.’]

At this point in the battle, Shinobu thinks that she’s failing. She doesn’t think she’ll be able to continue the fight due to her injuries. But then Kanae shows up and drops this.

[Image description #8: Manga panel showing Kanae saying, ‘That doesn’t matter. Stand up Insect Hashira Shinobu Kocho.’]

In this panel, Kanae acknowledges Shinobu’s place in the Demon Slayer Corps. She accepts Shinobu’s choice to die avenging her. And She gives Shinobu the validation that she needs in order to continue on with the battle.

[Image description #9: Manga panel showing a bloody and crying Shinobu with her eyes widened in surprise.’]

You can see the surprise and realization on Shinobu’s face.

[Image description #10: Manga panel showing Shinobu and Kanae kneeling on the ground; Kanae’s hands are on Shinobu’s shoulders as she says, ‘Shinobu, you can do this. So do your best.’]

And finally, Kanae tells her that she can accomplish her goal. Where Kanae previously believed that Shinobu would fail, she now puts her faith in her sister.

This is an action that mirrors Shinobu’s faith in Kanao. Shinobu knows that she can’t behead Doma, but she can weaken him. She trusts Kanao to take off his head for her.

In Conclusion:

Shinobu is a character (like most of Demon Slayer’s other characters) who is fueled by her hatred, her anger, and her desire for revenge. But (again, like most of Demon Slayer’s other characters) she’s still an incredibly selfless and kind person.

She doesn’t just sacrifice herself because she wants revenge, she also does it because she doesn’t want Doma to kill anyone else.

Just like Rengoku, she dies without actually defeating her final opponent. And again like Rengoku, she is victorious even in death.

All the deaths in Demon Slayer are written so naturally. Each sacrifice led to Muzan’s defeat and none of them were wasted (even if I have cried all five times that I’ve read the Doma battles).

The characters really fuel my belief that Demon Slayer is easily one of the most well-written manga I’ve ever read.

“It isn't about whether we can or cannot do. There are things we have to do.” ~ Shinobu Kocho

*This is my first time writing image descriptions for a post so let me know how I can make them better!

[malkzaeem]

Hello everyone

I’m Malk I’m 14 years old but I am feeling that am 70 years😔

My parents took great care of us, giving us everything they had, and my childhood was wonderful to some extent.

I lived through four wars, the latest being in 2021, during which we lost everything: our warm home and my mom's office where she worked in digital marketing.

My dad is one of the owners of the Jewel Tower, but my family decided to leave Gaza for Turkey in 2022 because the tower hadn't been built yet, and to provide a better life for us.

My dad couldn't leave Gaza, so he returned before the war because my grandfather is sick and needs care. I wish I were with my dad because I fear losing him.

The past few months have been the hardest for us and our family.

I hope you can help me by sharing the link and donating so I can get my family from Gaza🙏🏻🙏🏻

Donate to Help my family to get out of Gaza, organized by Ahmed Alzaeem

Dear Friends and Supporters, I am reaching out to you with a heavy heart, hoping t… Ahmed Alzaeem needs your support for Help my family

[sahicore]

Tumblr poetry fr heals me, all these people speak straight outta my head and heart

[cere-mon-ials]

I heard a great many things about My Mister before I went into it: a masterpiece, a truthful portrait of everydayness, a vehicle towards catharsis for the parts of the self weathered by everydayness, a moving story that is strongly anti-patriarchy, an ode to parental love and a child’s love and a sibling’s love and a friend’s love and other love that comes uninvited—all true. But I was not prepared for this story to be packaged in an affair and internal corporate espionage.

Here’s the premise: Do Jun-young, the young and haughty CEO of a successful building & engineering company, is in a power war with other senior members for the attention of their ailing, but still sharp, Chairman. Caught in between is a general manager, Park Dong-hoon, a decent, generous-to-a-fault man. Dong-hoon is the darling of the other faction in the office, and the task at hand for Jun-young is firing Dong-hoon. To Jun-young, who used to be his junior at university, Dong-hoon’s rise would amount to Jun-young's fall. Jun-young has little by way of a brain, few spineless right-hand men by way of brawn, and lots of money. For Lee Ji-an, the cold 20-year-old temporary worker with fortitude that comes with abject poverty and mounting debt and being a social reject, this is jackpot. She promises Jun-young that she could get Dong-hoon fired in exchange for money. In the process, Ji-an finds out that Dong-hoon’s wife has been cheating on him with Jun-young.

Here’s the heart: Dong-hoon and Ji-an embark on a relationship where they see in each other a reflection of themselves and then some. They are empty, broken people who constantly wonder why life happens to them, with neither the strength to ask what matters nor the inclination to face the music of the answer. They protect each other, from themselves and others.

Age has caught up to both of them—Dong-hoon, literally, he’s pretty much lived the same way for four decades; Ji-an, metaphorically, because at 20, she has already lived through the trauma of being an abandoned child, the disillusionment of a teen shunned by faux meritocracy, and the role of a care-giver without money or support. She is a child who had to grow up too soon in the worst way possible—taking the life of an abusive elder, who should have taken care of her, in self-defence. She is 30,000 years old, she thinks. He is 40, and that’s old enough, he thinks.

Ji-an’s survival instincts jerks Dong-hoon to a life that feels more urgent. Dong-hoon’s rule-abiding spirit shows Ji-an how to secure a life that could afford her space to breathe. It is Ji-an who protects Dong-hoon from being fired. It is Dong-hoon who tells the clueless Ji-an how to move in the world of adults, above ground.

Every other relationship in this show has a name. Sibling, friend, neighbour, parent, spouse, office senior, officer junior. But this one, of Dong-hoon and Ji-an, with their 20-year age-gap, has none. ("Platonic" does come close but I am still wrestling with that one.) They go out for dinner, witness each other at their worst and saddest, and tell each other what the other needs to hear the most. 

The choice of this age-gap inevitably gives rise to the question of another affair, and this is where writer-nim Park Hae-young has me by the collar. My Mister feeds off the casual, crude, often-infantalising narrative of why young women are attracted to older men. That stereotype is bait, for those so easily bought into too many stories of the kind, to interrogate what about relationships outside the norm in civil society—relationships that do not have a name—terrifies them. The characters in the show who accuse Dong-hoon and Ji-an of having an affair are those assigned as antagonists.

PHY believes and says “Every relationship is fascinating and precious,” so why do we say no to making more of them as we age? The norms in civil society is a good reason, but maybe a superficial one. She maintains it's the simple act of being vulnerable that leads to building and treasuring relationships; one of those things we tend to lose as we "age". The facade to maintain as a successful person is at odds with being vulnerable so we have to fragment the contours of our love and maintain boundaries. It’s why the relationship between Dong-hoon and Ji-an is—and has to be—cemented on wiretapping and surveillance and the ugliness of baring your soul, against your will even. 

At their workplace, Ji-an is only privy to Dong-hoon, the structural engineer working a desk job without many promotions under his belt for a man several years his junior. It is because Ji-an snoops around that she learns of the affair that sets the story in motion. It’s how she finds out that he is a husband who goes back to an empty house often. He is the middle child, bearing the weight of providing in the absence of a financially-independent elder brother and a younger one trapped in his own insecurities and failures.

But it’s also how she learnt of the love and grace he enjoys otherwise. He plays soccer with friends he has grown up with, he drinks with his siblings whom he has loved all his life, he is the favourite son to his mother. This kind man is the beating heart of his neighbourhood. There will be at least two dozen people who will chase around the streets of Seoul seeking vengeance should he have a scratch on his body. If he is in pain, his brothers will give up other responsibilities to be with him all night until blue hour. These scenes, and the ones in Jeong-hui’s bar, are brimmed with warmth, of love freely taken and given. It’s how Ji-an begins to fantasise having people to go back to, and to call your own. Her love for Dong-hoon is also a love to the world he brings to her, a world of community that sticks together. 

When I watched My Liberation Notes, I sensed that PHY does not give a hoot about green flags and healthy relationships. She might look at those tweets and posts, laugh with her whole chest and mumble: cute but no. This is so very stark in Gi-hoon (Dong-hoon’s younger sibling) and Yu-ra’s relationship, one that is marked by the intimate act of cleaning up vomit. Love comes from unfiltered, almost disgusting, honesty, picking at things the other would never think of sharing to another being. Love is a muscle you have to use everyday. You have to be talking all the time; and somebody should be listening. 

The scene that is tattooed in my heart is Dong-hoon whispering “Call me,” into the phone he knows she is listening to. This is after he learns the truth of everything, of her initial plans to betray him, of her surveillance. But as he tells her later: “Once you know someone, there comes a point where you don’t really care what they do. and I know you.” He knows her and now, he knows everything. That's all that matters. 

In the final act of the show, loving truly as knowing fully is reinforced on a very unlikely character: Gwang-il, Ji-an’s abusive cousin, son of the man she killed for abusing her and their grandmother—and also the loan shark Ji-an owes to. It is through those surveilled tapes that we find out that before he was the son of a father who was murdered by a cousin he loved, he was kind. Ji-an was speaking to Dong-hoon, who knows this before us, the audience. That submission, those words she could never say to Gwang-il’s face, pushes the plot which began with a discreet affair to its conclusion.

When My Mister ends, things are slightly better for the characters than when we see them but it’s left ambiguous. The last 15 minutes of the show goes like this: four minutes of Dong-hoon, in his empty apartment after his wife has left for the US to join their son, engaged in chores and a snotty breakdown; Gi-hoon and Yu-ra’s fracturing relationship leading to a break-up; Dong-hoon's new company; Ji-an in her new job and friends she has started making there; Gi-hoon picking up a pencil to write a screenplay; and a final reunion between Dong-hoon and Ji-an one year after their last goodbye. I think PHY needs her characters to be people who find peace and who love and look out for one another, even if they remain broken.

That love doesn’t need to be forever. Ji-an stops listening to Dong-hoon’s phone after he finds out that she does. When she is about to uninstall the app from her phone, she registers the way his shoes hit the asphalt on the road, that dignified stride despite the hunched shoulders, and his steady breathing one more time. The footsteps recede; she isn’t listening anymore. Then they come back; love can also be a powerful memory, a fuel to someplace else to love more and be someone else. PHY’s thesis is so devastatingly haunting because she dares to tell you, with a jerk first and then gently like a goodnight kiss, that loving is both the very least and the most you can do while you’re here.

[i-got-the-feels]

"People are scared of thunder and lightning, but strangely I find them calming "the world may finally come to an end... as I wished." It feels like I am stuck but I don't know how to get out. That's probably why I wish everything ends at once. "I am not unhappy but I am not happy either" "I wouldn't care if the world ended now" "Everyone is one their way to their graves so why is everyone so happy and excited?" Sometimes I think people who are damaged are much more honest than people who live happily. I don't know where I am stuck but I want to break free. I wish I was genuinely happy and be able to say things like "ah yes, this is life" "this is what life is all about" I want to be able to say these things"

- Yeom Mijeong, Episode 4, My Liberation Notes, 2022.

[sahicore]

GUYS

[paulfrankjuliusthemonkey]

idk it's just frustrating the talk of trigger warnings like it is just such a sheltered discussion. do you think people in gaza want to have to see themselves and all those they love suffering? it should trigger you, too. it should disrupt your day. that is so insignificant to me in the greater picture.

[paulfrankjuliusthemonkey]

children are dying and what do you do? you complain about having to see it. that is what it is to be a citizen living in the western world, to be an american. we don't even see our privelege. we don't even see or want to see the harm we are complacent in. aren't you sick?

[dhrvie]

ANY UPDATES ON THE ALBUM?!?!? 😵‍💫🙀😍🤤🤲🤍🤍

Today announced that "Tragedy" comes out on Jan 19. been sitting on this song for a long time. started it in 2022, finished it in April 23. It's one of my favourites from the album, can't wait for you guys to hear it.