"I could resurrect the dead, but I choose to resurrect the living."

This is a media lifestyle blog, for those of use who eat, sleep, and breathe stories. Much media analysis and criticism is posted, but occasional forays into fashion, food, decorating, and other pursuits are made. If you live your life according to your best-loved characters, in the tone of the show you're currently marathoning, and with the soundtrack of your favorite game, you might be one of us.

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nobody laugh at me

but what does the word “meta” mean when used in the context of fandoms (like game of thrones is a big one i’ve seen it used in) or social situations? i’ve seen tumblr posts on both, referencing this “meta” entity, and i think once someone offered to…

Just to be clear though, most of what tumblr calls meta is NOT metafandom. It is analysis. Analysis is NOT meta and the use of the word in the contemporary context (which is basically post-modernism) specifically excludes basic analysis. When someone word an essay about why fandom latches on to so many broody white dude type stories, that’s metafandom. Talking about the specific functions, themes, characters, etc of one or even multiple broody white dude stories is not meta, even by fanlore’s definition of it.
And I know usage determines definition, but the word meta has a specific and very useful meaning and it’s not “analytical” and I would be very frustrated if I couldn’t talk about meta as in metafiction or metatextual on this site anymore without confusion.
So I’m just going to keep complaining about it while everyone keeps doing it anyway.


Some call Mahabharat an intense Sci-Fi story of heroism and human nature. Grant Morrison’s 18 Days, a mini-series about Hindu mythology’s greatest epic, portrays that better than anything else. 

What is so Sci-Fi about Mahabharat?

Stem cells (how do you think the 100 Kauravas were born?).

Temperature-controlled armor (with first-aid healing technology).

Vimanas (flying craft and spaceships).

Astras (basically weapons of mass-destruction).

Bheem’s mace (said to be 100x stronger than Thor’s hammer, with said calculations).

Arjun’s “Gandiva” Bow (it recognized him).

Alien-like creatures (dinosaurs, giants, monsters, etc.).

Rishi Markandeya (he was basically a human computer who could tell past, present, and future).

There are many more examples within the story. 

Historians, Hindu and non-Hindu, are trying to figure out whether or not Mahabharat was derived from ancient Indian records of extraterrestrial activities. 

This is beautiful and interesting, but friends, I hate to break it to you, but historians are not trying to figure out whether anything was derived from extraterrestrial activities.
Just…what? No. Historians are never trying to do that, ever. Probably the first thing historians learn is the difference between myth and history, namely that most cultures are always trying try to pass off myth as history.
When historians read the Mahabharat, Hindu or non-Hindu, they are all pretty much in agreement that this never actually happened the way it was written down.
I’m all about comparing mythology to modern speculative fiction. In fact, I always advocate for stronger academic connections to be made between the two (Joseph Campbell, fuck yeah!), but come on, guys, this is basic. This is the fundamentals of learning history. I shouldn’t even have to tell you this.



i really like the idea of a fantasy setting but in modern times. elves on smart phones and taking pictures for their instagram. dwarves getting into console wars and calling each other casual gamers. mages casting dangerous spells for the vine. i want it.

"Dude I dunno, necromancy is pretty fucked up." "Do it for the vine."

Big-data surveillance is dangerous exactly because it provides solutions to these problems. Individually tailored, subtle messages are less likely to produce a cynical reaction. Especially so if the data collection that makes these messages possible is unseen. That’s why it’s not only the NSA that goes to great lengths to keep its surveillance hidden. Most Internet firms also try to monitor us surreptitiously. Their user agreements, which we all must “sign” before using their services, are full of small-font legalese. We roll our eyes and hand over our rights with a click. Likewise, political campaigns do not let citizens know what data they have on them, nor how they use that data. Commercial databases sometimes allow you to access your own records. But they make it difficult, and since you don’t have much right to control what they do with your data, it’s often pointless.

This is why the state-of-the-art method for shaping ideas is not to coerce overtly but to seduce covertly, from a foundation of knowledge. These methods don’t produce a crude ad—they create an environment that nudges you imperceptibly. Last year, an article in Adweek noted that women feel less attractive on Mondays, and that this might be the best time to advertise make-up to them. “Women also listed feeling lonely, fat and depressed as sources of beauty vulnerability,” the article added. So why stop with Mondays? Big data analytics can identify exactly which women feel lonely or fat or depressed. Why not focus on them? And why stop at using known “beauty vulnerabilities”? It’s only a short jump from identifying vulnerabilities to figuring out how to create them. The actual selling of the make-up may be the tip of the iceberg.

Is the Internet good or bad? Yes.  — Matter — Medium


in stories featuring aliens, they’re always like “on my planet this never happens!” or “in my culture, this differs from your human culture.” and that’s neat and all because i like worldbuilding and all that jazz but wouldn’t it be fun if they just. couldn’t do that?

i want a story where humans encounter an alien who frustrates them because they don’t know enough to tell them anything concrete

like humans will ask “tell us about politics in your planet!” and the alien’s all “uh… hold on it’s been a while since i took gov. um….”

"what sorts of plants grow on your planet?"

"i dunno i grew up in the suburbs. they’re like… purple? idk what you want me to say"

"tell us about the culture on your planet!"

"do you have any idea how many fucking countries are back home, i don’t even know where to begin"

"your planet is obviously much more scientifically and technologically advanced than ours. is it possible for you to enlighten us on certain matters concerning space travel, or would that be a form of interference you must avoid?"

"naw it’s cool, it’s just that, um, i’m a philosophy major"


I believe a lot of conflict in the Wild West could have been avoided completely if cowboy architects had just made their towns big enough for everyone.



Vampires who look and dress like fourteen-year-old budding goth kids because no one will ever believe that they’re actually vampires, no matter what they might see or hear.

Vampires wearing bad plastic fangs and tacky red contacts everywhere they go and telling people to call them things like “Lord Bloodfang McDarkness the Third” and “Salacia, Mistress of the Night”.

So basically exceedingly, excessively hipster vampires. Like the way poor city kids started wearing plaid, having beards, and drinking PBR because they were acting poor ironically. But with vampires and horrible vampire stereotypes.

you mad genius.

“Stories are compasses and architecture; we navigate by them, we build our sanctuaries and our prisons out of them, and to be without a story is to be lost in the vastness of a world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or to figure out how to tell their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller’s art, and then a way of traveling from here to there.”

– Rebecca Solnit, The Faraway Nearby  (via wintriestmoods)