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#I'm still angry about it
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Before any of y'all could begin to dunk on Olly, may I remind you all that Israel once urged the BBC to pull out Olly Alexander for petitioning against Israel's participation in Eurovision since last year.
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I get what Queers for Palestine is urging him to do but to put him in the pedestal ALONE like that and not call out for all the other artists (or at least the other LGBTQ artist) is just so infuriating. And the worst part of it is, whatever he does will not be enough for them. He already release a statement and it wasn't enough for them (it had likely gone through many revisions in order to get past the BBC). Had he remained silent, people would start accusing of of being complicit despite the fact he's been vocally pro-Palestine from the beginning.
Also, I feel like people are not getting the financial and legal consequences of him or any of the other artist just withdrawing all willy-nilly especially since they are all under contract with the broadcasters*. Like, some of them might be working part-time job, some like Silia are still in High School, some literally have music as their only source of income and we all know that's not enough to cover the legal fees and potential lawsuits that would entail. Also, there's a huge risk of being blacklisted, not only in the broadcaster from ever returning to the song contest, but also in the entire music industry, which is already hard to enter/make it. On top that, poorer countries like Albania or Moldova just couldn't afford to do that and jeopardize everything.
It's literally just impossible to win.
This whole mess is a lose-lose situation where nobody but Israel wins. Like, if they do withdraw, that's exactly what Israel wants because less competition for them. But if they compete, that's also what Israel wants because it meant validation of them being there even thought everyone wanted them gone.
All and all, this is literally the EBU's fault by allowing Israel compete in the first place. They literally created a impossible situation where, one way or another, the artist will be thrown under the bus.
Tl:dr... BLAME THE EBU, NOT OLLY!
Edit: * I just really need to put the one out there.
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nondanya · 4 months
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zeldamphibiedalls · 2 years
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Guess who just finished the splatoon 3 story mode a week late, ME!!
Also go team gear, grub was 2nd choice tho
Also listening to new squid sisters song forever now
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spreeathen · 2 years
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don't let my happiness over our performance yesterday distract you from the fact that we were denied a handball penalty and the ref didn’t even fucking look at it
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tagerrkix · 7 months
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rage.
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michals · 1 year
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did i ever tell you guys how much i hated Ghosted? cause i really hated it.
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rubydubydoo122 · 2 months
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Something I was Batman fans to Understand is that Jason ACTS Angry when he's Scared. It's a trauma response from the streets. If he showed he was scared he would've been dead.
When Jason is Angry though. If he's truly angry, and we see this throughout UTRH and Lost Days, If he's angry, he steeps in it.
Come closer.
He's not a Bull when he's angry, he's calculated when he's angry. He's a Bull when he's scared. He's Angry when he's Scared.
Obviously some comics aren't going to show that, because of how many writers there've been and favorite characters and such, but 'Death in the Family' and the last pannel of 'The Diplomat's son' is a good representation of Angry when Scared. 'Lost Days' is AMAZING with the angry when scared because when Talia shows him that he's been replaced, he's apathetic, and then goes to another room and starts crying. When he learns the Joker's still alive he starts trashing the room
Under the Red Hood is Jason's prime example of calculating while Angry, BECAUSE THAT ENTIRE PLAN!!! It was very well thought out and very well executed up until the final confrontation.
Robin!Jason not letting Alfred or Bruce see how upset he was that His father died is a perfect mix of both, because grief is a fickle thing.
ALSO! LETS SAY THIS TOGETHER PIT MADNESS IS NOT REAL
there are a lot of comics tho where I think the writers either hated Jason or didn't know what to do with him, so don't bring those up.
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fridayyy-13th · 6 months
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i swear sometimes i think people forget that Jon's s1 skeptic act was just that—an act. it was an act!!! he believes the statements!! he's believed them since episode one! do we so soon forget that he denied the statements were real because he knew the Eye something wanted him to be scared, and he knew that was bad, so he decided to act like the statements just didn't scare him? remember, he was working with extremely limited information ("when i record the tape statements, i feel watched, like something knows i'm afraid, and i don't want it to know that"), and came up with a genuinely solid solution with what he had! not his fault that the thing watching him was a literal unknowable eldritch entity that feeds on fear, and he was just some underqualified archivist.
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stydixa · 8 months
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And my heart breaks for every single version of me that didn’t end up with you. │ insp. MAKE ME CHOOSE ≡ CLARKEGRIFFINS ASKED: Bellamy/Clarke or Clarke/Lexa?
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sysig · 3 months
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Blind side (Patreon)
#Doodles#UT#Handplates#Sans#Papyrus#Gaster#Sans closing his good eye every once in a while and keeping his blind eye open - obviously he does so in-game as well so it's a style-match#It's just interesting in the context of him being textually-confirmed blind in Handplates hehe#There's a level of vulnerability there! Not more than closing both eyes around someone - and potentially also distrust!#''I'm baring myself blind right now but /you/ don't need to know that'' - it suits him ♪#Especially when he does it around Papyrus! Because obviously Papyrus knows about his partial blindness#But when he's trying to be duplicitous - the way he looks at him sidelong with his blind eye when he's trying to lie unsuccessfully ugh <3#And again-again it being about how much he trusts Papyrus! That he can be a little lazy or spacey and Papyrus will help him!#Also something about his entire right side being impaired - pawing around with his plated hand for something he can't see on that side#The dynamics! Internal and external! Very good like them lots#And then there's Gaster lol ♪ Throw him into the mix I'm sure it won't make a mess at all haha#I guess he's visiting? Just spacing out - he and Sans have a lot on their minds - separately haha#I do love how Sans pushes Gaster to be kind to Papyrus - very deservedly! He wants Papyrus to be happy of course#And he's obviously still angry with Gaster a lot but how might that present itself when Papyrus is Papyrus at Gaster hehe#Even just in that small jokey way of ''you tryin' to step on my turf?'' hehehe#Especially since the comparison wouldn't even come up if he had two functioning eyes hm?? Right Gaster???? Lol#Speaking of that scene and Sans' partial blindness tho ughhughuhg <3 <3 The fact that Sans stands with Gaster to his blind side#It's the vulnerability/distaste/confidence of it all! He's grown up so much it's all right there in how he holds himself#That he either trusts Gaster enough not to attack him - starting to believe him - or that he has enough faith in himself to protect himself#And only looking at him with his peripherals unless he looks directly at him hghhhgh I am Normal about shot composition I swear lol#Also I like how that last panel turned out lol - Sans just appears at the bottom of the steps like how's it going. care to gtfo thx
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uncanny-tranny · 3 months
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I jokingly thought before that reading Junie B. Jones as a kid turned me into a feminist, but unironically, it kind of did.
I honestly think it comes down to the fact that Junie B. was not only allowed to be "weird," but her character arc never concluded like other girl characters would. In other media featuring "weird girls," the girl always ended her arc tamed - by force or convince, she would be prettied up, she would smile and be polite, and she would never speak out of turn. She would be perfect then, and would shed her veneer of individuality with the freedom that is conformity. As a kid, I noticed that girls weren't permitted to be "weird" like boys were. So when I read Junie B. Jones, I loved that she was frankly just fucking weird. She said things out of turn, she was rambunctious and imaginative and she was a realistic portrayal of a little girl. I loved reading those books because the narrative taught her lessons without punishing her for being weird, if that makes sense. So often, narratives punished weird girls for the crime of being a socially unacceptable girl, not for any true wrongdoing like lying.
Anyway, I just think it's interesting, because I watched and read a ton of books and shows and movies featuring girls and women, but none of them truly empathized with (or even tried to empathize with) weird girls on their own merits and capabilities and terms, or embraced the idea of a "socially inept/unacceptable" girl without punishing her in some way for her supposed ineptitude.
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thunderboltfire · 2 months
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I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.
It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.
The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.
What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.
But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.
There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.
On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.
But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.
My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.
The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.
I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.
And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.
It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.
And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?
There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.
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yenvengerberg · 2 years
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since the trailer for teen wolf: the movie just dropped, i feel like now is an excellent time to inform/remind everyone of the treatment of arden cho.
arden, who played the show’s only lead woc, was written off the show with zero warning - the excuse being that there wasn’t enough room for her storyline. in fact, she had been doing press saying she was excited to see what the next season would bring. she also had to announce this herself via her youtube and her character, who had been the main character’s love interest, didn’t even get a proper goodbye.
then, the teen wolf movie came around. you would think this would be an opportunity for kira to be treated better and finally get her ending, but no: arden cho was offered less than half the salary of her female counterparts to return.
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so what did teen wolf do about this? they decided to replace her with another actress who would only be offered basic pay.
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after the release of the trailer today, it’s become increasingly obvious that arden’s character kira was a crucial part of this movie. the movie brings back several ‘big bads’ that were introduced because of kira, the nogitsune and the oni. so why wasn’t arden offered equal pay? why make the mythology that was centered around your lead woc as the plotline for this film, but not treat her equally?
i’m begging everyone to not financially support this movie. if you're that desperate to watch it there are ways to do so without paying (i’ll even help you find a link if you need it!). but please, don’t sweep this under the rug. let this movie flop.
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Anyway, don't let this distract you from the fact that we are getting Stranger things delayed because big studios like Netflix don't deign to pay their writers what they fucking deserve and don't appreciate all their hard work at all.
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the-music-maniac · 5 months
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Is it bad that a part of me wants to see Kuina (who beat Zoro at fighting over 2000 times, training to be the greatest swordswoman, acutely aware of what people say about her gender and how it impedes her dream) meet Sanji (refuses to fight a woman just because they're a woman), just to see what type of trainwreck ensues. I feel like it would either be awful or absolutely hilarious.
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crowleyaj · 5 months
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thinking about how I went on eurovision tumblr in 2018, saw a lot of people outraged about israel not only winning and hosting the next one but also about being allowed to participate in the first place, went "wait what did they do" and proceeded to find out and start learning. meanwhile people now will watch footage and read news of actual genocide that no one committing it is denying and will still repeat israeli propaganda how it's all about defending from hamas and absolutely refuse to make any effort to learn anything. horrible
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