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Love the implication that Jefferson's out here habitually seducing MILFs
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sevensoulmates · 2 days
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I don’t have real coherent words after that Oliver interview so I need to hear yours. Because OH MY GOD
Vindication??? VINDICATION???? VIN~DIC~ATION???!!!!!!
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Like we knew. We all knew. All the fans knew, and everyone working with the show knew. But the fact that they're actually talking about it? Being transparent about it? From Mr. PR Golden Boy's mouth to the masses? Mind-blowing.
To know for a fact that Bi Buck (and I'm assuming queer Eddie and queer Buddie) was talked about (again we KNEW but like now we know know, ya know)??? I mean Tim literally said years ago that all the discussions we have about buddie online are the discussions they have in the writer's room. The fact that they TRIED to give it us and were shut down. The fact that we still rallied behind them because we fucking. KNEW?!!?!?!
Like queer fans especially like....I'm not going to get into the history of queercoding/the Hayes Code, but anyone who's been around the block with queer media just knows that writers (not just 911 writers) have done their damndest over the years to give the audience queer characters while still trying to appease their homophobic bosses that control their livelihood and the life of their art in general.
It just fucking sucks that only now, when networks realize that openly queer media sells, that they're finally allowing writers and creators to finally tell their authentic stories.
911 is interesting. They're kinda like the elder Gen-Z/Young millennial cuspers. They started during a time when queer media was allowed some visibility but still had heavy sanctions placed upon it, and so they still dealt with homophobia and discrimination in underhanded and mostly invisible ways, and are living long enough to see the social transition into big profitable open queer media.
It's like...I've heard a lot of elder queer people question why some of their fellow elders are so "mad" that young queer people have it "easier" and can be more "open". The critique is "isn't that what we were all fighting for? So that younger people did not have to deal with what we dealt with?" The same goes for TV. I know a lot of people (like people who came from SPN or the MCU or Merlin or Rizzoli & Isles or Sherlock, etc) are seeing what's happening with 911 and they're experiencing this shock of like "we deserved this" and they did. But now they get to see the fruits of their labor come true for new(er) shows like 911 or RW&Rb or Heartstopper or Heartbreak High, or Interview with a Vampire or Good Omens or Umbrella Acadmey or Euphoria or Yellowjackets or the Haunting of Bly Manor, etc.
It's still a long battle, but occasionally, like now, we get to see these BIG wins, and it should be something to celebrate.
This, combined with the fact that we knew a queer Eddie storyline was also being discussed, tells me all I needed to know. And again, I already fucking knew.
Now all we gotta do is wait. We've already waited this long.
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rockpapercynic · 1 month
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A.I. photos are flooding social media and contributing to an Internet where we can't believe what we see. Spotting A.I. 📷s is an important media literacy skill.
None of us have time to research every image we see. We just need people to notice BEFORE THEY LIKE OR SHARE that an image might be fake. If unsure, check it or don't share.
I've started drawing some comics explaining the basic of AI spot-checking and media literacy in the age of disinformation. Follow along here or on my Twitter.
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laughableillusions · 7 months
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You! American fan of foreign or otherwise un-American media! Are you aware of the nuances and cultural differences that are portrayed in that media and have an understanding that you as an outsider looking in should be careful with the lenses you analyze that media in because you have a different perspective that is not catered to?
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emeryleewho · 1 year
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I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.
So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."
I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?
It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.
Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.
So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.
Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.
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sugas6thtooth · 3 months
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The Feelings Of The Average Israeli Occupational Soldier: A Quick Analysis By James Ray
If you haven't already, follow him on tiktok. (@jamesgetspolitical) He gives constant updates on the genocide in Palestine but also offers food for thought in his content.
Free Palestine, End The Occupation🇵🇸‼️
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reactorshaft · 5 months
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just… Goro Miyazaki starting his animation career with having a son kill his father, the king of a kingdom where magic is disappearing, and run away and Hayao (possibly ending) his career with a young boy refusing to take on his family’s powerful legacy over a magical world, knowing the world would die without him in favor of not abandoning his family and choosing to live contentedly in the mundane world…
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imagopersonal · 9 months
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Aziraphale was about to confess too before Metatron and his coffee came into the bookshop;
Okay, hear me out. In 2x02, when they’re talking about “how people fall in love”, Crowley talks about sudden rainstorms,
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which is an obvious reference to how he fell in love, about 6000 years earlier (poor demon thinks everyone falls in love the way he did)
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Aziraphale doesn’t get it and answers “seems a bit unlikely”. He didn’t connect the dots, he doesn’t think Crowley loves him that way. All he knows about falling in love is what he read in books. Of course he fell in love with Crowley too, but I’m pretty sure he did in ‘41 when Crowley saved his books from a bomb, and that’s a bit hard to recreate, so… balls.
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That’s his idea, you make two people dance together and they magically fall in love, which is so in-character I want to scream. Now let’s get to 2x05. We know Aziraphale always tried to avoid organizing those meetings, but he’s suddenly so excited about it he is WILLING TO GIVE AWAY HIS BOOKS. Why would he do something like that? There’s no way it’s actually to make Maggie and Nina fall in love. At that point, Muriel doesn’t even care anymore about it, they all know the truth about the miracle is about to be revealed, so there’s no point in being so persistent about Maggie and Nina’s relationship. He’s an angel; of course he cares about humans being happy, but I don’t think he cares so much about two semi-strangers’ love life that he’s willing to give away BOOKS for the off chance that the Jane Austen method will actually work on two humans he knows nothing about. So, my conclusion is, he’s organizing that night for him and Crowley. They are the ones that he hopes realize they’re deeply in love with each other, and that is something worth giving away books for. Which explains why he’s so excited but also a bit scared when he asks Crowley to dance with him.
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It explains why he ignores the fact that Crowley is trying to tell him that something important and dangerous is about to happen, just so they can have a little dance. It also explains this reaction when he sees Gabriel and Beelzebub being in love with each other
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and the way he looks at Crowley while they’re talking about them.
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I mean, I know he always stares lovingly at him, but not like that, right? That’s a face that screams “I’m so going to tell you I love you when all this is over”.
So, my point is:
Fuck Metatron.
That’s my point.
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shyjusticewarrior · 2 days
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Rose when Jason isn't there
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Rose when Jason is there
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idkyyyet · 11 months
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bro i luv spider-punk but i specifically wanna talk about his hair
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[image description: a gif from Across the Spider-verse of Hobie, without his mask, saying: "I was this cool the whole time." End image description]
he. has. wicks!!!
the origin of wick dreadlocks is florida usa, and are named due to the resemblance to a "candle wick" because of how they stick straight up and/or out!
now, wicks have a bad reputation even within the loc community.
its already known that like if you got dreads, generally, ppl think u are unkempt, and dirty, and things of that nature, but there is even more discrimination against wicks its unreal. like legit yall i cant even begin to explain the nasty shit ppl say about them because i will be sad.
its kinda just considered the "crazy Florida man hairstyle". and a lot of the hate is due to the fact that wicks, appear "unkempt" or things of that nature
there has been a lot of texturism in the loc community which has brought with it the idea that dreads need to be retwisted to be "properly" taken care of, and need to be flat on your head and all these other things that often bring with it the need to hide your natural hair. i get unsolicited advice on my hair all the time telling me "i need a retwist" because of the belief that black hair needs to be all tidy and stuff to be respected.
but the thing is, dreads aren't meant to be all neat and tidy all the time y'know. its black hair in one of its most natural forms. and who better to showcase that than hobie brown, spider punk?
wicks kinda go against everything that dreads are "supposed" to be and "supposed" to look like.
i just love everything about this movie but i especially wanted to like talk about this hair choice. hair most def has meaning, especially black hair, so i think this was a really cool and fitting design choice for his character and everything he represents.
(i did my best to like articulate my thoughts but hopefully this makes at least a bit a sense)
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writeouswriter · 1 year
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Broke: Acknowledging that a character who is an objectively terrible person is also a complex and intentionally well thought out individual with different levels of nuance you can empathize with in some ways while not in others is immediately “woobifying” or “poor little meow meowifying” them.
Woke: “This character is a bad person” and “this character is still a person” are two statements that can, should and do coexist and admitting that they exhibit nuance and depth and are more than just their bad actions doesn’t immediately excuse or condone their bad actions or mean that you’re ignoring or trying to soften the canonical version of the character.
Bespoke: That’s the whole point, that’s always been the point, to be made to empathize with horrible people so you can understand that they can be anyone, that bad people can be likeable, can be interesting, can be human, are human, and it’s scary to think about all the ways they’re just like you and all the ways they’re just like everything you hate, forcing the use of critical skills in media analysis, forcing a confrontation of the duality of man.
Whatever Level is Above Bespoke: But sometimes, yeah, sure, maybe they are a poor little meow meow, what are you gonna do, get a lawyer
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prokopetz · 1 month
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One of the most common pitfalls of amateur media analysis is assuming that story Y must be directly based on or influenced by story X because they're kind of similar if you squint just right. You really do need to be able to point to a specific series of influences getting you from X to Y in order to make that claim; leaving that part out is how we get Joseph Campbell, and nobody wants to be Joseph Campbell.
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fangirlneverlie · 1 year
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I love you people who over-analysis one scene, I love you people who look at small detail that people haven't noticed, I love you people who take characters and characteristics seriously, I love you people who noticed subtext, I love people who over analysis media or TV shows in general I LOVE YOU I LOVE YOU I LOVE YOU
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artbyblastweave · 1 year
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I saw a post a couple of days ago that said one of the most important things about Steven Universe, thematically, is that everybody in the core cast has done at least one completely morally unjustifiable thing, regardless of how likeable or sympathetic they are otherwise, and that this is important to understanding the show thematically. This is true. 
But it also reminded me of one other thing I really like about Steven Universe, which is that it’s the emotional-toxicity equivalent of all those posts about how cartoons have to come up with unimaginably worse forms of death and violence in the course of avoiding getting censored for depicting plausible forms of death and violence.  All of the ways in which SU characters cross those emotional and interpersonal lines are wrapped up either in their fantastic abilities or their bizarre life circumstances in a way that makes it all esoterically awful and often much more existentially horrifying than any of the real-life dynamics it’s alluding to. You’ve said nasty things to people in the heat of the moment but you’ve never shapeshifted into the guy’s dead wife to twist the knife a little more. No violation of bodily autonomy is ever gonna involve contriving a situation in which the other party will believe that it’s necessary to fuse with you, body and soul in order to do demolition work. The most toxic relationship in the world isn’t gonna involve imprisoning someone at the bottom of the ocean for several months and only emerging to participate in humanoid-sacrifice rituals. Your codependency will never last 8,000 years, be frontloaded with a faked death you’re biomechanically incapable of confessing to, and end with your partner’s suicide-by-childbirth. Your worst roommate situation will never end with one party stealing the apartment and taking it to the moon. Et al. Et al.
I don’t remember where I was going with this, precisely, (and I may have drifted sideways from the original discussion topic of crossed lines per se, but whatever.) I mean part of it’s funny because it exists in a series with tons of mundane, non-metaphorical examinations of interpersonal issues, like everything to do with Lars and Sadie, or Sour Cream and Marty. And there’s an extent to which I’m just describing how cartoons are written. But there’s something special about how Steven Universe does it. Something delightfully fucked up about it all. I think maybe part of it is that it’s a considered and embraced fucked-upedness, none of this is just an ill-considered fridge-logic by-product of something else they were trying to do. Like for every one of these, someone in the writers room probably went, “Man, this has some fucked up implications,” and then everyone would go, “Yeah!” and hi five and put it in specifically because of that. Great Show. Great show
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nyancrimew · 5 months
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since this is currently kind of topical i feel like i should really recommend this Extremely good queer media analysis video essay by a small trans youtuber that i fortunately just got recommended to me by youtube! very well made and extremely thoughtful
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go give it a watch!!!
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elexuscal · 9 months
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the longer i stay in fandom, the longer i think a huge amount of bad takes and discourse come from an... abundance of identifying with a character
to be clear, i don't think it's bad to identify with a character. far from it! i think that's part of what makes fiction so powerful.
and it's only logical people often attach to a blorbo because they're just like me, for real. a person will see some element of themselves-- their race, their gender, their sexuality, their hobbies, their family life, their specific flavour of neurodivergence-- and something just resonates. it gives them a way to explore and name this important part of themselves, a part they maybe didn't even know existed before it.
and everything is well and good until some split between them and the character shows up
because of course, no character, except an explicit self-insert written by yourself, will ever be a perfect 1:1 for your own experiences. so sooner or later-- maybe in canon, maybe in a fanwork-- your blorbo diverges from your lived experience in a huge way.
I think this is why shipping culture in particular gets so toxic. While it is by no means the only way to indulge with shipping, a significant portion is 'if i was in that character's shoes, i would choose X'. the fight becomes for your own self-identity.
but this gets expanded in other ways. a character who is revealed to be black when the majority of the fandom had just assumed they were white. or revealed to be queer, or maybe the 'wrong' flavour of queer. or fuck, even some more innocuous part of their backstory, one that's nonetheless so meaningful for SOMEONE, but now it feels like the story is saying, fuck you, we're doing something else
i don't know. i just feel acknowledging this perceived-attack-on-identity helps me understand why people react it what seems to be such outsized way to canon and fanworks alike.
at the same time, i think it's a really important thing to check in yourself.
it's nice, to see a character who you identify with. who resonates with for being like you. but it's also nice to acknowledge and appreciate the way characters are not like you at All. how great it is to get insight into this totally different lived experience. and to muse on how wonderful that recognition might be for someone who does have that background.
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