Half-Submerged

Zutara week 2026 prompt: Warmth

“I had been at work about two months when Christmas came on – and here I must relate a little anecdote. The principal [the tailor] and his lady were invited to a party among their friends…while it devolved on me to stay at home and keep house. There was nothing left me in charge to do, only to take care of the house. There was a large cat that generally lay about the fire. In order to try my mechanical powers, I concluded to make a suit of clothing for puss, and for my purpose gathered some scraps of cloth that lay about the shop-board, and went to work as hard as I could. Late in the evening I got my suit of clothes finished; I caught the cat, put on the whole suit – coat, vest, and small-clothes [breeches] – buttoned all on tight, and set down my cat to inspect the fit. 

Paid service with no ads: Well, if they're not funding it with ad revenue, they need to charge us something.

Paid service with ads: Well that's bullshit.

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.