I don’t remember ever getting that perspective in his writing before, certainly not from Jeeves.

I’m reading a non-Jeeves novel of his (The Girl On The Boat) and there was a fascinating perspective shift where said girl tells a valet to deliver a secret message to her man and he promises discretion, and then immediately he’s going into the kitchen and telling all the staff about it.

I do wonder if YouTube is kind of artificially inflated on here, because I watch videos on there but I don’t really interact with or follow anyone else. It’s not a social experience for me at all, and I wouldn’t put it in the same category as the other apps/sites here.

I mostly use it for a few special interest groups (professional and hobby) that I haven’t found good alternatives for elsewhere. Unfortunately the critical mass of people on FB still makes things like that work well there.

They ATE IT? Wtf man

I think that’s a clear signal of who gets to work in journalism / media and who doesn’t. That you can help elevate a presidential candidate that you’re having a romantic relationship with, advise and strategize for him, and keep your position. But if you so much as post about Gaza then that’s it.

As proof that I’m not just a whiny baby, I started Sekiro and I’m getting my ass handed to me but I love it

He’s almost offensively good at writing and I can’t believe he hasn’t done more of it.

My Tim Kaine story is I was playing cocktail piano at an event and he walked in and correctly identified what I was playing as Have You Met Miss Jones, so I’ve gotta give him a point for that

From the sounds of it, Silksong isn’t for me most likely. I might try it if it’s on sale for super cheap in a few years. Ultimately the degree of online hype and fandom is still puzzling to me. I don’t see what makes people put it in best of all time lists vs just “this is a very good indie game.”

Eventually I asked my piano professor for advice and she said “You know, you spend all your free time in this building.” She was right. I decided to commit fully to music and kept the others as backup options (actually got minors in both CS and math!) and haven’t needed them yet.

none of this is interesting enough for me to be continually having to hear about it and everyone involved here is the world's shittiest writer

Ooooh I love this! That Hades and the audience are in the same position of knowing he’s doomed but hoping that somehow he pulls it off.

And of course there’s the fact that this is a retelling of a story “written long ago”, so of course the characters *we’re* seeing are doomed to play out their same parts. But maybe the Fates wrote the story even before it “happened” and they never had a choice.

I’ve always found the Fates fascinating, in Hadestown and in mythology generally. There’s so much focus on the gods but on some level the Fates are above even them. I think it’s notable in the show that the Fates influence not only Eurydice’s and Orpheus’s “choices” but also Hades’s bargain!

Like the Fates could allow him to travel into the underworld and out again without dying, and even to sway Hades with his song, but bringing someone back from death and/or a contract with a God is a bridge too far.

Greek mythology dwells a lot on fate, free will or predestination, bargains, etc. Maybe this is not supported by the text but I’ve always liked to see Orpheus’s failure as inevitable given the contract Eurydice signed and the natural order of death and the underworld.

I think it’s easier to see Eurydice’s as coercion and not a true choice, but maybe we can see Orpheus the same way. A lot is made of it being a test of his will, but is it truly reasonable to think a mortal could sneak into hell and out successfully with the literal Fates tormenting him?

I’ve been thinking a lot about the nature of choice and free will in the show, specifically the parallel between Eurydice’s “choice” to sell her soul and Orpheus’s choice (or “choice”?) to turn around at the end.