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ig some of yall really dont understand some people cant afford going to the doctor and getting their shit taken care of. im tired of the middle/upper class telling me im not going and getting my health taken care of because im lazy. shut the fuck up. whens the last time youve barely been able to take care of bills and groceries outside of college? dont be sitting on a good paycheck and come and tell me im not trying hard enough.

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So this season really is just “eat the rich” and “fuck capitalism”, right?


In the Trenches: ep 163 - really just embodies the whole ‘older men start wars, but younger men fight them’.


The Sick Village: ep 164 - imo, an allegory to immigration (maybe stop blaming immigrants for your own incompetence).


Revolutions: ep 165 - big corporations turning people into nameless, faceless workers.


The Worms: ep 166 - uhh did somebody say systemic poverty?


Fire Escape: ep 169 - landlords literally fucking people over by cutting corners to be as cheap as possible.

I know none of these are hot takes or anything but I just find it interesting how the horror has changed over the seasons. Obviously once we started getting answers about the tma universe, it traded some of its horror (bc horror as a genre thrives on not knowing things). Instead we’re going in the direction of horror that relies on us having context of what’s happening in our world, rather than relying on us not knowing the full story.

Kinda funny how season 5 is literally set during the apocalypse but we’re getting some of the most realistic hitting statements yet.

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Can we stop applauding corporations for doing basically nothing as they post vague, non-commits statements about ‘solidarity’.

Corporations are not our friends. Capitalism is, to its core, a racist system that uses the police for enforcement for its own gains.

We’ve seen all this before, with Ferguson, with pride, with climate change. Corporations put out ‘woke’ statements but behind the scenes continue supporting systems of oppression.

The bottom line is: there are no good corporations.

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idk lately been thinking about racism, people, the government, etc. it’s crazy how racism is connected to literally everything like the police (who you’d think protect you), and the government (who you’d think care for you, serve you, etc). like there’s just so much corruption in every corner of everything, and capitalism just fuels this. we talked about this in my sociology class where in capitalism, only a few make it to the top while every one else is just left to fend for themselves. in capitalism, we literally sell ourselves to work for people so that we can afford food, housing clothes, etc… but aren’t those things natural human rights? people are literally profiting off of the things every one should have. why are there people who are worrying about if they’ll eat tonight? capitalism. why are there people who are afraid they’ll get kicked out of their apartment because they can’t pay rent? capitalism. 

it’s like we’re slaves. we grow up, are forced to go to school where the government tries to dumb us down, we are pressured to go to college (which costs thousands of dollars), and we get jobs because we not only need to pay off college debt, but we also have to pay for food, clothing, and shelter. we are literally alive, we are here on this planet existing, and there are people controlling how we live, what we do, what we have to pay for, these people who are supposed to be protecting us are deciding our value. why does life have to be exactly this way? 

in school, they teach you communism is this horrible thing, all people are poor, every one will go hungry, they teach you that everyone gets paid the same. they teach you that being equal and just is wrong. in true communism, every one gets what they need, they don’t get more they don’t get less, they get what they need. people are like “Well in communism, if everyone has what they need, then people won’t want to work.” you’re wrong. if every one has what they need, they don’t need to be worried about working for money. they can work for passion because every body really wants to do something. for example, you really want to become a doctor? why? most people would say “because I want to help people,” not because they want money. you want to become a vet? why? you want to help animals. you want to create music? why? because you want to help others feel good and understand themselves. 

the most important thing Marx said about capitalism is that it will eventually collapse in on itself because the workers will be so poor that they can’t buy anything, the businesses will cease to exist, etc. Another thing he said is that communism will overcome capitalism through the use of violence. I believe we are already there, and I hope that there is a positive change to the world.

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Post #21


Next up is 1950′s Treasure Island

  • Enjoyment : [6]
    • This was kinda fun? There was a cheesy swashbuckling tone and it wasn’t afraid to get dark? Having a full movie with sets, characters and a plot that changes based on the characters actions was oddly refreshing. The beginning of the movie is very weak but it gets stronger and stronger the longer it goes on. Although the ending is a bit of a whimper. Initially I was very worried I would not like Jim or Silver but both won me over in different ways.
  • Quality : [5]
    • This movie feels very old school. The film techniques are very basic and straight forward, without many special effects. A lot of this movie is talking and scheming, so the dialogue has to be filmed in an interesting way. I noticed a few good editing and story structure moments that had me pleasantly surprised. They establish the pirates eating apples with knives before Jim gets stuck in the barrel, and Silver killing Arrow by getting him drunk in the storm is done almost entirely visually. These are great moments of true film making, but the movie can sometimes get a little confused. The opening scenes of the movie give almost no exposition and there are a few characters dropped entirely with no explanation. The fact that half the cast is shirtless pirates with similar looking beards and no names fighting each other can get a little muddled.
  • Hold up : [6]
    • There is a really good message hidden in this movie, and that is the relationship between Silver and Jim. Silver is the perfect blend of friendly and creepy, and it really comes down on the side of Jim without question. I think this movie actually has good morals when it comes to teaching kids that adults can’t always be trustworthy, and too look out for adults who try to control you through deception. I also really liked how it approached darker elements, showing characters who use violence as misguided and selfish. Silver does get away with his treasure, but he is clearly shown to be in the wrong at least from Jims perspective. I spotted nothing overtly offensive or harmful for children beyond the more violent scenes. Although it was odd how there wasn’t a single woman in the movie, even Jims mom is off screen the whole movie. This was an 100% white male cast and that was a little odd.
  • Risk : [7]
    • Many characters get stabbed and several characters get shot in the face. This movie had real consequences and there was a real feeling of tension. Violence itself does not make a good movie but seeing a Disney movie with likable characters in real danger was a treat. I also think that writing Silver as a likable, but ultimately villainous character was a great choice. How much you forgive Silver was 100% up to you, since he showed real kindness and real evil in equal amounts. They could have played this safe, but they went for a grounded, realistic version and I can really respect that. I feel like they didn’t sanitize any of the original story and it is better for it.
  • Extra Credit : [3]
    • I noticed a lot of subtle moments of storytelling and film language used throughout this movie. My favorite moment is when Mr. Arrow sees the bottle of rum, the camera going still and pulling in a tiny amount. Without words it establishes his drinking problem and that shows a lot of artistic intent with HOW this movie was made and like… how long has it been since any other Disney movie did something like that? Put in an effort? God it’s been too long.

Final thoughts:

  • When it comes to Treasure Island, Jim and Silver need to be the heart of the story. At first, Jim feels like a non-character but he gets better as it goes on, being naive but also brave. His mental image for adventure and pirates gets shattered by Silvers betrayal and we see the downfall he experiences afterwards. Struggling to stay alive, help his friends and do the right thing. Silver is both intensely charismatic and also totally despicable and that is a hard line to ride. This movie is a worthy Treasure Island adaptation and I am confident giving out my first:

*Diamond in the Rough*:

Watch this movie if you haven’t.

Total Score: 27/50

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the list

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Yesterday at work I started running BLM funding videos on my work computer which doesn’t have speakers (:( but I’ve already listened to the stuff the two days before) so it doesn’t distract me at work. I think one of the best parts of that is that, if I time it right, it will run for an hour after I leave for the day as well. Then I can reset it quick in the morning with a few short songs and start the process over again. (Here’s the video that started it all, turn off ad-block if you want to use this method of gaming capitalism for Black Lives)

I’ll likely have to do something with the desktop’s history pretty soon but this is a way I can donate to American orgs so I’ll do it (have also donated to Canadian orgs and will donate more soon).

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The Capitalist Unconscious
Samo Tomsic

Here the second essential feature of the drive enters the picture, which clarifies that Marx’s opposition between bare hunger and cultivated hunger indeed highlights two immanent aspects of the drive and not the opposition between nature and culture. Under constant pressure, Freud understands the ‘amount of force or the measure of the demand for labor [Arbeitsanforderung] that it represents.’ At the very core of the drive stands a permanent demand for labor, representation of labor-power, hence the Freudian attempt to elaborate an energetics of the drive.

This demand for labor explains the simultaneous sameness and difference between pleasure and unpleasure in unconscious satisfaction. At this point, Freud’s early analogy with capitalism finds another repetition. Because the unconscious is split between the capitalist and the laborer, the process of satisfaction is necessarily experienced on both ends, pleasure and unpleasure. Yet the one enjoying is not the subject, for as Freud’s analyses demonstrate again and again, there is no subject of jouissance. There is only the subject of labor, the addressee of the demand for labor.

Consequently, 'Labor!’ is the true meaning of the superego’s injunction 'Enjoy!’ The critical kernel of Freud’s labor theory of the unconscious again becomes striking, since Marx’s reformulation of the political-economic labor theory of value into a materialist theory of the subject was the first one to establish this interdependency of the two demands that can be associated with capital: the constant demand for surplus-value and the constant demand for labor.

The difference between need and demand is finally reflected at the level of the object. Unlike need, the drive appears to be without an object:
'The object of a drive is the thing in regard to which or through which the drive is able to achieve its aim.’ It is what is most variable about a drive and is not originally connected with it, but becomes assigned to it only in consequence of being peculiarly fitted to make satisfaction possible.’

Lacan later draws attention to this passage in order to explain how the object a relates to the montage of the drive. However, we cannot overlook the fact that Freud - prior to Lacan’s developments - again hints at the difference between the content and the form, which already backed the mechanism of desire. The drive reaches its satisfaction in the object-form, which corresponds to the autonomy of differences, and based on this displacement the demand for satisfaction can become imperative.

The drive becomes a symbolic machine without end, consuming objects for the sake of consumption (i.e. extraction of surplus), and designating the permanent Entstellung, deformation and displacement of the need.

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Racism is historically (i.e., the legacy of chattel slavery) the most important factor in dividing the working class, as well as explaining heightened oppression of black people in the US compared to other industrialized countries. In large part, I think that the current protests could more effectively decrease intra-class conflict by abandoning liberal identity politics. However, I see an element that is unnecessarily creating intra-class conflict that is particularly troubling and counter-productive in the “age of Trump”. On the other hand, what I think is most impressive re: the George Floyd protests is the mass scope and intensity of the protests that is hopefully a harbinger for more informed, class based revolutionary activism on a similarly grand scale.

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‘If we do not require our mental apparatus at the moment for supplying one of our indispensable satisfactions, we allow it itself to work in the direction of pleasure and we seek to derive pleasure from this activity.’ When the mental apparatus does not satisfy needs, it produces pleasure, but it is impossible to determine when one activity ceases and the other begins.

Capitalist Unconscious / S. Tomšič’

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Mark Fisher, Capitalist Realism
Far from undermining capitalist realism, this gestural anti-capitalism actually reinforces it. Take Disney/Pixar’s Wall-E (2008). The film shows an earth so despoiled that human beings are no longer capable of inhabiting it. We’re left in no doubt that consumer capitalism and corporations — or rather one mega-corporation, Buy n Large — is responsible for this depredation; and when we eventually see the human beings in offworld exile, they are infantile and obese, interacting via screen interfaces, carried around in large motorized chairs, and supping indeterminate slop from cups. What we have here is a vision of control and communication much as Jean Baudrillard understood it, in which subjugation no longer takes the form of a subordination to an extrinsic spectacle, but rather invites us to interact and participate. It seems that the cinema audience is itself the object of this satire, which prompted some right wing observers to recoil in disgust, condemning Disney/Pixar for attacking its own audience. But this kind of irony feeds rather than challenges capitalist realism. A film like WalI-E exemplifies what Robert Pfaller has called ‘interpassivity’: the film performs our anti-capitalism for us, allowing us to continue to consume with impunity.
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Why are poeple personally offended when people bend down on one knee while the national anthem is playing (taking it out of “our” flag (wtf))? Seems to me, like someone is taking the sense of patriotism a bit to seriously.

“Because I know what this country means to me”. Really? How can you blindly support a concept that is holding onto a dying system and actively excluding minoritys of social justice.

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Hey guys. For a while now I have had a side blog and it has enough content I feel comfortable promoting it.

It’s called @everydisneymovie


Basically it is a blog where I am watching, reviewing and ranking every Disney movie ever made in order. That is 431+ movies and it has been an unrelenting nightmare, watching a lot of movies Disney prefers to act like they didn’t make.

Once it is all said and done I will have a comprehensive list of the best and worst Disney movies ever made.

It’s an exercise to explore the growth, the rise and the eventual collapse of the Disney company by mapping out its entire artistic history. I personally find it interesting since I get to see all these old movies through a modern lens and analyze them as movies part of a larger whole. Which I feel is especially relevant with us entering an age of movie critics call ‘Late Stage Disney.’

Basically I rant about story structure, feminist film theory, race film theory and how capitalism effects mainstream narratives.

It’s really weird and niche and is basically just for anyone interested in that.

I just finished the 1940′s and am moving into the 1950′s so nows as good a time as any to join me on my ‘Disney Crucible’ because let me be honest with you, so far it has been either hidden gems or absolute trash and you can laugh at my suffering.

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