Toss-Up Tuesday: Candy Coated Lies: On Censorship, Ignorance, and Art As Critique episode artwork

EPISODE · Mar 3, 2025 · 17 MIN

Toss-Up Tuesday: Candy Coated Lies: On Censorship, Ignorance, and Art As Critique

from Fireside Folklore with Hades · host Tiffany J. Kim

Send over your dead SMS messages.Greetings, listeners! A few things happened in my absence that compelled me to pause my work on The Wounded Lion, namely the TikTok ban and Amazon essentially deciding to brick Kindles without Internet access so that they could force consumers to purchase new devices they otherwise wouldn't need to buy. As a result, I decided to give my uncompromising commentary on censorship and the slippery slope that it inevitably creates. From updating texts to reflect current scientific information to using newer slang, to dulling the edge of the critic's blade, to outright feeding lies to the people, censorship is a dangerously insidious cancer that must be stopped before it can even take root. To highlight its effects, I share with you The Tale of Sugarabia, aptly named Candy Coated Lies for our purposes, a story about a princess who doesn't realize how her sugary fortress has hidden the rot of a manufactured life. As you listen, ask yourself whether ignorance truly can be bliss, and whether happiness can be achieved by knowing nothing at all.If you have any feedback, I am, as ever, at [email protected]

Episode metadata supplied by the publisher feed · Published Mar 3, 2025

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Send over your dead SMS messages. Greetings, listeners! A few things happened in my absence that compelled me to pause my work on The Wounded Lion, namely the TikTok ban and Amazon essentially deciding to brick Kindles without Internet access so that they could force consumers to purchase new devices they otherwise wouldn't need to buy. As a result, I decided to give my uncompromising commentary on censorship and the slippery slope that it inevitably creates. From updating texts to reflect cu...

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Toss-Up Tuesday: Candy Coated Lies: On Censorship, Ignorance, and Art As Critique

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