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雷雨
Thunderstorm is a tragic play involving complicated blood relationships and numerous inevitable tragic coincidences that occur in the 1930s in China. It is a dramatic feat with profound connotations and heart-stirring artistry. The story unfolded around Zhou Puyuan, a male character who had been to Germany to study. Cold-blooded, selfish and hypocritical, he was like a dictator of a dark dynasty in his home. Zhou Puyuan is a well-portrayed character in Thunderstorm. All sinful acts were attributable to his domestic autocracy. The profound significance of Thunderstorm lies in its exposure of the close political and ideological bond between Chinese capitalists and the deep-rooted feudal traditions.
246 pages, Paperback
First published January 1, 1933
About the author
Cao Yu
108 books9 followersCao Yu (曹禺; September 24, 1910—December 13, 1996), born as Wan Jiabao (萬家寶/万家宝), was a renowned Chinese playwright, often regarded as China's most important of the 20th century. His most well-known works are Thunderstorm (1933), Sunrise (1936) and Peking Man (1940). It is largely through the efforts of Cao Yu that the modern Chinese "spoken theater" took root in 20th-century Chinese literature.
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Displaying 1 - 30 of 56 reviews
February 16, 2021
also 4.5 stars literally so gripping and DEFINITELY greek tragedy vibes but also parasite vibes
really really good and then when you find out that cao yu’s mum died and his father married her twin... the plot makes so much sense lol
i enjoyed this so much actually there’s so much to unpack
really really good and then when you find out that cao yu’s mum died and his father married her twin... the plot makes so much sense lol
i enjoyed this so much actually there’s so much to unpack
June 26, 2014
I was actually quite impressed by this Chinese incest story. The whole thing happened in just one day! I was a little annoyed by the stage signals, though, but they also helped me understand the character better. (雷雨 is a script)
September 14, 2026
Este o piesă interesantă și dureroasă, dar și cu o lecție foarte clară: greșelile făcute te pot urmări toată viața dacă refuzi să ți le asumi. Poți încerca să le ascunzi, să construiești peste ele o viață nouă, dar trecutul nu dispare. La un moment dat revine și poate dărâma tot ceea ce ai construit tocmai pentru că nu ai avut curajul să-l înfrunți la timp.
January 12, 2021
4.5 the DRAMA its so intense - has very greek tragedy vibes
February 5, 2022
ok but this was so so good (parasite vibes)
May 24, 2026
Thunderstorm has a special place in my heart. Reading it brought quite some nostalgia. Though, I'll have to say that the pieces and fragments that I've previously seen in school simply pale in comparison to the play in its entirety. The devil lies in the detail, not just the broader scandals and general characterisation, but in the minute differences and shifts in attitude that reflect the complex relationships between... well, basically everyone in this play.
Something that hit me exceptionally hard is the repeated idea that one past mistake brought the wave of disaster upon this 'family' (such tragedy! Fanyi, Shiping, Ping, even Puyuan to some extent all carry some level of this guilt). But were those mistakes truly mistakes? Or simply results of broken concepts of morality and human desire?
...
I think I've been reading too much tragic literature that comment on East Asian societal failures these days. Maybe it's time to pivot to some happier books.
Something that hit me exceptionally hard is the repeated idea that one past mistake brought the wave of disaster upon this 'family' (such tragedy! Fanyi, Shiping, Ping, even Puyuan to some extent all carry some level of this guilt). But were those mistakes truly mistakes? Or simply results of broken concepts of morality and human desire?
...
I think I've been reading too much tragic literature that comment on East Asian societal failures these days. Maybe it's time to pivot to some happier books.
April 7, 2023
* 4 STARS *
June 21, 2024
What rollercoaster of events was this.. impressively written
4⭐️
4⭐️
September 29, 2026
A lot of familiar twisted-family-drama themes packed to the powder keg’s brim, as though all of Ibsen was squeezed into a Chinese powder keg. Still, very well executed— particularly around the title’s motif: an oppresive, coiling storm that releases with a flash and a bang
January 31, 2024
She slapped
February 9, 2025
subtracting two stars for incest alone
February 11, 2025
it was a vibe for sure. so many twists.
February 14, 2021
Equal parts compelling and horrifying. I could barely bring myself to turn the page and see what happened next, so I can only imagine the intensity of watching Thunderstorm as a staged production. Draws on classical Greek tragedy and developing conceits of realist drama alike, but the resulting product is something wholly unique and surprising.
September 23, 2026
The secrets buried inside the Zhou family, the incest, the unknowingly violated blood ties, the sins of one generation returning through the bodies of the next...it carries that same merciless logic found in "Oedipus". Yet it never feels like Cao Yu is simply transplanting Greek tragedy into China. The tragedy grows organically from the particular violence of this family, its hierarchy, its class structure, and above all from the authority of its patriarch.
What disturbed me most was the idea of 'children becoming the victims of their parents’ unfinished lives'. Almost everything the younger generation suffers originates in decisions made before they were old enough to have any say in them. The children inherit relationships whose meanings have been deliberately hidden from them.
That is where the Oedipal quality becomes so painful. The horror is not only 'incest', but also the 'knowledge arriving too late'.
Like Oedipus, Zhou Ping and Sifeng have already crossed the boundary before they discover that the boundary exists. They are guilty of something they never consciously chose to do. The revelation does not prevent the catastrophe. The revelation IS the catastrophe. And Cao Yu makes the whole thing even more twisted because Zhou Ping has already participated in another forbidden relationship: his affair with his stepmother, Fanyi. That relationship is different because there is no ignorance to protect them. They know exactly who they are to one another.
Fanyi is perhaps the character I found most emotionally complicated. It would be easy to reduce her to the hysterical, jealous woman whose desire helps destroy the household, but that reading feels terribly inadequate. She is trapped inside Zhou Puyuan's house and beneath his authority. Zhou Ping becomes lover, escape route, rebellion and obsession all at once. Her desire is destructive, certainly, but it is also one of the only things in her life that seems genuinely hers. When Zhou Ping withdraws from her and turns toward Sifeng, her desperation becomes increasingly cruel. She participates in the destruction around her, yet she is also one of the people whom this family structure has already destroyed. The tragedy refuses to give her the comfort of being purely victim or purely perpetrator.
And that ambiguity is everywhere.
Parents love their children and ruin them.
Lovers desire one another and destroy one another.
People attempt to escape the past and unknowingly walk straight back into it.
The wealthy Zhou household presents itself as orderly and respectable while underneath it is an absolute mess of abandonment, exploitation, sexual transgression, resentment and buried identities. The more desperately the family tries to preserve appearances, the more grotesque those appearances become.
Even class becomes tangled with blood. Lu Dahai is not merely a worker confronting a mine owner: unknowingly, he is a son confronting his father. Zhou Ping and Sifeng are not merely a wealthy young man and a servant girl attempting to escape together: unknowingly, they are brother and sister. Cao Yu makes social divisions and biological relationships overlap until the family becomes almost impossible to untangle. The violence inside the household mirrors the violence outside it. Zhou Puyuan's power over his family and his power as an industrialist begin to look like manifestations of the same instinct, to control people, decide their place, and assume that the consequences can be buried.
But consequences in "Thunderstorm" do not stay buried...The children are not simply punished for the sins of their parents in some neat moralistic sense. That would almost be easier. Instead, they are 'constructed by those sins'. Their identities, relationships and desires have been unknowingly arranged by choices made decades earlier. They walk into traps they did not build.
This is why I hesitate to describe what happens as "karma." Karma would imply a comprehensible moral balance: you commit a wrong and eventually suffer the appropriate consequence. The work is crueler than that because suffering does not remain attached to the guilty. Cao Yu himself resisted understanding the play simply as retribution. In his preface he described something closer to an incomprehensible "cosmic cruelty": a governing force behind human struggle which Greek dramatists might have called fate. That idea completely changed how I understood the storm itself. The thunderstorm is not just dramatic scenery waiting conveniently outside the window. The entire play feels electrically charged long before the literal storm finally breaks. Secrets accumulate like pressure in the air. People enter rooms carrying information other people cannot possess. Every conversation threatens to expose something. Everyone seems to know one piece of the truth, while nobody knows enough of it to understand the whole.
And then, eventually, everyone knows.
The truth is simultaneously the thing everyone needs and the thing they cannot survive.
Yet what makes "Thunderstorm" more than an exercise in fatalism is that its catastrophe is simultaneously cosmic and painfully human. Fate may hover over the play, but human beings have built the machinery through which fate operates. Zhou Puyuan made choices. He abandoned Shiping. He concealed the past. He created a household governed by hierarchy and fear. Fanyi makes choices. Zhou Ping makes choices. Shiping makes choices. Nobody possesses the whole truth, but everybody adds something to the disaster.
So by the end, I wasn't left thinking, 'How unlucky these people were.'. I kept thinking: 'the children never had a chance to know what they were walking into.'. The parents bury their shame and continue living. Their children grow up on top of the burial ground.
Then they fall through it.
Cao Yu turns the family home into something almost mythological: a place where the past has been locked behind doors for so long that when those doors finally open, nobody inside can survive the air that comes through. It is melodramatic. At points, almost outrageously so. The coincidences accumulate, the relationships become impossibly entangled, and the final catastrophe is enormous. But strangely, that excess did not weaken the play for me. It made sense within its tragic universe. Greek tragedy also understands that sometimes ordinary realism is simply too small a container for certain kinds of human horror.
And perhaps that is what I found most devastating about Cao Yu's tragedy: the people who finally pay for the past are not necessarily the people who created it. The parents commit the original violence, conceal it, rationalize it, survive it...And then their children inherit the bill.
What disturbed me most was the idea of 'children becoming the victims of their parents’ unfinished lives'. Almost everything the younger generation suffers originates in decisions made before they were old enough to have any say in them. The children inherit relationships whose meanings have been deliberately hidden from them.
That is where the Oedipal quality becomes so painful. The horror is not only 'incest', but also the 'knowledge arriving too late'.
Like Oedipus, Zhou Ping and Sifeng have already crossed the boundary before they discover that the boundary exists. They are guilty of something they never consciously chose to do. The revelation does not prevent the catastrophe. The revelation IS the catastrophe. And Cao Yu makes the whole thing even more twisted because Zhou Ping has already participated in another forbidden relationship: his affair with his stepmother, Fanyi. That relationship is different because there is no ignorance to protect them. They know exactly who they are to one another.
Fanyi is perhaps the character I found most emotionally complicated. It would be easy to reduce her to the hysterical, jealous woman whose desire helps destroy the household, but that reading feels terribly inadequate. She is trapped inside Zhou Puyuan's house and beneath his authority. Zhou Ping becomes lover, escape route, rebellion and obsession all at once. Her desire is destructive, certainly, but it is also one of the only things in her life that seems genuinely hers. When Zhou Ping withdraws from her and turns toward Sifeng, her desperation becomes increasingly cruel. She participates in the destruction around her, yet she is also one of the people whom this family structure has already destroyed. The tragedy refuses to give her the comfort of being purely victim or purely perpetrator.
And that ambiguity is everywhere.
Parents love their children and ruin them.
Lovers desire one another and destroy one another.
People attempt to escape the past and unknowingly walk straight back into it.
The wealthy Zhou household presents itself as orderly and respectable while underneath it is an absolute mess of abandonment, exploitation, sexual transgression, resentment and buried identities. The more desperately the family tries to preserve appearances, the more grotesque those appearances become.
Even class becomes tangled with blood. Lu Dahai is not merely a worker confronting a mine owner: unknowingly, he is a son confronting his father. Zhou Ping and Sifeng are not merely a wealthy young man and a servant girl attempting to escape together: unknowingly, they are brother and sister. Cao Yu makes social divisions and biological relationships overlap until the family becomes almost impossible to untangle. The violence inside the household mirrors the violence outside it. Zhou Puyuan's power over his family and his power as an industrialist begin to look like manifestations of the same instinct, to control people, decide their place, and assume that the consequences can be buried.
But consequences in "Thunderstorm" do not stay buried...The children are not simply punished for the sins of their parents in some neat moralistic sense. That would almost be easier. Instead, they are 'constructed by those sins'. Their identities, relationships and desires have been unknowingly arranged by choices made decades earlier. They walk into traps they did not build.
This is why I hesitate to describe what happens as "karma." Karma would imply a comprehensible moral balance: you commit a wrong and eventually suffer the appropriate consequence. The work is crueler than that because suffering does not remain attached to the guilty. Cao Yu himself resisted understanding the play simply as retribution. In his preface he described something closer to an incomprehensible "cosmic cruelty": a governing force behind human struggle which Greek dramatists might have called fate. That idea completely changed how I understood the storm itself. The thunderstorm is not just dramatic scenery waiting conveniently outside the window. The entire play feels electrically charged long before the literal storm finally breaks. Secrets accumulate like pressure in the air. People enter rooms carrying information other people cannot possess. Every conversation threatens to expose something. Everyone seems to know one piece of the truth, while nobody knows enough of it to understand the whole.
And then, eventually, everyone knows.
The truth is simultaneously the thing everyone needs and the thing they cannot survive.
Yet what makes "Thunderstorm" more than an exercise in fatalism is that its catastrophe is simultaneously cosmic and painfully human. Fate may hover over the play, but human beings have built the machinery through which fate operates. Zhou Puyuan made choices. He abandoned Shiping. He concealed the past. He created a household governed by hierarchy and fear. Fanyi makes choices. Zhou Ping makes choices. Shiping makes choices. Nobody possesses the whole truth, but everybody adds something to the disaster.
So by the end, I wasn't left thinking, 'How unlucky these people were.'. I kept thinking: 'the children never had a chance to know what they were walking into.'. The parents bury their shame and continue living. Their children grow up on top of the burial ground.
Then they fall through it.
Cao Yu turns the family home into something almost mythological: a place where the past has been locked behind doors for so long that when those doors finally open, nobody inside can survive the air that comes through. It is melodramatic. At points, almost outrageously so. The coincidences accumulate, the relationships become impossibly entangled, and the final catastrophe is enormous. But strangely, that excess did not weaken the play for me. It made sense within its tragic universe. Greek tragedy also understands that sometimes ordinary realism is simply too small a container for certain kinds of human horror.
And perhaps that is what I found most devastating about Cao Yu's tragedy: the people who finally pay for the past are not necessarily the people who created it. The parents commit the original violence, conceal it, rationalize it, survive it...And then their children inherit the bill.
November 28, 2015
Giờ mới được đọc kịch Lôi vũ của Tào Ngu :(
Cũng may nhờ trước đây kém hiểu biết, chưa từng nghe tên vở kịch, cũng không được biết trước nội dung kịch, nên giờ mới có thể thưởng thức nó trọn vẹn như vậy....
Cũng may nhờ trước đây kém hiểu biết, chưa từng nghe tên vở kịch, cũng không được biết trước nội dung kịch, nên giờ mới có thể thưởng thức nó trọn vẹn như vậy....
Read
January 29, 2017(re-read. Review on another edition)
April 17, 2021
i wholeheartedly believe that once your stage directions surpass more than a page then you’re better off just writing a short story or something...like this was very much telling & not expressing, which was ironic, considering this is a script. anyway this still managed to hold my attention just bc there’s so much happening btwn the characters; the main cast felt very lively even on the written page. it was the characters that made this so intense; the story itself was just okay, it was predictably horrifying, copious amounts of dramatic irony, etc etc. i know cao yu deliberately modeled this after western tragedy (oedipus rex???) but i think i didn’t take to this one because of exactly that reason, since it felt like something i’d read/heard before
i don’t think i’ll ever reread this outside of class since it didn’t personally resonate with me & the stage directions are astonishingly tedious lmao, but i think this does have the potential to be great on stage! but since against all odds this still freaked me out pretty badly i will not be looking for an adaptation god bless.
i don’t think i’ll ever reread this outside of class since it didn’t personally resonate with me & the stage directions are astonishingly tedious lmao, but i think this does have the potential to be great on stage! but since against all odds this still freaked me out pretty badly i will not be looking for an adaptation god bless.
May 19, 2026
這部1934年問世的劇作，不僅是中國現代話劇的里程碑，更展現了曹禺如何巧妙地將西方文學，尤其是希臘悲劇的精神與形式，引入中文文學的土壤，並使其生根發芽，開出獨屬於中國的悲劇之花。
曹禺在清華大學外文系求學期間，廣泛接觸西方戲劇，從莎士比亞到易卜生，再到古希臘悲劇大師埃斯庫羅斯、索福克勒斯與歐里庇得斯。他深受希臘悲劇「命運」「家庭詛咒」「悲劇性衝突」等核心母題影響，卻未生搬硬套，而是將其與中國封建家庭倫理、社會現實深度融合。在《雷雨》中，這種融合達到極致。劇中周家四代人的情感糾葛、亂倫隱秘與最終的毀滅，隱隱呼應希臘悲劇中「俄狄浦斯」式的命運枷鎖與家庭詛咒。魯貴與四鳳的關係、周萍與蘩漪的禁忌之戀，都帶有濃厚的命運感與不可避免的悲劇張力。曹禺並未直接搬運希臘神話情節，而是借用其精神內核——人無法逃脫的宿命、道德與欲望的衝突，以及個體在龐大社會與家庭結構下的渺小——來書寫中國舊式大家庭的崩解。
這種引入最精妙之處，在於「中國化」的轉化。希臘悲劇常以神與命運為主導，而曹禺則把「命運」轉化為所謂封建禮教、階級鬥爭與人性弱點的交織。蘩漪這個角色尤為突出，她既有希臘悲劇中「激情女主角」的狂烈與悲劇性，又承載了中國傳統婦女在家庭中的壓抑與覺醒。曹禺讓西方悲劇的心理深度與中國話劇的社會批判完美結合，使《雷雨》既具備希臘悲劇的嚴肅結構（時間、空間、行動的集中），又充滿本土的煙火氣與時代痛感。
更進一步來看，曹禺在後續作品如《原野》中，對希臘悲劇的借鑑更為明顯而大膽。《原野》中的復仇主題、命運追逐、以及農村環境中帶有神話色彩的氛圍，清晰可見埃斯庫羅斯《奧瑞斯提亞》三部曲的影子。仇虎的復仇之路、與「命運」的抗爭，幾乎是希臘悲劇英雄在中國鄉村的投射。曹禺甚至引入類似「歌隊」的效果，透過人物內心獨白與環境描寫，強化悲劇的儀式感與宿命氛圍。然而，他始終不忘植根中國現實——土地、宗族、階級矛盾，讓西方悲劇形式獲得了中國式的血肉與批判力量。
閱讀曹禺的劇本，我總能感受到他那種「借西方之酒，澆中國之塊壘」的創作野心。他沒有讓希臘悲劇成為簡單的舶來品，而是透過精湛的戲劇結構、深刻的人物心理刻畫，以及對封建社會的無情剖析，使其成為中國現代文學中悲劇意識覺醒的重要標誌。這種融合，不僅提升了中國話劇的文學性與藝術高度，也為後世劇作家開闢了中西交融的創作道路。
曹禺在清華大學外文系求學期間，廣泛接觸西方戲劇，從莎士比亞到易卜生，再到古希臘悲劇大師埃斯庫羅斯、索福克勒斯與歐里庇得斯。他深受希臘悲劇「命運」「家庭詛咒」「悲劇性衝突」等核心母題影響，卻未生搬硬套，而是將其與中國封建家庭倫理、社會現實深度融合。在《雷雨》中，這種融合達到極致。劇中周家四代人的情感糾葛、亂倫隱秘與最終的毀滅，隱隱呼應希臘悲劇中「俄狄浦斯」式的命運枷鎖與家庭詛咒。魯貴與四鳳的關係、周萍與蘩漪的禁忌之戀，都帶有濃厚的命運感與不可避免的悲劇張力。曹禺並未直接搬運希臘神話情節，而是借用其精神內核——人無法逃脫的宿命、道德與欲望的衝突，以及個體在龐大社會與家庭結構下的渺小——來書寫中國舊式大家庭的崩解。
這種引入最精妙之處，在於「中國化」的轉化。希臘悲劇常以神與命運為主導，而曹禺則把「命運」轉化為所謂封建禮教、階級鬥爭與人性弱點的交織。蘩漪這個角色尤為突出，她既有希臘悲劇中「激情女主角」的狂烈與悲劇性，又承載了中國傳統婦女在家庭中的壓抑與覺醒。曹禺讓西方悲劇的心理深度與中國話劇的社會批判完美結合，使《雷雨》既具備希臘悲劇的嚴肅結構（時間、空間、行動的集中），又充滿本土的煙火氣與時代痛感。
更進一步來看，曹禺在後續作品如《原野》中，對希臘悲劇的借鑑更為明顯而大膽。《原野》中的復仇主題、命運追逐、以及農村環境中帶有神話色彩的氛圍，清晰可見埃斯庫羅斯《奧瑞斯提亞》三部曲的影子。仇虎的復仇之路、與「命運」的抗爭，幾乎是希臘悲劇英雄在中國鄉村的投射。曹禺甚至引入類似「歌隊」的效果，透過人物內心獨白與環境描寫，強化悲劇的儀式感與宿命氛圍。然而，他始終不忘植根中國現實——土地、宗族、階級矛盾，讓西方悲劇形式獲得了中國式的血肉與批判力量。
閱讀曹禺的劇本，我總能感受到他那種「借西方之酒，澆中國之塊壘」的創作野心。他沒有讓希臘悲劇成為簡單的舶來品，而是透過精湛的戲劇結構、深刻的人物心理刻畫，以及對封建社會的無情剖析，使其成為中國現代文學中悲劇意識覺醒的重要標誌。這種融合，不僅提升了中國話劇的文學性與藝術高度，也為後世劇作家開闢了中西交融的創作道路。
December 15, 2022
4.5 stars
I have been trying to find the perfect 80th book this year for some time. I suppose the only Chinese book I've read this year is a pretty good choice.
This is an incredibly engaging, incestuous, and dramatic play. I love the complexity of the characters and the restraints of Chinese society on gender and class relations that they reveal.
We read this in Chinese class by having students role-play the characters. I happen to be reading the lines of my favorite character Fan Yi. It was a great experience being able to see the events from her perspective.
I took 0.5 stars off because I think she deserved better revenge. The stage directions can be a bit long and boring at times, and the ending was wrapped up a bit too abruptly. I would've liked to see more of what happened to the characters that survive.
I have been trying to find the perfect 80th book this year for some time. I suppose the only Chinese book I've read this year is a pretty good choice.
This is an incredibly engaging, incestuous, and dramatic play. I love the complexity of the characters and the restraints of Chinese society on gender and class relations that they reveal.
We read this in Chinese class by having students role-play the characters. I happen to be reading the lines of my favorite character Fan Yi. It was a great experience being able to see the events from her perspective.
I took 0.5 stars off because I think she deserved better revenge. The stage directions can be a bit long and boring at times, and the ending was wrapped up a bit too abruptly. I would've liked to see more of what happened to the characters that survive.
March 20, 2025
Cao Yu signe une excellente pièce qui met en scène la confrontation de deux familles lors d’une nuit d’orage, sur fond d’inceste, de lutte des classes et de mensonge. Le rendu final ressemble à s’y méprendre au film Parasite, très en avance sur son temps sur la question de la place des femmes et des vices que la richesse entraîne.
September 1, 2018
A love story like Romeo and Juliet's, Chinese version, with a generous amount of twists! These two turned out to be....not going to spoil it! It is worth reading it! I also saw this live as a play in the theater and it definitely helped in rating this book even higher than just five stars.
November 29, 2024
可怜的人生哦
妈，您，您是怎么？我的心定了。不管他是富，是穷，不管他是谁，我是他的了。我心里第一个许了他，我看得见的只有他，妈，我现在到了这一步：他到哪儿我也到哪儿；他是什么，我也跟他是什么。妈，您难道不明白，我——
天知道谁犯了罪，谁造的这种孽！——他们都是可怜的孩子，不知道自己做的是什么。天哪，如果要罚，也罚在我一个人身上；
我没有孩子，我没有丈夫，我没有家，我什么都没有，我只要你说：我——我是你的。
妈，您，您是怎么？我的心定了。不管他是富，是穷，不管他是谁，我是他的了。我心里第一个许了他，我看得见的只有他，妈，我现在到了这一步：他到哪儿我也到哪儿；他是什么，我也跟他是什么。妈，您难道不明白，我——
天知道谁犯了罪，谁造的这种孽！——他们都是可怜的孩子，不知道自己做的是什么。天哪，如果要罚，也罚在我一个人身上；
我没有孩子，我没有丈夫，我没有家，我什么都没有，我只要你说：我——我是你的。
May 4, 2025
Fantastic. Even if I don’t think the Greek tragedy comparisons are 100% accurate, it did have me in act III when I started realizing what was going on, so there’s that.
February 20, 2019
三一律使剧情及戏剧冲突高度集中，伏笔和象征运用的超好！
August 3, 2019
dont be a guy that only knows to blame others
January 24, 2021
Wonderfully tangled drama with the inclination to become more than itself
August 3, 2021
these two families are more complicated than any other
October 8, 2022
Intense.
Read
December 31, 2022wtf
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