how good does it hurt?

1. Does OP mention an obligation on victims to forgive abusers who have learned from their past actions?

2. Does OP mention any work on the part of victims to educate their abusers?

if anybody asks them why they are in a fandom that makes them so miserable, or why they engage with a canon that they don't even seem to like or take any joy from, they respond with "oh so now we have to love everything like unthinking idiots? we have to accept all the garbage given to us? we have to endure the way the writer/showrunner/company mistreats us? stop forcing your toxic positivity on everybody!"

a classic and obvious example from mdzs/cql fandom are the jiang cheng antis whose entire fandom experience is defined by aggressively hating a fictional character and berating other fans as morally bankrupt and delusional, and insisting to outlandish degrees that they understand the real meaning of how terrible the character is, and therefore the themes of the book/show, better than all the rest of the foolish, unthinking fans who lack their insight.

another classic and obvious example from kpop are the akgaes/solo fans, or the subset of fans obsessed with mistreatment narratives. a big part of this is always claiming to have special knowledge about real intentions or motivations, and they will state those claims in superior or self-pitying ways that sound like "oh i wish i could mindlessly love this the way you do. i wish i could be uncritical. but i can see the truth of how bad it is so i just can't. it's so unfair that i'm not allowed to love things, but that's my burden to bear."

that's two examples but these people exist in every fandom. they are the ones who make you earnestly wonder "why are you in a fandom that makes you so unhappy?" then you see how much engagement they get, how actively and completely they submerge themselves in the echo chamber they've created, and it makes sense.

the thing is, it's easy to shame people into feeling bad by claiming to know better, even if what you are saying is nonsense. that's a foundational principle of the internet. (and religion. and politics. and the worst kinds of online activism. etc.)

I thought you didn't like taking photos of people. Why have you been taking so many of me lately? I want to keep these moments as much as possible. And photographs are the clearest proof.

Here's the English-language abstract:

Actors have some unique characters in their professions and such characters make them differ from other kinds of occupations and employees. Therefore, there should be a set of special law to protect their rights. Nonetheless, there is yet to enforce any special law to protect this profession, law enforcers thus resort to adopt some existing laws that are deemed suitable for each case. Contracts for hiring actors can be divided into two type, which are the Work Made for Hire Contract and the employment contract. Under normal circumstances, Adhesion contracts are used between the producers as the employers and the actors as the employees for both parties’ convenience. By using the adhesion Contract, the employers hold more bargaining powers, since they can predetermine and pre-regulate each term on the contracts as they satisfy. Whereas, the actors can only choose to accept or not to accept such a whole contract. This is finally posing to the unfair adhesion Contracts which are determined only by employers or producers. This thesis has studied some existing contracts which have been adopted in the media industry and this thesis has found out four unfair issues, as followed:

1.) The first problem is the assignments of all actors’ rights and their intellectual property rights solely to the employers. The employers or the producers usually determine the terms in the contract that the employees or the actors must assign all their rights and intellectual property rights to the employers. The employers will solely hold the actors’ rights and can later exploit those rights of their own accord. The terms usually do not include any agreement on further payment to the actors despite the commercial exploitation of their works. Although, the recorded performed works are either rerun or resold in the International platforms, which can endlessly prompt a huge amount of income to the producers, the actors only receive their initial payments and consideration because of the determined terms. This poses to the issue that the actors should also receive some further emolument from the commercial exploitation of their rights and intellectual property rights by the employers.

2.) The second problem is on the limitation of rights and freedom in the career. There are agreements and terms that forbid the actors to be hired by other companies or producers without their original companies’ permission. However, the employers usually do not specify workloads and the amount of rewards that the actors would receive on the contracts, they thus cannot estimate their own incomes and workloads. Should there are contracts that irrationally limit the freedom and rights in careers, the Unfair Contract Terms should come into effect by the court’s adjustments of each case of the unfair contracts.

3.) The third problem is on the termination and renewal of contracts. Under employment contracts for some actors who are under control by their companies, there are usually terms reserving rights for employers to terminate the contracts. Moreover, under those contracts, there are also terms which automatically renew such contracts when they are expired. In the case that the actors do not wish to renew the contracts, they are required to inform the company in advance by themselves. Otherwise, the contracts will be automatically renewed. In this sense, should there are terms which unfairly terminate or renew contracts, the Unfair Contract Terms should come into effect by the court’s adjustments of each case of the unfair contracts.

4.) The forth problem is on the irrational high penalty. Employers or producers usually determine irrational high penalty on the contracts. This might be because, they wish to set exceeding penalty to cover the potential loss, as well as to prevent actors from breaching the contracts. Yet, such penalty is too high and beyond actors’ abilities to pay. Thus, should there are disputes over the issues, the Unfair Contract Terms should come into effect by the court’s adjustments of the fees in each case of the unfair contracts.

5.) The last issue is on other miscellaneous problems on actors’ contracts. On each actors’ contract, there are different terms of obligations depending on each case and contract. Thus, there might be other kinds of terms which are unfair to actors. Should there is any term which unfairly treats actors, the Unfair Contract Terms should come into effect by the Court’s adjustments of each case of the unfair contracts.

This thesis has studied the phenomenon and found out that, one of the solutions for resolving the unfair contracts used with actors is the gathering of actors to establish the Association of Actors and Actresses in some other countries. Such association can help actors protect themselves and build their own bargaining power. The members in the association would unitedly determine the standard terms for dealing with employers and negotiate with the employers to be obliged to use the terms issued and agreed by the association as the basic terms and contracts for the whole industry. The actors, on the other hand, should not accept any job offered by the employers who provide the contracts that are under the association’s standards. Moreover, the association should determine some agreements for actors to receive some further rational emolument from the commercial exploitation of their rights and intellectual property rights by the employers. Should the media industry in Thailand adopts this solution, the issue will be effectively resolved.

I have truly never seen anyone happier in their CP than Poon. May they love each other for a long time as the Thais say.

And, because I'm me, here's a screenshot of Ohm's irl boyfriend's reacting to the pictures as well.