Pit Babe Colors Ep. 7
I'm challenging myself with this show and seeing how good my color skills really are, so I'm doing my normal thing of watching it double-speed on mute, but now, the captions are off also. It's just colors and vibes here.
If I see this necklace on Charles later, *dragging finger across throat*
There is a barrier between y'all, so I'm hoping one of you has decided to come to your senses and tell the truth to Alan and Babe. Jeffrey is seeing accidents, so Jeffrey, hopefully you are seeing the light of truth too and will confess to Alan!
I like you, Way. I like you too much knowing damn well that you are lying, but you don't seem as red as before. It looks a little hot pink-ish now. Maybe because you're sad that Babe doesn't love you.
Get hit with the blinding light of love for this Blue Boy sitting next to you who has apparently been in love with you for years according to that pink from the last episode.
Peter, I TRUST YOU! Don't do me like this! This is pink, right? RIGHT? It's pink. You're in love with Waymond, and this is pink, not red. Pink.
I'm ignoring the Gucci red watchband because the way Peter is looking at Waymond and the fact that he put blue on Waymond is all I need to know that Peter sits at the same table with Kimberly, Kenta, and Alan as the people I trust.
How long have you been in love with him, Pete? The pink already snitched on you. Just tell me! Or did you leave it on the note? That'd be too easy. But that note better have said "Hey, I just 'met' you, and this is crazy, but here's my number, so call me maybe?" I ship it!
Kimberly! You've been a lot less red lately. The blues are gonna need a driver soon if Jeffrey's vision is right. You should apply!
KENTA IS RIGHT THERE, KIMBERLY! Lose focus and have a consensual workplace relationship.
Wait a minute? It's Decanus and . . . there's only one man who consistently wears black, but I refuse to believe that he would meet with Decanus. No. That's another man in black. I cannot see the faces clearly, so I will not accuse *sobs* Kenta.
These two are best friends. I can tell.
AHHHH! Charles is meeting with Big Red, yet he is wearing blue! Is he being kidnapped? No. He just walked away. But now he is surrounded by blue. Charles!!!!! I know you are lying, but the blue is saying . . . something! But Big Red is listening.
Oh thank, God! Way is turning over a new leaf and committing to being a blue boy. Good.
No. NO! Barbara, I know you are upset at Charles for lying (which your super spidey senses should have alerted you about because the red was there), but why do you keep doing this to Way? He was committed to the blue! Pete likes him. Stop!
NO, WAYMOND, NO! JUST LET BABE BE SAD AND MISERABLE. DON'T DO IT!
Tell him to get his hands off of you, Barbie! That's how they keep getting you! Do not fall for his bullshit!
Is this story about Charlie?! OH SHIT! *telenovela fall to the floor*
I don't want you to get slapped, Kentana, but there is only one man who wears black consistently, and that's you. You ARE planning something with Decanus, aren't you?! Do. Not. Hurt. Barbie. I trust you!
Oh shit! Barbie is realizing it's the touches! I tried to warn you, homie. I did. I said, "Barbie, don't let them touch you!" Now, figure out that Waymond keeps touching you too. Don't get dickmatized again. I need you to stay focused! BARBIE, FOCUS! Waymond. Superpowers. Punch them!
Barbara, the dick is not that good for you to forgive him already! Barbara, I'm so mad at you right now. I'm only rooting for Kimberly and Alan now. You and Kentana are on my shit list.
Did the note from Peter ask for a date?! Waymond, horrible choice of red roses with a red ribbon for a date with Peter or . . . is this your villain era? No! This is a date with Peter! *dances happily*
I mean this from the depth of my soul - Whatever happens now, you're on your own, Barbara. You figured out what Charles was doing to you, and you are just cool with it? I know he, too, had a crappy childhood, but he did all that without your consent, and you're okay with it? The red is still there! He just took from you something you can't get back, without your consent. This is metaphorical, and I wish you, a fictional character, could see that.
Did Peter really not show up for y'alls date?! Did something happen to Pete?! WHERE IS HE?! Did Big Red kidnap him?! Wait, Peter can text but not show up for a date? I don't believe it.
I'm gonna break my own rule, and translate the text messages because I have no colors to guide me, and I'm very confused why Peter would not show up when he has been in love with Waymond for awhile. The colors don't lie. Peter would show up!
Google Translate: "Sorry, I just finished clearing things up with Charlie" Wait a minute. Charlie? Was Waymond texting Babe because he was sad Peter didn't show up for dinner? This still doesn't make sense.
Or . . . Waymond's at his and Babe's restaurant, and Babe said "sorry." It wasn't a date with Peter was it? This was a date with . . . oh, you have to be shitting me. PETER IS RIGHT THERE IN LOVE WITH YOU, PENDEJO!
I'm in no mood for North and Sonic's color shenanigans. I'm too pissed off to even yell at Sonic for wearing red over the blue. Whatever. Be a back-stabber too. No me importa.
WHAT THE FUCK?! NOT KIMBERLY!
If anything happens to Kimberly, I'm burning down this whole site! He's a good one! Kentana, you better get your shit together and save your man! If Kentana and Barbara save Kimberly, I'll take them off my shit list. Even Charles will get some leeway.
Whiny Winifred, why are you pointing a gun at . . . SONIC AND NORTH?! I know I wrote I didn't care about y'all earlier, but I do! Y'all can't die until I figure out what the deal is with y'alls colors!
Barbara is wearing the same outfit in the previews that he is wearing when he punches people in the hallway!
Mission: Save Kim Possible!
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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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