aloo-methi

[aloo-methi]

[aloo-methi]

#Barbie (2023)

[aloo-methi]

Took a nap and I wake up to find out Misha Collins was the first person to ever face workplace heterophobia

[aloo-methi]

the thing about Hozier is that he's gonna use mythology, literature and folklore to be horny and to make his songs political every time and i'm gonna eat it up every time

[aloo-methi]

I want everybody who’s calling Ken a Trophy Husband to know that he’s actually a Trophy Boyfriend, because when Ruth Handler invented Ken in the 1960s, she was adamant that he would never marry her and instead be her “handsome steady”, so that Barbie remained a figure of independence for the little girls and was never put in the position of housewife.

Her house is hers. She bought it and furnished it with money she made in her own job. In STEM, in politics, in healthcare, in fashion, in academy, in customer service. Her credit card is in her name (women in the US couldn’t have their own regardless of marital status until 1974). And it’s all pink and fashionable because femininity and badassness aren’t mutually exclusive. No matter who you are, you can be anything.

That’s why Barbie’s slogan is “you can be anything”. Teaching these ideals to little girls is why Barbie was created. Empowering women and empowering femininity is the original meaning of the Barbie doll. It’s not that you have to be all this to be a woman, but if you are all or some of this, you too are awesome.

And somehow pop culture deliberately changed that narrative. Sexualised, bimbofied, and villainised her, when she actually isn’t responsible for the impossible beauty standards — people are, she’s just a stylised, not-to-scale toy like most others.

Men are frothing because he’s just Ken and I guess they were expecting her to be just Barbie, but that’s exactly what Ken is. Canonically. A badass woman’s himbo boyfriend.

This movie has the potential to change the way we collectively see Barbie radically into what Ruth Handler’s intended, I’m so very excited

[aloo-methi]

love quinn could do amy dunne's "cool girl" speech and amy dunne could do love quinn's "goddamn fantasy" speech

[aloo-methi]

david fincher and gillian flynn were like what if we made a movie with tour de force performances from rosamund pike and ben affleck about celebrity and media and how they warp our perceptions of people and our ability to empathize with those caught in their light and what if trent reznor wrote a score that made you physically paranoid and what if it had carrie coon and emily ratajkowski and neil patrick harris and what if tyler perry gave a genuinely excellent performance in it and what if the whole thing slayed

[aloo-methi]

another thing about gone girl. seems like everybody idolizes rich hot manipulative amazing amy when she’s rosamund-pike-beautiful but not when she’s in hiding as poor mousy out-of-her-depth ozark amy who has put on weight. people never want to talk about that whole middle section of the story when she’s on the run at that shitty motel, or about how she was going to kill herself and dump her body in the mississippi river, or about how she was out-conned by two strangers. people love the self righteous revenge and the escapist fantasy and the infallible scheming mastermind and the pretty beloved “cool girl” next door and the femme fatale but that’s not really what this story is about. and like okay the #coquette #waif girlies can claim amy dunne as an aspirational character all they want, just don’t forget that she intentionally gained weight and dressed poorly and baked in the sun and looked as average and battered as possible on purpose because she’s not a kill-yourself-to-be-“perfect” kind of woman, she’s a do-whatever-it-takes-to-make-them-pay, never-accept-not-getting-what-you-want kind of woman. and she failed! she failed even though she ultimately still got what she wanted. so anyway maybe you don’t get what makes her compelling as a character, go back to your black swan obsession or whatever if you only appreciate characters who fit your extremely specific and reductive #aesthetic of thinness and fragility and “hysteria” and infantilization

[aloo-methi]

the endings of gone girl and american psycho both HAUNT ME because they’re both like “okay so you don’t face consequences for your actions in a satisfying way but you will always have to be who you are and that’s a punishment in and of itself” and that’s fucked

[aloo-methi]

actually the Gone Girl villain did nothing wrong. women who spend years trying to please an unappreciative husband r allowed to frame him for murder. that's legal

[aloo-methi]

[aloo-methi]

I want to know how Hozier's brain works. Like, how do you come up with a metaphor for gluttony that's also about the destruction of the planet and the disposability of young people within the war industry??? AND it's also a bop??? Sir???

[aloo-methi]

me & who

[aloo-methi]

[aloo-methi]

the world is so simple. hozier releases new music and look everyone's experiencing a spiritual awakening

[aloo-methi]

Through Me (The Flood)

Music Lyrics

[aloo-methi]

Oh to have someone talk about space, art, movies, literature, poetry, existence >>>>>>>>