#sacrificial negro

[writingwithcolor]

I'm considering making Olivia in my modernized comic of Twelfth Night a black girl. However, her character is intelligent but foolish, somewhat obsessive over the protag, considered the most beautiful girl around, and she is dealing with the death of her cousin. Do these qualities fall into any harmful stereotypes I should avoid?

Black heroine is foolish, obsessive, and dealing with loss

I'm not familiar with the Twelfth Night comic, but on a search, the characters appear to be in high school, so teenagers. Based on that, plus on its face, these traits don't read as problematic to me. I will explore areas where these traits can get dicey, though.

Infantilization. sacrifice and dealing with death

Be mindful of infantilization when it comes to her being portrayed as “intelligent but foolish.” Infantilization commonly affects Black people, where others downplay their capabilities and treats them in a condescending, child-like way. Watch out for ableism as a whole, really - what does foolish mean in the context of this character?

With the obsession aspect, I’m not overly concerned - I had my handful of crushes back in the day! Plus, it’s fine to give your Black characters a variety of characteristics. For this one, I'd keep an eye out for sacrificial traits. You can be obsessed without being willing to end your life for someone, especially without having a real relationship with them. 

As for the death of her cousin, it's natural to lose people and grieve, of course. 

Depending on the deceased's character race, gender and other identities, please add more than one of this character of that background. That way, you don't have the only, say, gay young Black man, as a dead character. 

Watch out for stereotypes when it comes to how this character dies, too. Depending on the circumstances, I'd either avoid stereotypical deaths (e.g. sacrificial negro) or make a social commentary out of it that's addressed in the narrative (e.g. death by violence, police brutality, etc.), which aren't light matters. 

If this isn't something you want to address, pick a death that doesn't encroach on these areas.

I hope this helps!

Mod Colette

Commentary

tricksypixie

Fyi, I believe the asker is referring to their making a comic modernizing twelfth night, the Shakespeare play. Not sure if the playtext itself contains reference to characters’ ages, but that character doesn’t have an established age (compared to, say, the old knight in the play).

missavund

If its based on Shakespears Twelfth night then honestly its not a lot of things that hasnt been done. All-girls cast, all-boys cast, probably all-black cast and mixed cast so dont worry about that. Maybe not have Olivia be the only black person though

#Black #Black women #Black tropes #Black stereotypes #sacrificial negro #Infantilization #asks

[blackfemmecharacterdependency]

I am cry my eyes out and vomit upset about Anacostia and quite frankly, tired of writers adding to the list of things that made me feel this way.

#Stop killing off Black female characters for no good reason #Anacostia Quartermain #Sacrificial Negro Trope #but why? what was the narrative purpose for this? #Y'all just felt like killing another BW onscreen #I knew I should have fucked off when Charvel had the most gruesome murder a character with a name got #Fuck every last person who made this call #Fuck they mama and fuck they kids too.

[akajustmerry]

"...The proliferation of the ‘Black Character Dies First’ trope is rooted in the historical exclusion of Black people from places of equity. Like Hollywood’s history of vilifying and murdering queer folks on-screen as a method to oppress even the image of queer life, dehumanisation of Black on-screen life stems from regulations, laws and a dominant global culture whose racism excluded them from humanity, limiting the inclusion of Black people behind and in front of the camera. 

The relationship between Black death and white protagonists also sees Black people killed to further non-Black characters’ plotlines, in a trope filmmaker Ashlee Blackwell identifies as the “Sacrificial Negro”. The Sacrificial Negro, she says, put “themselves in the face of danger and must die in order to help the white character to survive”. Sarah may not willingly have sacrificed herself in Last Of Us, but it’s her absorption of the bullets fired that allows for her non-Black dad to live. 

It’s just not possible to divorce HBO’s The Last of Us from this cultural legacy. Sarah’s death at the hands of a faceless agent of law enforcement even echoes the images of the killing of Black people at the hands of police. Her death has always been a senseless tragedy within the story, but casting a Black actor in the role complicates the image of her death beyond a simple tragedy, and racialises her death in a way that can’t be separated from Black bodies being treated as dispensable on-screen.

Druckmann disregards Black trauma and Black bodies in The Last of Us beyond how they bolster the stories of his white protagonists. It’s hardly a stretch to see this as an extension of his “intense hate that is universal” attitude; one that privileges universal hate over a universal right to humanity. It seems that, for Druckmann, people of colour in The Last of Us are canon fodder in the battle for his white character’s survival. 

In The Last of Us, the Black person is dead. They are twice dead in the backstory, dead in the inciting incident, dead twice over on the journey, and rot among the corpses Ellie and Joel step over. A show’s attempt at inclusion has failed if almost every person of colour dies for the sake of white character development. The bodies of Black people and people of colour are not footnotes or fodder. "

‘The Last of Us’ Barely Makes Space For Black Folks In Its Apocalypse by Merryana Salem

#the last of us #tlou spoilers #neil druckmann #tlou show #antiblackness #media representation #writing #racism #pls share n read so my boss lets me write more things like this <333 #/

[luallenas]

não é surpresa contar com a presença de anaclara milagros tejedor no Instituto de rosis esse ano ! todos sabem que ela é uma venéficu  da ordem dos oráculo , vinda da espanha , porque aqui as fofocas correm rápido . ouvi dizer que apesar de seus vinte e um anos , ela pode ser bastante obcecada quando está de mau humor , mas sua cautela compensa . além disso , se parece muito com uma celebridade do antigo mundo chamada  isabela merced . você não acha ?

𝑝𝑖𝑛𝑡𝑒𝑟𝑒𝑠𝑡 . 𝑤𝑎𝑛𝑡𝑒𝑑 .

história:

como a aurora espanhola em junho , o rebento do líder dos illusios encarnou diante de um céu sem nuvens . presenteada com os olhos negros de sua mãe , era coisinha selvagem desde o primórdio , inflexível , a recém - nascida gritava , arfando e tremendo em sua raiva úmida , alheia a maneira que marina a embalava ou acalentasse . necessidade de se fazer ouvir era notória no palacete dos tejedor . ainda sim , com o tempo , anaclara sorriu pela primeira vez , e se acalmou , e isso acalmou todos a sua volta ( ou talvez tenha sido o contrário ) . vítima de amarguras da sorte , marina porém , não fora capaz de encontrar nenhum alento no silêncio da filha . na verdade , foi nele que ouviu o incessante tremor da mortalidade de suas duas crianças com luca , constante como um segundo coração batendo no peito . a paranoia , contudo , não era injustificada . espanha nunca havia sido seu solo sagrado , os favores míseros concedidos mais como cabresto do regente a luca por fazer seu trabalho sujo não eram nada mediante a uma mulher com o luto do tamanho do mundo , o berço queimado de uma criança que nunca chegou a usa - lo era relembrado todas as vezes que fechava os olhos , e em uma dessas noites insones , marina desapareceu , escuridão a dentro com as filhas .

resguardadas por outra nação , viveram uma vida tácita como bruxas da floresta , e uma vida de medo mas de amor também . com um alicerce como casa e escondidas por trás do véu de uma inocência infantil para deter qualquer entendimento , as irmãs passaram aceitar a falta do pai , e os novos nomes . anaclara floresceu naquele canto do mundo , esquecida , brincando com a irmã até onde a linha de visão de sua mãe alcançava . ali , se desenvolveu em tudo aquilo que — ainda não sabia mas — não teria desenvolvido sob a tutela do pai . a caça e a cozinha sendo as favoritas . apesar de tudo , marina ainda tinha a mania de olhar pelas costas , só acabando com ela no dia de sua morte sacrificial em prol da fuga das duas crianças , quando por um acidente as revelou como venéficas , impulsionando a pequena vila ao redor ao expurgo da terra .

o desvanecer parecia parte de si agora , da mesma forma que o medo , acompanhante de sua gênese . os meses que seguiram a fuga das irmãs para o mais longe possível foram penas de crimes nunca cometidos , piadas de mal gosto com sua vida e a de belladona , razão única pela qual resolveu não se entregar a sua ruína final . até que luca as rastreou , agora sem a proteção de marina . a adaptação a sua antiga casa foi como nascer novamente , dessa vez do fogo ao invés do sangue . todo defeito mesquinho a enfurecia , todo o desperdício e demora a irritava , fugindo para os arredores quando a convinha . a menina não sabia ser gentil , na verdade sentia que não sabia de nada , sentia que toda sua vida tinha sido lama e profundezas , mas não se sentia parte dessa água escura , e sim uma criatura dentro dela , desesperada para enxergar . instigada pela cegueira odiosa , clara começou a sentar ao pé de seu pai querido , calada . aprendeu paciência dali , dissimulação também . se tornou diligente à novas atividades escolhidas para si , como à aquelas que exigiu com um propósito , abarrotando seus dias carentes de amor . em anos era apresentada como modelo entre feiticeiros de sua idade , estudante aplicada , seguidora fiel do equilíbrio e venefica orgulhosa , protetora de tradições .

apesar de tudo isso , o olhar não acompanha sorriso afetado , nem contém timidez de uma donzela ou determinação de guerreiro , na verdade o preto de seu olhos reflete as forças desconhecidas de futuros que inquietam aqueles que sustentavam observa-los por muito tempo , já seu andar macio como gato é preenchido de uma graça descuidada , longe da confiança de mulheres que marcham pelo recinto , empurrando o chão ao seu prazer . há quem culpe o sangue tejedor , mas sua natureza indeterminada cresce perturbando aqueles que conseguem ver através de olhos turvos e de uma obviedade bem planejada .

habilidade :

houve um golpe deferido no orgulho de luca tejedor ao perceber que sua filha não seria parte de seu clã . certa resistência também , nada que pudesse impedir clara de sentar ao lado dos oráculos em reuniões de coven . com o tempo , se tornou uma oráculo orgulhosa , pouco lembrando sua família nos modos .

sua habilidade mais desenvolvida consiste em ver o futuro , passado e presente perante o olhar de qualquer animal , conseguindo transitar entre a linha do tempo a seu prazer , ainda que na maioria das vezes , sem um ponto de referência . clara só consegue observar o futuro de alguém se essa possuir alguma ligação com um animal . além disso consegue acessar sua precognição através do sangue , algo que descobriu em uma caça . devido sua amplitude , é a habilidade pouco desenvolvida que mais anseia dominar , mas por não fazer quisto de sua reputação perante os humanos , tende a ser mais discreta com seu treinamento . clara também estuda previsão de probabilidades em fase muito inicial .

ana costuma ficar totalmente vulnerável quando a visão , além de ser suscetível a sangramentos dependendo do esforço utilizado . por fim , recentemente tem sido tomada por visões de surpresa , pesadelos preenchendo seus momentos acordada , vozes de um futuro distante , morrendo incontável vezes pelos olhos de alguns animais .

#◜ ‘ ♱ 𝑰𝑺𝑴𝑺 › 𝖺𝗌 𝐚𝐛𝐨𝐯𝐞. 𝗌𝗈 𝐛𝐞𝐥𝐨𝐰

[omg-lucio]

St. Katherine Drexel, la multimillonaria heredera de una familia de banqueros estadounidense convertida en monja voluntariamente pobre, fundadora de la Universidad HBCU Xavier en Luisiana, por lo que se convirtió en objetivo del Klu Klux Klan (c. 1900)

Nacido en 1858 en el seno de la familia de banqueros Drexel, que desempeñó un papel importante en el auge de las finanzas globales después de la Guerra Civil estadounidense. Creció en un hogar católico piadoso; su madre abría su casa 3 días a la semana a los pobres y su padre pasaba media hora cada noche en oración.

Después de presenciar la difícil situación de los indígenas americanos durante un viaje a Occidente, Drexel se reunió con el Papa León XIII y le pidió al Sucesor de San Pedro que enviara misioneros para servir a los indígenas americanos. El Papa respondió: "¿Por qué no te haces misionero?"

En 1889, Drexel regaló su herencia de 7 millones de dólares ( 240 millones de dólares en valor actual ) y se convirtió en monja contemplativa. Conoció al líder sioux Nube Roja y comenzó a ofrecer obras de misericordia corporales a las misiones indias. La Madre Drexel y su primer grupo de monjas fundaron la orden religiosa Hermanas del Santísimo Sacramento. Alimentaron su vida de caridad del Santísimo Sacramento de la Eucaristía, el sacramento católico del Cuerpo y la Sangre de Cristo, la presencia perpetua del amor sacrificial de Cristo. Quienes están en la vida religiosa hacen votos absolutos de pobreza, castidad y obediencia, para dedicar completamente su vida terrenal a responder al llamado de Cristo al amor.

Las Hermanas ampliaron su misión para servir a los afroamericanos. En 1942, construyeron un sistema de escuelas católicas para negros en 13 estados, 40 centros misioneros y 23 escuelas rurales. Su mayor logro fue la fundación de la Universidad Xavier en Luisiana, la primera universidad católica para afroamericanos. Los segregacionistas acosaron su trabajo e incluso quemaron una escuela en Pensilvania.

A los 77 años, la Madre Drexel sufrió un infarto y se vio obligada a jubilarse. Pero su vida aún no había comenzado. Ahora vinieron casi 20 años de oraci��n silenciosa y contemplativa desde una pequeña habitación con vista al santuario eucarístico. Pequeños cuadernos y trozos de papel registran sus diversas oraciones y reflexiones. Pasó al Paraíso a los 96 años y fue canonizada por el Papa Juan Pablo II en 2000.

[sunkendiaries]

1.9.24

The day before yesterday, Tuesday, January 9th, 2024, was the first day of 112 A - Sunken Place: Racism, Survival, and Black Horror Aesthetic with Professor Tananarive Due - (PTD). The class is from 12:30 - 1:45 pm Tuesdays and Thursdays and I have “discussions” accompanying the class on Thursday mornings from 9-9:50 am, which is too early and seemingly unnecessary. Thankfully the whole class is online which is a godsend for my schedule/ life. The convenience alone makes me even more excited than I already was for this class. On Tuesday, Prof. Due spent over half the class explaining the syllabus, how the class works online, her scoring system, and answering the somewhat endless and repetitive questions of my classmates. It isn’t so much a wonder anymore but still remains odd to me how fixated academic majors are on rules and details around grades - this probably says more about me than them and the flexibility or grace or unprofessionalism/non-seriousness of Art at UCLA. Anyway - Once the class got started Prof. Due shared that her love for horror came from her mother Patricia Stevens-Due who was a civil rights activist. We spoke a little bit about Horror, in general, being cathartic for those who have experienced trauma and that Black Horror specifically isn’t just about racism. We brush over the top 4 horror tropes for black people in horror movies: First to Die, The Magical Negro, The Spiritual Guide, and The Sacrificial Negro. 

PTD Notes: The First to Die wasn’t always consistent but happened enough to warrant the trope (which I agree) but also stated that the trope most likely was born out of a fake/poor initiative towards cast diversity. Flat 2D Black characters would be tossed in to appear diverse but only worked as a foil or catalyst for the narrative/ plot structure.

We watched clips from Birth of a Nation and then the entirety of Bree Newsome’s “Wake.” A short that takes place in what I imagine is post-slavery South maybe around 1930-40’s, Charmaine the female lead seemingly kills her Father by not providing him with his medication and he drops dead on the porch next to his rocking chair. She claims he died in his sleep and while at the wake takes a bit of his grave dirt to make a deal with a demon - nondescript but very fashionable, light-skinned, dressed in a tattered red and burgundy gown, she walks/floats/stands around the edge of the frame before revealing her face - not scary kinda cute with bad teeth. The demon laughs at Charmaine because she’s willing to I guess sell her father’s soul for a man - been there -  but what was Charmaine’s relationship with her father? 

At the beginning of the short we are introduced to Charmaine’s nosy, passive-aggressive, and judgmental fake-friend group Bootsie (Christian), Ruth (2 kids/ Not Happy), and Florence (uppitty) - they make remarks about Charmaine’s father keeping the foxes out which tells me Charmaine is at least sheltered - why else would she sell her fathers soul to a demon? Who taught her the craft? Where/what happened to her mother?

The demon provides Charmaine with a man according the Charmaine’s specifications - he’s cute ( again light-skinned but with green eyes) he’s obviously a demon (again nondescript) there’s a fly that follows him around… sits on his shoulder… so It’s giving Beelzebub.

Charmaine has to kill her demon husband to get rid of him but she winds up being pregnant.

Newsome uses a lot of wordplay through poetic voice-over narration at the beginning and end of the piece, it makes the whole work very circular - she aligns the body with dirt and dirt with storytelling/ gossip. Charmaine takes her father’s grave soil to build herself a man who turns back to dirt once slain. Also, Charmaine kills her father to give life to her demon husband who impregnates Charmaine with a child that may lead to her own death/wake.

Overall - I really liked the short and the first day of class.

Films to watch:

-Birth of a Nation

-The Mole People 

-Queer for Fear

[harderrain-sweetersun]

Blog Post 5 Sunken Place: On Blacula

The movie Blacula came out in the midst of the “Blaxploitation” era, a time where Black people were being cast in movies, but in ways that perpetuated horrific stereotypes. For a majority of film history thus far, Black characters were used either to overtly perpetuate violently racist stereotypes or as props who died within minutes of a film. This is best exemplified by movies like Birth of a Nation, in which actors in blackface were used to create an image of the Black man as a vile beast lusting after white women. Later in film history, Black characters were used as tropes, like the sacrificial or magical negro. In these films, Black characters existed as a form of representation, only to be the first to die or the one to sacrifice their life for the white protagonist. For instance, The Shining had the only Black character sacrifice his life for the white family. During the Blaxploitation era, depictions of Black characters went from maids and servants to “pimps and h—s” (Horror Noire). Black characters were no longer being completely ignored in film, however, representation of Black characters was used in order to perpetuate a stereotypical notion of what Black people were—the Blaxploitation era was, in large, made by white people and for white people. Out of this era, however, came Blacula—a film with a Black lead and a Black director. As cheesy as I believe the name Blacula is, it is hugely impactful to think about this film in the context of its time: Blacula was not portrayed as a gangster/ pimp, as so often occurred in Blaxploitation films, but rather as a well educated diplomat who was portrayed at dinner with a white count during the 1700s. In nearly all other films of this time period, Black characters in this time frame are portrayed as slaves or ignored entirely out of a fear of acknowledging the world’s dark and brutal history of slavery. Here, we see a well-educated Black man challenging a white count on the issue of slavery, referring to it as a brutal institution. Later in the film, Blacula takes down a white police officer. Imagery like this is what makes Blacula so impactful: in an era of using Black individuals as film tropes and stereotypes, we see a Black male lead asserting power over his surroundings. He does not embody stereotypes, rather, he is a unique and nuanced villain who is able to depict often avoided film themes such as Black love, reclaiming Africa, and power against the police.

[localblackuclastudent]

Black People in Horror

As I have been taking the class Sunken Place: Racism, Survival, and Black Horror Aesthetic, I have been thinking about why I don’t particularly like horror. Could it be that it’s too scary, or that some aspects are unrealistic? Taking the class has shown me that my dislike for horror is more complex than that. Learning about why some black people like horror brought me to the realization that the reason they love horror is the same reason I dislike it.

One reason why the genre of horror is popular among black people is due to their everyday lived experiences. Some black people enjoy horror films because escaping into horror is easier than what is going on in their day-to-day life. Black people face racism practically on a daily, whether that comes in the form of microaggressions, or systemic racism, its covertness doesn’t negate its immense effect. While some people use horror as an escape, other people, myself included see it as another way to perpetuate trauma. Being a black woman in America is difficult enough and causes enough mental stress on its own. Due to that reason, I prefer to surround myself with happy/comedic movies I can use to escape because I have enough stress being a black woman in America.

While I don’t necessarily like horror, it doesn’t nullify the fact that black horror as a genre is fairly new and ever-growing. Black people have been in horror movies since horror movies have been a thing. Back in the day, black people were the substitutes for monsters and villains. They were seen as the plague middle-white America needed to get rid of. As people started progressing, and the civil rights movement grew, so did black people's involvement in horror films. They weren’t the monsters anymore but they now fell into different tropes within the genre.

The common tropes that black people fall into are the first to die, magical negro, spiritual guide, and sacrificial negro. These tropes represent the different ways white people would be comfortable enough to have black people around them. This in turn proves that white people are only comfortable with black people, when they are of some use to them. With the different tropes, black people sacrifice their lives to save white people, a common theme perpetuated time and time again. With these common themes in mind, I am starting to consider indulging in more black horror films. While black horror, certainly has a long way to go, if movies like Get Out and US are any indication for whats in store, then the future is looking good.

#UCLA #black literature #urban #horror movies #horror

[alexisginesphoto]

A Response-- Let Us Now Praise Famous Men / Hale County, This Morning, This Evening

Let Us Now Praise Famous Men, first published in 1941 by photographer Walker Evans and journalist James Agee, has become an American classic, noted for how the book, at time of publication went against norms of documentation and traditional reporting. Up until this point, photos were generally regarded as accompanying text, which was given the highest importance in books. This publication broke norms by essentially publishing two books in one, where the photos (taken by Walker Evans) stood on their own, without the company of text to overtake it. The photos were also published first in the book, thereby establishing their importance over the text (written by James Agee) that mark the second half of the book.

The documentation of the reality of the sharecroppers is striking. They are white, impoverished families with gaunt faces, hardened with struggle, living in bare shacks. Black and white photography captures the essence of its subjects, and in this case serves to stress the brutal reality of these sharecroppers. Where the project lacks is in its depiction-- only white families are shown, and at the time of these photos, 75% of the Hale County population was black. I would like to think of this subversive racism behind the project as not completely intentional-- black people even then understood the power of the camera, and arguably, the implication of white people behind it, and ran from them. Agee was quoted as saying, "I notice how much slower white people are to catch on than negroes, who understand the meaning of a camera, a weapon, a stealer of images and souls...". That being said, the project shows a truth of American History, albeit a staunchly curated, and therefor, relative truth. This phenomenon best explained by Richard Avedon, "There is no truth in photography. There is no truth about anyone’s person... portraits are much more about me than they are about the people I photograph... The photographer has complete control, the issue is a moral one and it is complicated." 

The overall tone of the project invites feelings of despair, sadness, the hopelessness of oppressive, crushing poverty. The book itself is a beautiful work of art that I personally feel, for its time, was way ahead of itself as a photo book with reference to the professional, clean layout of the photos. The book can stand to compete and excel beyond photo books published even today.

Hale County, This Morning, This Evening by Ramell Ross captures the same geographic area of America and Alabama state, but in a completely different manner, with a completely different demographic-- black people. Watching the documentary, I felt Ross was very successful in removing his presence, and therefor the personal narrative, of the photographer/filmmaker almost entirely. Some of this, I believe, can be attributed to the amount of time Ross spent living in Hale County-- 3 years, versus 8 weeks by Evans and Agee. In this way he eludes a shortcoming of Let Us Now Praise Famous Men, because the subjects are not "othered" by the outsider photographer (and narrator); they are not props. Ross is successful in capturing the "historically elusive" black population because of his access as a black man himself, his natural integration into the community through his years spent there. Scott L. Matthews, professor of history at Florida State University, says Ross's work "brings the humanity of Hale County's people into the light... they appear at a distance... absorbed in quotidian experience and not captured by the camera for the viewer's pleasure or project. Ross presents them with sacrificial care, allowing them, and not the artist, to author their identities." Both projects have in common that they use untraditional ways to document Hale County, and have various successes in doing so. Ross's untraditional documentary uses almost a stream of conscious type of observation, comprised primarily of "b-roll" footage, and yet the film is not lacking in contex or journalistic quality-- the viewer is able to take away very much about the reality of the people of Hale County. The b-roll, stream of conscious approach captures the essence of real life-- it mostly happens in small moments, mundanity, a buildup of the cumulation of everyday life. It doesn't happen in these grand moments-- a powerful snapshot that captures an all encompassing truth in a fraction of a second.

I had a greater appreciation for Hale County, This Morning, This Evening. As a work of journalistic documentary, I felt it was more successful of a truer depiction of life for the people in Hale County. While it also lacks in depicting of a population (in this case, the minority white population), and admittedly has the advantage of motion picture to provide a more realistic account, I overall found it more interesting and exciting to see a typically ignored population be depicted. I also found it very moving that it didn't portray these people as victims, or through a lens of despair, as Let Us Now Praise Famous Men did. It was just real-- it made no statements, and it took its time.

#alexisginesphoto #hun191

[the-assignment]

Blog #1 : Get Out(ta Here With Those Whack Tropes...)

**Spoiler free** (Though with some allusions)

TIL: I’ve been living under a rock.

No, seriously. I’m not kidding.

Case In Point: I’ve just recently (ahem *finally*) watched Jordan Peele’s contributions to the black horror genre. And I know what you’re thinking: No Way! Get Out. (wink wink)

But my answer, to a completely understandable reaction, is to say: Yes Way. And Nope. (I know, okaaay).

To my own credit, I have never been a fan of the horror genre and I am even newer to the idea of the black horror aesthetic / genre. I hate – what I find to be – absolutely ridiculous and unnecessary amounts of violence and blood for no other reason than to be gross and vulgar and “shocking.” And the characterization! Even as someone who doesn’t really watch “scary” movies, I know the usual character tropes – and even the order in which they typically die. You have the token minority, the hot/slutty girl, the dumb jock, the nice girl/guy next door, the stoner, and the Final Girl (typically AKA the Virgin). It’s usually full of (mostly) dumb people making dumb choices that get them killed even faster. And if I wanted to watch stupid people, doing and saying stupid things, I’d watch Fox News. 

However, I was completely unprepared for the mind and horror artistry of Mr. Peele. Even as a longtime fan of his comedy work, I never even considered watching his movies that were categorized to be in the horror field. Because I am a giant baby. With a good memory. Who doesn’t easily forget the things she sees. As such, I’m naturally very protective about the things I watch and invest my time and energy into (which more people should be as well – but that’s a whole other post).

My first foray into Peele’s work could not have started any other way – through the absolute and instant classic, Get Out. Yes, the Get Out. Yes, that Get Out. The one that was released waaaaay back in 2.0.1.7. And thanks to my dedication to avoid anything I don’t like, and apparently the way everybody – especially those in the US (sorry not sorry) were able to keep the big plot points and the twists under wraps, I had no idea of what to expect. And boy did that pay off.

In my opinion, one of the most exciting and interesting parts of Get Out is the complete breaking of not only typical horror tropes, but that of black horror tropes as well. As previously mentioned, films have tropes that they typically follow, and which viewers expect to see. Black characters in these horror films are no exception – they just have their owns set of rules and uses they have to fall into for no other reason than to serve the white characters.

Black people in horror films almost always fall into the four tropes:

the Spiritual Guide,

the Magical Negro,

the First to Die,

and the Sacrificial Negro.

We see these tropes in many well-known and “classic” horror films: The Shining, Jeepers Creepers, Annabelle… the list continues. Even in a modern and (arguably) progressive society – these tropes are consistent and prevailing. (The Walking Dead and Fear of The Walking Dead: We see those racial biases and microaggressions, baby. You ain’t fooling anyone).

So, what makes Peele’s Get Out different? And why does it matter?

And the answer is as long as it is varied. Which is why I’ll focus on only one aspect – that Chris (the protagonist of the film) a young, black man, does **NOT** fall into any of those tropes. That’s right! There is at least one movie out there where a black man is not sacrificed (willingly or not) for the white character, or magical, or used to guide other people, nor does he die first!

Not only that – but he breaks the general horror movie trope by making freakin’ smart choices. And while, like much in real life, there’s a moment in one of the most pivotal scenes (the keys scene, everyone. Hellooooo) where it seems he made a “stupid choice” – I would argue there was really no other way around it. What was done was already done and in motion – he couldn’t have stopped it at that point anyways. (Also, let’s not pretend that, “Where are the keys, Rose??!” was him actually asking about the keys….)

I think the importance of Get Out (and Jordan Peele) can be explored and discussed many times without ever coming to an end. That’s the beauty, the intelligence, the consequences, and the movement of creating a piece of work that is meant to challenge and reclaim these ridiculous stereotypes and tropes imposed on black characters in films for the benefit of white people.

And much like Chris, I hope these tropes in film just…

Get Out.

#assignment #getout #ucla #jordan peele #the-assignment #blog #tropes #get out #the more you know #horror #black horror #homework

[writingwithcolor]

Hi, I have a subplot I’m considering adding to my story but I’m unsure if it would be offensive. One of my main characters is a black girl who had died previously but has since returned from the dead, and is really obsessed with making her second life count. I was planning on ending the story with her completing her goal, and sacrificing herself for the greater good (though she will be able to get reincarnated again, an option she only gets if she lived a good and moral life). I was thinking of increasing the tension by having her slip up and do something super not moral, which would make it so she has to overcompensate in order to live a good enough life to be reincarnated. My thought was that she’d get harassed by a random guy and feel unsafe, and accidentally kill him using her magic. I’m worried this would fall too much in the realm of “black girl has anger issues and lack of emotional control” or something like that, or that the concept itself (“black girl has to work 10x harder to prove herself than the white/other poc characters”) might be problematic. Please let me know if you have any thoughts/advice, thanks!

Sacrificial Black girl, second-chances and redemption

A young woman protecting herself and accidentally killing the man harassing her does not make me think “angry” or “lack of control / animalistic.” Things may have gotten out of hand, but she was ultimately defending herself. Also, Black characters should be allowed imperfections. Humans make mistakes. She wants to live a good and moral life during her second chance, so this incident seems like a great way to give her moral conflict. 

Sacrificial Black woman

My bigger concern is the Black girl sacrificing herself. She died in another life and is eager for a new life, only to give up her second chance by sacrificing herself? This meets the definition of Sacrificial Negro. 

Plenty of stories already choose to make Black women character’s storylines about struggle and sacrifice. In a world where our presence in stories is limited in the first place, this type of plot often becomes the focal point. Truly consider how necessary it is to walk this same road so many writers have taken before you when writing this character.

As a Black woman reader, It would disappoint me to read that she ends up dying, particularly by sacrifice. Putting a modern twist on this old tale does not lessen the disappointment. Same thing, different day.

Before you write this, ask yourself:

How necessary is it to give her this storyline? 

Why must she give up her life in order to help the greater good? Why is this sacrifice on her hands vs. someone else?

How can she help out without dying? 

What makes her so willing, having been so grateful for this second chance, to give it away now? You mentioned she feels like she has met her goals. Perhaps expand on that.

If you tied her reasoning into feeling unworthy due to the killing accident, that would provide more of an explanation for her actions. Without a reason, though, you may imply her sacrifice is just what she should do, as if her life is not as valuable as others.

If she went through with it, but survived:

Her not actually dying, in spite of her willingness to sacrifice herself, would be a moment for her to:

Unpack what made her so willing to sacrifice herself.

Come to terms that she is worthy of this second chance

Sometimes surviving truly is more interesting. Once a character is dead, they’re dead. But surviving allows all sorts of emotions, aftereffects and coming to term with things that the character must deal with.

Or, at least, allows her to self reflect. Not everything ends in a grand epiphany, but it’s worth allowing the character to explore her feelings about her choices.

Good vs evil and The Struggle

Overcompensating in order to live a good enough life to be reincarnated, Black girl has to work 10x harder to prove herself than the white/other poc characters

The whole incident seems like a morally gray area. She kills someone who was harassing her. Likely in an attempt to defend herself. Also, it was completely by accident. Now, she’s being punished and has to work to deserve reincarnation. 

Based on the details of the killing, consider whether it was an action deserving of this harsh of punishment.

Who makes the rules on whether this is something that makes her unworthy in this world?

What are those rules and does anyone ever question those definitions of good and bad?

Perhaps there’s a higher authority making the call. Perhaps she is deeming herself unworthy until she accumulates enough good acts.

The struggle of having to work harder plus prove oneself is definitely a reality that many Black women face. And again, this is putting a magical twist on racial tropes, which doesn’t make it less off-putting, in my opinion.

Consider how much she has to devote her new life to hard work and redemption. How much of this struggle you include will define if you’re giving the Black girl a “Struggle novel” storyline. In that case, readers should be warned that you’re writing about these hardships. This allows those of us who didn’t sign up for yet another Black woman struggling story to avoid your book. 

How much work and struggle your Black character faces compared to other people in the novel can indicate if you’re leaning towards Struggle Novel and singling out the Black woman. If it’s disproportionate compared to others, you may be writing into tragedy exploitation.

Recommendation:

Also, based on some of the concepts in your story, I recommend watching the Good Place. I’m noticing some relevant themes, but I won’t say too much, as the show is full of twists and turns! 

~Mod Colette

#Black #Black women #Strong Black Woman #Sacrificial negro #death #Black death #tragedy exploitation #struggle #struggle novel #asks

[jroseartmusic]

Here's the thing. Nothing against the actors/actresses or the director or the cinematographers who put in so much hard work into this new season of the show. But I am angry. Hannah Grose deserved so much better. So did all the poc in this show. This tired ass trope where innocent black characters have to die for white characters makes me sick to my stomach. Black people deserve better. I'm not saying the show is bad or anyone who worked on it is racist. But this trope is racist. More than that is should be outdated. I'm just sad. This a sad death.

#bly manor #the haunting of bly manor #hannah grose deserved better #fuck you netflix #so fucking racist as hell #im sick and tired of the sacrificial negro #i dont care how good the show is or isnt #theres no reason the poc in the show all had to suffer

[nefepants]

I honestly should just beat the shit outta Ari Aster just for that scene in Midsommar where the black character is quietly (rather unceremoniously) killed off and later we see his foot sticking upwards out of the ground like a fucking joke

#Also the fact that there were negro effigies in the sacrificial burning and no one mentions it.....I just.....why do you bitches like this

[blackfemmecharacterdependency]

BFCD Reviews by Nesha: Final Space, Season 3

Everybody that know me know that I’m high class #Quillective trash and my main thoughts and feelings go out to Quinn Ergon and Gary Goodspeed - precious Gemini gems, and of course the BABIES: Little Cato, Ash and Fox #NeshaLuhDaKids I had some attachment to Avocato once upon a time, but that n***a got on my LAST nerves this season, so we currently at “Do you, Boo” status by the end of S3, and eventually, yes, I’ma get to why that is. 

Disclaimer for somebody who stumbled across this post because of the fandom tags - I am an independent partaker of this content, not “part of the fandom,” and my audience in particular is NOT for everybody. SO: If you may have been criticized in the past for casual racism, tone deafness to Black women’s concerns or accused of misogynoir or antiblackness, leave now. 

If you don’t like cussing, AAVE, general ratchetness and mean lesbian energy, you too might wanna go. A bitch can be eloquent, but I type like I talk, at times, so it is what it is and I don’t curate for kids, dudes, or nonblacks. That’s just what that is.

I wanna start with Ash Graven. This season is about Ash more than anybody else, despite the fact that there was a lot of emphasis on Avocato’s toxic ass man pain and growth in Quinn and Gary’s relationship, ULTIMATELY, nobody in the crew did more coming into fruition as Ash did, and I have a lot to say about her, because I have a lot of feelings.

♡ Ash Graven

1. Ash is a kid. Lol. Everybody got very confused because of the unnecessary transformation that Invictus gave her. Ash did not “grow up,” her body was altered. That’s a fuckin kid in a woman’s body. A kid who has previously been living with survivor’s guilt, parental abuse/neglect/exploitation, chronic trauma, and a disastrous superpower that most people could not be trusted to carry. She’s a child having a coming of age moment in this season that is mostly molded in manipulation. If you hate on Ash, go fuck yourself. ESPECIALLY if I’ve caught you stanning other characters who have been shit characters, in this fandom or not. Ash was dealt a shit hand and nobody had her back but her brothers, and she’s done what she could and thought was best to care for them. Anybody that missed that - just don’t have kids, K.

2. Ash has no parental guidance. As far as she knows, the only adults who have ever had her back are dead and the ones that she’s stuck with now, she GAVE a chance to try to trust them. She gave Quinn a chance to try to see some of Nightfall (the only adult that we’ve seen not exploit her) in her. She gave Gary a chance by choosing him over Clarence, when she had to make a choice. She even gave Clarence’s ass another chance - with which he responded by dying to not fail her. Now, she has Gary, who just a few days or weeks ago, idek, forced her to try to summon her powers while she was both injured and also upset over having to leave her brother behind - TO SAVE HIS GIRLFRIEND! And she got snatched away in the process and left behind with the enemy, to be mentally assaulted and returned changed, only to have them not trust her.

I love Quinn too. I love her dearly. But the facts were that she was dying and having an episode that nobody could really help with, and Gary didn’t take the time or consideration to think about the stress that he was putting on Ash by putting her in the position to make her feel like she needed to save Quinn for him. Whether or not she was the only one who could, that is a lot to put on a child, and not only did he do it, but he didn’t even seem to think that hard about it whenever he then left her ass. Sure, he was glad when she was returned, but that was a fucked up situation that yet another adult put her into, and the first thing that he should have wanted to do when seeing her was to apologize and try to make it right. It was a huge miscalculation to treat her as a potential enemy that he and Avocato needed to vet. EVEN IF that’s what she was to them, both of them should have had the sense to assess while still treating her as the kid that they supposedly knew.

3. Most of her trauma has been recent and continuous. She looked up to Nightfall, watched her die, and had a meltdown. The events from Season 2 (with Clarence almost killing Fox and leaving him to die, her leaving his side to help out, seeing that Sheryl was treacherous to her own son, losing Nightfall), and the events that are taking place in Season 3 are only in the span of a few months.

They were only stranded for a month whenever we see them surviving together. That girl has had more happen to her to hurt her than to help her and nobody around her BUT Little Cato has been sensitive to that. And they are all fucking adults.

These things being noted - changing Ash’s design was the absolute worse fucking thing. Aging a girl up to make the bad things that follow more palatable is what that seems to be. Ash is still a kid. And THEN, they allegedly made her a queer kid. I say allegedly, because that “reveal” was so poorly done and subtle and weak that I, an almost 40 year old queer, didn’t realize that that’s what they meant whenever they said that they were gonna reveal somebody as a character who is part of the LGBT community.

So... FS production just gon’ decide not only to transform her body into that of a woman, when her mind is still full on traumatized child and hormonal teenager, but also, she likes girls, and they didn’t even do it in a cohesive way that added to the story. They threw it in, like, “BTW, she likes girls, and also, she’s full grown now.” then immediately went for the “Villain” lever, and bitches just ate that shit up. Fuck y’all, forreal. 

& Fox

He didn’t deserve that shit. And, I know a lot of people felt that he was pointless and boring, but his ass was sweet and caring and searching for love and acceptance. As a background character, I liked him. But, he was literally just fodder for Ash’s downfall, which was unfair and problematic, considering that his ass is definitely Black coded. Don’t play. He was voiced by a Black man, spoke with a blaccent, and definitely would be read as Black if you wasn’t looking at him and seeing an alien. They gave him a sacrificial negro trope, the big friendly negro that can kill you but loves everybody trope, and they used his death to just push some narrative forward to set up the one verified queer character as a villain. They got they ass in a vehicle and rolled right over another Black character, and another queer character. Chile...

 ♡ Little Cato!!!

My precious have not been getting some good for too long, and I have had it. He’s not focused on so much this season as he is in the background of other people’s stories, but a very important takeaway is and will always be that Little Cato, aside from Fox, really was the only one here who consistently treated her like she mattered, so it made a lot of sense that he could be the catalyst for her finally having ENOUGH with these people.

I really wish that he could have found out the truth about his past from Avocato, because that’s really who OWED him that truth, but Ash did the thing that I’d expect and told him, to be honest with him. She even told him that Avocato wanted to tell him and that she took that right away from him, because she didn’t believe he deserved it, and I’m respecting her for that, too. I wish she could see how much it hurt Little Cato for her to try to take him away from his home. 

Little Cato has lived before, for a while, and he’s not mature enough to behave as a man, but he at least has a loving foundation to draw from, and having had that support, this is more of his home than it is Ash’s. He doesn’t know how to explain that to her, and she doesn’t know how to understand that for him. Just a tragic situation for two kids with a lot of problems.

♡ Quinn Ergon & Gary Goodspeed

Quinnary notes that might not be featured in the BFCD Reviews by Nesha:  (Quinn Ergon/Nightfall x Gary Goodspeed) rundown - 

I've had two favorite parts of this season so far and they're very mediocre things that you wouldn't think would be like my favorite part but they are. One of them was that the first thing Gary does when she wakes up is to ask her about her sister (someone obviously very important to her who he's previously promised to allow to let live through Quinn's memory and says he wants to hear about her when he's trying to keep Quinn from dying). Because... He really did care and wasn't just saying something to keep her.

Quinn's mother fucked her up in a way that is so frustrating because Black mamas really will traumatize you about their younger kids. That shit hurt. You showed your daughter dead bodies to make her think about that in the event that your other daughter might be in battle? Bitch wtf

Whenever we say that Black girls are programmed to put everybody ahead of us, that's unfortunately not just including Society, it's in households too. And Quinn comes from this place where that is her reality... Then she meets Gary and he doesn't even register for her as anything special. He doesn't appear impressive or incredible in any way... But he (admittedly) weirdly locks on to her and shares himself - thinking that he's showing himself to her, and ultimately he DOES. And he wants to see her too, beyond all this, who she is, at her most humane. He wants to know about her sister. About someone who mattered to her enough to have the helm of her trauma when she was out of touch with reality. Very soft. Very sweet.

The other was when they were talking about how they met and stuff and Gary absolutely cringed thinking about how corny he was when he approached this woman. A lot of dudes never do that. The complaint of earlier seasons that Gary was overbearing, obsessive and creepy , if you missed the fact that he has terrible abandonment issues from his father’s death and his mother’s rejection, here we have him, in his adult state, looking back at the way he was and being embarrassed about it, and that’s growth!

A close third is whenever at the beginning of the Season he says "Quinn it's been a month eventually you have to open up to me about what you've been through" and she says "I will in time" and he respects it but he reiterates that he's there whenever she needs him. I don't think that people realize how revolutionary that kind of statement is especially for a character like Quinn to hear - who has always felt like she had to take charge, had to take the lead, had to make the sacrifice.

Even when she realized that she was dying, she didn't want to burden him with the information. Not even like ‘a thing that she knew if that could help prevent it and she didn't want him to have to go after it,’ but... she didn't even want him to have to deal with knowing about it!

Maybe she thought that she would just drop, maybe she didn't realize that he was going to have to see her in that condition. And then once she realized that he was going to have to see her in that condition one of the first things she says is "I should have told you." Girl is on her deathbed wishing she had done it differently, for Gary's benefit.

I saw somebody on Twitter tried to come for her about not going to Gary after he killed Fox (you know, shortly after her surgery to save her from the very brink of death, and listen... Quinn comes to see about Gary when she can. She’s done it several times. In fact, I’ma make a whole POST about Quinn and Gary moments SPECIFICALLY to point out to haters in the main tag - where they got Quinn Ergon, and by extension, me, FUCKED UP.

Stop Playing in Quinn Face

HI! HELLO. ACTUALLY MY FAVORITE PART OF THIS SEASON IS THAT QUINN AND GARY JUST FUCKED. THANK YOU VERY MUCH. THANKS. OK. Back 2 bidness

See.. after Gary and Quinn got over the humps of Quinn’s Final Space poisoning... everyone got it... nobody told her until Avocato was mad and told her during a lash out, and let me say something about Avocato’s fucking audacity this season... 

♡ Avocato (Note: His name is A-V-O-C-A-T-O. Some of y’all be tryna stan and y’all can’t even spell his name.)

I done seent Avacata, Avocata... That’s not that dude name. Be writing whole ass expositions about some other Ventrexian n*gga. Hope this helps:

AVOCATO. Listen, boy. YOU decided to be a traitor to your people and your king and queen. YOU decided to dedicate your cause to the Lord Commander and lied to your son his entire life about killing his parents, raising him, and never talking to him about it.

Yet and STILL - whenever you had the chance to finally tell him, you ain’t do the shit. Lord Commander gave you the perfect ass opportunity - WHEN IT CAME UP, and even then, with that boy looking you dead in the face and being glad that now he knows everything... you ain’t Ventrexian man up.

Then, whenever you were supposed to be checking on Gary after his traumatic murder fight with Fox and Invictus, you turned it around and literally made it about you. attacking him in the process and only after a physical fight did you apologize. (And y’all still didn’t get back to what had happened to Gary, which was no real fault of his own). 

Fast forward to after you willingly agreed to stay behind and fight and y’all lost. Now, it was Quinn’s turn to be the center of your blame and you lashed out at her because everybody is dying, despite the fact that y’all agreed to stay behind and fight, nobody even told her that y’all were sick, AND you still wasn’t 100 with Little Cato. 

You just had a lot of mothafuckin audacity this season, Avocato, and I personally was not here for the shit. Even when Ash blasted yo ass, your main thought was to threaten to kill her if she took Little Cato, instead of assuring her that despite what you’ve done, Little Cato was safe with you. No, she wouldn’t have listened to you. But, the words you chose tell us about who you are and how you are. You a war mongering killer that don’t ever take responsibility for his shit, and even in those brief moments that you do, its always somebody else’s problem. 

I’da thunk that LC getting snatched away would be humbling for you, but I guess you were chosen by the writers for minimal growth. Bye, Avocato. Witcha bitch ass. We is not cool right now, but you do you. Hope you find some growth up there in ya ass, where ya head been. 😁 Can’t believe I mourned yo ass. You coulda stayed dead as hell.

FINALE NOTES:

OK BITCH OK THIS FINALE WAS HYPE!

Let me pull it up so that I can liveblog it for the shit that I need to conclude this journey. 

We start out after Ash done took Little Cato and burnt off. Gary and AVOCATO done said they finna go get they son. Chile, I cannot handle Biskit voice. I like that lil’ dude but ya voice, Mane. I can’t with it. 

OK OK OK... Whenever Quinn comes up to Gary to talk to him and say potential goodbyes, she look like she wanna say some and that makes me think about whenever she looked like she wanted to say something in season 1 and didn’t. Quinn as grown a lot in her feelings for Gary, but she still has that hard time with talking about her feelings, but I love that you can see them in her face.

Chile... these folk was kinda taking they time gettin started, huh? Knuckas, do y’all remember that everybody finna die of FS poisoning? Lol. Also... why didn’t they start hallucinating and shit? I guess its not until it covers ya face? 

NIGHTFALL. 😥 I love you, Sis. I miss you. But, “Because I’m you and WE think of everything...” YES. I HAVE BEEN SAYING THAT! EVERYBODY EXPECTS QUINN TO THINK OF EVERYTHING AND WHENEVER THEY DON’T THINK OF THE THINGS, SHE GETS BLAMED FOR MAKING THE TOUGH DECISIONS THAT NOBODY ELSE COULD EVEN MAKE. Underappreciated, really. And people still mark Nightfall as a villain, despite the fact that she not only sacrificed herself, but also came specifically to help another Gary. Sidenote - Nightfall didn’t actually pursuit Quinn’s Gary until Quinn was trapped in Final Space and she thought she got a signal from him. So, I’m still salty AF that she been labelled as a villain just because people don’t like her, when her actions have all been to try to help. Here is no difference. She thought of the things that she didn’t think a younger version of her would think of, and left it for Quinn to find. Nightfall be on RNS, and most of y’all didn’t deserve her.

Quinn’s identity crisis is so sad, but I liked that Nightfall EVEN thought about that. And Sheryl... you kinda starting to grow on me. I hate to give shitty mothers who find compassion in old chance a try, but she do seem to really be giving it a go. 

Ash is so fucked up that she rushes right into the devil’s arms. This reminds me of when trafficking victims go back to their abusers because they don’t have the resources to adjust in the system. 😪 She REALLY believes what she’s saying. She really feels like Little Cato is safer with Invictus with the Team Squad. That’s sad as fuck, bruh. 

THE. ACTING. AND. ARTWORK. IN. THIS. CONFRONTATION. SCENE.

Avocato... I’m proud of you for FINALLY taking responsibility ad opening up about it. Little Cato’s reaction is precisely how kids in the system are, as well. They wanna be at home with their parents, no matter who their parents are or what they’ve done. and Avocato meant what he said and did what I referred to earlier as “Ventraxian man up.”

“I’m sorry we failed you,” from Gary was so important. Because, they technically did fail her. Had Ash seen the same amount of love from Gary as she’s seen him give to others, she might have been more receptive to the truth and less susceptible to lies. But, as she had just said earlier, it was too late for kind words. She’s currently beyond accepting them from him. For a brief moment, it breaks through, but without that ability to know love from an adult properly, she can’t accept that apology right now.

H.U.E. with his big robot, Lord Commander...EYE. There’s so much happening right now bitch processing has left the room girl. Biskit did so damn much this episode. And it was good to see everybody on the team have a moment to help things, instead of like one person having to handle the bulk of things. 

Quinn’s begging voice... its such a contrast from whenever she sent out the SOS in season 1 and was afraid and angry. Like... the desperation here shows her softness. 

Ash’s RAGE Bitch...

Gary’s “I love you...” She looked so happy! And then she just sat with it. I feel like she definitely loves him too, but she doesn’t communicate that way. But, her FACE. She was just... did she think that he didn’t before, or was she just speechless because she didn’t expect to hear it? Because, we gotta be real... Sis probably has not ever heard those words from anybody before. And that first time, when it’s really there is a DOOZIE. She had an abusive mother, a seemingly jealous or competitive sister, and we saw how nobody in the Infinity Guard respected her ass when she was serving them the real. I think this is the first time she’s been in love or felt it and when Gary said it, she had to collect herself. The way she ran to him and jumped into his arms??? SHIPPING CRACK. And Mooncake was a part of their hug too. I have a lot of feelings about this dynamic since Quinn and Mooncake are the only characters that we’ve seen Gary have these “love at first sight” reactions to and Mooncake is the first character that I recall Quinn being nice to in S1. 

So.. my heart was very full when they ripped it from my chest moments later. Mooncake has been watching Team Squad members be self sacrificing for a little while now, and he loves his family and Gary so much that he rushes straight towards danger. (Sure, I don’t think that he estimated how powerful Ash could be at this moment), but he had to at least consider that he might be caught or left behind.

Bitch, Ash is GONE. She said, “Fuck all y’all!” Not knowing whether or not Mooncake is destroyed makes it very hard for me to know how much I can stand this, but I also want to hope that he is gonna survive. Quinn having to make the decision to lightfold is hella sad, but even though Gary is destroyed, he has to know that this is exactly how Ash must’ve felt whenever he had to make the call to leave Fox behind. She hated to do that to Gary. She even seemed more regretful about it than Gary did whenever he had to leave Fox and when he left Ash. Sure, its because she loves him more than he loved Fox and Ash, but its a terrible position to be in to have to hurt somebody you love like that. On the other hand, they gave her hella shit for them not escaping when could have the first time, so naturally, she was going to make this decision. 

It very much sucks that Invictus is free and my brain can’t eeem FATHOM what that means for everything and everybody, but the Final Space poisoning left the Team Squad’s system, so maybe there is a rejuvenation of some sort in Invictus’ power? Or does Final Space poisoning leave your system as soon as you leave Final Space? I don’t think that was clarified. 

Anyways, I still don’t hate Ash. Y’all can say whatever about it, but I see sad white boys get forgiven all day every day on this site, and I’m upset, but I’m not letting my baby go. I’m not cheering her on, but unless she dies, I’m gonna hope for the best for her, like I said here. 

DAMN this season was some shit. Ionknow if I’m emotionally capable of watching another season of Final Space in progress. If they make it back for another season, I will most likely just wait until the end to dive in and let them shock my senses all at once instead of on a weekly goddamn basis, because GODDAMN GODDAMN GODDDAMN!

@andromidagalaxie @daintyurbanprincess @shslargue @space-finally​  The Quinnary Moments Masterlist probably won’t be ready by Quinn’s birthday, since her birthday is the day before Juneteenth, but I’ve started on a little fic that I might have the first installment of posted by then. We shall see. 

♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡

Here is my JOURNEY during my first watch of the first two seasons of the show. (I watched Season 3 in progress and waited until it was over to write up this review) and my probably incoherent tag of whenever I do me a lil’ liveblogging: Nesha Watches Final Space, and here is my review on Quinnary: BFCD Reviews by Nesha: (Quinn Ergon/Nightfall x Gary Goodspeed) FINAL SPACE

#Final Space #BFCD Reviews by Nesha #Nesha Watches Final Space #Nesha Watches #Quinn Ergon #Quinn Ergon commentary #Final Space season 3 #Final Space spoilers #long post

[knario47]

LOS ANCESTROS

EDRA - Origen

LOS ANCESTROS DE LOS ANTIGUOS CANARIOS Y EL CULTO A ANUBIS

«Otros canarios también habitan las salvajes regiones que se extienden desde el monte Atlas hasta los desiertos de Libia, lugares cubiertos de oscura arena y llenos de serpientes y elefantes. Son llamados canarios, porque comen junto con los perros, compartiendo con ellos las entrañas de los animales salvajes de los cuales derivan sustento. Pero en una parte de Etiopía que ocupan los canarios, una especie de alimento sagrado es ofrecido a los perros en la ciudad de Cynopolis (ciudad de los perros), en la cual se tributan honores divinos a Anubis»

[Guillermo Coma y Nicola Squillace, 1493]

Anubis es el nombre griego del guardián de las tumbas asociado con la muerte y la vida después de ésta en la religión del Antiguo Egipto, maestro de las necrópolis y patrón de los embalsamadores, representado como un gran cánido negro acostado sobre su estómago, probablemente un chacal o un perro salvaje, o como un hombre con cabeza de perro.

Probablemente, la forma canina del dios fue inspirado a los antiguos egipcios por el comportamiento de los cánidos, a menudo carroñeros oportunistas paseando por la noche en los cementerios buscando desenterrar cadáveres. Anubis era el protector y guía de los difuntos, profusamente representado en el arte funerario.

En Tenerife tenían una entidad o divinidad tenida por maligna (demonio) que llamaban "Jucancha" que, según la tradición, tomaba la apariencia de un perro grande y de pelo espeso:

«[…] otros confesaban haver un Dios universal, y llamaban Jucancha» [Marín 1694, II, 20: 82r].

[…] en sus sacrificios se les aparecia el Demonio en varias apariencias, y lo ordinario en la deperro grande, y lleno todo de lana, llamaban cancha, y Gucancha» [Marín 1694, II, 20: 82r].

«Jucancha, T[enerife]. “Dios universal”. Marín y Cubas / Divinidad infernal de los perros, según tradición tinerfeña» [Bethencourt Alfonso (1880) 1991: 233].

En Gran Canaria tenían una entidad maligna (demonio), a la que llamaban "Tibicena", que, según la tradición, se aparecía en forma de perro grande y de pelo espeso:

«Muchas ifrequentes Veses seles aparecía el demonío en forma de perro muí grande í lanudo de noche ídedía íenotras varías formas que llamaban Tíbíçenas» [Gómez Escudero (ca. 1484) 1934: 69r].

«[…] el qual [demonio] se les aparecía muchas veces, de noche y de dia como grandes perros lanudos, y en otras figuras, a los quales llamaban tibicenas» [Abreu (ca. 1590, II, 2) d. 1676: 39v]

En La Palma tenían una entidad o divinidad maligna (demonio), llamada "Haguanran", figurada en forma de perro:

«Erano idolatri, conciosia che adorauano il demonio in forma di cane, detto apresso di loro Haguanran, ilquale diceuano loro ch’egli habitaua nel Cielo da loro detto Tigotan, et in terra in la cima de’monti detti Tedote, sopra i quali faceuano le loro adorationi et sacrifici di latte et butiro» [Torriani (1590, LXVII: 91v) 1940: 198].

El perro fue un animal introducido por la población indígena desde su lugar de origen, el norte de África, junto a una cabaña ganadera

integrada por cabras, ovejas y cerdos. Tendría, por tanto, un papel imprescindible en las actividades de cuidado y guarda del rebaño,

además de otras funciones como la vigilancia, protección y defensa de las personas o de la comunidad, sin olvidar su labor higiénica

al consumir los desperdicios alimenticios. Pero junto a estos roles más utilitarios, las fuentes etnohistóricas dejan entrever que este animal formaba también parte del sistema de creencias de los antiguos isleños.

Los testimonios indirectos de su presencia son muy abundantes. Se reconoce la huella de sus dientes al morder y roer los desperdicios

cárnicos de los ámbitos domésticos. Muy especialmente, las alteraciones causadas por sus dientes se detectan en los restos óseos de los antiguos canarios procedentes de cuevas funerarias, lo que indica que estos animales accedieron frecuentemente a estos recintos, consumiendo parte de los cadáveres.

Si las evidencias indirectas de su presencia son abundantes, no ocurre lo mismo con los restos óseos de este animal, que apenas se

conservan en el registro arqueológico de Gran Canaria. La mayor parte de estos testimonios procede de contextos funerarios, formando

parte de las acciones rituales desplegadas en el ámbito de la muerte.

Así, se han constatado dos cráneos recuperados en una cueva de Guayadeque, cuya relación exacta con los difuntos depositados en la cavidad se desconoce. Otro caso guarda estrechas similitudes con una momia procedente también de Guayadeque, se trata de un premolar dispuesto entre las pieles de la mortaja que envuelve los restos de una mujer.

FUENTES

https://www.academia.edu/.../400_a%C3%B1os_de_cronicas_de...

https://es.m.wikipedia.org/wiki/Anubis

https://imeslan.wordpress.com/2017/10/02/jucancha/

https://imeslan.wordpress.com/2017/09/19/tibicena/

https://imeslan.wordpress.com/2017/10/23/haguanran/

http://www.elmuseocanario.com/.../2020/piezaoctubre2020.pdf

#edra #perro #can #tibicena #historia #history #indígenas #indigenous #descolonizacion de canarias #canarias #cpi #icc #corte penal internacional #canarias la colonia mas antigua del mundo #onu #naciones unidas #islas canarias #international court criminal #tribunales internacionales de justicia #genocidio

[espooky]

Top5 characters from Okupas?

This is literally the best anon I've had in my life thank you ok let's get cancelled:

1. El Pollo. Sergio, Posho, What can I say, hes my boyfriend, my king, my poor little meow meow with a berserk button and a questionable taste in friendships. Honestly hes the absolute heart of the show gluing everyone together. King of tragic romances- also very much the mean streets trope of 'sleeping with your best friends cousin because you're secretly in love with your screw up best boy friend'. Just such a tragic character because you want him to get out so badly and the ONE friend he has who isnt a criminal insists on dragging him back in. The way Ricardo treated him like shit and he STILL didnt mind being stabbed for him. So intelligent throughout the whole show and makes you so frustrated because he could have gotten somewhere. Truly the most tragic character as he sees where everything is going and is powerless to stop it. The faith he has in his friends is heartbreaking.Also 2000's Diego Alonso is probably the most beautiful man in the world so I'm biased but Clara was absolutely insane to chose that other guy with actual life prospects and stuff I would have proposed to Pollo the second he offered me the cigarette.

2. Ricardo. On god I hate this little cunt SO much and still at the end of the day hes the sacrificial lamb. Normalize 3 years of studying medicine and still being a fucking idiot who thinks you can get AIDS from cocaine. Too short to hold all the anger and fear in his body but truly truly just a little shit. The bratty girlfriend who makes you bring her to the party and then immediately starts bitching that she wants to go home.Truly a summation of what it feels like to be in your early 20s with absolutely no fucking clue with what you want to do. Babygirl. A boy of contradictions. The worst friend in the world with the fattest ass in buenos aires. The origin of "why are you as a man obsessed with other men ". SO good with kids I almost cried all the way through ep 4. Smacking a guy on the back of a head and stealing a chicken funniest shit in the world that scene made me cry with laughter the first time I saw it. Okupas drinking game- take a shot everytime this kid makes the worst decision possible in the situation. Fellow pokemon and mahler enjoyer. Also I have a whole essay on how like 70% of his actions post episode 4 can absolutely be put down to trauma but that's for another time. I want to hate him so much but I can't. Would love to have seen more about his and pollos history. Love how they styled him to always look like a little kid trying to look tough and it WORKS. He is cringe he is fail and yet he is my son that I feel a need to protect.

Ok I'll be quick with the rest

3. Chiqi. BEST BOY BEST BOY. Yes he wants to buy drugs yes he wants to know what's in the kinder egg hes a man of many interests. "Lobotimia....... electroshock..." Sound of the summer. I wish I was chiqi like hes literally the best friend. Like yeah he had some level of responsibility for some of the shit that went down but still. Friend shaped, in ep 4 when he gives ricardo that big hug I've never wanted to do that tik tok project into a universe thing more. Also that time he almost beat the shit out of Walter was really funny.

4. Negro Pablo. I KNOW hes horrific but god what a fucking character. No idea what's going on in his head he literally looks like a 12 year old in his little kit but still actually manages to be terrifying. Another character, probably maybe the 4th so far in the show, where you're like "oh that's a guy repressing gay feelings". Idk hes just fucking such good fun to watch. Dante mastropierro should have worked way more after this its I'm so upset he didnt becausevhes fantastic.

5. Claudio Rissi Van Driver. Idk I always keep coming back to episode 5 and hes at least 50% of the reason. Just such a real character but also so necessary after ep 4. "In the dock you dont leave people like this" Yes hes fundamental in Ricardos downfall by giving him the advice and helping him get back at pablo but also the way he helped the boys was just idk man. He kinda sums up what's great about the show for me. Theres something about this older presence with an unconditional care for the boys that you dont get with any other character. Also he was sexy.

Honorable mentions also go to Sofía, Peralta and Clara who are great characters. Walter is not on here because although hes funny this is a Walter slander blog.

#okupas #im so sorry anon this is so late