I would be fascinated to find out who is in charge of editing the lyrics for the UK music video TV channels. It seems rather prudish to ban Charli XCX from saying “getting high and getting wrecked”, but it’s just bizarre to allow, as an alternative, what sounds like “getting loud and getting licked”. And you can play a song called “Bang Bang” but it’s not allowed to include the word “banging”?
Also, while it’s not surprising that the edit of “Partition” blanks the word “fuck”, it’s kind of fantastic that they also remove “knees”, “Lewinsky” and “nasty”.
That night they cooked a huge feast, with Swift assigning everyone jobs (“You make salad dressing! You chop apples for apple pie!”)
I don’t know if Kraft-Ebbing ever gave a specific name to the paraphilia involving Taylor Swift giving you highly specific direction in the kitchen but um
The best bit of the recent Tomb Raider reboot is near the beginning. Shortly after the player regains control of Lara after the extended intro sequence, you guide her down a narrow cliff path and come across a branch lying across a gap in the path. It’s the sort of obstacle that in previous games Lara would have happily skipped across, but here, as you step on to the branch Lara sways alarmingly, and you have to slowly inch forward to make it across successfully. It’s a great example of using game mechanics to communicate, in this case to communicate that the Lara here is a young woman out of her depth, not the superhero of the later games.
Unfortunately, after that the game largely follows most big-budget games in telling us the plot through cut scenes rather than showing it to us through gameplay. Worse, what it’s telling us gets increasingly out of sync with the gameplay. The game is much more combat-focused than previous Tomb Raider games, so by halfway through, you’ve violently bludgeoned to death hundreds of people. But the cut scenes, while they show Lara as scared, don’t begin to try and show the level of trauma that would surely result from such massive violence. This disconnect leaves Lara looking disengaged to the point of sociopathy.
But you’re just so cool
Run your hands through your hair
Absent mindedly makin’ me want you
(Taylor Swift, “Fearless”)
Maybe every Taylor Swift song is about Harry Styles, even (especially?) the ones from before they’d met?
I would describe Marxism as a philosophy of wonder: what appear before consciousness, as objects of perception, are not simply given, but are effects of history. ‘Even the objects of the simplest “sensuous certainty” are only given him through social development, industry, and commercial intercourse.’ To learn to see what is ordinary, what has the character of ‘sensuous certainty’, is to read the effects of this history of production as a form of ‘world making’.
― Sara Ahmed, The Cultural Politics of Emotion, 180.
The whole book contains no negative word, no attack, no spite—it lies in the sun, round, happy, like some sea animal basking among rocks.
Ultimately, I myself was this sea animal: almost every sentence in this book was first thought, caught, among that jumble of rocks near Genoa where I was alone and still had secrets with the sea. Even now, whenever I accidentally touch this book, almost every sentence turns for me into a net that again brings up from the depths something incomparable: it’s entire skin trembles with tender thrills of memory. The art that distinguishes it is not inconsiderable when it comes to fixing to some extent things that easily flit by, noiselessly—moments I call divine lizards—but not with the cruelty of that young Greek god who simply speared the poor little lizard; though, to be sure with something pointed—a pen.
― Nietzsche, Ecce Homo (via rogueish)