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sugas6thtooth · 5 months

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False narratives in mass media produces a perpetual cycle of violence fueled by irrational hate.

American media outlets are so disconnected from humanity that the lies they spread hurt their own people.

As much as we support and aid those in Palestine let's not forget the Palestinians here, in America, who are also bearing the brunt of hate from irrevocable beings.

I wish for Hisham and the others attacked in this hate crime justice and healing. 🇵🇸

#free gaza #free palestine #gaza #palestine #from the river to the sea palestine will be free #israel #pray for palestine #ceasefire #america #usa #the united states of america #american media #mass media #hate crime #discrimination #brown university #vermont #hate #palestinian americans

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vitaminwatersupreme · 5 months

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consuming american media as someone living in europe (and specifically Ireland) is so weird cause like you will occasionally get a random jumpscare where they mention a town/suburb in the place where you live because some fucker in the 1800s named a street in ohio after it

#american media #idk what to tag this #ireland

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mask131 · 4 months

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It is fascinating how, when you look at American pieces of media about Greek mythology, there is this strong underlying trend of making it Christian-themed.

Just randomly picking three America pieces of fiction "adapting" Greek mythology: 2014's The Legend of Hercules, makes Hercules a new Jesus and Samson, with a whole holy conception. The first season of "Blood of Zeus"? Filled with Christian themes and motifs that contradict actual Ancient Greek philosophies and mythological motifs. Disney's Hercules? Hades is just the Christian devil (and in fact was originally designed as a typical red-clad horn-and-pitchfork devil).

I could pull other pieces like that - in fact I might do, as I plan a little "Greek mythology media" series - but yeah... There is a fascinating (and just as disturbing) trend in America of using Greek mythology to convey Christian stories and Christian messages...

... Which in itself is not very surprising because Christians themselves have been Christianizing Greek and Roman mythologies since the Middle-Ages (in fact it is why it was kept alive so much)... But it is still surprising to see it all continues to this day.

#greek mythology #christianization #american media

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yourlocalswan · 2 months

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watching the U.S. media trying to walk back their evident & disgusting promotion of israel propaganda now that it’s not popular is truly sickening. to be so obsessed with and enslaved by the godforsaken dollar that your tune changes on genocide when it starts to become less profitable is such a tragic statement on the state of american journalism and the slop a casual audience is willing to gorge on.

#american media #boycott israel #free palestine #personal vent

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gwengifterror · 4 months

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Some insightful words from Nelson Mandela (6-12-1990), who was once considered a "terrorist" by the colonial super powers of the world (US / UK *and friends*) to then later be awarded such honors as the Nobel Peace Prize and the Presidential Medal of Freedom. He is an example of a person utilized as a token for revisionist history.

"They [Arafat, Castro, Gaddafi] fully support the anti-apartheid struggle. They do not only support it in rethoric, they are placing resources at our disposal for us to win the struggle. That is the position."

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thanktrusova · 1 year

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american media: its effects on the teenage prodigy

For those who don't know, one of my favorite skaters is Alysa Liu.

Alysa is a 2x US national champion, junior and senior world bronze medalist, and 2022 Olympian.

But, one thing about her is when you look her up, one of the subheadings on her wikipedia is "2021–22 season: International senior debut, Beijing Olympics, World Championships, and retirement".

What happened to her? What was so troubling about the 2021/22 season that caused this all to happen at once, and at the age of 16?

From my limited research but somewhat extensive knowledge, the one thing I can connect this early retirement to is the American media.

Before I start, I just want to preface that I am very glad they retired on their own terms, and not due to injury or something worse. Though I do miss them.

Alysa was 13 when she won her first senior national title in January 2019, the youngest female to win US nationals as of today. She defended her title the next year, winning back-to-back nationals at only 14 years old.

Also in the 2019/2020 season, they had their international junior debut. During this, they became the first woman to complete a triple axel and quadruple jump in competition, as well as achieving the status of the first non-Russian girl to win a Grand Prix event for around 20 competitions. They went on to win bronze at the World Junior Championships in March 2020.

This bout of success caused eyes of every American media outlet to be focused on young Alysa. They started deeming her as an American prodigy, the only hope to have an Olympic medal in Ladies' Single Skating at Beijing 2022. This was still two years away from the Winter Olympics, and she was only 14.

The next year, 2021, Alysa underwent a growth spurt, which, obviously, is normal for a 15 year old girl. Because of this, she lost her triple axel and quadruple lutz jumps, causing American media to forget her, or worse, doubt and even berate her. If she can't beat the Russians at the next Olympics, who can? The media gave up hope on her and did not care about the effects of doing so.

Cut to the 2021/2022 season, Alysa's international senior debut. She officially secured the third spot for US ladies at the Olympics, and performed average at her Grand Prix assignments, placing fourth at both. She had to withdraw from US Nationals due to COVID, but still managed to petition for a spot on the 2022 Olympic team thanks to her performance history. Once again, she was America's "only hope" for a spot on that podium.

Overall, she placed 7th, the highest out of the three American female skaters. She claimed she was pleased with her performances, and that she was just happy to be in Beijing. A little over a month later, she won bronze at the 2022 World Championships, being the first American woman to medal since 2016.

Months later, they announced their retirement, and have not (publicly) skated competitively or professionally since.

They also archived all social media.

While other reasons can be argued for this happening, the main one is the pressure put on Alysa at such a young age to be the saving grace of American figure skating.

I know you're wondering, has the media learned and changed?

And as an answer, I will point you in the direction of 18 year old Ilia Malinin, who media has dubbed "heaven-sent for US figure skating", or even tell you to keep an eye on 15 year old Isabeau Levito, "America's new hope".

#figure skating #american media #olympics #alysa liu #ilia malinin #isabeau levito #yuzuru hanyu

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eretzyisrael · 1 year

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By far, the most effective tool in the demonization of Jews has been the use of Israel and Zionism as a means to hide what would otherwise be recognized as pure ethnic bigotry under the cloak of social justice. Casting Israel as the world’s last settler colonial state allows antisemites to call Jews colonialists. And casting Jews as colonialists has allowed them to call Israel a colonial movement. It has also underlined the idea that Jews are the most villainous sect on the hierarchy of white supremacy.

But by this tail-swallowing logic, the mere existence of Israel constitutes a crime. If Jews are not a real category with a legitimate identity, then why would they ever have a state, given that other people are there, too? And if the state is mired in the original sin of apartheid, how can any Jews support it without upholding white supremacy?

As a PLO political cartoon so neatly illustrates, the Palestinian national movement has not been slow to capitalize on the opportunity to conflate Jews with whites and Palestinians with American Blacks: An American police officer kneeling on the neck of an African American man is joined by an Israeli soldier kneeling on the neck of a Palestinian.

This paradox is resolved by a narrative of control. “Three hundred Zionists” (by Ye’s reckoning) run Hollywood, media, and finance to keep the gentiles in thrall. And through its silence, its endless attacks on Israel, its complicity in demonizing Israel and treating the word “Zionism” as an epithet, the media not only accepts but advances this heinous narrative.

Blaming the normalization of antisemitism on Elon Musk or on the internet’s “dangerous” tolerance of unregulated speech shifts attention from the way many Jews are regularly treated by the media, their neighbors, their college classmates, and law enforcement. As calls now come from the ADL and establishment figures that Jews should trust them to censor the problem away—that our very lives depend on it!—Jews understand that the real problem has been censored all along.

#antisemitism #american media #jewish life #zionism #israel #kanye west

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factoidfactory · 1 year

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Random Fact #6,468

When talking about school shootings in the US, first-world media often says that "the US has more school shootings than any first-world country" implying that third-world countries are rife with school shootings.

Between January 2009 to May 2018 you know what the highest number of school shootings in a third-world country (Mexico) was?

You know what the US number of school shootings in the same timeframe was?

288.

The 19 countries with the highest number of school shootings are almost evenly split between first-world countries and third-world countries, with the first-world countries actually being the higher number of countries.

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hypocrisyofandrewdobson · 2 years

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A quick question considering it comes from the kind of people Dobson parrots his opinions from on twitter, why is it a common trend for work activists to insist that having characters as LBGT is what defines them as “deep and complex”? I can understand it is for representation, but most of the time it’s executed with it being a character/cast’s entire personality instead of being a trait.

I’m going to speak in generalities, but I am not referring to every single piece of media with LGBT characters in them, just fyi.

Because for a lot of the shows, they are using the character’s sexuality as a shield for criticism. The show can be badly written, or be a terrible adaptation, or have awful characters that are supposed to be seen as good…but they’ll just accuse any negative responses as “being sexist/racist-ect” and immediately gain praise from people online who don’t watch the show but want to be seen as morally superior. It’s a “you have to like and praise this thing because the main character is LGBT/a strong woman/a POC” strategy, and a lot of times it’s the most hollow, shallow form or representation there is.

The majority of people out there don’t care if a character is gay or female or black or whatever. What they do care about is if the character is interesting or complex or someone you can empathize and connect with. People want well-written characters and stories, not someone who’s entire personality and existence boils doing to their gender, sexuality or race.

#mod thoughts #mini rant #american media #ask #anonymous

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felinecryptid · 1 year

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i feel like whatever American media is doing with south asian females leads is just atrocious, especially about romance

ive yet to see a desi teen girl deal with romantic feelings in a way thats not 'oh fuck i wanna sleep w him but im such a loser and my mom is such a prude'

the fuck kinda message does that send? 'the only kind of love is the one given by boys, the one that leads to sex and babies'

there's always misunderstanding with the moms (its infuriating ik, my mom is the same but you gotta try to understand, they're not out to get us)

no good relationship with their dads as well he either dead or wants to marry his daughter off to a random dude

and why is she always full of prejudice like calm tf down just cuz your father died doesn't mean you should become a fucking n*zi

all she wants is popularity yet she puts down these 'posers' and 'wannabes' all the fucking time

and her arc is always about sex, whyyy, why does the white teen there get a narrative about accepting the loss of innocence childhood and a full coming out story with a lesson about keeping loved ones close but this girl here is fixed by sex

maybe if it was some metaphor expressed through sex id be more forgiving but its always about boys and popularity and sex and marriage, its bollywood by a different name

its always a name which is technically desi but not a real one, white washed and easy or just outright white

and ive not seen one queer desi person in american media, its not like we don't exist like what the fuckk

and then people ask 'why do you like k dramas and indie alt books' bc there's nothing that isn't mindless buzzing about how the older generations perceive us, give us inclusive media and we'll appreciate our culture more, how do i exist in a community which does not perceive me, how do i find a place for myself when most of us are expected to conform in a way which has become irrelevant, not just to me, not just to my age, not just to my gender but to the entire world, how do i love myself for who i am, when you tell me to be what others expect me to be????

im done.

#this is literally about all the popular american media #american media #Netflix #never have i ever #bridgerton #heartbreak high #velma hbo #sex education #feel free to restrict this post im just angry and i need to vent somewhere #hbo #myone rants

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adarkrainbow · 1 year

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A look at Disney’s Three Little Pigs

Let’s delve in the world of Disney’s Silly Symphonies for real this time, by looking at the most famous one of them all: Disney’s Three Little Pigs.

Released in 1933, this Silly Symphony was very different from the others due to a number of factors. Up until now all the Silly Symphonies were mostly exercises in animation, illustrations of music pieces made of funny movements and surreal/cartoonesque visuals with no precise or important plot - or if there was one in the first place, the characters themselves were very basic, plain, flat, merely tools and designs. The Three Little Pigs not only placed the story (or rather the adaptation of a story) first, focusing more on the plot than on the “symphony” part ; and it was the first of those animated shorts to actually give personalities to the characters, unique designs, a more in-depth essence. This is what made this short animation so successful - and we can say that it was one of the prototypes that would lead to the classic animated Disney movies we know today.

But since this blog is all about fairytales, let’s look at how Disney’s famous version of the tale compares with the original text of Joseph Jacobs.

# The animated short begins with the three pigs building out their respective houses. From the start, it is made clear that a morality is at play here. The first two pigs build hastily their houses of hay and twigs to have more free time to dance, sing and play ; meanwhile, the third pig, building his house out of bricks, clearly says he has no time to sing or dance because “work and play don’t mix”. This is clearly presented as the main flaw of the first two pigs, and the reason they become victims of the wolf: they were too lazy, too carefree, too obsessed with the pleasures of the world. Meanwhile, the hard-working pig can finally at the end, when his house is fully built, enjoy playing the piano.

The other flaw of the two little pigs is their lack of fear, as they mock their brother’s fear of the wolf with the iconic rhyme “Who’s afraid of the Big Bad Wolf?” - and as it turns out, despite all their bravado, they are the most scared of the Wolf while their brother is the brave one. As it turns out, his worry is just cautioness, prudence, reason, something the two firsts are visibly lacking.

If we compare to the original tale, the beginning is very different. In the original tale, the three little pigs are actually “sent into the world” by their mother, an old sow, so that they can “make their fortune” (a typical fairytale beginning, the three sons sent into the world). And the building of their houses is in no way related to any kind of laziness or carefreeness - rather, the “sin” of the first two pigs would be foolishness. During their journey the three pigs meet three men carrying different materials: straw, furze and bricks. One by one the pigs ask one of the carrier for his loads, so that they can build a house out of it: their fault here relies in them choosing the wrong materials, and trying to take advantage of the wrong encounters in their life. The third pig waits until he meets the most useful material to build a house, while the first two pigs choose poorly-working ones.

It should be noted that the brotherly care and the “youth” of the three little pigs in the tale is kept in the Disney short, but in a slightly different way. They are clearly all of the same family, as in the third pig’s house there is a framed picture of a sow titled “MOTHER” (and in a grim joke, there are two portraits of “FATHER”, one representing sausages, the other a ham - which seems to be an answer as why in the original tales the three little pigs only have one mother with no father in sight). And the first two pigs are clearly meant to symbolize kids: on top of their childish behavior (carefree, braggarts, easily scared), they also are voiced by women where their brother (the “big” brother) is voiced by a man, and they wear outfits typically associated with children while the third pig is dressed in an adult worker’s outfit. Everything was made to show that only the third of the pigs reached maturity.

# It should be noted that in the original tale, there is no “Big Bad Wolf”. The wolf is just “a wolf” that happens to come by the pigs’ houses. In fact, I actually wonder about the origin of the very term “Big Bad Wolf” - as most fairytales, from Grimm to Perrault, only speak of a “wolf”. I do wonder if Disney did not actually “invent” the term Big Bad Wolf. It would make an interesting research subject - especially since the only origin for the name I could found for now is “originates from the early 20th century”. 1933 for this short: the dates kind of coincide.

Speaking of the Wolf, his aspect here deserves a mention. It is something people really rare talk about. He is dressed in torn pants held by suspenders, but with no shirt. He has white gloves, like most early Disney animal characters, but no shoes, and the rest of his outfit is just a worn-out top-hat and a big handbag. This outfit is clearly meant to evoke a vagrant, a hobo - especially as we are still in the “Great Depression” era. Not only does this brings the inherent danger of the vagrants, that for a very long time were denounced as criminals, thief, murderers - but it also adds an additional layer of meaning to the building of houses. The pigs, creatures of civilization, build houses to live in and protect themselves - protect themselves from the wild and savage roaming wolf, who is a purely homeless creature that wanders the roads. The clash and opposition between the two creatures, the pig and the wolf, is also very obvious in the design. The pigs are short, plump, hairless, where the wolf is tall, lanky and hairy ; and while the wolf sports all the “evil” colors (red, black, dark green) the pigs are rather in the “light” and “pastel” colors of pink, yellow, blue...

[I could even go as far as claim that the bag-holding, top-hat wearing, trickster and malevolent wolf could be a reference to the archetype of the “carpetbagger”, the big villain of the tales of the old’ South after the Civil War... But it is a whole another topic I won’t delve into too much]

[I have to point out the pictures of a female pig dancing with a banana-skirt in the house of the straw-pig. They are a reference to the iconic banana-skirt dancer, Joséphine Baker, who became famous for this specific dance and outfit in the 20s. The stick-pig also has portraits in his house, but I cannot see what they are]

# In the original fairytale, the pig is very straightforward when it comes to dealing with the houses. He arrives at each house, asks “Little pig, little pig, let me come in” ; the pig answers “No, no, by the hair of my chiny chin chin” [Interestingly in the version I read this is how the sentence was written, not the “No, not by the hair of my chiny chin chin” used in the short and known in popular culture], the wolf answers “Then I’ll puff, and I’ll huff, and I’ll blow your house in”. [Again, in the Disney short they change the line for “I’ll huff and I’ll puff”, and today it is how this line is remembered]. Then the houses are destroyed and the pigs eaten, until comes the brick house, at which point the wolf, understanding he can’t bring down the walls, decide to trick the pig, only for the pig to trick him back.

Here, things are changed. Of course, the pigs are not eaten - it stays a cute and “silly” short for children, so Disney can’t have the cute little pigs being killed on screen. They just run to their brothers’ houses one by one, so that in the end all three brothers are alive. (I actually do not know if the change was caused by Disney or if versions with this “softened” ending already existed prior). But the other main change is that the wolf does not wait for the brick house to start trying to trick the pigs - and unlike in the original tale, where the wolf tricks the pig with meetings at the market and other agreed “dates”, here the wolf uses disguises to try to enter the houses. This shows how Disney was actually influenced by other famous fairytales using wolves, such as Little Red Riding Hood or The Wolf and the Seven Young Goats, in which the wolf tricks people into letting him in. In fact, in the original tale the wolf actually tries to lure the pig OUTSIDE, as he understands his attempts at entering will all fail (and indeed, when he tries, he dies).

While he doesn’t trick the straw-pig, as he just destroys his house, he first tries to destroy the stick-pig, before blowing his house when the trick fails. He uses a sheep skin (a literal “wolf in sheep clothing”) and pretends to be a poor little baby sheep. The reference to The Wolf and the Seven Young Goats is obvious, but the trickery fails - which shows that the default of the two first pigs is not that they are stupid. It is rather that they are too careless.

# When the wolf hunts down the two little pigs, he knocks himself down on an apple tree. I am pretty sure it is a reference to one of the original trickeries of the wolf in the tale: in Joseph Jacob’s story, the wolf invites the pig to come pick apples with him at a good apple-tree in “Merry-garden”. The pig, knowing it is a trick, arrives at the apple tree earlier than they had agreed to, and takes all the apples - but as he finishes his job the wolf arrives. The wolf asks if the apples are good, and the scared little pig answers that yes and offers him one - by throwing it away. The wolf goes to pick it up, but the pig threw the apple so far that it leaves him enough time to return home, safe.

[Another detail I can mention about the Disney short is how this Silly Symphony immortalized the concept of the “inflatable Big Bad Wolf”. As in, to show him “huff and puff” in the most literal and cartoonesque way, the Big Bad Wolf actually expands his chest like a balloon before blowing the houses - with the comical effects of his overalls buttons popping off. In a similar way, when he fails to blow the brick house, the Big Bad Wolf deflates and has to catch his breath with pumping sounds. All of this gives the wolf a disturbing illogical, abnormal anatomy which, despite fitting in a cartoon world, does contrast the pigs’ bodies who actually follow a more “traditional” anatomy and body logic]

# In the original tale, after the wolf fails to destroy the brick house, he tries to lure the third little pig into his clutches with three different agreed meetings: one in a field to pick up turnips, one by an apple tree to pick up apples (see above), and one at a fair in Shanklin (remember, the tale is British of origin). In the short, precisely due to its “short” nature, and the survival of the two dead brothers, the scenario had to be changed: as with the previous attack on the stick house, before blowing the house the wolf tries to trick the pigs into opening up by disguising himself into... Ah yes, we reach the censored and controversial point of the tale. By disguising himself into a Jewish Peddler (later turned into a “Fuller Brush Man who made his way through Harvard” after WW2). I could bring up Disney’s early antisemitism and the poor treatment of Jews in the Grimm fairytales, but I’ll let you search all of this by yourself. The only thing I’ll mention is that the constant tricking through disguises in front of a locked house prefigures here what would be Disney’s first movie and one of its most famous fairytale adaptations: Snow-White.

# When the Big Bad Wolf tries to blow the brick house in, he fails - but very interestingly, in the process he actually destroys or leaves his human clothes. By the end of his “huffing and puffing and blowing”, the Wolf literaly abandoned his first “disguise”, the one of a human being, and he returned fully to what he is: a wolf. A pure, animalistic, bestial wolf, with no semblance of humanity. This is when he tries to enter the house through the chimney. In the original tale, the ending of the wolf is quite grim: as he slides down the chimney, the pig puts a pot of boiling water undearth in which the wolf falls. The pig puts a lid on it, boils the wolf alive, and once he is done “cooking” he eats him, the same way the wolf ate his brothers.

Of course, Disney couldn’t keep that ending, so while they keep the cauldron of boiling oil, the wolf merely falls in it, burns himself and jumps back out of the chimney in pain. The thematic of eating and the reversal of the devouring roles is still present, but in a more subtle way: the salivating, hungry wolf ready to jump on his prey doesn’t realize that he is naked in a boiling cauldron, as if he was the one being cooked. However, while Disney removed the most gruesome part, they added an extra violence, by having the third pig put Turpentine in the boiling water, adding to the pain inflicted on the wolf. And the beast leaves in the very opposite of his arrival: he first manifested in clothes, standing up on two legs, silently hiding behind the trees ; and he leaves the short on all fours, howling in pain, naked and dragging his behind on the floor. Again, from an imitation of a human he returns to being a full beast.

#fairytales #fairytale #british fairytale #american media #adaptation #disney #three little pigs #the three little pigs #silly symphonies #disney fairytales #big bad wolf #the big bad wolf

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eradicatetehnormal · 8 months

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I love reality-warping characters that are the most powerful in their universe. Characters that can't even be touched. With the oversaturation of superhero media, we need more stuff that's just OP characters living their lives and causing mischief.

#yes I know about anime #yes I have seen one-punch man #media #american media #just watched the bill cipher v discord death battle

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hussyknee · 2 years

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If you fucking dare equate protestors who took over the Presidential Secretariat simply by finally outnumbering the cops, without any property damage let alone injury, after weeks and months of being absolutely brutalized by army and police for protesting completely peacefully, I hope you fall into a sewer and have to swim upstream with your mouths open.

The only violence has come from cops and military. They shot two people today, and injured 40 more. One died. Two journalists have just been assaulted on live TV, one of them a 23 year old kid who is in a bad way. There has been no property damage, or assaults on anyone.

Even before, the protests were kept 100% peaceful even when we were attacked repeatedly with tear gas, water canons, rubber bullets and even live rounds, beaten and bashed on the head with batons and dragged off and arrested. Right up until the PM literally sent bus loads of goons into the heart of the country's protest camp and destroyed it. Only then did people finally lose it and burn down all the government MPs homes and offices.

Even then innocents were not harmed and the houses were completely sacked and evacuated first. Not saying it were good or right, but it's was a shatteringly human response to over 18 months of starving, tormenting and bankrupting us, and kidnapping and terrorising anyone who protested. Far, far longer for marginalized communities. But the international media and US social media just grabbed the footage of the riots and fires and made us out to be rabid, violent beasts who had been storming buildings and terrorizing politicians and state forces.

This is the callous, racist, unthinking violence you whites and Westerners do to us. Especially USAmericans. You don't understand how much damage a stray reblog or retweet can do just by virtue of you being USAmerican and sitting on the world's largest information hegemony. Our government steals our rights and lives and you strip us of our dignity and agency and the right to tell our own stories.

We are not you. We are our own people. Let us tell our own stories in our own voices, and stop inferring and assuming shit without knowing jackshit about what's going on on the ground.

Does this look like the Capitol riot to you?

#jan 6 capitol attack #racism #sri lanka politics #sri lanka protests #sri lanka economic crisis #gotagohome2022 #gohomegota2022 #american media #social media #world politics #state violence #attacks on journalists

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