Kate > Recent Status Updates

Hmmmmmm….Sophie’s argument—that 2000s mainstream media co-opted feminist language in order to strip it of meaning and power—is sound, but she doesn’t always connect it back to what she is discussing. The first chapter is the strongest because it explains in detail how teen pop acts overtook the riot grrrls by appropriating their “Girl Power” slogan.

THERE WAS A MASS HEALING !!!!!!

Oh her pen game is kinda unreal. This might be a new favorite

Oh okay so I should not have drunk a beer before starting this

Dorian: Oh, the wretchedness…I have killed my dear friend, the angel on my shoulder…I cannot hope to forget the suffering I have gone through… this night shall be a stain on my soul for ever and ever…..

Dorian, like two pages later: I’m getting freaky I’m heading out bitch I’m onto something

Love love love how Henry’s character is just that one copypasta “Are you tired of being nice! Don’t you just wanna go apeshitttt”

MARGARET BLINK TWICE IF YOU NEED HELP

Every girl got that one barely-closeted Edwardian modernist they don’t play about

Let me eat this taco…

What I’m getting now is that this society only works if a) the Vaults accept their role as receptacles of violence and b) they have the right attitude about it: they need to repeat the propaganda, assure their customers that they are designed for this purpose and that this societal structure is justified.

Ouuuu ok the metaphor is crystallizing—Vaults as a underclass against whom violence is sanctioned and protected by the law. They’re the punching bags who keep society civil by absorbing all of its anger: customers “deposit” their stress inside of them in order to achieve some level of inner peace/keep from acting out elsewhere.

Hmmmmm okay I’m noticing that the Antidote is a pariah “no one wants for a neighbor,” yet everyone comes to see her at one point or another. Her line of work is shameful but necessary; and it’s made her one of the few truly self sufficient women in town. Maybe I’m cooking here

I can’t help noticing the parallels between the Vaults and sex work: customers pay a fee to briefly enter their bodies to “unload” something (usually violent, usually shameful) while the woman lays there, motionless, trapped in a trancelike or dissociative state. One “transaction” is sexual in nature, the other emotional; but both reduce the woman to a body part, a thing to be used.