My local library, bless its little heart, has got a somewhat idiosyncratic ebook catalogue - lots of romantasy, nonfiction of a certain slant, for some reason, several thousand graphic novels that got dumped into the catalogue a few weeks ago - but it is pretty good about ordering books that get a lot of attention, which is why very shortly after November 2025 it had a full set of the Game Changers books. And, allowing for waiting lists, I have now read the whole series. So please take your seats for my thoughts on the whole series, as well as how the remaining books might be adapted on the show.
(Before I start, I will echo the fannish consensus that Ilya Rozanov, Bisexual Fairy Godmother of the NHL, is an annoying device that I hope the show will rise above. Particularly annoying because if you want someone to act as the Voice of Gay in the non-Hollanov novels, you've got Scott Hunter - who explicitly says that he's been getting private communiques from closeted NHL players, so why not have him show up for some of the main characters in the other books. And if you want the perspective of an NHL player who is still closeted and not entirely at peace with his sexuality, you've got Shane Hollander, who basically disappears between Heated Rivalry and The Long Game. At the very least, I hope if Ilya keeps showing up at opportune moments to encourage people he barely knows to come out, that the show will show his side of the conversation, and how it emerges from things he's been struggling with - showing up to the funeral in Tough Guy because it chimes with his own issues with depression and self-harm, for example. Now on to the books.)
Game Changer - I can see why this ended up being condensed into an episode and change in the show (which ends up doing things to the story's timeline that make no sense), because ultimately this is a proof of concept. What if gay NHL star + hunky love interest + closet drama + kissing on camera after winning the Stanley Cup. It works, and Scott and Kip are good characters, but while Reid is able to draw this out into a whole novel, I can understand the show choosing to make it into a B-plot.
Heated Rivalry - It's a bit hard for me to judge this book on its own, since I read it after watching the show, and - as is the case with a lot of popular fiction - when you remove a narrative voice that tells you what the characters are feeling at any given moment and let good actors convey that emotion, you usually end up with something much richer and more compelling, which is probably projecting backwards on the book. That said, the basic concept and the characters are strong, and I think it's a testament to how well Reid crafts both Ilya and Shane that even though the supposed rivalry between them doesn't get that much space in the story, you really feel the obstacles that prevent them from being honest with themselves and each other about their feelings, and the courage that each step over those obstacles requires.
Tough Guy - There's a decent concept here. After two books where professional hockey is treated as something fundamentally good, or at least repairable, it's a refreshing change to focus on a character whose relationship with the sport has become toxic - not even because of his sexuality as because of the role he's been expected to play on ice. And after two books in which the romantic leads were all either professional athletes or at least a fairly gender-conforming guy, it's an interesting swerve to focus on a love interest who is extremely femme. But all that falls down in the face of the fact that Fabian is a rather annoying character, and his romance with Ryan never really lands. This is, again, something that could be fixed in the show - get the right actor to play Fabian and a lot of the character's problems will go away - but in the book I was much more interested in Ryan's journey than his and Fabian's love story.
Common Goal - I genuinely do not get why this book exists. On paper it's an interesting swerve because it's about a guy who has done the thing that all the other closeted characters promise themselves, at one point or another, that they will do - put in his twenty, get his payday, wait for public attention to wane, and then explore his sexuality. And then he almost immediately meets the love of his life, so it's all fine, and there's no need to interrogate what it might cost to spend your youth denying a part of yourself. Also, I know that age gap discourse on tumblr has become wearying, but I found the combination of age, wealth, and general togetherness gaps between Eric and Kyle really distracting. Eric has his life so worked out that I ended up feeling that Kyle was being subsumed into him (including into a house designed precisely to Eric's specifications where Kyle only makes sense as a guest) rather than building something with him. It's not that I think no twenty-five-year-old and forty-year-old can have an equitable relationship, but these twenty-five-year-old and forty-year-old really feel like they would have been better off remaining friends with benefits.
Role Model - I was kind of skeptical about this concept (especially since I read The Long Game first, where this story is viewed from the outside, and comes off as quite schmoopy). But having read the book I can see why it's the one that fans are anticipating on the show. For one thing, there's a lot of mirror universe Shane Hollander stuff going on with Troy - he's a closeted gay man who, instead of trying to fly under the radar, decides to project homophobia as protective coloration, and he has a secret relationship that he thinks is love, but which turns out to be toxic and hurtful. The person he is at the beginning of the book is an interesting combination of shell-shock at how thoroughly he has trashed his life, shame at how he got there, and more than a hint of lingering bad boy tendencies. Harris is also a good character - in some ways another pass at Fabian, as a gay man who is not entirely gender-conforming - but with more of a sense of his own personality and point of view. And it's a nice change that instead of a story about two guys jumping into bed and then working out that they have feelings for one another, this one is a slow burn about two guys who are crazy for each other and not sure how to make the first move.
If I have a criticism of Role Model, it's that I think ultimately Troy gets off a bit too easy. All of his toxic behavior happens behind closed doors, and all of his rehabilitation tour happens in public, and as a result he ends up being embraced as an ally instead of someone who is trying to make his way back from being a bad person. It just feels a bit convenient that everyone who knew him when is either siding with a rapist, or, like Ryan, not interested in challenging the sincerity of Troy's transformation.
The Long Game - By far the most ambitious of the six novels, and on the whole I think the pieces are quite strong. Ilya's struggles with depression, Shane's difficulty accepting that the plan he came up with isn't making either him or Ilya happy, the difference between saying "I love you" and living it day to day. But as is the case with many romance novels, a lot of air comes out of the balloon when you try to tell the story of what comes after Happily Ever After, and Reid doesn't quite manage to weave the disparate pieces into a cohesive whole. (The plane incident, for example, works a lot better as a catalyst for change in Role Model than in this book.) I think there are enough good bits here that the show could make something more successful out of them, but the book itself feels a little underbaked.
(In case anyone's wondering, my ranking is Heated Rivalry, Role Model, Game Changer, The Long Game, Tough Guy, and Common Goal.)
So if I were planning the next couple of seasons of the show, I'd focus the second season on the missing year between the end of Heated Rivalry and the beginning of The Long Game - Shane coming out to his team, Ilya spending more time with Hayden and with Shane's parents, Shane meeting Svetlana, plus maybe some stuff from The Long Game that could be brought forward, such as Ilya's mental health issues. And as a B-plot, do Tough Guy, but use that as a springboard to introduce Troy in his asshole phase, including his secret relationship with Adrian, ending the season on his life imploding. Then do Role Model and The Long Game concurrently in season 3. I guess the real question is how much the show is willing to let Ilya and Shane be secondary characters, or even not fully dominant leads, and whether it can make the new characters as compelling as they are.
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I feel for everyone who isnāt having the time of their fucking lives with The Vampire Lestat. Every week I clap and cheer for the antics of the worldās saddest buzzword-laden bisexual crash-out diva and his crew of the least healed men to ever grace the small screen. The songs are cringe delightfully camp, the wigs are a nightmare, Iām living my best life, Iām loving every second. Why the fuck would you have a blood shower in your tour bus. The onscreen mother-son incest is only like the third wildest thing happening in any given episode. Itās insane. I never want it to end
It really cannot be sufficiently stressed that a blood shower is completely unworkable. Do you have one of those coffee machines with a milk fridge in your office? Have you noticed how often the milk delivery jams so you can't make a latte? Now imagine that with a substance that coagulates as soon as it meets air. You'd have to either maintain a careful mixture of blood and anti-coagulant, or keep as much air as possible out of the blood tank (which needs to be periodically topped off, of course). And either way, as soon as it ends up in the pipes, it would start clogging.
And this they apparently put on a bus? With a switch so you can get water and blood out of the same shower head? I need to know which member of the entourage has a plumbing certificate, because they should be working on that job full time.
Also been turning over Half-Man the past few weeks
And keep coming back to how...idk I don't want to say Niall or Ruben was doomed. There were, in fact, many junctures where the show presented opportunities for either one of them to take other paths. Some were closed to them, some they ignored, and some they took only to take a bad turn down the road. But there is this persistent sense that all it all goes back to that alluded to shared childhood we never quite see. It was all seeded in trauma and social conditioning long before we see Niall and Ruben reunite as teenagers.
But what I still find really interesting is how the show rebutts time and again what we hear ad nauseum nowadays in response to dysfunction. "Get therapy", "seek support", "there are resources" etc etc. Bc not only were those things seemingly not provided to Niall or Ruben when their first traumas took place (the fucking gut punch that Niall's mom was a social worker all along), but Niall and Ruben do end up in counseling later in life and it doesn't magically fix them!!!!
The times progress. Things change so much from when they were boys (without a father, with a terribly abusive one). Niall being gay isn't supposed to be a big deal, he spends time in-treatment for a nervous break and receives favors and support from friends and family for years while he tries to course correct his life; Ruben reads a ton of books and even gets anger management counseling as part of his prison sentence as the justice system adapts more rehabilitative models as opposed to punitive. And Ruben still fucking kills Niall!!!
You could argue the therapy wasn't good enough. The meds were wrong. That their support systems were flawed. That it all just made everything worse. But I think that's kinda the point? Because honestly hear more often about people dealing with less than ideal support systems and resources than people who have perfectly supportive people around them and grade-A medical treatment for their trauma recovery / mental illnesses. That the bitter reality is that it's so much harder to unfuck decades of your life than "go to therapy".
I do love this little detail poking around the edges of the show!!! That Niall was straight up institutionalized (only when he got to the point of paranoid delusions and *weird* self harm), and it's alluded to that Ruben's been through some prison mandated anger-management type therapy and is actively on mood stabilizers at one point.
There *was* some kinda help or intervention there but for both of them it was in this context of like... whatever bare minimum social services you gotta comply with once something undeniably Bad has happened. It wasn't enough.
There's this dynamic we see over the course of the show with Niall (since his is the POV we're locked in) and more implied with Ruben, where he was absolutely FAILED by his environment and his mom and other authority figures when he was young, but that's not actually the case anymore when he's older. Shit is just ingrained and harder to climb out of by then, even when you can get help and *are* receiving support! Support from sooo many people it's crazy! This is a really clear throughline IMO with the homophobia part of it, but yeah it's there in the margins with the "go to therapy" stuff too in this very bleak and bitter way.
What I think this is circling around - which was also a core concern of Baby Reindeer - is how much even the enlightened, pro-therapy, supposedly gay-friendly present is not designed to deal with male trauma, and perhaps especially male trauma surrounding sexual assault. Ruben gets therapy in prison but I'm willing to bet Niall is the only person he's ever told about being abused as a child. Niall was hospitalized but he still walked out of the hospital deeply messed up about his sexuality (and vulnerable to quack conversion therapists). The system can't help with the ways that their sexual trauma hurts them, because it can't see that trauma where men are concerned.
The more I think about it the more I feel like the scene that is the key to the whole series is the tickling scene in episode one. Maura touches Niall, a child in her care, in a way that is not un-sexual. Niall keeps saying no, and is ignored. Lori just watches, and then says "I thought you'd like it because you used to have a crush on her". The idea that Niall is allowed not to want to be touched is unimaginable, because he's a guy, and guys are supposed to always be up for sexy horseplay.
Same for Niall losing his virginity to Mona(-slash-Ruben). He genuinely doesn't want to do it; even after Ruben gets involved and he becomes aroused, it's something he goes along with rather than actively pursuing. Later on he tells the story like it's a wild night, and only Alby is able to say that that's actually really fucked up.
One of the things that Richard Gadd is clearly very interested in is the idea society has that men are always down for sex, and never traumatized by it. And that victims of sexual violence - perhaps especially male victims who keep being told that they're not victims, and they actually wanted it the whole time - are not going to present in ways that are going to be easily legible, much less easily treatable.
Gotta say, the tumblr DS9 fandom's collective NOPE reaction to Bashir/Ezri, not even just in the context of imagining post-canon Bashir/Garak but just in general, is... well, it's inspiring, frankly.
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i actually dont think anyone told ruben about the wedding i think he woke up one day and could tell niall was pledging his life to someone that wasnāt him like a whistle that only dogs can hear
I mean it was obviously Lori. How else could she spend the rest of her life disclaiming responsibility for everything bad that has ever happened to him while everyone around her shifts uncomfortably?
realizing many people don't know about infinity train creator owen dennis' among us show from years ago, which has been trapped in unreleased limbo all this time and was just dumped on streaming this morning with no advertisement. they don't even know about its weirdly stacked cast
I was thinking about Niall and I can't get over how much of a cringefail little trash person he is. Truly no one does it like him (at least I hope not, if they do then I sincerely hope they get help š).
Imagine being addicted to chemsex; being late to visiting your step-mother's deathbed because of it; vomiting on said dying step-mother; finally getting tested for STD's and having two; getting treated for them and told to not frequent the chemsex clubs again; doing it again right off the bat; trying to drive under the influence; driving straight into a lamp post right in front of the chemsex club; being brought to a police interrogation and having the worst lawyer in the entirety of GB (also said lawyer is your fuckbuddy or whatever from the chemsex club); being late to your step-mother's funeral because of all of this; (doing coke in the bathroom if I remember correctly?); seeking out a confrontation with your grieving brother's wife, who you've slept with and whose child is probably yours; telling that woman - the mother of your "illegitimate" child - to kill herself; being caught by your brother during this confrontation; later on trying to use your coming out as cover up for said confrontation; failing because you get so caught up in the moment that you simply blurt it out. And that's certainly not half of it. He's just truly such a useless little fuck-up, I love him.
Honestly, the thing that's probably most unbelievable about the gaps in the story that we don't get to see is the fact that so many good, cool, nice people remain friends with Niall for years and years. To me this is does more to strain my suspension of disbelief than the fact that Alby agrees to marry him, because Alby clearly has his own problems, and anyway it makes a bit more sense that you'd be irrational about someone you're in love with. But friendship is at once more intense, and more clear-headed, than love, and the fact that people like Joanna, Ava, and Butch all remain friends with Niall for years and even decades, while he imposes on them with requests to borrow money or getting himself into stupid legal scraps, is kind of amazing. This is an absolute trash heap of a person who does not seem to ever think about anyone other than himself (and Ruben). Why are all these cool people happy to spend time with him?
Obviously one thing that's happening in this scene is Niall's realization that he's partly responsible for both times Ruben went away and caused Maura so much pain (by which I don't mean testifying against Ruben - though that's probably what he's most guiltstricken by - so much as the fact that he pointed Ruben at Alby like a gun, and then did it even more so with Benji). But it also strikes me that this is the one and only time Ruben admits that ending up in prison was something he did to himself rather than something that Alby, Benji, or Niall did to him. So it's interesting to have them both experience a moment of self-awareness at the same time and then, of course, do absolutely nothing about it.
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It is unbelievably illegal and Niall could have destroyed the guy without even going to the police and exposing himself. Just the threat of doing so should have shut down the blackmail plot completely, because while Niall might have been liable for public indecency, the librarian was committing a sex crime (not just against Niall but against anyone who used the bathroom) and would have ended up doing time and going on a registry.
The problem, however, is that Niall is: a) so terrified of being seen for his full, human self that just the possibility of being outed shuts down all rational thought in his head, b) constitutionally wired to roll up into a small ball whenever a life challenge presents itself rather than fighting back, and c) not actually that smart. And it's quite possible the librarian realized that before selecting his blackmail target, since I think we're told that Niall was far from the only person using the library as a cruising spot.
It's kinda crazy how people complain about Lupita Nyong'o being in the Odyseey movie, when she is the only face of the entire cast that actually fits in a place like the Mediterraneo
I'm sorry, but this is just as wrong. Lupita Nyong'o's face is no more indigenous to the region of Greece than Matt Damon's. Lupita Nyong'o was raised in Kenya, which is around 4500km from Greece. Damon's ancestry is Finnish, Swedish, Scottish, and English, but if we pick the most western of those, that's about 2400km from Greece. People who are from Greece (generally) don't look like either Nyong'o or Damon. They look like Nia Vardalos or Maria Callas.
The way to look at this, I think, is that none of this matters. There could have been people with Kenyan ancestry hanging around the Mediterranean during Homer's time, just as there could have been people with Finnish or Scottish ancestry. And there is no one way for people from a region to look. More importantly, this movie is being made in 2026, and if Tom Holland can use an American accent (not even his real accent) and call his father "dad", then Lupita Nyong'o can be Helen of Troy.
Some members of the team get shrunk (and have to go inside someone's body)
All the male members of the team are turned into simpering idiots by pheromones and have to be saved by the female member(s) of the team and I guess this is feminist somehow
Time loop
Everyone on the team is trapped in their individual worst nightmares and the episode is called "Fear Itself"
Someone goes all "Heart of Darkness" on an alien planet
Trapped in a VR simulation (but you can die for real!)
The team is brainwashed into serving in the workforce of some alien planet
Lotus-eater plot (everyone is trapped in an idyllic fantasy world)
Time loop
One or more members of the team "de-evolve" into cavemen
Someone on the team "evolves" to have super-intelligence (and this is bad)
OK, but what you have to understand is that these are basically all Star Trek plots that have simply become standard tropes because it did them so well and so impactfully that the story type was immediately imitated by ten other shows or movies and became a pop culture standby.
For the few that are not Star Trek plots, it's the same deal, but with Buffy.
@oldguardians making this answer a separate post because itās kind of interesting*!
āāI cannot bear to hear that mentioned. Pray do not talk of that odious man. I do think it is the hardest thing in the world, that your estate should be entailed away from your own children; and I am sure if I had been you, I should have tried long ago to do something or other about it.āā
Jane and Elizabeth attempted to explain to her the nature of an entail. They had often attempted it before, but it was a subject on which Mrs. Bennet was beyond the reach of reason; and she continued to rail bitterly against the cruelty of settling an estate away from a family of ve daughters, in favour of a man whom nobody cared anything about.ā
(In the interest of not getting bogged down in legal minutiae, Iāll keep this pretty general. Please note that I am vastly oversimplifying some legal concepts here for the sake of explaining the issue clearly. If youāre an attorney/barrister/whatever, donāt @ me - I KNOW itās all much more nuanced than this.)
Pride & Prejudice is set somewhere around 1811. In the novel, the Bennetsā ownership interest in the family estate is famously said to be āentailedā away from the Bennet girls in favor of their cousin, Mr. Collins. This is specifically explained to be because Mr. Bennet has no sons, and thus his estate reverts back to his closest male relative.
In the real world, entailment could (and usually did) work that way. But there is an enormous, glaring issue: English entailments have long been very VERY easy to defeat** through a remedy called Common Recovery. If Longbourn was truly entailed away from the female descendants, as the novel indicates, Mr. Bennet could have hired an attorney (his brother-in-law?) to start the Common Recovery process at any time. Within a few months, the court would render a judgment giving Mr. Bennet the property outright and free from any entailment, allowing him to leave the property to his daughters upon his death*** and make them independently wealthy women. And this wasnāt just a possibility - it was a very common legal mechanism that would have been almost expected of a gentleman interested in preserving his familyās comfort. There are hundreds of cases in the English Chancery records (featuring many families that were much less wealthy than the Bennets!) invoking this very remedy whenever fathers failed to produce sons.
So entailment makes no sense - it had basically no power over landowners by the Regency Period.
Letās talk alternatives. In 1811, the primary way of keeping property in the male line was through another estate planning technique called strict settlement. To GREATLY simplify a complicated form of ownership, strict settlement had the present possessor of property always hold a life estate interest (they own it only until their death), with their male primogeniture descendants holding a remainder fee tail interest (read: eventual outright ownership upon their fatherās death). Each generation of life estate owner would then force their young male descendants (the fee tail owner) upon their coming of age to give the young descendantās unknown future male sons the remainder interest, retaining a life estate for themselves (which they would receive upon their fatherās death). Thus the ownership system perpetuates down a male line of descendants, each generation demanding the same restrictive ownership system of their own children.
If you followed that - and I donāt blame you if you didnāt, as this is all very deliberately obtuse - you might think āwait okay. That kind of sounds like the Bennetsā situation. Austen called it an entailment but maybe it was actually a strict settlement!ā Several academics have tried to argue that, but it also fails for several reasons:
(1) With the Bennetsā seemingly comfortable current income, strict settlement would have provided for significant lifetime income + dowries for Mr. Bennetās female descendants. But in P&P, itās made very clear that the girlsā only possible inheritance is a tiny amount from their motherās side and nothing from their fatherās. If they do not marry, they will be destitute. That is extremely unlikely and would be very shameful in strict settlement ownership..
(2) It would have been inconceivable for Mr. Bennetās father to have forced him to benefit a cousin over his own descendants, even if they were women. One of the fundamental points of strict settlement was to avoid this outcome (aka to avoid the entailment system). People did NOT want a distant male cousin to inherit property simply because there wasnāt a primogeniture male descendant - they knew that if anything, their own female descendants could always produce a male heir in their marriages. Plus, Mr. Bennetās and Mr. Collinās fathers apparently hated each other (ref Mr. Collinsā initial letter) - why would Mr. Bennetās father force his son to benefit the son of a man he himself hates?
(3) For many many other reasons, a strict settlement does not match how the family talks about/treats the estate in the novel. Thereās literally a whole law review article on this topic (cited below), and Iāll defer to that for a full discussion.
So weāre left with two possibilities: the land is entailed, and for some reason Mr. Bennet isnāt willing to pay a small amount in attorneyās fees to undo the entailment for the enormous benefit of his daughters (extremely unlikely, robs the story of all its tension), or the land is subject to a bizarre + shameful strict settlement that goes directly against everything that would have been normal at the time, and none of the characters know that (makes no sense in the story).
And then, of course, thereās the truth: the āentailmentā is simply a narrative device that does not reflect actual law or historical transfer of property at death, which is perfectly fine. Jane Austen was not writing a law textbook or even a legal drama. And her underlying point remains clear: Regency-era women were often in economically precarious positions and forced to marry to maintain their social and economic standings.
((If you do want a version in your head that works under the law, maybe we imagine that Mr. Collinās father actually owned the home but was in debt to Mr. Bennet so he gave him some kind of strange lifelong leasehold interest with income from the property included. And then we ignore the passage saying Mr. Bennet having a son would have āavoidedā the home passing to Mr. Collins + pretend that the family lied to everybody about the home being entailed to save face))
For additional reading, I highly recommend A FUNHOUSE MIRROR OF LAW: THE ENTAILMENT IN JANE AUSTENāS PRIDE AND PREJUDICE by Peter A. Appel (linked). His analysis reflects my own reading of Regency inheritance law, and I think his conclusions are generally sound. There is significant other scholarship on this subject, but I find Appelās work the most persuasive.
ā-
* At least to me, who admittedly studies this for a living
** For fun War of the Roses reasons!
*** Or much more likely, to a male relative conservator/trustee for their benefit (probably Mrs. Bennetās brother, the attorney)
So weāre left with two possibilities: the land is entailed, and for some reason Mr. Bennet isnāt willing to pay a small amount in attorneyās fees to undo the entailment for the enormous benefit of his daughters
I don't think this is particularly out of character for Mr Bennet aka neglectful father of the year. I agree that it probably comes down to authorial decisions/plot reasons, but one of those reasons could be to express how bad a dad Mr Bennet is. It seems very in keeping with his general attitude of ignore it and maybe someone else will solve it.
yes yes I know Mr. Bennett is a negligent father. Please read the full article for a more thorough discussion of that: there's a difference between being neglectful (not paying much attention and hoping it all works out) and downright cruel (deliberately creating a situation where your daughters WILL be homeless).
We know he is not cruel, and there is substantial textual evidence that he is not completely negligent either. Upon Lydia's "elopement", Mr. Bennett immediately leaves to deal with the problem and is shown to be highly conscientious of the economics and social politics of the situation. He also is implied to have discussed quite frankly with Elizabeth the economics of saving for their allowances and dowries, suggesting that these issues are at least on his radar and heās looked at how to remedy them.
In doing this kind of litcrit, you have to look a bit closer and more critically than accepting the trope. Yes, he is somewhat absent from his family, but he is never written to be a cruel man. And in the full context of probate law at that time, you will see that a failure to provide in this way would likely have been considered cruel and wholly unacceptable for a genteel father of five daughters. And there is no textual evidence for Mr. Bennett acting that way.
The far, far more likely explanation is that Jane Austen was writing a clever romance novel and not a law textbook.
I suppose another relevant question is, how much of this was Austen likely to have known? Is it possible that she knew what an entail was, but being the daughter of a clergyman without an estate, wasn't aware of the ease with which the entail could be broken? Or is this something that a person of her class and wide interests would be expected to know - something that would have been discussed in society, or in periodicals?
For that matter, was the book criticized on these grounds when it was published? It's hard to imagine a popular novel with such a glaring hole in its premise evading nitpicking by knowledgeable readers if it were published today, but was that likely to happen in the early 19th century?
Well, at least we've definitively settled the question of whether Neil Gaiman made season 2 of Good Omens bad on purpose in order to hint at the grand plan he had for season 3.
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Okay nice story about how everything's fucked and we need to give up forever and embrace self-destructive nihilism but before we continue can you clarify if you've actually experienced the horrors or just watched them on TV? Watched them on TV? Okay can we skip to the part where you weirdly frame having to see the news on social media as almost more traumatic than having to live it & promote your podcast
The further I get away from it, the more I feel like one of the most radicalizing moments of my life recently was opening BlueSky and seeing a random American account post that "I finally know what it's like to run down the streets ahead of a life-ending disaster".
Bear in mind, they posted this on February 28th, 2026, and I was sitting in a bomb shelter with my neighbors, their children, and their dogs, listening to bombs explode over our heads. And even so I don't think any of us would have said that we knew what this, much worse, experience was like, because being in an actual disaster rather than an imagined one our priority was to stay cheerful for one another and so as not to lose our minds.
That's when I realized that for people outside the danger zone, this sort of thing is kind of fun.
"i just dont think the scientology speedrun trend is funny because if people did that with any other religious institution-" ok guys lets all go to the 'scientology controversies' page on wikipedia and scroll a bit before continuing this thought. lets do this right now
Not that I disagree with the basic sentiment, but if you're going to use "harm caused" as your metric, I feel like the religions that gave us "crusades" and "thirty year wars" might win out.
The crucial difference is that Scientology is a cult, and while most world religions have cult-like attributes (especially in times and places where they hold significant political and social power), for the most part they are not cults. Scientology is actually a very useful yardstick in that respect, because however harmful or exploitative your religion or religious organization is - and we all know they can be extremely harmful - if you stand them up against the Scientologists the differences are very easy to perceive.
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