#which is beautiful because racism IS a whole thing on it's own but it also joins up with other things and contributes to a web of things

[edenfenixblogs]

I don’t think most non-Jews understand how disappointed we are in the left right now. How completely abandoned we’ve become. How our contributions to progress for other groups have been erased or disavowed or hidden. How the actual tangible things that Jews have contributed to black rights and civil rights are being ignored. How we’re being told we contribute and have contributed nothing.

How we are being told that the world has been kind to us when it never has. As if my mom didn’t grow up getting called a Kike and getting beat up for being Jewish. How I thought I had friends until I caught them saying “xyz was beautiful until Jews showed up.” How people told me I was pretty “for a Jew.” How I grew up hearing stories about bombs being set off in Israel in buses and markets. How I couldn’t even go two weeks without hearing that and how nobody cared and somehow, every time that happened, the whole world became more hostile to me for some reason.

I just don’t understand. I don’t understand what leftists are doing. Or why. I hate that I have to say—of course, I support a free and self determined Palestine (which I truly do)—in order for you to decide I’m worthy of care and support.

We showed up for you. All of you. And the entire movement is abandoning us at best or targeting us at worst. Celebrating our deaths. Saying we deserved it. How are we supposed to trust you ever again? How are we supposed to feel safe ever again?

A very few select people who are in my life have taken the chance to actually learn about and dismantle their own unconscious antisemitism during this time. And I’m eternally grateful for them. But most people haven’t reached out at all. Most people are still sharing hateful things that could get me hurt and they don’t care. Most people Reblogging my posts are still Jews. Because we are alone. And it sucks. You need to be as loud about antisemitism as you are about Palestine or you’re an antisemite (unless you’re Arab/Muslim/Palestinian—I totally get that these groups are also doing damage control in their own communities just like Jews are).

But we are all in tremendous pain right now.

This moment will pass. And when it does, I will remember how many people let me down. I will remember that when I needed support more than I’ve ever needed it in my life, people fucking vanished. They pretended violence against my people wasn’t happening. They ignored and rewrote the history of Israel to suit their own narratives.

You don’t know what it feels like to be hated this much for opposite things. PoC hate us for being too white. White supremacists hate us for not being white enough. Europeans hate us for being middle eastern. Middle easterners hate us for being western/European. Everyone hates us for being settlers but continually kicks us out of their countries so that we have to settle somewhere else.

I saw a post going around from a Black person who said that the reason he and his fellow black activists go protest for Palestinians instead of fighting antisemitism (as if it’s a binary, which it’s not) is that Jews don’t show up. Muslims and Palestinians do. And honestly? Fuck that guy. Heather Heyer died standing shoulder to shoulder against racism in 2017. [CORRECTION: When I first wrote this post I was under the impression that Heather Heyer was Jewish. I want to correct to avoid spreading misinfo. She was just the first (and incorrect) Jewish civil rights activist I thought of. However there are plenty of other actual Jewish civil rights activists to choose from. If you have reblogged this post from me, please feel free to add a link to the permalink version of this post with my correction to your reblog.]I have devoted substantial time and effort and money that I don’t even get paid a lot of because I don’t get paid a living wage. I have continually reached out to PoC people in my life of all religions to ask how they are doing and what I could be doing to help more—both for them personally and how they would best like me to help their community. I have elevated their voices at every opportunity. And not one person I checked in with has done the same for me or for my community.

And it’s bone chilling. It’s awful. And it’s even worse knowing that when it’s over, people will want to go back to normal. They won’t apologize. They won’t self reflect. They’ll just live their lives, maybe a little more aware of how much they hate us and completely indifferent to the harm they’ve caused us. How disposable they made us feel. And the thing is…it’s not hard for you to know. You just have to ask.

Too many people are cowards. Too many people care about looking good than actually learning something or making the world better. And to those people: you should be ashamed of yourself.

I don’t have any hate in my heart. Truly. Not a drop for any group of people. But I have a tremendous lack of trust that anyone would actually lift a finger to keep me safe.

#antisemitism #leftist antisemitism #anti zionisim #I dare a goy to republic this challenge #goyim ID yourself in the tags if you reblog this #cuz i straight up don’t believe goyisch activists give a shit unless they straight up say they do #i’m not okay #honestly #this is the Nazi stuff I am most scared of #sure the Nazis rounded us up #but you fuckers were the ones who watched and did nothing #you’re the ones who voted the Nazis in #you’re the ones who didn’t stop them #fuck all y’all for real #i/p #israel #palestine #correction issued

[artist-issues]

Yeah, again, you can tell that the creators of Wish wanted certain moments to be impactful and to hit as hard as any other animated Disney movie’s moments did. But they didn’t. Because there was no convincing build-up for the moments to peak on.

You can tell which moments they are.

When Asha and the King sing “At All Costs” - If you listen to the song on its own, and you have no context (which is to say, you make up the context on your own) it is moving. Because it’s a pretty-enough song with vaguely passionate lyrics, once you assign meaning to them. But the movie doesn’t build up why this song should be an impactful declaration for either Asha or Magnifico. We already knew that Magnifico made it his job to “protect” the wishes (which are the subject of the song.) Asha, on the other hand, has only just been introduced to us, and we know she “cares too much,” so we already knew she’d protect people’s wishes. The song isn’t giving us a deeper understanding of them, or a more interesting angle to look at their motivations.

But, that’s not really the problem. The problem is that the wishes are the subject of the song. And that whole concept, of wishes being tangible objects that hold the most important and beautiful part of people’s hearts, but when they’re tangible, they remove that part from the person, is bad. It’s not good to try and build a story of stolen-treasures on.

Because that’s how they’re treated. Like treasures that the king is hoarding, after manipulating the people of Rosas into giving them up. And you know what? That’s a terrible thing to sing a protective love song to.

Just think about it this way: the story is about a King who takes everyone’s favorite keepsakes (family jewels, ornaments, old photos) and promises to protect them, but in actuality…for some reason…the moment they hand the keepsakes over, they forget whatever made the keepsake important to them. And then the King and a young woman sing a heartfelt song to the photographs and old brooches about how they will love and protect the photographs and old brooches.

Do you see why this song is pretty but not impactful in the story? They shouldn’t be singing to the wishes. Even Magnifico. They should be singing to the people. The movie plays it as if that is what they’re doing—singing a heartfelt promise of protection to a person, or a people. But that’s not what they’re doing, and do you know why?

Because the people have forgotten their wishes.

By definition, the actual human beings in Rosas cannot care (believably) about the bubbles in King Magnifico’s tower. They can only vaguely care about the chance of being happier than they are now, someday, if the wish they don’t even remember is granted. And what a terrible lesson, never mind plot point.

Anyway.

I digress. The point is, for a personally-worded, vow-of-protection-song to hit the audience meaningfully, it needed to matter to the person receiving the vow. But there is no person receiving the vow. Because of the narrative and lazy concept, only Asha and Magnifico care this much about the wishes. Because the people who made them have forgotten them. (More on this when I talk about Asha’s mom.)

When Sabino’s wish is not granted - This is supposed to be like a “Tiana’s restaurant gets taken away from her when she’s outbid” moment. The character is crushed when the thing they wanted and really believed they would finally get is taken away.

Doesn’t work in Wish, though. Because of a few things, but the main two are:

The audience has no reason to believe this means so much to Sabino because he hasn’t been shown really longing for his wish to come true.

This movie avoids any vulnerable emotion in facial expressions.

When Tiana loses her chance to have her wish come true, it is also unfair—she was already promised the property, but the brokers accepted a larger offer anyway, and it’s implied to be because of racism. Similarly, everyone acts like Sabino is entitled to (“promised”) having his wish come true because he’s so old and it’s his birthday. Plus we, the audience, know that Magnifico isn’t rejecting his wish for good reasons, and that Sabino’s wish is unselfish. So it’s meant to feel unfair and sad when he doesn’t get it, but it’s not. Not like it felt with Tiana.

Not only does the lazy concept of wishes and forgetting them once they’re tangible hamstring all of this—but the fact that Sabino has had nothing but a handful of sparse lines (ones like “we don’t know for sure that I’ll get my wish granted”) to convince us that he really cares about this hamstrings it, too.

When Tiana loses her restaurant property, it’s only about 24 minutes into The Princess and the Frog, and we have already had:

1 - A song about how hard she’s worked for it. 2 - An opening scene where her relationship with her father connects the restaurant to a deeper, more personal meaning for her.

3 - Several scenes where she is shown doing drastic things to get enough money for it; her drawer full of tip money; the two jobs she works with only a minute’s sleep in between; her friends asking her to come dancing but reiterating the fact that she often loses time for fun and their good feeling toward her because “all she does is work.”

4 - We are also shown that people don’t believe she’ll get it. The cook at her job mocks her for her wish, which makes it all the more important to the audience that she gets it—to prove the jerks wrong.

Of course, it doesn’t hurt that the restaurant is directly tied to Tiana’s character flaw AND her strengths, at the same time, so that it’s killing two birds with one stone—we’re shown who Tiana is, and we’re convinced to empathize with her when something sad happens to her.

Sabino has zero of those things going for him. No character details or set pieces to hint to us that he wants the wish to be granted so badly—no speeches about what it means to him—no memories tied to how he began to wish for this thing—because there can’t be. Because he’s spent 82 years not wishing. Because he’s lived the majority of his life totally forgetting what he wanted. You couldn’t logically show any evidence that he wanted it that much, then, could you?

So Sabino can’t be shown caring too much about not getting his wish. Therefore the audience doesn’t care either. We’re shown a glimpse of his sad face, and Asha’s sad face, and then told, “now feel sad!” But the work wasn’t put in to make it happen.

They cut their legs out from under themselves.

Now you could say, “well it wasn’t really about Sabino’s disappointment, it was about Asha’s disappointment.”

Yeah, but that doesn’t really hold up either. I’ll explain how in the next moment-that-should’ve-made-us-feel-something failure:

When Asha’s family doesn’t believe her - This scene is very clearly supposed to be like the one where Mulan has an argument with her family about her father going to war, and knowing her place, and he yells at her and she runs out distraught.

You definitely feel for Mulan and care about how she’s feeling in this scene—you might even cringe at the part where her dad yells at her. Part of that is because the scene is so well-done—there’s the buildup of tension as the camera cuts between each family member quietly drinking their tea, refusing to talk about the day’s devastating events. Then Mulan bursts out by slamming her teacup down and starting the yelling, herself, in outrage. Her dad stays quiet and steady like he has the whole movie up till now, so then when he stands up and shouts at her, about the exact thing she has been so upset over since the Matchmaker’s, the audience really feels the impact.

You don’t feel the same way about Asha, and it’s not just because her family argument scene wasn’t done as well—it’s also not just because, as you can see above, the movie keeps tiptoeing away from emotional vulnerability in the way the characters look.

It’s mostly because there’s been no impactful buildup to this scene. Again.

When Mulan has an argument with her father, you know what it means to her to have him yell at her about doing what’s right in her own place—you’ve had the whole first few scenes of the movie to convince you of it.

Mulan is upset because she wants to find her place and she loves her father very much. But she does not, ever, say the words “I love my father so much.” She doesn’t even outright say things like that before the argument. She doesn’t say to the Matchmaker, “Won’t you please give me another chance? My father has been praying about this for weeks, and I can’t bear to disappoint him. My father is a great man; he fought for the Emperor and was wounded in the wars; for his sake, can’t you help me?”

Asha does. Asha says to King Magnifico (but really, to us, the audience) “My grandfather’s wish! It’s beautiful.” And “Your Highness, couldn’t you grant his wish?” And to her friends, and to her mother, and to her grandfather himself—over and over she just reminds us with flat, “okay-we-get-it” dialogue and exposition of what she wants.

Whereas Mulan shows us. She convinces us. She runs up to her father, in the very first scene, and we’re shown that even though she has trouble remembering what she’s supposed to say to the matchmaker—even though she has trouble remembering what time it is and getting her other chores done—with this one part of her life, her father, she can remember exactly what the doctor said about how much tea he needs to drink. And she is prepared for her own clumsiness to make sure he gets it.

And even after she doesn’t get what she wants, and is shown to be so ashamed she can’t even look at him (because that’s how much she loves him and cares what he thinks) the only thing that makes her feel better is when he carefully compares her to a late-blooming flower and basically promises that he believes in her, anyway. We know how much Mulan cares about her father because we’ve been convinced by the way the movie artfully and carefully shows it.

We also know that she cares about knowing her place, specifically because of her family’s wishes for her. So all of this combines to prove to us that having her father shout at her about knowing his place and why he’s going to die willingly is a devastating thing for her. Enough for her to run out of the house sobbing and cling to a pillar as if she can’t hold herself up.

But when Asha runs out of the house (barely sobbing, just kind of breathing fast, because there’s no vulnerability in this movie) and stumbles up to a tree in the same way, we don’t really believe something so devastating has happened to her.

Everything happened too fast. She just kept saying she cares about Sabino’s wish coming true, and that she loves him. When he explodes at her (and really out-of-nowhere asks if she wants to “break his heart”) it’s the first time he’s shown any kind of intense emotion, either toward her, or about his wish.

There is no build-up. So it just feels awkward, and kind of like a high school production where one of the kids hasn’t even been trying to act, but in one scene, he suddenly starts yelling because that’s what his character is supposed to do. And it’s just cringe because you haven’t seen that level of energy, happy or sad, good or bad, at all up until now.

And that’s a problem because it leads right into Asha’s “This Wish” song, which is supposed to be like her “Mulan riding off to war” moment. But it’s not set up well by the emotions tied to the family argument, or the emotions tied to the conflict with the King, so you don’t really care.

Moving on to the next emotional-moment failure:

When King Magnifico threatens Queen Amaya - I don’t have much to say about this one; I think you’re getting the point. When there’s nothing but bland words and one-liners spoken to convince us that the characters are thinking and feeling how they’re thinking and feeling, moments like this one just feel boring and forced. And try-hard.

Like, the lighting? The music? Fine. Good. When he points his new magic wand at her threateningly, and clearly appears ready to betray her? All that stuff is fine. It just hasn't been built up to, so it doesn’t hit.

It’s like, “that’s it?” He just says one line about, “Are you betraying me?” And she pours forth a bunch of lines like “no I’ve always believed in you and in Rosas.” And then he’s basically like “okay, I’m convinced, moving on” which of course is him already knowing that she’s betrayed him and already having a plan to trap Asha…but still. From Queen Amaya’s point of view, there’s nothing emotional here.

We’re supposed to believe they’re madly in love and that she trusts him wholeheartedly, so that when he falls to dark magic and she chooses to side with Asha it’s this big moment. But it happens so fast.

There’s no moment where Queen Amaya grieves her husband. There’s no real sense of loss, or even of impactful betrayal. The voice actress delivers every line like she’s trying and failing to feel what the character feels as she reads the lines to a 5 year-old who needs every concept spoon-fed to them.

And King Magnifico drops her like a bag of dirt instantly. No sense of loss from him, either. He’s not even condescending to her, like, for example, Mayor Lionheart was to Dawn Bellwhether in Zootopia. Or like Jafar was to Iago. All of those things would’ve made their quick severing of bonds to each other make more sense.

But we’re not shown that Queen Amaya has sensed any darkness building in her husband over the years, and is just now realizing that this is the last straw and maybe he was never the man she thought he was. She treats him like she adores him (blandly) for the whole first half of the movie. No hint of doubt. Even when he goes for the forbidden book the first time, she easily convinced him not to and then wandered away like “well, took care of that.”

When Asha’s mother loses her wish - The biggest problem with this moment is still lack of buildup, and that is because the tangible-wish forgetfulness thing is stupid as we’ve established. We don’t believe she feels grief, even when she says she does, because we don’t know this woman at all. We don’t know what she wants, or how badly she wants it—we certainly don’t feel that she’s been missing her wish.

But the other offenses are worth mentioning. When Asha’s mother’s wish is broken by Magnifico, she just…gasps. And her father-in-law says her name, and Asha yells something typical like “no!” She looks a little weak in the knees, like maybe she can’t walk for a second, so the 100 year-old man supports her.

But the cameras spend no time on how this is affecting her. The shots of the family escape in the immediate aftermath of this world-shattering thing don’t let us see Asha’s mother’s face. Not that her facial expression is that devastated, anyway. It’s just “typical sadness” expression. There’s a shot where they’re going from the house to the stolen horses and if I remember correctly, Asha’s mother has her back to the camera the whole time; I was looking at her because I was like “something devastating just happened; this is the most interesting part of the scene.” But there was nothing to see.

They could’ve had her visually turn grey. They could’ve had her go mute, stare off into space, suddenly become scarily unreachable. They could’ve had her weeping uncontrollably. They could’ve just had her go catatonic—after all, we’re supposed to believe that even the chance of having “the most beautiful part of her” returned to her heart was just destroyed. Wouldn’t that logically make a person…cold? Calloused? Unfeeling? Uncaring? But no. She’s as just keen to express concern for Asha and apologize for being wrong about Magnifico and urge Asha to keep believing in herself, passionately, as she would’ve been before. No big deal, just lost the most beautiful part of myself forever.

Doesn’t help that we never knew what the mom’s wish even was, so even we can’t miss it.

So when she gets her wish back at the end, and she’s like, “come home.” It’s just…cringey.

When Asha convinces the crowd to wish for Magnifico’s defeat - The idea of the movie is that “the power of the stars is in you because we all came from stardust, so keep wishing and working toward it even when it’s hard.” So this moment is supposed to be impactful.

But it isn’t. Because that kind of thing isn’t impactful. They literally sing a song, glow, and Magnifico is defeated. Even if we were supposed to believe Star was dead, and this is bringing him back like Tinkerbell coming back to life, it’s still not impactful. Because one, it happens way too fast. And no character really emotes about it, like Peter did when he thought Tink was dead.

Two, that hasn’t been the point of the whole movie; the main character never had trouble believing that she was powerful enough to enact change. She barely doubted her own wish. If they wanted us to be excited that she could win based on the stardust in her heart, and in the kingdom’s hearts, alone, then they should’ve given us several scenes where it’s like “Asha is relying too much on Star’s power.”

But no, doubt and disbelief and reliance were never character flaws of hers for this moment to overcome. She doesn’t really have any character flaws, let’s be honest.

Even if you want to say “well sure, Asha didn’t doubt her own power, but the kingdom did! Otherwise, why would it’s citizens have put so much reliance on King Magnifico?” Okay, that’s nice, but 1) that is never solidly or impactfully alluded to in the story, beyond jokes about how handsome they think the king is and the literal plot point of trusting him with their wishes. And 2) having a whole kingdom of background characters believe something false and then get their minds changed in a split second is not nearly as impactful as having the main character’s mind changed first—and then she passes that knowledge on to them.

Like Judy Hopps learning to try to understand Nick, then encouraging all of Zootopia to try and understand each other. Like literally any good story where a whole kingdom needs to realize something.

Also it is never a good idea to defeat your villain just by singing about how you want to defeat your villain. Nobody should have to tell Disney that. They wrote the book on this.

But this movie was made by a company that no longer knows itself.

I could say more, like about the moment where Asha supposedly is at her lowest, or the part where Star “leaves,” or when her friends work together, or the “Knowing What I Know Now” song, but it’s all the same problems.

#Wish #Disney’s wish #character analysis #meta #Mulan #Disney’s Mulan #Disney #wish Disney #wish movie #animated movies #spoilers #review #Valentino #Asha #ariana debose #Disney’s the princess and the frog #the princess and the frog #Tiana

[lunareiitic]

CANTO 4 SPOILERS BE WARNED

I think it's really interesting (and clever) that we're a third of the way through Limbus' plot (theoretically. 12/4 = 3 after all) and we've split the focus characters in half based on who is actually growing because of their Canto and who isn't, while also showing multiple narrative ways to show that progression (or lack thereof).

Gregor and Rodya have already done their growing. Gregor's a war veteran whose traumatic past should be long behind him, and his character didn't shift after his Canto. His refusal with regards to the whole Yuri thing wasn't a shocking twist, it was the culmination of years of rejecting the life that his mother made for him.

Rodya rejects the idea that she has to develop as a character entirely. Canto 2 is mostly a celebration of Rodya- she makes her own luck and doesn't require these things like "character growth" and "dynamics". She was a one woman wrecking crew then and she's one now, plans and friends be damned. It's why she's able to reject Sonya's olive branch: he's predicating his entire plan on the idea that Rodya would have learned from the Tax Collector Incident. But she didn't, and she knows that.

Sinclair's Canto 3 marks the first Canto where we're actually examining the failings of a member of the team. Sinclair's immaturity, fawn response and unwillingness to take responsibility did directly lead to all of the bad shit that happened to him. Even if Kromer would have done it anyways, Canto 3 takes Sinclair to task for what he did, but in the end, he can't follow through. It's beautiful and tragic that he needs Demian to bail him out of what should have been his cathartic moment of triumph. Sinclair's growing is actively still happening. Canto 3 is only the beginning.

Which brings us to the most recent Canto and Yi Sang. Yi Sang in hindsight is the perfect character to follow up Canto 3 with because Yi Sang is essentially Sinclair if Demian wasn't around. Yi Sang's narrative is about apathy and passive suicidality- he doesn't care what happens to him because life has lost all meaning to him. Sinclair still has some fight in him, all Yi Sang has is ashes. Or so he thinks. Dongrang and Dongbaek are characters who will never move on from their past, despite what both of them think. Yi Sang, through mirroring them, ends up with the most radical character development we've seen so far: true catharsis. Unlike our three previous characters, Yi Sang's Canto manages to get down to the core of his issues and he's able to understand what he must do to get better and does. He conquers Dongbaek (embodiment of rage) and Dongrang (embodiment of despair) and ascends to a place of healing away from them. This is a very conventional, classic character arc structure seen in fiction since the dawn of time, it's classic because it works. But it feels so refreshing and new here in Limbus Company because we waded through three quagmires of difficult regrets, abuses, and traumas that refuse to be handled so easily. Given that our remaining characters are based on murderers (Hell Screen, The Stranger), self-saboteurs (The Odyssey, Moby Dick, Don Quixote, Faust), and the legacy of racism (Wuthering Heights), I'm betting that Hong Lu's might be our brightest spot moving forward. (But who knows. They could give us another goofy Canto out of nowhere like they did in Canto 2. Limbus Company contains multitudes.)

#limbus company #canto iv spoilers #unrelated but it was also so so so funny that yi sang is canonically some kind of heartthrob for toxic science men like. gay helen of troy #I haven't read dream of red chamber because holy shit its long and in a language I can't read but I know it's much less hardcore than- #-hell screen or the stranger or crime and punishment etc

[blueteller]

So, Let's Talk Themes in TCF!

"Themes" is such a weird topic for me, not gonna lie... I always feel like it's something you're just supposed to know and feel instinctually – like rhythm in dancing. Which, btw, I'm not really good at. So it's difficult to talk about without that background anxiety that I'll totally flop and miss the point, despite my best intentions.

Still, I decided to give it my best shot anyway, and try to decide what "themes" there are in "Trash/Lout of the Count's Family", and why I like them, because that part is subjective and thankfully, I can decide without freaking out over the "correct" answer.

First, let me make one thing clear: I don't believe TCF was written to convey a single theme or idea. It's an adventure story, and it's supposed to be pure fun. Which it is!! But nevertheless, there is a lot of effort and thought behind it, and I believe that thoughtfulness from the author manifests itself clearly in the overall work, so it's definitely worth talking about.

Now, with that lengthy explanation of what I'm going for out of the way: what are the themes in TCF that I noticed (and like)?

Found Family

Beloved Hypocritical Hero

Overcoming Prejudice

Victory in Working Together

What makes Humanity, what makes a Monster

Healing and Moving Forward

Misunderstandings

Found Family is the most obvious theme, overall, so I don't think it requires much explanation. Cale doesn't "find" his new family on purpose as much and trips all over them, on total accident – then proceeds to adopt them all, despite his inner monologue telling the readers over and over that he intends no such thing. It's pure comedy, but it's also incredibly wholesome and heartwarming. Cale has the biggest, softest heart of them all, and he's the only one who doesn't see it. I wanna squish his cheeks and coo over how cute he is most of the time.

Beloved Hypocritical Hero is the second theme, which isn't apparent at the start. Cale's biased inner monologue does his best to convince us that he's totally selfish, and doesn't intend to be a paragon protagonists who selflessly helps others in the slightest! ...However, over the course of the story it becomes clear that Cale is one, big, fat, liar. He is exactly the sort of hero he constantly denies he is. His whole spitting-blood-from-power-overuse act practically became a meme at this point. Still, despite how frustrating Cale's blatant hypocrisy is, we can't help but love him all the more for it. I'd like to say that he gets better overtime, but.... yeah, personally, I don't see much progress on that front. He did promise Raon he won't get hurt one time, and he managed to keep that promise, but then he (spoiler alert) went ahead and stabbed himself right after, so. Yeah. Cale is a hero and a hypocrite and we all love him. That's definitely a major theme in the story.

Overcoming Prejudice is the best way I found to describe the whole plot of "anti-darkness attribute" propaganda in TCF. What I love about it is that the author found a much more interesting way to convey the theme than just make it about "fantasy racism". It isn't just about the Dark Elves, it's about Necromancers too, and all people using dead mana. The best part is that dead mana is, in fact, used by the very higher-ups who spread the prejudice in the first place, proving without a doubt that it's all 100% hypocrisy and there is nothing wrong with dead mana in the first place. It's all propaganda, and it serves a purpose. The true beauty of this plot unfolds when the Sun Twins show up, and Cale brings in Mary to help Hannah with her dead mana poisoning. Jack goes through an entire arc of realizing what "true light" is, and that despite the "voice of the Sun God" constantly ringing in his ears to eradicate all darkness, he comes to his own conclusion that it isn't what the power is, it's about what ones does with the power. It's just, beautiful. I feel like that part of the story doesn't get enough credit. Mary is one of my favorite characters, and Jack and Hannah combo is amazing as well. Definitely one of my favorite plotlines in TCF.

Victory in Working Together is another obvious theme throughout the story. It isn't just reserved for the good guys, either: the bad guys have a ton of alliances, too. The difference is that the good side is based on genuine intent, without stabbing each other in the backs, while the bad guys only pretend as long as they need to, then throw away their "allies" to the wolves when it's convenient. It's portrayed less as a "message" and more of a purely pragmatic fact: to get anywhere, you need to have support. Cale knows this from the start, which is why he manages to make so many allies in such a short time. This theme is simply about being able to overcome the biggest of obstacles, as long as you honestly work together with others and put all your effort into it. It is the simplicity of it makes it so effective, in my opinion.

What makes Humanity, what makes a Monster is an interesting one for sure. In a world full of so many interesting races, the final boss is – always – human. Be it Venion Stan, Redika, Prince Adin, Queen Elisneh, the White Star, or even the Sealed God – all of the main villains are either purely human or started off that way. I think it's very much deliberate, in order to show how what makes these people evil isn't some in-born characteristic; but only their choices. Not to say that non-human characters aren't ever bad, of course not – there is a bunch of evil non-human characters all over the story. But evil, true evil, is always a choice. And thus, non-human characters who choose good are more "human" than the "monsters wearing human skins". I won't call it an allegory, because it isn't even as indirect as that: it's a fundamental truth of life that the only real monsters are people who are rotten on the inside. And since the author put so much effort to make all the fantasy races in TCF feel very much human-like, it only makes sense that their choices is the thing that makes them evil, not their race. Even actual Monsters aren't all pure evil in TCF! I truly appreciate it. It's such a simple concept, but it works extremely well.

Healing and Moving Forward is one of the themes which honestly melts my heart. It doesn't simply apply to Cale; it applies to everyone in the cast. Everyone in Cale's group comes in damaged, scarred, hurt or threatened in some way, and comes out better in the end. From the children, to the adults, the entire group heals through their "Found Family" and their quest to defeat the evil forces threatening their world, in order to achieve a peaceful, happy future. Every time we see the evidence of it – like Cale admitting his life is precious, Eruhaben agreeing to extend his life, Choi Han attribute changing, and so on – it feels like an amazing triumph, and yet completely natural and earned. One could simply call it "good character development" and move on, but I see a commond trend and it deserves to make itself a theme of its own. It's not just about everybody finding their place in the family: it's about them growing as family. And doing so, despite their traumatic pasts. And since I once called Cale a "poster child of trauma", it's no wonder he's the one who has the most of "healing" and "moving forward" to do of them all. I hope it continues all throughout book 2!

And of course, I saved Misunderstandings for last. I think the name speaks for itself. TCF is practically a comedy built upon misunderstandings; except misunderstandings of the BEST kind. The misunderstandings where people look upon Cale – tired, in-denial, clueless Cale – and see whatever they need to see the most in the moment: a saviour, an inspiration, a leader, a friend, a parent, and so on. Many misunderstandings result in people seeing Cale in too-good-to-be-true light, which is always funny (Clopeh instantly comes to mind). The thing is: Cale deserves most of it, even if he doesn't believe so. Because it's not about what Cale actually is that matters in those situations: it's about what others need. Cale inspires just by being, well, himself. And that inspiration is what changes people. It's Cale doing his best and affecting others, that makes all the huge waves of change. In my opinion, there is no better misunderstanding than one which results in inspiration: because even if "truth" was revealed later on, the effects of it were 100% real, and something to be grateful for. Imagine if you had a terrible day, and you suddenly saw someone smile at you, and you felt better. Even if the person wasn't actually looking at you in that moment – that doesn't matter!! What matters to you is that your day DID get better, and that person was to thank for! That's the beauty of TCF's misunderstandings. Cale will never truly comprehend the gratefulness of others, without understanding how he can affect them without even trying. ...Then again, his obliviousness and hypocrisy is one of the many reasons why we love him 😊

Let me know if there are other themes in TCF you like!

#tcf #trash of the count's family #lcf #lout of the count’s family #tcf meta #themes #story themes #analysis #character analysis #misunderstandings #cale henituse #tcf mary #the sun twins #tcf jack #tcf hannah

[golvio]

So I've got...some complicated feelings about this. Some of them more analytical, some of them more personal. I get pretty long-winded when I think out loud about this guy, so I'm putting my thoughts behind a cut.

On the one hand, I definitely noticed that TotK's Ganondorf was more preoccupied with his appearance, not necessarily in a stereotypical "vain villain who never shuts up about how beautiful they are" or a "gym bro who spends more time checking himself out in the mirror than actually working out" sense, but in a "he's very conscious about the image he projects and wants to maintain careful control of how other people see him at all times" way. I'm glad I've got confirmation that I wasn't just seeing things. Also, that TotK discusses how he uses attractiveness to manipulate people, as implied with how he portrayed "Princess Zelda," had some really interesting implications about his life as the Gerudo king and his personality and skills in reading people that Nintendo never followed up on, because god forbid we give this character any recognizable traits that could inspire curiosity about who he is as a person or discussions about gender roles in ways that aren't "He pretends to be a cute little white girl because he's an Evil Degenerate."

On the other hand...it kind of contributes to the way I've been weirded out by how the game itself treated him and how certain fans treat him. The game itself made a lot of effort to dehumanize and un-person this man as a character even while making his human form visually appealing. The fans themselves are celebrating this a validation of their seeing him as a sex symbol, calling him "a bi icon" because both men and women are attracted to him, etc.

Like...there's all this discussion about Ganon's appearance and how sexy people find him, but not much consideration of what *he* might want, or how he feels, or what he's attracted to. I know that's kind of a goofy question to ask about a fictional character who can't really have opinions on things beyond what the writers give him, but...it's just kind of...objectifying?

For example, I don't take any issue with headcanons that Ganon might be bisexual, or at least enjoys the attention he gets from people of any gender, since I've got my own headcanons about him being queer, but I do get weirded out by the assumption that just because both men and women find him attractive that means he *must* reciprocate their desires and be bisexual. It's the same thing that weirds me out about fan art pre-release that portrayed him as this airheaded himbo jock because fans wanted to ogle his sexy body without having to deal with his intelligence, his anger, his negative qualities, or his potential dangerousness.

There's this tendency to objectify him in both the game, whether as a "monster" to slay to prove the player/Link's mettle as a hero, or as a trophy to symbolize Rauru's dominon over the frontier territories of his kingdom. And then there's a tendency to objectify him in fandom, presenting him as a pinup devoid of his original personality, or trying to shape him into a "good Ganondorf" that the fans would actually like to be friends with by sanding off all his sharp edges so they can access his body, which they find beautiful, without having to deal with the parts that might complicate that or that they'd dislike.

Fandom as a whole seems to have a blind spot when it comes to the objectification of masculine characters, particularly because it's like, "Oh, BOYS can't be objectified! Only pretty (white) ladies can get objectified!" Nevermind that objectification is a phenomenon that's super commonly done to nonwhite men in tandem with the more overt and violent dehumanization that comes with racism, especially men with darker skin. And there doesn't seem to be much of an interest in exploring what that might mean for Ganondorf as a character, whether just as discussing double-consciousnesses and exploiting expectations to manipulate people, or to explore how being treated like a piece of meat or a pretty ornament who exists only for other people's pleasure can really warp a person.

I guess...this is something I've been thinking about since playing Slay the Princess, which asks a lot of questions about objectification, how people's complexity can be dismissed and ignored when they're shoved into the Love Interest archetype, and how being limited in this way in the eyes of others can seriously hurt and warp someone even if it's being done in the "nicest," most paternalistic and "benevolent" way possible. It presents the core relationship as being a fundamentally unequal power balance; no matter how fearsome and terrifying the imprisoned party becomes, she is always at your mercy, she lives and dies based on the choices you make, and the "nicer" routes are potentially just her saying what she knows you want to hear and auditioning for your sympathy because like it or not you're her warden. It also forces you to ask yourself what makes you come to love somebody, and to consider the possibility of loving somebody while also acknowledging their thorny, messy, contradictory, and dangerous parts. I wish I could see more works considering this for Ganon, as opposed to regurgitating tired old "Destroy This Mad Brute" tropes or turning him into a "safe," palatable, easy-to-digest love interest.

#loz thoughts #ganondorf #racism mention tw

[majorbaby]

i was going to make a video compilation but actually i think that would give MASH too much credit or make it seem like I really think this show did generally well by race and racism, plus I can't go back and edit a video if I change my mind at any point. so here's my text-based list of race moments that actually land for me, whether intentional or based on my personal interpretation.

s01e05 The Moose - which is mostly a white saviour episode but actually does do a few things right:

this moment of solidarity between Oliver and Young-Hi

in response to the Swamp Rats' indignation that anyone would sell their child into servitude, Ho-Jon explains very frankly "Well some of the locals sell their kids for money Hawkeye, they have no other means." - not to say that it's right that Young-Hi's parents did that to her, but like, they didn't sell her to get rich, they did it because they're likely living in poverty and they have other younger children to support

Young-Hi cheekily explaining in her letter to Hawkeye "heehee the nuns have no idea I'm Buddhist" she's taking them for a ride, it's great

and Young-Hi's "I am also very beautiful!"

s02e15 Officers Only

Hawkeye introducing a black enlisted man as his brother-in-law - soooo very recently, like I argued this at the mic at my last convention, we've started to rethink the use of"brother" and "sister" to refer to your union comrades has start. if your boss caught you organizing with a friend after work, you would say "oh that's just my brother/sister". arguments against this are gaining traction now because of growing awareness of non-binary people but tbh it should have never been a thing it only protects white people who can reasonably pass as siblings, if you're black or brown you're SOL (as you usually were anyway). so anyway. this is a long ass paragraph just to say that Hawkeye saying " brother-in-law" in the union episode of MASH makes me feel ways. someone was thinking about intersectionality way back then.

s02e19 The Chosen People

Sam Pak in OR at the beginning of the episode, thanking America for saving Korea "from the bottom of our bomb craters." and also just generally making jokes that actually land about the Korean language because he's the one making them, "Pish-posh? That's my mother's family name"

tbh Sam walking around like he owns the base is pretty great in general

s05e08 Dear Sigmund

Klinger: Smaha! Smaha! Potter: [to Private Habib] What'd he say? Habib: He said "Smaha! Smaha!"

If it is Arabic it's funny because Potter assumes Habib will translate and he just repeats the words in Arabic because that is what Klinger literally said. If it is gibberish it's funny because Potter assumes its Arabic and Habib gives him the gibberish. This is one of my favourite gags in the whole show and fun fact also the moment I realized Jamie Farr must be a native speaker because his accent is so natural. It's pretty cool he got to flex that.

s05e11 Hawk's Nightmare

this is just me, but I love that Hawkeye describes the people of Crabapple Cove as never changing colour, always the same "off-white" - this was a time you almost never heard white people acknowledge their whiteness, except when speaking about racism. really struck me the first time i heard it. probably my favourite thing from Hawkeye re: race and it's not intentional. I definitely prefer it to his white saviourism

s06e08 In Love and War

the exchange between Kyungsoon and Hawkeye where the extent of his naiveté is put on display, "You're being awfully practical about this" "I thought you liked that about me [list of things she had to do for survival that Hawkeye initially admired in her but is now throwing in her face]"

episode ends in Hawkeye having to accept that sometimes love is irrelevant, the circumstances are what they are (the love was there and it didn't matter, but it was there) - this imo is the only episode of MASH that even begins to touch on the realities of being a Korean civilian in the war

s08e03 Guerilla My Dreams

the gang fails to save a woman from being taken away and she will likely die, as would've probably happened irl. sometimes being on a sitcom isn't enough to save you from your fate as a prisoner of war and it was good to be reminded of that for once. it's the white saviour trope averted.

s08e08 Private Finance

I can at least appreciate that this time when someone is explaining how all sides of the war are to blame for the scourge of war, it's a young Korean girl in her own words. rest of the episode is questionable but normally such a line would go to Hawkeye.

s08e15 Yessir that's Our Baby

the Korean official biting back when Hawkeye tries to accuse him (on behalf of the country) for not recognizing mixed-race babies as Korean, stating that neither does America recognize mixed-race babies with American fathers as Americans, unlike France and the UK

s11e01 Hey Look Me Over

this episode is textually about the very specific and not uncommon experience of being desexualized as a fat, Asian-American woman - it deserves a proper episode recap/analysis with that lens and I'm planning on take a stab at it if/when I ever get around to that ep in my rewatch. these stories were not being told in mainstream media until like, five years ago. there are some the hypersexualized or fetishized Asian woman in media and usually the movie/show/comic is doing that as a selling point rather than commentary. it's unfortunate we haven't progressed much since that moment 40 years ago.

[citation needed, cannot remember the name of the episode]

while admitted a Korean doctor tells Hawkeye he wishes things were different and that he could work alongside Hawkeye and BJ and Hawkeye asks with perfect American ignorance (paraphrase), "You'd want to do that?" and he responds, "You treat the enemy, why can't I?"

And finally, Soon-Lee and Klinger in GFA, a little bit in As Time Goes By. I started writing an essay on Klinger as the romantic lead of GFA but I think I'm going to try to make it a video essay so I can include clips from the show without having to make a bunch of gifs.

But in a nutshell, Klinger gets to do stuff in GFA that the often emasculated brown man still doesn't get to do much on television. As MASH progressed we did occasionally get to see Klinger take on a more serious role, Alan Alda has spoken on trying to do that for the character rather than rehash dramatic plotlines for Hawkeye or BJ who got plenty of their own.

Having Klinger represented that way gives audiences a chance to see him more three-dimensionally. As someone who is capable of romantic love, attraction, courage and someone who might be sexually desirable to others - in a less direct way than Kellye demands of Hawkeye in Hey Look Me Over. I think the lack of subtlety in Hey Look Me Over is great because there can be no question about what that episode is supposed to do and also because it drives home that Hawkeye is so blinded by his preconceived notions of what a "desirable woman" looks and sounds like that Kellye has to scream it in his face before he realizes what he's been doing. But it's also nice to have an example that's woven into the writing and cinematography.

Normally I don't like to add these kinds of disclaimers because I value open conversation but if you're rb'ing, please be mindful of your tags. I intentionally excluded a lot of the moments where I know I'm supposed to give this show an A+ for its progressivism when it has a white person demonstrating basic human decency. That bar is just too low for me.

#race on mash #re: mash

[mariailoveyou-guerin]

People still making Mariana out to be the devil is so funny to me because they love white woman who do worse let’s say Georgia from G&G the same people who love her and think she’s badass amazing mother for doing everything children also love and watch Bridgerton but are call marina most vile cruel things all bc she too wanted to do what was best for her and her child everyone and their mothers how much I love and will die for Penelope but even she’s done unspeakable things to Colin Eloise and his family but they still ship her with him but Marian tries to trap him and she’s the demon span or the devil himself it’s so hilarious to me because it’s not them looking out or caring about Colin it’s them being flat out racist and they act like we don’t see it and pretending to hide their hatred for marina by saying she’s not a good person like ma’am neither is pen when she’s writting most cruel things about the guy she loves and his family and Mariana just say y’all racist and hate Mariana bc of misogynior and go stop hiding behind wanting best for Colin cuz my perfect baby still wanted to marry her and liked her even when pen told him about Mariana plans he understood her and acted like the perfect gentleman he is so don’t even pretend to be doing all that hatred and cruelty and name calling in Colin honour bc he would spit on your face if he wasn’t such a perfect gentleman!

It’s not shocking that a yt show has so many old hag yt woman hating on the one and only black character in a world they think black people don’t belong or shouldn’t be in because it’s not historic accuracy or whatever or don’t think black people don’t exist I haven’t seen polin stans hate Kate but I think they would’ve if she was somehow in the way or was an interesting enough character that was getting attention just because it’s taking away from their self insert yt girl they identify with (bc men probably never looked at them and they feel like Penelope book version at least with how she looks down on herself in comparison to other girls and the men thank god tv pen is amazing badass queen who has her own flaws but bigger better complexities) being centre of the story thankfully was so bland and boring she couldn’t take attention away from anything or anyone which is shame for an actress like Simone!

I don’t even know or like marina or if her name even is marinina because I’ve only seen s2 and I’m pen polin Edwina and Benedict person do not care about anyone else but them and ofc the queen the OG queen ofc! I just think it’s tired seeing so many polin editors making marina out to be devil all bc she lied like my best beautiful hiro Penelope ain’t been lying to her men and bestie for years the hypocrisy the double standards and the obvious racism and misogynior of it all makes me sick to my stomach y’all don’t like her and you are getting your polin season and she ain’t even there nor has she been a problem so why y’all still on her ass it’s weird and it’s showing y’all loser insecurities over a character that’s no longer there who was never ever a thread because show keeps sticking to the books ending so let the girl go and leave in leave and stop this very obvious racism as pen fan y’all make me sick!!

What gets me the most is they like Anthony of all men Anthony the most horrible vile character on that whole show but wanna speak on marina please it’s plain and simple racism anti black and misogynior the end stop lying to yourself making excuses shes mean cruel nah it’s not that it’s bc she’s black and dared to get with ur yt boy fav Colin and tried taking something y’all think belongs to ur yt girl self insert fav Penelope simple af!

#penelope featherington #colin bridgerton #bridgerton #polin #georgia miller #ginny and georgia #marina thompson #gng #misogynior #anti black #kate sharma #luke newton #benedict bridgerton #edwina sharma #anthony bridgerton anti #anti anthony bridgerton #anthony bridgerton #simone ashley #nicola coughlan #this hatred for marina bc she lied while loving pen yeah call it racism and go! why y’all on her dick still she ain’t even a threat or there #anti blackness #anti blackness in period drama isn’t the most shocking thing ever #it’s the same lame excuses they make on why they don’t like the only black female character who’s made a simple mistake but love the horrib #trash yt boy character who’s done so much worse ruined lives and can sympathize with almost as bad as wocc yt girl but won’t do it for woc

[nkjemisin]

ooh i saw your tags on a post about horizon forbidden west! do you mind me asking, what didn’t you like about the game? was it some of the writing or characters? my guess would be the Ancestors and/or Sylvens….. but i admit, the plot was secondary for me because I was having so much fun running around as Aloy: riding sunwings and exploring subterranean Las Vegas and swimming in the San Francisco Bay. and like you said, it’s SO visually beautifully, so i have on rose-colored lenses when it comes to both games. but i’m always interested in what other folks think about them because no game is perfect. anyway thanks! :D

Well, I tried to explain this once before and Tumblr ate it; let's see if I can do it this time.

My biggest issue with the game was that it had worldbuilding fails in specific areas -- namely wherever the devs were reluctant to let go of their own culture. It's a common flaw in worldbuilding that I talk about all the time; I did a Masterclass that addressed it in greater depth, but since I can't share that, here's a presentation I did a few years ago. (Note that the slides are meant to be accompanied by my verbal explanations and examples, so if something's not clear, that's probably why.) Anyway, in that presentation, I don't really have a name for this "fear of straying from the familiar," but I note that it's everywhere in SFF, and it's one of the reasons that so many "original" fictional cultures end up feeling like "us all over again, but they wear funny clothes." Usually those "us again" cultures feel a lot like medieval Europe, specifically, for reasons of historical racism and Eurocentrism -- and in the game, that's the Quen, Oseram, and Carta. Like, clothes aside, Avad was more Louis the XIV (also called the Sun King) than Rameses II or Moctezuma -- and there was no real reason for the Carta to feel familiar at all. And I'm pretty sure this is also why the few societies which structurally resembled any Indigenous American cultures (Tenakth, Nora, Banuk) were framed as innately tech-backwards and dangerously superstitious -- because that's how white supremacy and scientific racism have taught us to think about them, even though many Indigenous societies had tech advancements colonial Europe hadn't mastered (offhand: public health and sanitation, agricultural techniques, land management techniques that are damn near terraforming, much more). But it fit the pattern: all the places where the worldbuilding fell flat were where the creators could not for whatever reason give up the things they found familiar and comforting about our current world, whether they made sense for the future or not. I also think this is why the story in the second game landed squarely on racial and gender/sexual tropes that most writers know better than to deploy unironically these days, like The Black Guy Dies First and Depraved Homosexuals, and more. And I think this is the source of the game's cringier moments, like the weird nostalgic paeans to Vegas and the US military.

Then there's the game's United Colors of Benetton-style handling of race -- lots of superficial diversity, but a curious aversion to exploring its implications in any meaningful way. There was none of this aversion when it came to exploring disability, class, or sexuality. And meanwhile they can animate every strand of Aloy's flowing locks, but only one character gets kinky hair? (Why would anybody remark on Aloy's hair color when Varl is the real hair-unicorn in this game?) That made it obvious that the problem was unease with the whole concept of race on the part of the decision-makers, in-game and IRL.

So tl,dr; the devs couldn't or wouldn't decenter themselves, and so sacrificed story quality and plausibility in order to maintain completely unnecessary Americentrism, jingoism, patriarchy, capitalism, etc.

Now, I want to emphasize: I also play the shit out of this game, and will buy the third game whenever it happens. It is genuinely beautiful and mostly does a good job of creating a world that feels plausible and lived in. It comes so close, in fact, that I suspect editorial interference; that is, I suspect some of the flaws I see were inserted by non-writers at the company, because they're too glaring for writers of any skill -- the skill necessary to make everything else we see in the game -- to have missed. Maybe I'm letting the writers off too easy, but I always try to remember that writing within a corporate environment for a multimillion dollar investment, with decision-makers whose egos must be appeased, is a whole other ballgame from writing for yourself. But it's frustrating to see good writing, and see so obviously that it could've been great writing.

Well, maybe in the third game.

ETA: Minor edits for clarity, because that’s how I roll.

#answered asks #gaming #horizon zero dawn #horizon forbidden west #long post

[froggos-are-superior]

Iron Widow is both a masterpiece and my new hyperfixation. It's such a complex story of fear, hatred, betrayal, sacrifice, and revenge. The whole story is set in a futuristic China with political undertones, a not-so-subtle violent patriarchy, and the cruel discrimination of racism.

What I love so much about it is that the main character, Zetian, is violent and furious and unapologetic. She doesn't get a redemption arc. Which is beautiful.

Redemption story, they said?

There will be no redemption.

It is not me who is wrong. It's everyone else.

She refuses to confine to anyone's expectations, even those of her allies, and it makes her so much more complex than your typical heroine.

She can make allies, and even fall in love, but she is not swayed or controlled by anything, or anyone. She is always willing to put herself and her values first and that is so damn intriguing.

But I have no faith in love. Love cannot save me. I choose vengeance.

It addresses all the issues of being a woman, and even in a futuristic society, the parallels to the modern world are breathtaking. One thing I'd like to point out that I think was so well written was how it's shown that even though women are so heavily discriminated against, that doesn't stop women from siding with their persecutors.

I don't know if it's more sad or harrowing that [my mother]'s been crushed into dust by marriage, yet is ecstatic to see the same hammer swing toward me.

In hindsight, I was such a fool to have assumed Qieluo would stand by me just because she’s also female.

It was my grandmother who crushed my feet in half.

It was my mother who encouraged me and Big Sister to offer ourselves up as concubines so our brother could afford a future bride.

It was always the village aunties who’d sit around gossiping about which girl hadn’t been married off yet, despite complaining nonstop about their own husbands. And then they’d congratulate new mothers for being “blessed” to have a boy, despite being female themselves.

How do you take the fight out of half the population and render them willing slaves? You tell them they’re meant to do nothing but serve from the minute they’re born. You tell them they’re weak. You tell them they’re prey. You tell them over and over, until it’s the only truth they’re capable of living.

Is this the real reason she urged me to make up with my family? So they could be used to control me? I can't believe I've done the one thing I've raged at everyone else for doing: underestimating a woman.

The entitled assholes of the world are sustained by girls who forgive too easily.

Even with the heavy topics, it's also humorous at times.

You can't shoot me; I'm from Central Command!" Sima Yi shouts, ramming through the soldier standoff. "You can't shoot me; I'm rich!" Yizhi slips through the opening created.

In conclusion, go read this masterpiece and thank you @xiranjayzhao for blessing us.

#iron widow #iron widow analysis #xiran jay zhao

[mothfishing]

i never read tlt myself but i have a bunch of friends who have and have been begging me to read it to and so i’m super confused ??? i have never heard about the racism…

anonymous asked: can u tell me about the racist elements of tlt... id never heard this before and i follow a lot of people who talk about the series a lot

anonymous asked: I hope this isn't rude but what even is the deal w the locked tomb. I remember vaguely hearing abt it being like "the best shit ever" and then that it had some really intense scenes/Themes then learning the creator was a grade A creep and then like nothing. What is even going on in the book???

yeah ofc! lumping all three of you's questions together since it's essentially the same one (also at #3 it's not rude)

oh god where do i start...so i read the first book and hated it pretty early on, but my intention had been to read the entire series so i could more completely express what was so grimy about it, since this book gets a lot of praise. despite my best efforts it was too rancid and i stopped partway through book 2.

thus i'll focus on book 1 criticisms first cause that's the book i finished, but i do have some series-wide criticisms as well. warnings for racism, pedophilia, ableism:

the author has this absolute obsession with physical features, and in particular she frequently praises features associated with whiteness while denigrating features associated with people of color. like constantly constantly constantly you see blue, purple, and hazel eyes given loving descriptions like amethyst, violet, while brown eyes are almost exclusively compared to dirt whenever they're mentioned.

only two characters in the first book are described as brown-skinned, jeannemary and colum. jeannemary is a "brown, bricklike thing", and colum is a yellow-brown lump. gideon's own personality is stupid horny idiot who's only good for her strength, which uh...A Choice given that, while she isn't described as brown in the first book, the cover art does still depict her with brown skin and harrow with light skin.

i'll also note that colum and one other character, silas, are both from the eighth house. outside of the book muir said they were both white, but in-book they're quite frankly associated with caricatures of east asian people to the extent that best case scenario is she used said caricatures to prop up her depiction of white people you weren't meant to like. like........in particular i wanna note silas constantly reciting religious mantras, as well as their description as "violently servile", which is so strongly associated w caricatures of east asian people. and once again she literally describes colum as yellow,

the post didn't mention it bc i wrote it in 2 seconds out of frustration, but it's also astonishingly ableist to the point where, while reading, i got frustrated and made a list of every time a symptom came up so gideon could insult whoever had it................arthritis, osteoporosis, blindness, hyperthyroidism, all of these came up as insults. "oh but the first three are because they're old" do you have to bring up conditions associated with elderly people???

plus cytherea is a character with a romantic terminal illness, constantly described as beautiful because of her frail (and white, blond, blue-eyed) body...im disabled myself i'm not saying disabled people can't be described as beautiful/hot/etc, but it felt fetishistic here and like the focus was less on her personhood and more on how she was weak and "rescuable" basically.

i'll also note the age gap between palamedes and dulcinea, people who literally met when they were 8 and 15, which was romanticized as "oh dulcinea took his feelings seriously because she's used to not being taken seriously because of her illness :)"

now series-wide...i didn't get to this myself so i don't have a whole lot to elaborate here, but the whole thing is a christian imperial empire run by a māori man and i just don't trust a white kiwi with that sorry.

also-also i'm not a lesbian/wlw at all myself, but friends of mine who are read the book with me and we noted gideon was. not even butch. both her presentation and protector role had been foisted upon her by someone who did not let her forget she owned her. everyone talking abt lesbian rep and then the main couple is a master and servant whose culminating arc in the first book is gideon becoming the perfect servant...also once again, harrow is light skinned and gideon is brown skinned.

finally, tamsyn muir has written even more explicit creep shit so i just genuinely don't know why it is she got popular in the first place. you don't need to know this to despise her work, but wow! (sorry to the person whose reblog this is, op deleted)

#asks #anonymous

[mundanemoongirl]

I’ve read 32 books this year. Some were mysteries, some were thrillers, some were realistic fiction, and most were fantasy. So here’s my top 5 out of every book I’ve read!

But first, my honorable mentions

This Woven Kingdom by Tahereh Mafi has some of the most beautiful descriptions and wordings that I have read. I also love the Persian culture in it. I'm always fascinated when reading about different cultures and this is one I don’t know much about. It felt unique and authentic. The reason this one isn’t in my top 5 is because I felt it relied too much on tropes and the plot was a bit cliche. The second book especially suffers from this.

Going Dark by Melissa De La Cruz is a mystery I thought was so good it helped to inspire my own. It touches on important topics like racism and mental illnesses. I love how social media is used to find clues and I was so invested in the story that I stayed up late every night to know more. The only thing keeping this book from being perfect to me is that about halfway through, the backstory is told to the reader. I would have rather the characters find it out for themselves.

When I tell you I loved Forest of a Thousand Lanterns by Julie C. Dao so much I wrote a three page paper on it and submitted it for my communications final (I got an A). I love character driven stories and Xifeng is one of my favorite characters of all time. Her arc progresses at a perfect pace and I love seeing her use the few skills she possesses to get what she wants. As a dark fantasy writer, I appreciate that the book doesn’t shy away from gruesome aspects. The reason this book isn’t in my top five is because I wanted to see Xifeng’s rule as empress. That’s it. I just wanted more Xifeng.

And now my top 5 under the cut

5. The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

This is not the type of book I’d normally read, but it blew away all of my expectations and I absolutely adored it. At first, I didn’t really like Monique’s character. I wasn’t interested in her failed marriage and I was pretty annoyed every time she didn’t understand what was being said to her (which happens way too often), but as she learned from Evelyn I was really rooting for her.

It was Evelyn’s story that wouldn’t let me stop reading. It was similar to Xifeng in a way where she started as a girl who was pretty, but had nothing, and manipulated her way to becoming a superstar. I was especially gripped by Evelyn’s insistence that Monique will hate her. I just needed to keep going to find out why.

There were a lot of unique aspects that I liked, such as the chapter titles. They were so fun and I kept repeated them in my head. I also like how parts of the story are told through forums and news articles. Other than the fact this this is a unique aspect, I liked it because we got to hear a different perspective than the person telling the story.

Also, yay for a bisexual main character! It was done so well and respectful, and not the stereotypical cheater character. I have been waiting my whole life for this type of representation.

The last thing I want to say about this one is that Reid really makes an art of writing. There are so many quotable lines and you can tell so much thought was put into every word.

4. The Queen of the Tearling by Erika Johansen

It’s a pretty cliche story: a princess must reclaim her throne. But The Queen of the Tearling works so well because of its main character, Kelsea. She’s such a beautifully complex character. On one hand, she wants to prove herself as queen. But on the other, she wants to be free to be a teenage girl. She rules with compassion for her people. But she also has an underlying ruthlessness and short temper. She looks to the future by examining the past, and how can you not root for a character so strong that she demanded her throne with a knife in her shoulder?

I appreciate that this book didn’t go the trope route and have the ruler of the rival kingdom become Kelsea’s lover. It’s fine one time, but it’s way overdone, and Kelsee’s strengths shine through more without this trope.

I like how each chapter opens up with a quote. Like the articles in The Seven Husbands of Evelyn Hugo, this gives the reader insight into what other characters think.

I have to say that even though this book blew me away, the last book has the worst ending I have ever read in my life. It was lazy, dismissive of the themes throughout the series, and just exasperating because it erases the growth of the characters and kingdom. I have no idea why Johansen would write it into existence and it somewhat tarnished my view on the series.

3. The Ballad of Songbirds and Snakes by Suzanne Collins

Is it really surprising that a Hunger Games book is in my top 5? I was hesitant at first to read it because I thought it would be a sympathy story or a cash grab, but I'm so glad that I gave it a try because it was so much more than I thought.

I feel like it's a theme on my list that I like to see stories where something small slowly evolves into something big. That's a big part of why I love this book. We get to see how the games went from something no one liked to the sporting event we know it as. It was a bonus to see that Snow's impact on the games as well.

I loved getting back into the Hunger Games universe, especially now that we get more of what the capitol is like. I have to admit that I haven't read the original trilogy in almost a decade so my memory is a little shaky, but I don't remember anything about the capitol being poor at one point. I liked this detail and getting to know capitol kids like Clemensia because it makes the capitol more complex. Before, I only knew it as a completely evil, selfish, privileged group of people, but now we can understand it better.

I love Lucy Gray's character. As a former musician, I appreciate that her power is through song and I enjoyed reading the meaning in her lyrics. I was kicking my feet reading about the Hanging Tree song and her teaching Snow about katniss roots because they live on to haunt him 60 years later. As always, Collins knows how to incorporate so much meaning into her writing.

The only thing I disliked is that it started to drag in Part III.

2. I'm Glad My Mom Died by Jennette McCurdy

This one was heavy, but I'm thankful to McCurdy for being vulnerable and sharing this raw story. As someone who grew up on iCarly, she was an important part of my childhood. I listened to the audiobook version, which just made it all the more personal.

You can tell from the writing that McCurdy was meant to be a writer. She somehow manages to make such a sad story humorous, and I found myself getting lost in her the way she describes background information that I didn't even notice that she deviated from the main topic until she brought us back. Not to mention, the writing sounds like she is telling a story directly to you. It reminds me of experts like Bell Hooks, someone who I have described as having a style like talking to a close friend.

McCurdy also has a deep understanding of herself and her emotions, even during times in which she didn't understand nor want to understand the harm that was done to her and how she copes with it. It's obvious to the audience what's going on, but not to her, and she writes it in a way where we can understand the truth of her circumstances while also understanding her point of view from when she was experiencing trauma. I doubt many people can understand themselves this well.

Each chapter had me hooked. I kept telling myself that her life couldn't get worse, but then it did. There were times when I nearly cried, and once when I was so shocked that I involuntarily covered my mouth with my hand and couldn't move it back for a minute. This book will make you feel everything.

I hate how some people are shaming the book just because of the title because this is such an important story, and if you just read it you would understand the title completely.

Blood Like Magic by Liselle Sambury

Fantasy, sci-fi, and mystery all in one? So much diversity that you can swim in it? Quite possibly the cutest romance to ever exist? I didn't know the perfect book existed and yet here it is.

I knew this book would be a favorite of mine from the moment I saw it. You have a beautiful, colorful cover on one side, and a description on the other saying a girl has to destroy her first love in order to get magic. I still can't believe that this is Sambury's debut book.

One thing I love about Blood Like Magic (and its sequel) is that despite all the fantastical elements, the books feel so real. Voya's family feels so real because they aren't rich, they aren't powerful in a social aspect, and they aren't perfect. The cast of characters feel real because POCs, gay, and trans people are going to exist no matter what. The romance feels real because they don't instantly fall in love. The plot feels real because sometimes everything will go wrong, no matter how hard you try to make it right. And of course there's the realest aspect of them all: all Black grandmas are going to have attitude.

Ok, I have to talk more about the romance because Luc and Voya are so stinking cute. I was actually squealing and kicking my feet while reading because it's so obvious that they adore each other and can't even tell. I didn't even like the enemies to lovers trope before I read this book, but Sambury does it perfectly. I also like that she makes a distinction between physical and romantic attraction because I think it gets muddled in a lot of popular books these days.

Voya's such a relatable character. We all struggle to make decisions sometimes. We never want to be left out or hurt the people we care about. Also, her name is so pretty and it doesn't even mean anything?!

Do I even have to mention that all the different types of magic are so fun and creative? Do I even have to mention that all the advanced technology seems like it could really happen? Everyone go read Blood Like Magic and Blood Like Fate right now.

#books and reading #book review #book recommendations #booklover #fantasy #mystery #ya books #ya fantasy #ya novels #ya fiction #writer #writers thoughts #this woven kingdom #going dark #forest of a thousand lanterns #the seven husbands of evelyn hugo #the queen of the tearling #the ballad of songbirds and snakes #i'm glad my mom died #blood like magic

[bohemian-nights]

Maester Norren's claims about how Daemon "doted" on Nettles to me just sounds like Daemon reminding Nettles to take care of herself especially the part about brushing her hair and dressing. On a shallow level it might look like that is what Daemon is doing but it could honestly be misinterpreted since they refuse to see Daemon actually being in love with Nettles because he's obviously married and because of his past. Nettles isn't incapable of taking care of herself, she's VERY capable but living when living on the streets your whole life vanity is at the bottom on the list of things to tale care of, once you have a decent clothes on your back enough to cover you and get you through then you're good so of course Nettles can be forgetful that she now has the resources to take better care of her looks other than bathing. ALSO it's interesting to note that one of Daemons gifts to Nettles is a silver looking glass to me that just proves that Daemon wants Nettles to remember to take care of herself AND on a more romantic side Daemon could've gifted it to her so she can see the beauty in herself that he sees in her and so she can find the beauty within herself, honestly these gifts are so well thought out that it's no wonder Nettles fell for him too because no one has figuratively amd literally observed her so well that they are able to pin point the things she may want and need JUST LIKE SHE DID WITH SHEEPSTEALER the only difference is Daemon isn't doing this for any other reason he's doing it because he loves her and wants to take care of her and he wants to provide for her and show her that he sees and knows her.

This a thousand times🙌🏽 When it comes to Fire & Blood because it is not written in a traditional format people are always saying look at the actions or look at what this character has had to deal with, but suddenly with Nettles, everyone is allergic to actually analyzing her story and journey.

They don't see her as an actual character in her own right. They see her as a tool. Which spills over to their interpretation of her relationship with Daemon.

All this fuss and the arguments being made harkens back to one side wanting to make Nettles into Daemon’s victim and the other into some baby bada** feral pet. I’ve said this before, but both don’t want her to be an actual character with her own wants and desires because then she’s a threat.

So they ignore how Nettles grew up to say she didn’t know how to take care of herself. Even though she was smart enough to claim a dragon that no one else could claim, knowing how soap and water work is way too advanced for her🙃.

Daemon looks after Nettles, making sure she has nice things, that she’s looking after her physical appearance and health, caring for her because he cares for her because he loves her, gets ignored.

All in favor of Nettles is mentally a toddler and Daemon is being a sexual predator again. Yeah, it is easy enough to jump to the second conclusion(the first conclusion has to be one of the dumbest borderline-racist arguments I have seen in this fandom), but look at Daemon’s actions.

If he is grooming Nettles why save her? Why go through all that trouble to dote upon her when in the end he’s not going to be there to enjoy the fruits of his labor?

When this is pointed out they go oh yeah but he brought her into this mess in the first. Ignoring the fact yet again that Daemon isn’t in the business of saving people just to save them. Look at who he is.

If he did not genuinely love Nettles, if he had not put her before his own wife, which yeah it can be construed as wrong, but these same people overlook incest, child murder, and racism to shout true love so adultry really isn’t the highest crime one can commit, he would have let those orders be carried out.

This is the same guy who murdered his young nephew. Who was fine with killing his dead wife’s uncle (on Rhaenyra’s orders in the book). He isn’t Mr. Nice Guy. He would have killed Nettles himself if he felt nothing for her.

And yeah has it ever occurred to them that Nettles herself could actually want Daemon? That she wants a romantic relationship with him just as much as he wants one with her.

This man who is kind to her, loving towards her, who cares and looks after her, who in many ways is just as unseen as she is, but he sees her. She’s never had that before. It's little wonder for the reasons above why she wouldn't love him, but they ignore all that.

She's old enough to fight in a war a pointless war, because I've seen very few complaints on how she's too young to be used by Team Black, but she's too young to be loved. You hate to see it.

#dattles ask #nettles ask #dettles ask #bncommentary #hotd commentary #hotd critical #bnasks #bnask #daemon targaryen x nettles #love the part about Sheepstealer 🙌🏽 #like nettles is so used to observing and caring that she’s never actually been seen and cared for by anyone until daemon #the truth is they are mad that daemon did not stick by his psychotic wife and chose the dirty wh*re #they can’t say they dislike nettles cause she isn’t an unlikable character so they’ll deny her agency instead

[redheadgleek]

Books Read April-June

I read a lot these last few months. A bunch of them were on the shorter side, but also because I've been reading more, I'm reading faster.

I've stretched my goal to read 120 books this year (10 books per month). We'll see if I make it.

April (10 books):

Sister Outsider: Essays and Speeches by Audre Lorde. I really struggle with reading nonfiction, so this took me several months to get through (I do much better with audiobooks for nonfiction). The first work I've read of hers, I'm really interested in seeing her poetry.

Frogs In A Pot: How one woman mentally and physically abused five men in her life - and her own daughter - to satisfy her narcissistic needs by K.D. Kinz. I already ranted about this one.

An Absolutely Remarkable Thing by Hank Green. Sci-fi meets social media culture. Ended on a cliffhanger, not sure when I'll get to the sequel.

The Rose That Grew from Concrete by Tupac Shakur. He had some really lovely thoughts. Gone way too soon.

Spell Bound by F.T. Lukens. Not quite as good as their other books (Monster of the Week and Ever After are fantastic), but still enjoyable.

The Bandit Queens by Parini Shroff. Recommended by @ckerouac. I loved it until around the last 30 pages. It just felt rushed of an ending.

Solutions and Other Problems by Allie Brosh - this was much more heavy than Hyperbole, in both content and weight (the book was a workout).

*In the Lives of Puppets by TJ Klune. A retelling of sorts of Pinocchio (reminded me a lot of A.I. which I loved even though the critics did not). It's weird and lovely and while not exactly happy, it's wistfully hopeful.

O Lady, Speak Again by Dayna Patterson - a collection of poetry using Shakespeare's female characters as the voices. I would love an audio version.

Bryony and Roses by T. Kingfisher. A dark, little more adult, Beauty and the Beast retelling. Very imaginative.

May (13 books):

Madison by Ngozi Ukazu. I'm not sure I should really count this, but it was a delightful little comic to close out the Check Please universe.

The Ten Thousand Doors of January by Alix Harrow. I struggled with the beginning, but there were some great little twists towards the middle.

Assassin of Reality by Marina and Sergey Dyachenko. The sequel to Vita Nostra which I haven't stopped thinking about since I read it earlier this year. It was still off-balance and haunting, and I'm still left with questions. Sergey died this year, so it's uncertain if there will be another book to finish.

The Sleeper and the Spindle by Neil Gaiman. A Sleeping Beauty/Snow White retelling with some absolutely gorgeous illustrations. Lots of twists in this short story.

*The Raven and The Reindeer by T. Kingfisher. Retelling of the Snow Queen. I really liked this one - I felt cold through the whole thing.

The Hollow Places by T. Kingfisher. Very creepy in world building and the horror was a slow drawn-out dawning, but it sort of fell flat in the end.

Tastes Like War: A Memoir by Grace Cho. A half Korean woman recalls the relationship with her mother, who is diagnosed with schizophrenia. This was a "Everybody Reads" book club book from my library. I found the writing quite engrossing. There's a lot of controversy with it, with her brother calling the author a liar - but as he and his wife spend every moment of their free time replying to anybody who says anything positive about the book and they also have this "there isn't any racism any more!" attitudes, I've had heaps of salt with their perspective.

*Spinning Silver by Naomi Novik - a Rumpelstiltskin retelling, but it weaves in several other fairy tales. This one is unique because there's about a dozen 1st person perspectives (who aren't identified, you figure them out from the context) who tell the story. Makes me want to read more of her books.

This Is How You Lose the Time War by Max Gladstone and Amal El-Mohtar. I wanted to love this because everybody else is. And I didn't. It was okay, it just wasn't fantastic.

*Simon Sort of Says by Erin Bow. Middle school novel about a kid who is the only survivor of a school shooter and then moves to the middle of nowhere to escape it all. The friendships were the best and it made me feel all the emotions.

The Crane Husband by Kelly Barnhill. Yes, May was my month of reading fairy tale retellings, this one of the Crane Wife. Weird and short. I'm looking forward to reading When Women Were Dragons.

The Remarkable Retirement of Edna Fisher by E.M. Anderson. This was a book based on that tumblr post circulating around about the chosen one being an old woman instead of a teenager. It was enjoyable, mostly, but did feel like it was trying to check off all of the diversity boxes, and the ending was rushed.

The Ruthless Lady's Guide to Wizardry by C.M. Waggoner. Apparently it's sort of a sequel to another book. Knowing that would have helped. The undead mouse character was the best.

June: It's Pride Month! (12 books)

Queerly Beloved by Susie Dumond. Once a bridesmaid, forever a fake bridesmaid? Some fun characters in this one.

The Thirteenth Tale by Diane Setterfield. Read as part of my friends-recommendation challenge - I own this book and my sister has been trying to get me to read it for years. I still haven't quite decided how I feel about it. The atmosphere was deliciously Gothic.

Imogen, Obviously by Becky Albertalli. I related a lot to this book, of figuring out who you are, and how boxes and definitions may not fit you. I wish that Becky would start writing books about college students instead of high schoolers though.

Kiss & Tell by Adib Khorram. A quick read.

Loveless by Alice Oseman. I was really disappointed by this book. The characters and plot weren't well fleshed out.

*Jonathan Strange & Mr Norrell by Susanne Clarke, audiobook. Shortly after this book came out (nearly 20 years ago), I started reading it and got about half way through before getting distracted and I never finished it. I started listening to this at the beginning of March. It was 32 hours long. It's such a slow developing, meandering story, and I absolutely loved it. I felt completely immersed in the world.

Kiss Her Once For Me by Alison Cochrun. "A Charmed Offensive" was better but it was a nice twist on the fake dating trope. Although for taking place in Portland, very little of it actually took place in Portland.

Lily and the Octopus by Steve Rowley. I loved "The Guncle" so much that I bought this when it went on sale and put away all of my other books to read it. It was ... weird. I think part of it is that I don't have a pet, but also the voice of his dog kept changing? It's magical realism, part The Life with Pi and part Moby Dick.

Scythe by Neil Shusterman. Friend-recommendation. A dark utopia and a sort of fascinating exploration about death. I'm on the waiting list for the other books of the trilogy.

*What My Bones Know: A Memoir of Healing from Complex Trauma. Audiobook. Friend recommendation. An Asian woman explores the relationship of her abusive mother and her recovery from complex PTSD. I listened to the audiobook, and while I don't have PTSD or a history of abuse, it surprised me how much I related to her. The last chapters about love and connection were really healing to listen to.

*Above Ground by Clint Smith. Audiobook. His poetry about about parenting, but also about racism and connecting to the past. Really powerful and lyrical.

*The Song of Achilles by Madeline Miller. I do love a Greek tragedy and this one was so good.

Currently reading:

The House Witch by Delemhach. The writing kinda sucks, but I like the idea and plot?

The Grace of Wild Things by Heather Fawcett. It's an Anne of Green Gables-inspired book about a young orphan witch who seeks out a reclusive woman as her mentor. It's utterly delightful.

The Celebrants by Steve Rowley. "The Guncle" may have been a one hit wonder for his writing for me, because I'm a couple of chapters in and I'm already annoyed.

A Taste of Gold and Iron by Alexandra Rowland. I've heard lots of good things about this one.

The Girl Who Fell Beneath the Sea by Axie Oh. Audiobook. I'm loving the narrator - for a while, I thought it was the actress who plays La'an on SNW as they have very similar cadences.

Next up: Book Lovers, When Women were Dragons, The Invisible Life of Addie LaRue, Thunderhead, and A House of Good Bones. Still on my "friend recommendations for 2023" to-read list: The School for Good Mothers by Jessamine Chan, Kaikeyi by Vaishnavi Patel, Tomorrow and Tomorrow and Tomorrow by Gabrielle Zavin, Anxious People by Fredrik Backman, The Emperor's Soul by Brandon Sanderson, Sweet Like Jasmine by Bonnie Gray, Remarkably Bright Creatures by Shelby Van Pelt, Dinners with Ruth by Nina Totenberg.

#reading #books #book club #reading goals 2023

[persephoneed]

Sounds like you were pretty ignorant then if you didn’t have all the mass of super explicit and easy to see racism and Jew hate in hp. She literally says black people are inferior, Asian girls are objects, and goblin bankers are like jews word for word in the books.

I’m not going to pretend that there isn’t racism, antisemitic Jewish-coding, and fatphobia present in the HP series but I’m also not going to pretend it was as “explicit” or “word for word” as you (so smugly!) say. I think JRK and HP would’ve lost fans a lot sooner if those were direct quotes rather than micro-aggressive subtext. Also, I’ve been on this site a long time; we used to interact with problematic texts very differently back then.

I was seven years old when I first started reading the books so yes I was very blind to all of it for a long time. When I joined tumblr I learned so much about the series’ failings through various posts and discourse (shoutout to the poc fans who often wrote these posts and did so much legwork and education for the fandom), but it was still a story that, at the time, we could all love and enjoy. We wrote fanfiction and headcanons and theories and analysis - so many people were creating beautiful art and visual interpretations of the characters; the series was finished so we all made it our own. We knew and acknowledged the problematic aspects of the series. But my little corner of the fandom improved upon the series if you ask me. We created our own mythology surrounding the Marauders the JKR could never do justice herself. And so much diversity was added to HP which JKR later tried to pretend was there all along but I cannot stress enough how much this was pioneered by the poc (particularly the woc!) members of our community. If HP was ever a loving and accepting space for all different types of people, it was because the fans made it that way. (Not to completely gloss over any of the problems we had within the fandom because that did unfortunately exist as well)

Things became different once JKR started releasing new content on Pottermore that mishandled real indigenous cultures in the United States as well as fictional wizarding cultures outside of Europe. I have never watched the Fantastic Beasts series but I have heard about the issues there are well. It was getting pretty obvious to many of us then that she had not grown or educated herself in the time since the series had ended, and that her previous offenses could not be explained away as youthful ignorance or a sign of the times.

Then she began openly/loudly/happily attacking the trans community and their rights; that’s when I jumped ship and a majority of my mutuals did as well. Maybe in hindsight it could be said that the writing was always on the wall, but, if you were there when it all went down, trust me there was no “I saw this coming a mile away.” And to act like that’s the case is an insult and cruelty to all of the trans people who were fans at the time and the most betrayed out of all of us by her words and actions.

In short, a huge fuck you to JKR for ruining what was previously a safe and beautiful space for a lot of us. But also fuck YOU, whoever you are, for belittling what we had and what we lost.

EDIT: my main point here is a diverse group of fans from all over the world put their blood, sweat, and tears into building and flourishing the fandom only for the creator to burn the whole house down. No one is interested in your superiority complex.

#asks #anon #anti jkr

[plutobutartsy]

idk if you were being specific but i wanna hear about that thing you like

thank you so much for asking omg 😭🫶🏽 (if you listen closely you can hear me giggleing excitedly in the distance)

okay so the thing i really like is OG Keemo, a german rapper and idk if you like rap or know german but his music is so fucking good he's genuinely my favourite artist and my best friend was the one to introduce me to his music

a lot of his songs mention what it's like growing up black in germany which is such a huge comfort to me. most white germans are really unwilling to acknowledge that we have a racism problem here since "it's not as bad as in the US" and most of the media that i've seen that does talk about the experience of being black isn't german so there are some differences. having music that specifically talks about the black german experience is so amazing and his songs are so so so good.

listening to his albums genuinely feels like sitting through a musical because they tell a story, share the same themes and the songs sort of transition into each other (Funkvater Frank makes most of Keemo's beats and he does such a fantastic job).

his most recent album Mann Beisst Hund (engl. "man bites dog") is about three teenage boys who live on the same block and philosophize about wether a pre-determined fate exists or if humans are actually free to choose their role in life and go their own path, all while talking about mistakes, regrets and drifting apart. the album also has two short audio skits where you can hear the boys talk about their theories about fate and they really add to the immersion. it's rare for me to listen to whole albums uninterrupted, i usually do one inital listening and then jump through albums to only listen to the songs i like but with Mann Beisst Hund i listen to it from start to finish EVERY TIME

in his song 216 from his album Geist (engl. "ghost") he talks about racial profiling and police brutality and it's already amazing as is but he did an orchestra mashup with Jorja Smith snd her song Blue Lights and it's so heartbreakingly beautiful. the orchestra perfectly captures how unsettleing and scary the topic is. it almost sounds like the soundtrack to a horror movie. that paired with how hopeful and sad Blue Lights sounds makes it so perfect.

i know it's probably not as impactful when you don't know german but if you have the time i'd definitely recommend listening to it!!

okay this got a lot longer than i planned but i just genuinely love his music and one day i'm gonna analyse his songs the way we learned to analyse poetry in my german class lol

#di's orbit #og keemo #stella's horoscope

[mariailoveyou-guerin]

you know what boils my blood me this back handed compliment people give will like I get so mf tired of it what do you all mean he’s had the biggest glow up of the century and it should be studied or the eyebrow guy or y’all getting paid kid has had the biggest glow up on earth! Obviously y’all only know and remember him from when he was a literal child so ofc y’all didn’t think he was HOT since y’all was also kids, teenagers or young adults because first of all why would a kid think of another child like that and why especially would a teenager/young adult think or see a kid like that so icky

it make sense why you guys didn’t see it because it would’ve been weird if you only saw/remember him as the kid from narnia or we are the millers, it’s like when people talk about certain skins actors and say he’s had glow up but it’s just them hitting puberty since the last time y’all saw him he was Victorian looking kid and y’all either not seeing them as cute bc of it or racism let’s be honest now which was the biggest reason in skins fandom when it came to who they found hot or who they didn’t or he was just skinny starving looking kid! the shook when people only found Tony (Nicholas) Luke (Joe) Cook (Jack) and Freddie (Luke as the cute attractive ones from skins guys and didn’t see Kenneth (Daniel) Anwar (Dev) Chris (Joe) as cute attractive hot even calling them ugly two of them had more racist subtext they just didn’t find the non yt characters cute which is fine but then saying they was ugly was pure racism bc they was adorably cute too actually!

Anyways that’s how I feel about this whole Will situation it isn’t that he was ugly it was just y’all always saw him as this annoying character Eustace he played or like irritating little brother figure bc he felt so relatable in his roles while we watched him grow up so ofc y’all wouldn’t find him hot growing up with him ofc y’all wouldn’t find a child HOT that’s nasty but I can never understand how y’all watched mf Maze Runner and saw Will looking this good and not find him the most beautiful stunning(look at his eyes look at the way he looks his pretty freckles that made him look so unreal and magical) boy you had ever seen like I could never I can’t even imagine it myself how y’all didn’t see it, it was the hair not this hair but the short buzz cut that always ruined it for him look wise for some people not me tho he looked so good so beautiful even hotter with that buzz cut (fyi I can say this bc when I watch this he was legit older then me) so this isn’t me being weird about child! and don’t get me started on the eyebrows in we are the millers like that was working against him because he was so motherfucking cute in that so gorgeous even if was just the eyebrows having a kind of it’s own and his character makes those facial expressions didn’t exactly help Will looks get favorable.

But yeah I’m so tired of this glow up thing when he was just a child when y’all saw him last and now he’s grown ass man in his 30s with better haircut hairstyle and not a mf 9-16 year old with buzz cut there’s no glow its just called hitting puberty an seeing him in more big things now as an adult because y’all haven’t been keeping up with him so y’all didn’t see the way puberty was doing him so y’all just saw him one day after marvel news and decided it’s a glow up! I’m thankful for marvel and his role because y’all finally checking up on him but if y’all had before y’all would’ve seen hee always been FINEE and he didn’t have glow up at all y’all was just blind or ignoring him in things bc he didn’t use to do big comic projects but well written great indie or artistic movies with amazing scripts and plots and y’all just ignored that and now you can’t because he’s in marvel movie!

ps would like to thank the skins casting directors because they was doing the lords work the way all the biggest British actors right now mostly came from that show is insane like eveyone big British actor is from that show I think only Andrew Will Thomas and John Boygega isn’t I mean just look at this casting that’s why skins and UK tv will always be superior truly had amazing casting without needing the whole diversity or blind casting shit pushed on them they were just casting the best actors for the role and that actor did get the role love to see it need more shows like skins not only was the actors incredible brilliant I mean obviously when so many of them have so many Emmy nominations and other huge awards and 3 of them are literally Oscar winners (Daniel Dev and Peter) but the show itself was phenomenal the writing the characters development how real it felt and the fact it was actual teenagers playing teenagers unlike American shows where they when grown 30-40 year old men playing teens and having the shows be so dramatic extra and just unnecessary like euphoria like no one believes thats how a real life school experience is but people would believe it about skins it wasn’t just about sex drugs trying to be so mf dramatic plots and storylines that was just extra and not needed at all ect but about real life teenagers and how school life could actually be

SKINS WAS JUST WAY TO A HEAD OF ITS TIME WHAT A BRILLIANT PHENOMENAL CINEMATIC MASTERPIECE!

#will poulter