Young Writers Society

45) The satirical ones among our pseudo society rummage from the same rubbish tips as the pop-culturalists. However, these satirists pick the real meat from the bones. They use these elements of the pseudo-society to support their own dark, almost dreg-like perceptions of society. Instead of reasserting what is already pop culture, they invert and toy with pop culture, although- and it must be pointed out- this is often to mixed results.

46) The occasional darling may be satirical, but very few satirists are darlings. However, the odd one or two crop up. These are the darlings I can stand the most because they do not take themselves too seriously. However, this darling falls in the inevitable problem of using his or her position in our pseudo-society to talk about issues without prejudice, as opposed to anyone else. Whilst the satirical darling certainly is a breath of fresh air, it still makes its presence known in air which is already polluted enough as it is.

47) A satirical darling often makes observations slightly more hard-hitting than contemporaries, but still to a level that everyone understands. Thus, the satirical darling tends to rely on an over-simplification of everything to maintain their status. Instead of explaining in depth an historical event, they assert a general idea without pragmatism. In the long term, their satire merely consists of sloganeering and vague- if any- solutions to these issues. This is why the satirists and pop-culturalists are often lumped together.

48) Oh, the satirical dreg is possessed with uncensored passion, much like the average dreg, but focuses on using the pseudo society's own fundamentals to destroy itself. They do so with an utter conviction in their ideas, though sometimes to the point of incoherence. Contrary to the over-simplifications espoused by the darling, the dreg equivalent over-complicates the matter, along with tangents of irrelevant detail. However, the satirical dreg has secured a fondness from me personally for their honesty and their intelligence. They refuse to be sodomised by authority.

49) Their assertions are for shock value, perhaps, but there is truth and evidence in their controversial opinions. Yes, they come from their perspectives, but so do the opinions of the darlings everywhere!

50) This type of dreg, often calculating and plotting how they can offend others whilst displaying their own plans to solve societal problems, can only exist with pop culture. They still borrow heavily from the current and the short-lived, though often refers to what was once popular and forgotten to criticise pop culture and pop-culturalists.

51) Satire by default is not alone to make a totally valid argument, as it is a method of criticising and observing elements of pop-culture. It often becomes unfunny when it becomes even more fantastical and ridiculous, ironically rendering the satirist as the subject of the satire. They become the parody of their former selves. Soon after that, the bite and energy goes, only to be replaced by enormous claims of conspiracy without burden of proof and an advantageous alignment to the Social Justice Warriors of our time. Ironically, they cannot grasp humour. They are the pseudo-sociologists or the modern age- more on them later.

52) So, why do these darker-minded pop-culturalists fit into the society only by name? They are the likeable dregs, that's why! They are the dregs for a wider audience, though any darling who is tingled by satire will object to my statement. Even the satirical dreg has some begrudging respect from all corners, mainly because they react to criticism with an open mind. Everybody envies the satirical dreg's ability to accept criticism, though this becomes distorted once the satire takes over the satirist.

53) The satirists are not delusional. They do not deny their sourcing of material, but they may deny that they are stealing from anything. They do something original with pop culture, unlike their contemporaries. The satirists are, therefore, honest criminals who are given bail for "good" conduct.

54) But whatever happens when satire cannot be found from the current pop-culture at the time? It's easy to explain. The satirist, temporarily, is made redundant, relieved of their duties to poke fun at the sacred cows of their day. However, they do not suffer quite like the pop-culturalists, who wither away completely. Instead, the satirist fights for pop culture, looking to the past, digging up the overlooked and intentionally forgotten and forged. In essence, they make the lack of pop-culture a subject of satire, or the lack of the pop culture there once was.

55) The satirists are both desirable and detrimental to pop culture. They keep pop culture alive and relevant, but not in the way the pop culture designed by its imitators wishes for it to remain alive and relevant. Gone are the endorsements for cheap laughter. Humour and biting Schadenfreude arise in its space, and for a brief minute, pop culture becomes a soaring entity. That is until, of course, the satirist no longer has anything to tamper with and end up mellowing out as pop-culturalists.

56) The satirists are not defeated by the system they wish to dismantle, are not obliterated with a fight to the death amid scenes of glory, nor do they become unintended martyrs for juvenile idealists who only revere their icons as straw men. Instead, the darlings with pop-culturalists strings offer their hands, inviting the satirists to join them. They oblige, gaining more status but also exponentially losing support from those who had aided them in their mission. But this is not a bitter betrayal, or a change of heart. Reader, understand that it is far more tragic than that. Even the satirist must grow up. They must embrace maturity.

57) Let us distinguish maturity as a mood for an occasion and maturity as a state of being. To be mature is necessary in some situations, i.e. funerals or discussing issues involving sensitive and personal matters- unless the participant is open to a joke. Being mature as a default state of being is an undesirable, un-fulfilling life. Maturity is yet another opiate for the people to choke on, though religion still remains as the same concoction which Marx originally described.

58) The satirist strikes the balance almost as much as the neutralist, in the ideal society of non-alignment. The satirist is the darling without the arrogance, and the dreg without the bitterness. Unfortunately, the red-headed cousin of the pop-culturalist is still a pop-culturalist, and with maturity true colours bloom.