More Scary Mini-Movies

Hey, have some more short films involving horror and the supernatural.

 

Looking Glass

This one was a favorite of mine, mostly for its simple black and white style of animation, which is really very effective, and a  mirrorverse story is always gonna be especially creepy.

 

A Scary Short

I didn’t know whether to laugh at this or cry.  It’s not exactly scary, so much as it is the main character being deeply stupid, so  this will have you yelling at your computer screen. So yeah, this  definitely classifies as  a kind of  horror/comedy.

 

 

Mimic

Oh, this one is really creepy. I kept wondering if I’d posted this before though. If so, please forgive me because this is a really effective little movie.

 

 

Umbra

This isn’t scary in the “gotcha” kind of way, but in the slowness and surreality of dreams type of way. I loved this very simplistic animation here, which  worked very well for this odd little story.

 

 

Peripheral

Here’s something suitably bleak for Halloween.

 

 

 

The Passenger

More horror comedy. I can always be caught up by a good laugh, and a good scare, and I simply could not stop laughing at this.

 

 

Hambuster

This one is a repost from last year, because it’s one of my all-time favorites. Its gory,  disgusting, and utterly ridiculous!

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White Men: The Pandering Pt. One – History

This is part one of my three part rant? essay? discussion? of racism in pop culture,  how for much of its existence, the demographic it was aimed at was middle class (sometimes Working class) White men between the ages of 17 and 40, and how this manifested in our entertainments. I can’t  cover everything, or even as much as I like, (for example Art and Sports I’m going to have leave out of this discussion. I’m not knowledgeable enough to speak on the Sports issue, and the Art issue is a separate topic of its own), but I’m going to try to cover as much as I can, in as  coherent a  manner as possible.
This first part will give a quick primer into how and why cultural tastes changed, and try to relate it to the culture  wars we’ve been witnessing in the last twenty years.
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White men have had a nice long run as the arbiters of this nation’s cultural tastes, in music, books, TV, and movies. I’m mostly going to talk about the last forty years of pop culture, although I do discuss the precedent for a lot of the bad behavior we’ve been seeing, throughout the history of popular culture.
Pop culture is something that impacts all our lives. It is the books we read, the music we hear, the TV shows we watch, and the movies we see. It is so ubiquitous as to be nearly invisible, and everyone participates in it, and is affected by it, (especially those who think they are not just because they got rid of their TVs.) And since its invention, it’s been entirely controlled by straight, White, middle-class, cis-gender (American) men.
When television  finally reached a mainstream audience in the 1950’s,  much of it was aimed at middle class, White audiences, the only people who could afford it, and it was largely family oriented. What wasn’t geared towards children, was geared towards middle aged men, (with a nod towards White women here and there) most of whom had just come back from the war, were entering the jobs market  again, and had families to support. This helped to create what we now call Primetime TV,  those two to three hours between getting home from work/commute, and going to bed at 11 or 12 at night. Most daytime television was actually geared towards women (and small children) who were being encouraged to leave the job market after the war,and  go back into and take care of the home. What we think of as the modern Soap Opera appeared around this time, and also show’s specifically geared towards small children like Howdy Doody, (which appeared in 1947), Lassie, and The Mickey Mouse Show.
During the 60’s though, many forms of media began to aim for teen audiences, but tastes were still led by the White middle class, and much of American  culture was aimed at appealing to them. Black artists, especially in movies and music, had their own venues and many of them did quite well, while appealing to Black audiences. Just like now, young white  people often appreciated and appropriated Black culture, and every time they did that, their parents hated it, forming counsels to suppress and demonize it. From Swing and Jazz in the 20’s and 40’s, to Comic books in the 50’s, to the beatniks in the 60s, to Rap music in the 80’s, every time young people latched onto some new pop culture interest, the powers that be (the White men that owned all of media) found a way to suppress that interest by casting it in a negative light, or appropriated it in order to mainstream it to a wider audience, to make money  for themselves.
In the 60’s, White adults lost the war against Rock music because Rock music was aimed at young Whites  who, by that time, were controlling the cultural tastes. Music was darker and edgier, with messages of social justice prevalent  in Folk music, and the topic of drugs and sex in Rock. These are the things young folk were interested in and the different media industries crafted product to appeal to the disposable income of straight, middle class, White teens and young adults.
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Television shows, while still consisting of largely sitcoms and Westerns, became edgier and darker, too. Many shows (such as Star Trek in 1963) began promoting messages of social justice and free love that was being espoused by young adults of all races at the time, and the Westerns and sitcoms of the 50’s, with their bland messages about moral authority, were joined  by  much darker police procedurals,  science fiction,  and detective shows. The plots and humor of these shows was more sophisticated and complex. Much of this darkness came about because of the violence against racial justice movements, coupled with a progression in technology. The handheld camera and the steady cam brought images of racial and social unrest directly into the home. Corruption in the White House, and the Korean and Vietnamese Wars brought images of wartime atrocity into the home as well.
By the 70’s, the battles against music, and (comic) books, and movies, had pretty much been lost. But new ones were beginning. There was the rise of Disco, a musical style that was created and promoted within social circles  frequented  by Black women and  Queer Poc, which arose out of the free love movement of the late 60’s, coupled with the Stonewall Uprising in 1969.
In the above article, Arthur Chu lays out a history of White male outrage, from the 1970’s, to now. What we’re seeing now, all the tantrums and harassment, and shitty behavior IS NOT NEW!  When White men don’t like the direction in which the pop culture is turning, they always go into a paroxysm of violent and antisocial behavior to correct that direction. It happened to Rock music in the 60’s, against Disco in the 70’s, against Lilith Fair in the 90’s, they tried (and failed) with Rock music again in the 80’s, and Rap music from the 90’s til now. Mainstream America hated beatnik poetry, comic books, and even tried to ban Harry Potter books, and they worked  hard to censor movies as well, until the studio system was overturned in the 60s, which ushered in a new wave of movies with social messages, sex, and violence, which they also roundly hated.
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It appears that every twenty years or so, we must all suffer through the existential angst of the next generation of entitled White males discovering they are not actually the arbiters of American tastes, as they begin to grow older,  and 20-25 years from now, we’ll probably  go through this all over again, over some new subject. Each successive generation of White men discovers, as they grow older, that corporations involved in Pop culture, that used to appeal to them,  are now  appealing and responding to younger, more progressive (and browner) audiences, and in each generation there is a backlash against that, that they ultimately end up losing, as they age out, and cease to be of relevance to corporate America.
We are also seeing a rise in generational resentment as Millenials come under fire for the destruction of industries previously appealed to by the Boomers and Generation X’ers of the 20th century, like the motorcycle and housing industries. This form of generational warfare is also not new. It happened in the 50’s, and the 60’s, with adults vilifying teenagers for liking Rock music, and again in the 80’s, when the generation that ushered in Rock music, hated the British New Wave, Punk, and Rap music flooding radio airwaves, along with their genderbending styles and fashions.
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In every generation, White men are exultant to win a handful of skirmishes in the culture wars, just as they were happy at their brief victory over Disco,  and their routing of the female led Indie Rock scene in the 90’s, (called Lilith Fair), but they always eventually lose these wars, (and they’re going to lose this one too, I suspect.) Disco survived to become Dance music in the 80’s. The destruction of  Lillith Fair resulted in a huge Indie music scene, led by marginalized people, thanks to things like digital music streaming, Vevo, and Youtube.
The progression of  pop culture goes hand in hand with the progression of technology, and the Internet  has thrown a monkey wrench into practicing their current  outrages, even as it has given them new ways to show it. Their “victims” can now push back in ways they couldn’t in the past, and can now also isolate themselves in “safe spaces”, away from their meddling. Ironically, those musical styles that didn’t receive quite as much cultural pushback, have faded into  obscurity, like Punk, and New Wave.
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White (male) prioritization existed before television and movies, but I want to talk about how Pop Culture and the various media have aided and abetted it. I’m going to talk about the history of White (male) Prioritization in Pop Culture, what it is, what it looks like, and how we all reached the point where White male fans are, once again, doing that thing that White men have always done, attempting to turn the culture in the direction that suits them, as they begin to age out, and their opinions become less relevant to the corporations that seek to ever appeal to younger and Blacker audiences.
This is an especially appropriate topic considering Nike’s new promotional stance behind Colin Kaepernick as their new spokesman. Nike knows which side of the  bread their butter is on, and they’re putting their money behind athletes like Kaepernick, Serena Williams, because they appeal to the younger, progressive, more inter-racial, and socially savvy Millenials whose dollar  Nike wants. It is Black and Brown people who are driving cultural tastes and have been for the last thirty years, (from the 60’s through to the early 80’s, it was primarily White teens. Probably in another twenty years the arbiters of cultural taste will be Latinos). Black has always been cool, but now there’s real monetary power behind that idea, and that shows in the way the country’s musical, literary, and visual tastes have changed since the 80’s.
Side Note: Violent White male cultural outrage  goes back much  further than Pop culture. It is well documented that during reconstruction, after the Civil War, White men went into a paroxysm of lynching and terrorizing of Black people, (the KKK was invented to do just that), and the same during/after the Civil Rights era, and after Brown vs. board of Education.  Every time PoC made any kind of social progress, Whites responded with violence. they reacted just as violently sometimes to changes in Pop culture, too. White men behaving badly, when society is not heading in the direction they want for  themselves, is as American as apple pie.
The move technically only affected South Carolina and Louisiana but symbolically gestured to the south that the north would no longer hold the former Confederacy to the promise of full citizenship for freed blacks, and the south jumped at the chance to renege on the pledge. The end of Reconstruction ushered in a widespread campaign of racial terror and oppression against newly freed black Americans, of which lynching was a cornerstone.
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White men (and not a few women) have spent a not insignificant amount of their time in this country finding (and making up excuses) to violently terrorize women and PoC. From lynchings, to the harassment of marginalized people in online spaces, to mass shootings, it all stems from the same mindset, the maintenance of White male entitlement and supremacy. But this maintenance of White supremacy has also taken many other forms over the decades. One of those methods is White Prioritization. White men have traditionally been the ones to define reality for themselves and everyone else. They got to create the narratives,  name the out-groups, and determine their life choices.
OPPRESSION
The systematic subjugation of one social group by a more powerful social group for the social, economic, and political benefit of the more powerful social group. Rita Hardiman and Bailey Jackson state that oppression exists when the following 4 conditions are found:

  • the oppressor group has the power to define reality for themselves and others,
  • the target groups take in and internalize the negative messages about them and end up cooperating with the oppressors (thinking and acting like them),
  • genocide, harassment, and discrimination are systematic and institutionalized, so that individuals are not necessary to keep it going, and,
  • members of both the oppressor and target groups are socialized to play their roles as normal and correct.

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The media (especially popular media) is often the  means of  disseminating this information throughout  the rest of society, (and the world) and one of the major ways this works is through:

White Prioritization:

To treat or consider as of greater importance than other matters.
The Entertainment Industry is entirely  owned and controlled by straight, White, cis-gender, middle-class men, from its creation, to its distribution, to advertising and consumption, and of course, men being men,  they would  prioritize their own interests, desires, and tastes, mainstreaming all the things they consider to be normal, while marginalizing everything and everyone  else.
*Stitch’s Media Mix outlines how White Prioritization is enacted in fandom:

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MaryAnn Johanson

about 3 years ago… “Did you honestly think that every poster showing a strong, handsome male lead holding a gun and getting ready to do some damage wasn’t designed to appeal to your need to feel and identify as powerful, and that making the lead actor white would make that connection easier?”

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*It is White men who get to decide what movies. songs, and TV shows will be a priority, and what everyone else will be watching and listening to, and the priority has always been for White men:
Casting Jordan over a white actor is pandering to black people and white guilt, as was casting Idris Elba as Heimdall in Thor. Making Ms. Marvel Muslim in the latest comic series is pandering to tolerance. Poison Ivy and Harley Quinn finally having their romantic relationship acknowledged as canon is pandering to the gay agenda. Michelle Gomez as a female Master in Doctor Who is pandering to feminists. So much pandering. Why must companies pander, oh why, screamed the straight white male whose only motivation is the unencumbered execution of art free from social issues and something something ethics in video-game journalism?
*It isWhite men who decide what roles will be played by whom, and in what movies:
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*It is primarily White men (with few exceptions) who decide whose stories are going to be told, who will be telling those stories, what gets said in those stories, as well as who is doing the saying, putting  words in the mouths of Blacks, Asians, women, and Queer people, or deciding if those characters will speak at all:
*These same men get to decide which movies will get made, receive critical acclaim, or win awards:
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*Publishing is not quite as bad although the situation is nowhere near parity, and there are still enough  White fan gatekeepers who will act foolish about various social issues:
*The music industry is almost as hopeless as the film industry. While there are increasing numbers of men of color calling the shots in this industry, so far all they’ve done is replicate the  intersectional version of sexism and patriarchy in the songs, performances, and music videos of the medium.
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*And as for the Gaming industry, White male Prioritization has been its watchword from the beginning;

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The Culture Wars

Basically, the culture wars we are witnessing today are not new. They have always been a part of American culture, and most often consist of Americans arguing among themselves over who gets to control cultural tastes, who gets to control the narrative and what is getting said. Whose voice takes precedence.

The ways in which these culture wars have been fought can manifest in different ways, but most often its through bullying, intimidation and violence from the dominant culture, after marginalized people begin speaking out about their representation (or in some cases, like with Disco, just enjoying themselves too much).  Sometimes this control is state sanctioned through censorship, banning of the items in question (like certain books), and even arrests, and lawsuits.

https://www.washingtonpost.com/news/theworldpost/wp/2018/08/03/culture-war/?noredirect=on&utm_term=.ae4a595344c7

And since I’m an intersectional ranter, I don’t want White women to feel left out. Over  the many decades, there have been more than a few White women (and even WoC) willing, and eager, to jump on whatever cultural outrage bandwagon that White men were able to dream up, often in an effort to “protect the children” from certain music, books, and movies. We witnessed this during the ‘Gay recruitment of children’ phase in the 70’s, led by Anita Bryant; the ‘Rock music is corrupting the children’ hysteria during the 80’s, led by Tipper Gore; and the ‘Rap music is corrupting our children’ phase during the 90’s, which was, rather unusually, led by a Black woman named C. Dolores Tucker.

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Lately, it has been a common refrain from white male fans that diversity and inclusion is “being shoved down their throats”. (Why this particular euphemism is so prevalent is an ironic mystery, especially when used to refer to LGBTQ characters in movies, books, and games).  Every time some dust-up in Pop culture is caused by White men being angry about the inclusion of marginalized people, into spaces they have always thought of as theirs, I am reminded of Samuel R. Delaney’s essay about Racism in Science Fiction, which was written waay back in 1998, but is especially relevant today:

 As long as there are only one, two, or a handful of us, however, I presume in a field such as science fiction, where many of its writers come out of the liberal-Jewish tradition, prejudice will most likely remain a slight force—until, say, black writers start to number thirteen, fifteen, twenty percent of the total. At that point, where the competition might be perceived as having some economic heft, chances are we will have as much racism and prejudice here as in any other field.

And he was correct, because this has happened in every part of the entertainment industry that White men had claimed as their own.

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In Music:

Music that was already heavily influenced, or created, by Black innovation, experienced increasing degrees of demonization by the mainstream public, only to later be accepted by that same mainstream when the source material was  deliberately appropriated by White performers, and its initial audiences reached full adulthood. This has happened with every form of musical genre created by Black artists. Young White people love it so much, that they can only respect it by taking it and making it theirs. Unfortunately, their appreciation has a tendency to result in the devaluation and erasure of those who originally created the style, such as happened with Rock music. We’ve been watching this happen to Rap music for the last 20 years, but its happened with other genres:

Jazz/The 1920s

Disco isn’t the first musical style to win White people’s ire, because it was being performed by groups of people they didn’t like, (although some Whites were fascinated by these new cultural sounds), only to be appropriated, and made famous by White performers later:

https://digitalcommons.iwu.edu/cgi/viewcontent.cgi?article=1069&context=constructing

White phonograph companies refused to record Negro jazz because of
the traditionalist opposition ~o jazz music in the general white population.
Traditionalists, usually Protestant middle-class Americans of Anglo-Saxon
ancestry, connected jazz to the Negro brothels, where it had first become popularin New Orleans. Milton Mezzrow, a jazz clarinetist, wrote that, in the twenties,Negro jazz “was called ‘nigger music’ and ‘whorehouse music’ and ‘nice’ people turned their noses up at it.”6 They refused to accept jazz because they believed it was immoral.

The Blues (1960s)

https://www.shmoop.com/blues-history/race.html

Phillips played an instrumental role early in the careers of the bluesmen Howlin’ Wolf and B.B. King, but he is best remembered for being the first to record Elvis. One of the most repeated quotes in the history of American popular music is Phillips’ fateful musing that if he could “find a white man who had the Negro sound and the Negro feel, [he] could make a billion dollars.”16

That man, of course, turned out to be Elvis Presley.

Rock Music (1950s)

Often, White people treat other cultures as if they were the local Stop and Rob. The internet makes it so much easier for them to eavesdrop on other cultures, watching closely to see what cultural nuggets they can mine from marginalized peoples, from food, to hairstyles, to language, and they pounce the moment they think they’ve found something that can be White people’s newest hot take on…whatever. Incidentally White people never call any of this appropriation. They like to call it “sharing”.

http://www.slate.com/articles/arts/music_box/2016/10/race_rock_and_the_rolling_stones_how_the_rock_and_roll_became_white.html

—Harper’s magazine published an essay by future Pulitzer Prize winner Margo Jefferson titled “Ripping Off Black Music.” The piece was partly a broad historical overview of white appropriations of black musical forms, from blackface minstrel pioneer T.D. Rice through the current day, and partly a more personal lament over what Jefferson, a black critic, had come to see as an endless cycle of cultural plunder. The article’s most striking moment arrived in its penultimate paragraph:

The night Jimi died I dreamed this was the latest step in a plot being designed to eliminate blacks from rock music so that it may be recorded in history as a creation of whites. Future generations, my dream ran, will be taught that while rock may have had its beginnings among blacks, it had its true flowering among whites. The best black artists will thus be studied as remarkable primitives who unconsciously foreshadowed future developments.

And that’s exactly what happened, as almost nobody remembers that Rock music was invented by Black artists.

Disco (1970s)

Another one of the forerunners to our current culture war was White male outrage at Disco Demolition Night in 1979. Disco was a music primarily engaged in, and created by, Hispanics, Blacks, and Women. Until this too was appropriated by groups like Abba and the Bee Gees, White men raged an all out assault against this music they felt didn’t speak to or represent them.

This resulted in a full-on riot at Comiskey Park in 1979.

https://aeon.co/ideas/the-night-when-straight-white-males-tried-to-kill-disco

http://daily.redbullmusicacademy.com/2016/09/disco-demolition-introduction

http://www.bbc.com/culture/story/20180403-why-disco-should-be-taken-seriously

Rap Music (The 80’s)

There was also a White backlash aimed at Rap music, when it was reaching popularity in the late 80’s, and there were many attempts to brand it as demonic, illegal, immoral, and therefore worthy of censorship :

https://www.thedailybeast.com/when-nwa-terrified-white-america

The Great Rap Censorship Scare of 1990 – Medium.Com

View story at Medium.com

In Gaming

This culture war began  with Anita Sarkeesian (2012), who only had to make the announcement that she wanted to critique gaming from a feminist perspective. This eventually morphed into Gamergate, which pulled in  more women who were involved in gaming (2014), and eventually this  formed the backbone of the Alt-Right. The culture that harassed Anita Sarkeesian in 2012,  is of the same 4Chan mindset that birthed  the current ongoing campaign of harassment of women of color, Queer people on social media.

https://www.newstatesman.com/blogs/internet/2012/06/dear-internet-why-you-cant-have-anything-nice

(There was a second article by this writer detailing some of the harassment that Sarkeesian endured, which I have not linked to, because it contained violent and pornographic images of her.)

https://www.vox.com/2014/9/6/6111065/gamergate-explained-everybody-fighting

https://www.cnet.com/news/gamergate-donald-trump-american-nazis-how-video-game-culture-blew-everything-up/

In Movies/Fandom

Actor Harrasment

Since Hollywood has been listening to marginalized people, and begun the barebones acknowledgment of other audiences besides White men in their narratives, there has a been a concerted backlash against many of the actors involved in diverse, or  race and genderbent TV and movie productions, and characters, with Candace Patton from  the CW series The Flash, Kelly Marie Tran from The Last Jedi, and Leslie Jones from the all female  Ghostbusters of 2016, being the forefront. This has continued with Ana Diop, a Black actress who was cast as an alien named Starfire on the CW’s Titans TV series.

https://www.vox.com/culture/2018/6/5/17429196/kelly-marie-tran-instagram-deleted-harassment-star-wars-rose-last-jedi

https://www.thecut.com/2016/08/a-timeline-of-leslie-joness-horrific-online-abuse.html

https://www.themarysue.com/candice-patton-asleigh-murray-racist-backlash/

https://www.vox.com/2018/7/27/17618954/teen-titans-starfire-racism-anna-diop

https://www.forbes.com/sites/janetwburns/2017/12/27/black-women-are-besieged-on-social-media-and-white-apathy-damns-us-all/#7e22ea9e423e

In Publishing/Comics

The Rabid Puppies/Science Fiction

In the SciFi/Fantasy genre of publishing there has been a meltdown from writers who, just as Samuel R. Delaney stated, feel that there is TOO much diversity in the genre, that as straight White men they’ve been ignored, and that the genre has been taken over by SJWs, who are only giving awards to the like-minded. The less radical version of this group is called The Sad Puppies.

http://www.jimkelly.net/blog/2018/2/3/dont-read-the-comments

There has always been a certain level of diversity in comic books, but in the past five years Marvel and DC have made an all-out push for gay, transgender, Black, Asian, Muslim and other characters as the primaries in their own stories. A number of ” Legacy” characters have been replaced by women and PoC. Iron Man is now a Black woman named Riri, Thor, Wolverine and Hawkeye were replaced by women, Spiderman is now a young Black man named Miles Morales, Captain America has been replaced several times by Sam Wilson,  several DC characters, like Poison Ivy and Harley Quinn, have come out of the closet, The Hulk’s new name is Amadeus Cho, the smartest person in the universe is a little Black girl named Lunella Lafayette, and one of Marvel’s biggest selling books features a Muslim girl in the role of Captain Marvel.

https://www.macleans.ca/opinion/the-culture-wars-come-to-comic-books/

High-profile writers of colour like Ta-Nehisi Coates and Roxane Gay joined Marvel’s roster of creators. In response, Marvel and those creators have faced online harassment. “They are legitimately frightened by harassers who threaten to come and find them at conventions, at stores, at their homes,” wrote comic legend Mark Waid in a Facebook post. “One was told she should be burned to death. Another was told that she should be put down like a dog. And those are examples of some of the less hateful attacks.”

https://blogs.canterbury.ac.uk/expertcomment/comicsgate-backlash-and-the-future-of-the-comics-industry/

https://www.thedailybeast.com/comicsgate-how-an-anti-diversity-harassment-campaign-in-comics-got-uglyand-profitable

Books and Magazines

Fireside Publishing has an entire series, titled The BlackSpecFic Report, which gathers the numbers on how  Black writers are being published less often than White writers, in speculative fiction, along with a series of articles by Black writers discussing how the problem manifests, and how it can be remedied.

https://firesidefiction.com/blackspecfic

https://firesidefiction.com/blackspecfic-2015

http://blacknerdproblems.com/fireside-and-fiyah-bringing-visibility-to-black-writers-in-speculative-fiction/

“Just admit your market’s discerning tastes skew colonial and that you’re fine with it, but stop insisting that apparently 100% of the stories you receive from Black writers just aren’t good enough.”

Comedy

Even Comedy has experienced a backlash from (primarily) White male comedians who have found that the version of comedy that may have launched their careers, has no place among today’s audiences. Thye complain that audiences have become too PC, and that not laughing at their old jokes is a form of censorship.

https://www.vice.com/en_us/article/gqm5wj/a-history-of-political-correctness-killing-comedy-615

https://franklycurious.com/wp/2015/06/18/whiny-comedians-are-just-growing-old/

https://www.laweekly.com/film/old-irrelevant-comedians-whine-about-censorship-in-can-we-take-a-joke-7169509

Some of these backlashes against cultural change are still ongoing, while some were lost long ago. I wanted to give short primer on the history of the Culture Wars, how it isn’t a new thing, and that this too shall pass, most likely to be replaced by some new one in about ten to twenty years. It is almost always generational in nature with the previous generation taking some crude stance against against a younger more Progressive generation. In this NY Times article the author compares two backlashes, from two different eras, and their similarities.

In the second part of this series, I’ll discuss how White Prioritization manifests itself within the narratives we consume, sometimes in ways that are invisible to the viewer.

Talk Amongst Yourselves: Here’s A Topic

Here’s some reading for your weekend. Some of these articles are not new, but they were new to me when I read them, and I thought they were interesting enough to share:

 

 

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*For those of you outside the US, this topic may be puzzling to you. The reason there are so many stories about this recently is because of the progress of technology. We can now clearly document the racism that Black people (and other marginalized groups) are on the receiving end of in this country. (This article lists several.)

Sadly, the only takeaway that a lot of White people get from the widely publicized police shootings of unarmed Black men, is that they can call the police, who will then come and punish us, or remove us, and there is a very clear reason that  many of these incidents have been instigated by White women. In a few of these cases, it is made  clear by the participants, that the reason they’re calling the police, is that they hope we will be killed. 

The bottom line is that White supremacy is not the sole province of White men. White women are not innocent, and have been willing, sometimes eager, participants in its practice.

https://www.damemagazine.com/2018/07/30/white-women-arent-afraid-of-black-people-they-want-pretty-power/

There’s a long history of white women harassing Black people and getting cops to arrest them. The only danger they feel is of losing their place within the white patriarchy.

 

 

 

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*This is an analysis of the types of gender roles played in superhero movies:

https://adanewmedia.org/2016/10/issue10-miller-rauch-kaplan/

This study examined full-length superhero movies to determine if there are gender differences in characters’ roles, appearances, and violence.

 

 

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*A lot of Black superheroes are strictly small time. Its interesting that superheroes written by White men are only ever tasked with taking care of their immediate environment, which is almost always a crime- ridden neighborhood in the inner city. This is not to negate the existence of Cosmic and Planetary  superheroes, but that there are so many of them willing to forgo protecting the planet, or the galaxy, in favor of just hanging out in the ‘hood, is something I hadn’t noticed before.

https://www.theatlantic.com/entertainment/archive/2014/11/black-superheros/383042/

Traditionally, movies have done a curious thing with black heroes: Charge them not with saving the world, but rather with protecting their immediate, ethno-specific domains, or, in many cases, to put it bluntly, the ghetto.

 

 

 

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*This has been an issue since the passing of the Civil Rights Act. Before that, Asian people had largely been vilified in the media, and by politicians, as a menace, or as not really being American. After the passing of the CRA there was a concerted effort to use the achievements of certain ethnicity of Asian Americans to make backhanded slaps at Black people, in an attempt to negate the effects of White supremacist policies on both groups.

https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks

Since the end of World War II, many white people have used Asian-Americans and their perceived collective success as a racial wedge. The effect? Minimizing the role racism plays in the persistent struggles of other racial/ethnic minority groups — especially black Americans.

 

 

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*I had a long rant ready about the whininess of comedians who claim political correctness has destroyed their careers, but this article states what I wanted to say clearly enough. What they are complaining about is simply what happens to older comedians who can’t adapt to the times.

http://www.latimes.com/opinion/op-ed/la-oe-0616-rabin-seinfeld-pc-20150616-story.html

Comedy increasingly is taking the form of a conversation rather than a one-way expression of ideas and information, and cranky older comedians who opt out of this dialogue risk becoming relics of an earlier era.

 

 

 

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*This made me think about a lot of the art created by marginalized groups in hte US ,and how so much of it is created to uplift the self- esteem of the group. What Gadsby says she was doing in her stand-up is the exact opposite of rap music, for example. There is no such thing as self- deprecating rap music. I thought of this because I had been listening to Django Jane ,and how that is an anthem for QPoC, and the things Janelle Monae says about herself in that song, are a celebration of her strength, and identity, and it makes me wonder if Gadsby’s approach to stand-up, has more to do with being Tanzanian rather than American. or if its just her own introverted personality at work.

 Here, you have two very different women, both of them somewhere along the LGBTQ spectrum, one White and Non- American, and the other American born, and you have two very different philosophical approaches to their performances. Gadsby claims her self- deprecation was the price she paid for speaking, as if she needed permission to talk about her life, and could only do so by making herself smaller. This does not seem to be the case with Janelle, who creates art that celebrates herself. Janelle doesn’t ask permission. She is  telling the listener how wonderful she is, which is  one of the major components of a form of music that was created by an often denigrated, and marginalized group of people. Such a form of humility may have served Gadsby in the environment that produced it,  but Black Americans can’t afford to be humble.

http://observer.com/2018/08/film-crit-hulk-hannah-gadsby-rejects-the-premise/

“Do you understand what self-depreciation means when it comes from someone who already exists in the margins?” She asks, “it’s not humility, it’s humiliation.” And Gadsby was done having her very identity being a source of tension. She was done cutting herself down. She was done humiliating herself.

 

 

 

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*I’ve watched a lot of Science Fiction and its interesting how many or how few  characters with disabilities are present, and how little accommodation is made for them. I cannot recall any stairs on Star Trek, but I also didn’t notice if other accommodations had been made for hearing, height, or sight disabilities. I’m going to have to re-watch a lot of my favorites, and make  notes.

http://www.scifipulse.net/turning-a-blind-eye-physical-disabilities-in-sci-fi-fantasy-entertainment/

https://io9.gizmodo.com/staircases-in-space-why-are-places-in-science-fiction-1827966642

Our real world is a remarkably inaccessible place. I haven’t made it to a movie theater on opening night in years without running into a plethora of issues, from broken captioning devices to nondisabled people sitting in seats for wheelchair users and their companions, to theaters that are physically inaccessible to me because of those dang steps and staircases.

 

 

*Thandie Newton, from Westworld, has a lot to say about diversity in SciFi:

 

Your character Maeve in HBO’s “Westworld” is an android or “host” in a theme park. What do you think it means to have characters of color in genre work? A lot of what’s in the mainstream doesn’t have people of color. What irritates me is that science fiction is the place where you could have us. Science fiction is a projection of a time that hasn’t even happened, so if you don’t populate that place with people of different skin tones, shame on you.

Random Conversations on Tumblr

 Just some of the conversations I’ve been reading, and sometimes participating in, on Tumblr. Incidentally, you should check out my Tumblr page. It’s a bit different from this one, in that I post more about politics, and social issues, along with more casual things like goofy animals, and silly discussions.

Robots and Race

* The TV Series Humans has just finished its third season, and quite a number of fans are unhappy. I watched the second season and noticed that race wasn’t much talked about, although since many of the robots featured depict different races, it should have.
The star character for some of the major plotlines was Gemma Chan’s, Mia. She was killed in the season finale, and fans felt some type of way about that. I didn’t watch the third season because I had gotten bored with the show.
But something in EAWS’s essay, about how Mia was treated on the show, and the third season’s approach to racial issues, prompted thoughts from me about how the subject of racism is depicted in science fiction/fantasy shows, especially when the writers are White. I’ve noticed that they are often not honest about White culpability in the invention of modern racism.
I’ve been noticing this trend, and I had some things to say about.
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Humans is one of those shows that is racially diverse on the surface, but in reality is very safe, very white-centric (yes, even with having Mia and Max in the main cast).

“Äkta människor”, the original Swedish show had its own problems with writing the characters of color,  but it was always very clear that the in-universe “Real Humans” (”We are People”) movement was a direct parallel to the white supremacist, anti-immigrant alt right groups / political parties, and all their members were portrayed by the white actors.

Humans, however, while also pretending to be a sci fi allegory of real life racism and xenophobia, makes sure that for each bigoted white character there’s always a Bigoted Character of Color. Just a few examples –

  • a random Black man, a member of alt-right “We Are People” movement, in s1 holding an anti-synth banner and shouting anti-synth propaganda;
  • Thusitha Jayasundera’s Neha in s2 was leading a case against Niska, yes, she went through massive character development in s3, and became an active synth rights supporter, but in her own words, she changed her views mainly because of Laura (a white woman);
  • a xenophobic anti-synth cameo character played by Naoko Mori in s2;
  • Ed’s bigoted Black friend, who persuaded Ed to sell Mia (which in turn made it easier for the writers to redeem Ed in s3 – “Ed wasn’t a racist who dehumanized his girlfriend of color, he was just a weak man, who followed an advice from his Black friend, it’s the Black friend, who is the /real/ racist” – that’s the writers’ message here);
  • a Black woman police officer, who profiled Mia in s3;
  • a random Angry Black Woman on the street, that attacked Mia in s3;
  • a Brown Muslim politician on the Synth commission, that was presented more anti-synth, than a white guy, who lead the commission (s3);
  • an anti-synth Brown Head of the Police, member of the commission;
  • an unnamed Black man leading the human supremacist group against the synth compound, targeting Max and Mia (3×08).

Once is an accident, twice is a coincidence, third time is a pattern, as they say.

  Keep reading

What was the point in changing what was basically a white nationalist into a Black xenophobe? Intersectional bigotry exists, yes. But white writers of Äkta människor managed to show intersectional bigotry through white characters – they had xenophobic white gay character and a homophobic white hubot/synth, they even had a weeb. Brown writers of Cleverman showed intersectional bigotry through Koen (in s1) and Waruu West in s2. But when white writers prefer to show Black and Brown characters as the “real” racists (like Sense8the only reason for that is that the writers don’t want to touch the subject of white supremacy because it makes them uncomfortable. *

I love this, and I just want to piggyback a little bit off this post for a minute:

This is one of the major reasons why I dislike racism allegories written by White writers. They often, and very deliberately, get these allegories wrong by trying to equate racism and white nationalism, with “reverse racism” (which is not a thing, btw). They often do this by casting PoC as virulent racists against whatever out-group is the stand-in for a marginalized group in the narrative, whether its robots, supernatural creatures, or aliens.

I’ve seen this happen in a lot of fantasy, and sci-fi narratives written by White writers, who are attempting to lecture their audience on how bad racism is, all while trying never to acknowledge the elephant in the room: That our current model of racism, they are riffing on, was invented by White people.

They often make these virulently racist characters Black as well. In Heroes, the nasty racist, who wanted to kill all heroes, was a Black woman, who actually killed children. In District 9, the African characters were racist against the aliens, monetarily prostituting them, exploiting them, and even cannibalizing them, (which is a whole other nastily racist trope about people from the African continent, that I simply cannot believe no one caught.) In the X-Men/New Mutants TV Series, The Gifted, you have a Black man, as a member of the government, hunting down the mutants, to put them in concentration camps, and in Teen Wolf, you have a Black woman who wants to destroy all supernatural creatures, and yet again, advocates killing children to accomplish her goal.

It’s even worse when sometimes these are the only Black characters in the entire narrative, or worse yet, Black women.

There is already a dearth of Black women in fantasy and sci-fi media, so Black women being cast in these roles (of killing children) is an especially nasty trope, that needs to fucking die, especially when you consider that it is real life Black women, who know, above all else, what it is like to lose their children to violence, and are working hard right now to protect their children from things like gang violence and police brutality. Real life Black women work damn hard to counter the very narratives these characters are advocating in these shows. To then cast these (always dark-skinned, with natural hair, because its simply not enough that they be Black) women as the advocates and killers of children, in these shows, is an especially insulting slap in the face to Black fans, as Black women are some of the hardest fighters against racism and sexism, being so often on the receiving end of both, and to keep seeing them cast in these roles is more than a little enraging.

I know the point the writers are trying to make is that there’s racism on all sides and that anybody can be racist, but that message is more than a little self-serving, especially when you consider that it is only White writers who tout this message, in their allegories about bigotry. So, not only are they appropriating our stories of oppression (all things that have been done by Whites to everyone else) to use for non-human beings, but casting PoC in these roles as the oppressors, because they want to express the idea that that type of racism and bigotry is an equal opportunity position. By doing that, they thereby remove themselves from collusion with the issue and relieve their own guilt.

 

Source: 

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*And then there’s this problem, which is seen in every scifi/ fantasy racial allegory from True Blood, to Zootopia, to Bladerunner, to Bright, to The X-Men……… 
Yet it’s the kind of parable that turns up over and over again in science fiction and fantasy stories that are reportedly trying to convey a message of tolerance. “Look, we get that you’re having trouble seeing minorities as humans, so perhaps it would help if you imagined them as something that is A) objectively not human and B) inherently dangerous.”…
…What makes it worse — and weirder — is that writers can’t resist giving these marginalized groups some kind of superpowers, which in turn actually gives the fictional society a legitimate reason to fear them.

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Science Fiction Genre and Race

 *White writers also have a tendency to be lacking when it comes to imagining futuristic depictions of race, often simply reproducing the same racial issues (and many of the same stereotypes) that exist right now. The situations of various PoC simply never changed. We’re still sassy sidekicks, living in poverty, model minorities, or just erased.

https://psmag.com/social-justice/welcome-to-the-post-racial-future-its-still-pretty-racist

Altered Carbon presents a world that looks post-racial, and in which humanity has escaped from identity, and identity politics, once and for all. But even when bodies are interchangeable commodities, certain bodies are treated as having more value than others. for the greater profit of rich people and white people, and especially of rich white people.

 

I’m surprised a film of this magnitude and of this scale decided to show one of the most regressive and most racially-charged images I’d seen in a while; replicant Luv (Sylvia Hoeks), the replicant assistant to Niander Wallace (Jared Leto)  is shown getting her nails electronically altered by a small Asian man, whose hunched over, deep in his work.

The stereotype of the Asian nail salon tech has made its way into the future.

 

 

https://www.theatlantic.com/entertainment/archive/2014/03/-em-star-wars-em-and-the-4-ways-science-fiction-handles-race/359507/

 Sci-fi likes to believe it can imagine anything, but, especially in its mainstream incarnations, it’s clearly a lot more comfortable imagining race in contexts where the topic is dealt with obliquely or simply not mentioned or foregrounded. In this area, Hollywood adventures are strikingly timid. 

 

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Black Feminism

*Discussion of Black women as love interests. By saying that Thor is only interested in Valkyrie, as a heroic figure, it  is akin to saying she’s a strong, independent, Black woman, who don’t need no man, and how this does not take into account intersectional femininity:

Image result for black women saviors
The Problem with Valkyrie Being Simply a “Hero” to Thor

So…I get not everyone is going to understand this, especially if someone is not a Black woman and doesn’t have our experiences, so I’m going to try to lay this out as nicely as possible and try not to come off too harsh.

I’m going to start off with a quote from Alice Walker:

“Black women are called, in the folklore that so aptly indentifies one’s status in society, ‘the mule of the world,’ because we have been handed the burdens that everyone else–everyone else–refused to carry. We have also been called ‘Matriarchs,’ ‘Superwomen,’ and ‘Mean and Evil Bitches.’ Not to mention ‘Castraters’ and ‘Sapphire’s Mama.’“

You see, Black women are expected to be the “hero” of someone else’s story. We’re expected to be “the help.” The “mystical hero.” The “sassy friend.” We’re always there to help out the lead, but we’re never the love interest.

Chris Hemsworth has said himself that Thor is “smitten” by Valkyrie…when you disregard that and say she’s simply his hero and that it’s refreshing that he’s not admiring her in a romantic way, you are confusing your experience as a non-Black woman with ours.

Black women have historically been masculinized and fetishized. We’re either seen as too unattractive for love or too sexual to be romanticized. So, when we are put on a pedestal as a hero, it’s not at all refreshing. It’s the same ol’ same ol’. Now, being adored and loved? That’s something Black women never get to see for themselves.

It’s something that has slowly been changing, but the more it changes, the more pushback is given in response. CW’s Iris West is nitpicked as a character for the silliest things while the fandom constantly ships Barry with Caitlin, a white character who has shown no interest in him or vice versa. Even the actress cannot escape the anger from fans who prefer the lead be paired with a white woman. She faces constant harassment on her social media on a regular basis.

So, while it might be revolutionary for white female leads and other non-Black female leads to be looked at like heroes rather than love interests, it’s not so much for Black women. So rarely are we given the message that we too can be worthy of love. Please tread carefully when you suggest that a Black woman being seen as a man’s hero rather than love interest is “refreshing.”

 

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Humorous Interlude

 

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*The discussion, on the adoption and care of the Roomba, continues: 

 gaymilesedgeworth

after i move i really wanna get a used roomba

 

gaymilesedgeworth

biggest-gaudiest-patronuses

just remember they’re social animals and should always be kept in pairs, don’t get a roomba if you aren’t prepared for that responsibility

 

fireheartedkaratepup

That’s a common misconception. Roombas do perfectly fine on their own if you spend quality time with them! They group together in the wild for protection, but when they have no natural predators in the area they often choose to live alone.

 

biggest-gaudiest-patronuses

i didn’t know that! do you have any advice on roomba breeding and the problem with parent roombas’ tendency towards eating their young?

 

ironbite4

……..I’m nuking this entire hell planet from orbit.

 

biggest-gaudiest-patronuses

even the roombas?

 

ironbite4

The roombas are coming with me.  Can’t let them stay with you crazy people.

 

Source: gaymilesedgeworth

 

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Representation

*I loved this speech about the importance of representation and inclusion:

Rick Riordan won a Stonewall for 2017

rosetintmyworld84

 

Rick Riordan was awarded the Stonewall Book Award for his second Magnus Chase book, due to the inclusion of the character Alex Fierro who is gender fluid. This was the speech he gave, and it really distills why I love this author and his works so much, and why I will always recommend his works to anyone and everyone.

“Thank you for inviting me here today. As I told the Stonewall Award Committee, this is an honor both humbling and unexpected.

So, what is an old cis straight white male doing up here? Where did I get the nerve to write Alex Fierro, a transgender, gender fluid child of Loki in The Hammer of Thor, and why should I get cookies for that?

These are all fair and valid questions, which I have been asking myself a lot.

I think, to support young LGBTQ readers, the most important thing publishing can do is to publish and promote more stories by LGBTQ authors, authentic experiences by authentic voices. We have to keep pushing for this. The Stonewall committee’s work is a critical part of that effort. I can only accept the Stonewall Award in the sense that I accept a call to action – firstly, to do more myself to read and promote books by LGBTQ authors.

But also, it’s a call to do better in my own writing. As one of my genderqueer readers told me recently, “Hey, thanks for Alex. You didn’t do a terrible job!” I thought: Yes! Not doing a terrible job was my goal!

As important as it is to offer authentic voices and empower authors and role models from within LGBTQ community, it’s is also important that LGBTQ kids see themselves reflected and valued in the larger world of mass media, including my books. I know this because my non-heteronormative readers tell me so. They actively lobby to see characters like themselves in my books. They like the universe I’ve created. They want to be part of it. They deserve that opportunity. It’s important that I, as a mainstream author, say, “I see you. You matter. Your life experience may not be like mine, but it is no less valid and no less real. I will do whatever I can to understand and accurately include you in my stories, in my world. I will not erase you.”

People all over the political spectrum often ask me, “Why can’t you just stay silent on these issues? Just don’t include LGBTQ material and everybody will be happy.” This assumes that silence is the natural neutral position. But silence is not neutral. It’s an active choice. Silence is great when you are listening. Silence is not so great when you are using it to ignore or exclude.

But that’s all macro, ‘big picture’ stuff. Yes, I think the principles are important. Yes, in the abstract, I feel an obligation to write the world as I see it: beautiful because of its variations. Where I can’t draw on personal experience, I listen, I read a lot – in particular I want to credit Beyond Magenta and Gender Outlaws for helping me understand more about the perspective of my character Alex Fierro – and I trust that much of the human experience is universal. You can’t go too far wrong if you use empathy as your lens. But the reason I wrote Alex Fierro, or Nico di Angelo, or any of my characters, is much more personal.

I was a teacher for many years, in public and private school, California and Texas. During those years, I taught all kinds of kids. I want them all to know that I see them. They matter. I write characters to honor my students, and to make up for what I wished I could have done for them in the classroom.

I think about my former student Adrian (a pseudonym), back in the 90s in San Francisco. Adrian used the pronouns he and him, so I will call him that, but I suspect Adrian might have had more freedom and more options as to how he self-identified in school were he growing up today. His peers, his teachers, his family all understood that Adrian was female, despite his birth designation. Since kindergarten, he had self-selected to be among the girls – socially, athletically, academically. He was one of our girls. And although he got support and acceptance at the school, I don’t know that I helped him as much as I could, or that I tried to understand his needs and his journey. At that time in my life, I didn’t have the experience, the vocabulary, or frankly the emotional capacity to have that conversation. When we broke into social skills groups, for instance, boys apart from girls, he came into my group with the boys, I think because he felt it was required, but I feel like I missed the opportunity to sit with him and ask him what he wanted. And to assure him it was okay, whichever choice he made. I learned more from Adrian than I taught him. Twenty years later, Alex Fierro is for Adrian.

I think about Jane (pseudonym), another one of my students who was a straight cis-female with two fantastic moms. Again, for LGBTQ families, San Francisco was a pretty good place to live in the 90s, but as we know, prejudice has no geographical border. You cannot build a wall high enough to keep it out. I know Jane got flack about her family. I did what I could to support her, but I don’t think I did enough. I remember the day Jane’s drama class was happening in my classroom. The teacher was new – our first African American male teacher, which we were all really excited about – and this was only his third week. I was sitting at my desk, grading papers, while the teacher did a free association exercise. One of his examples was ‘fruit – gay.’ I think he did it because he thought it would be funny to middle schoolers. After the class, I asked to see the teacher one on one. I asked him to be aware of what he was saying and how that might be hurtful. I know. Me, a white guy, lecturing this Black teacher about hurtful words. He got defensive and quit because he said he could not promise to not use that language again. At the time, I felt like I needed to do something, to stand up especially for Jane and her family. But did I make things better handling it as I did? I think I missed an opportunity to open a dialogue about how different people experience hurtful labels. Emmie and Josephine and their daughter Georgina, the family I introduced in The Dark Prophecy, are for Jane.

I think about Amy, and Mark, and Nicholas … All former students who have come out as gay since I taught them in middle school. All have gone on to have successful careers and happy families. When I taught them, I knew they were different. Their struggles were greater, their perspectives more divergent than some of my other students. I tried to provide a safe space for them, to model respect, but in retrospect, I don’t think I supported them as well as I could have, or reached out as much as they might have needed. I was too busy preparing lessons on Shakespeare or adjectives, and not focusing enough on my students’ emotional health. Adjectives were a lot easier for me to reconcile than feelings. Would they have felt comfortable coming out earlier than college or high school if they had found more support in middle school? Would they have wanted to? I don’t know. But I don’t think they felt it was a safe option, which leaves me thinking that I did not do enough for them at that critical middle school time. I do not want any kid to feel alone, invisible, misunderstood. Nico di Angelo is for Amy, and Mark and Nicholas.

I am trying to do more. Percy Jackson started as a way to empower kids, in particular, my son, who had learning differences. As my platform grew, I felt obliged to use it to empower all kids who are struggling through middle school for whatever reason. I don’t always do enough. I don’t always get it right. Good intentions are wonderful things, but at the end of a manuscript, the text has to stand on its own. What I meant ceases to matter. Kids just see what I wrote. But I have to keep trying. My kids are counting on me.

So thank you, above all, to my former students who taught me. Alex Fierro is for you.

To you, I pledge myself to do better – to apologize when I screw up, to learn from my mistakes, to be there for LGBTQ youth and make sure they know that in my books, they are included. They matter. I am going to stop talking now, but I promise you I won’t stop listening.”

 

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Dinosaurs

Image result for mosasaur gif

*This entire review is basically the only reason people got to see these films. We’re certainly not watching them for the people in them.

Now, I’ve told you guys how much my Mom loves movies about people being eaten by things, so if she says something was a bad movie, take what she says as the truth. This woman will watch almost anything with giant creatures chasing and eating people, and she hated this movie!

I’m probably one of the few people that didn’t actually hate this movie, although I hated most of the people in it, and spent some amount of time rooting for my three favorite dinosaurs: the T-Rex(which I have named Sue), the velociraptor named Blue, and the mosasaur from the last movie, which I have, henceforth, named Molly.

 

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The Apocalypse

*I had to leave a response to this because the whole idea of the zombie apocalypse has now become nothing more than power a fantasy for White men, who all imagine they’re gonna be Negan, from The Walking Dead. 

I’m not watching any more shows, or reading any more zombie apocalypse novels, with White men in the center of the story. Most zombie novels and movies only feature White, middle-class people, and focus on their reactions to the loss of electricity, I guess.  Despite the existence of most of the world’s infrastructure, and the clear examples of what human beings would actually do when encountering catastrophe, in places like Puerto Rico and  Katrina, apparently one’s immediate reaction is to run amok in the streets, trying to kill each other for food.

I’m ready for some stories featuring unconventional heroes, in diverse environments. This is why I enjoyed World War Z (the book). How does the zombie apocalypse affect the plains of Africa or the mountains of Tibet? The slums of India? Or the favelas of Brazil?

Its also interesting to note that none of the pop culture we know, exists in any of these universe created by the zombie apocalypse. It’s always a surprise to the inhabitants of these stories as if they’d never heard of zombies. They always have to start from scratch. What if we just didn’t? I want to read a story (or watch a show) where all the Black, and Latinx people, in the ‘hood,  lived, because we’ve all been watching movies about the zombie apocalypse for decades, and we know all the rules and the tropes.

why is there no electricity after the apocalypse?

jumpingjacktrash

 

something people writing post-apocalyptic fiction always seem to forget is how extremely easy basic 20th century technology is to achieve if you have a high school education (or the equivalent books from an abandoned library), a few tools (of the type that take 20 years to rust away even if left out in the elements), and the kind of metal scrap you can strip out of a trashed building.

if you want an 18th century tech level, you really need to somehow explain the total failure of humanity as a whole to rebuild their basic tech infrastructure in the decade after your apocalypse event.

i am not a scientist or an engineer, i’m just a house husband with about the level of tech know-how it takes to troubleshoot a lawn mower engine, but i could set up a series of wind turbines and storage batteries for a survivor compound with a few weeks of trial and error out of the stuff my neighbors could loot from the wreckage of the menards out on highway 3. hell, chances are the menards has a couple roof turbines in stock right now. or you could retrofit some from ceiling fans; electric motors and electric generators are the same thing, basically.

radio is garage-tinkering level tech too. so are electric/mechanical medical devices like ventilators and blood pressure cuffs. internal combustion’s trickiest engineering challenge is maintaining your seals without a good source of replacement parts, so after a few years you’re going to be experimenting with o-rings cut out of hot water bottles, but fuel is nbd. you can use alcohol. you can make bio diesel in your back yard. you can use left-over cooking oil, ffs.

what i’m saying is, we really have to stop doing the thing where after the meteor/zombies/alien invasion/whatever everyone is suddenly doing ‘little house on the prairie’ cosplay. unless every bit of metal or every bit of knowlege is somehow erased, folks are going to get set back to 1950 at the most. and you need to account somehow for stopping them from rebuilding the modern world, because that’s going to be a lot of people’s main life goal from the moment the apocalypse lets them have a minute to breathe.

nobody who remembers flush toilets will ever be content with living the medieval life, is what i’m saying. let’s stop writing the No Tech World scenario.

 

lkeke35

As a corollary to the above:

I’ve been saying this about the Zombie apocalypse for years. What city dwellers do you know are gonna immediately drop everything, run out to the woods, and live at a subsistence level, just because dead people are walking around? People with disabilities, allergies, or elderly parents to care for, ain’t going to be doing any such thing. Why is the advice given to people, that they need a “bug out” plan just because the dead are walking? I’m not buying it.

I live in the hood. Do you know how many handymen we have in the hood? How many military personnel? Or even homebody engineers? Do you have any clue how resourceful and cooperative poor people are, and have to be, to survive even with electricity? And how many of us have been trained to expect the best, but plan for the worst case scenario. No, you don’t, because that idea of poverty is never represented in popular culture. Shit! A zombie apocalypse won’t even ruffle our fucking hair. We’ll come up with ways to kill the zombies while keeping it moving. Hell, my brother, all by himself, could have the electricity up and running, a defensive tower, a moat, schooling, and gardening, all in the space of two weeks, and entirely organized by my mother.

It’s also interesting to me that all zombie apocalypse narratives only seem to consist of middle-class, white, suburbanites trying to survive, with a handful of PoC thrown in like confetti. The most that White writers can imagine, for PoC, even during the apocalypse, is that we all die? Really! That seems to be their only scenario. They don’t take into account that poor Black people have been taking care of each other since the invention of poor people. The poor have never believed in an isolationist, go it alone, ruggedly individual attitude, when it comes to surviving, because we couldn’t afford that! That’s the kind of attitude that only people, with all of their basic needs met, could adopt as a life strategy. Poor people are not lazy, and of everyone, they would be the most likely to survive the apocalypse, because we have experience with surviving hardship and insecurity!

On the other hand, the middle-class white guys who invent these types of stories are obsessed with that attitude. They really think that as soon as the electricity stops, people are gonna lose their gotdamn minds, and start trying to kill their neighbors for fun and food, or planning a long journey to go find their wife, son, daughter, lost somewhere in the pre-tech Badlands! Not even taking into account that we have real-life scenarios right here, right now, that we can look at and figure out that most people aren’t gonna act like that. (*cough, ahem! Puerto Rico! Cough*).

I have long come to understand that apocalypse scenario are just wish fulfillment fantasies for middle-class white guys who think that the end of the world will make them the heroes they always wanted to be. As a result, I’m no longer interested in apocalypse scenarios with white men in the center of them as the heroes, and yes, I’m also talking about a certain TV show, too.

 

Source: jumpingjacktrash
Actually, I’ve noticed one staple of almost all apocalyptic fiction written by White people: In everything, from those Purge movies, to alien invasion, and zombie apocalypse movies, the White Western reaction seems to be “go out and kill each other”.
I’m mostly talking about the Purge films, where the premise is that all crime is free for 12 or 24 hours, but all people can think of to do is kill each other. Are you kidding me? Can we get an Oceans 11 version of The Purge, where someone has been planning the perfect heist, all year long? Actually,  I hate the Purge movies because the movies create more questions than they answer, and my super-villain brain keeps trying to organize the cultural, social, and legal implications of such an arrangement.
In a lot of American apocalyptic fiction, we never get any idea how the rest of the world is handling the destruction of the “civilized” world, or even if the rest of the world is experiencing it at all. For all we know, it’s only the Americans and Europeans who have lost their damn minds, and the Canadians are doing just fine! How do we know the Aussies haven’t just all gone punchy from the heat,  put on some fetish gear,  and decide to ride around in the desert?
When White men write about the apocalypse, they often seem to write about destroying whatever, and whoever is left.  Now contrast all that with how Women and PoC write about the apocalypse:
https://www.huffingtonpost.com/olivia-cole/people-of-color-do-surviv_b_5126206.html
https://www.indiewire.com/2016/03/women-and-poc-survive-the-apocalypse-march-2016s-vod-and-web-series-picks-202649/

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Fandom

Image result for fandom gif

*Advice on how to NOT be a shitty fanfiction writer:

There IS such a thing as a bad premise. A story that relies on accepting racism, sexism, homophobia etc as valid or justifiable or not something that needs to be contested, like any story that can not exist or function as is if you take those elements out…is a fundamentally bad fucking premise.

Nobody questions the existence of good ideas. Why do some people fight so damn hard to deny that there is such a thing as a bad idea?

Every idea a person has ever had does not NEED to be put out there. Not every idea leads somewhere good.

And each and everyone of us is capable of evaluating whether an idea we have is good or not. If it’ll do harm or not. We each have the capacity to look at an idea we have and say…yeah that’s not really workable. And just….not share it.

This isn’t an imposition. This isn’t censorship. This is basic human awareness of the fact that ideas in our brain impact us and us alone. Ideas we make the choice to enact in the world in some fashion impact others as well as us.

So fucking many of you resort to crying censorship when all that’s being asked of you is applying some scrutiny to what ideas you decide to share, because you can’t seem to wrap your heads around the idea that someone else telling you what you can and can’t write isn’t the only conclusion to be made from conversations about creative responsibility.

Because you just can’t seem to fathom the concept that you could just decide for yourself…oh, huh, I don’t actually HAVE to do this thing I’m digging my heels in about. It’s not a binary equation. It’s not either I do this or I do nothing at all and I might as well just have no rights or freedoms whatsoever gawd.

It’s almost like it’s actually….hmmm when examining the endless array of possibilities that go into crafting ideas and honing them and all the variables that act as search filters to narrow down my selection process of what areas to focus on, what elements to include….what if ‘hey is this idea one that appropriates shit that’s outside my lane or perpetuates harmful and toxic tropes’ was just an added search filter used in that process?

 

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 Post-lude

moami

if you find bones in the forest, sit a bit and listen. they are old and have some good stories to tell. maybe they’ll teach you a spell or two, or explain where the water on our planet came from.

if you find bones by the ocean, run. don’t look back. run, faster, faster. the sea may love you but there are nights where she knows neither mercy nor science, and the bones warn you only once.

deseng

boi if you find bones call the police i hate this website so much

moami

this is a piece of creative writing, in case you couldn’t tell from the fact that real bones don’t usually go hey lil’ mama lemme whisper bony secrets in your ear or warn you of the incoming tides like a calcified weather frog.

Source: moami

Weekend Reading: Random Edition

Scarlett Johansson is at it again, signing up to play a transgender man, Dante Gill, in a movie called Rub and Tug, and directed by the same guy who fucked up the Ghost in the Shell movie. Apparently, these two  have not learned one damn thing about appropriating, and/or whitewashing, the stories of marginalized people. Why is this appropriation? Here, have an essay!

https://slate.com/human-interest/2018/07/scarlett-johansson-playing-a-trans-man-makes-no-sense.html

When Hollywood insists on casting across gender, it hurts trans people by reinforcing two ideas: First, that trans men are “really” women (and vice versa); and second, that trans people are always visibly trans. The idea that trans people are pretending to be something we’re not is at the root of most of the hatred we’re subjected to, hatred that sometimes leads to violence—

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I stumbled across this little post about the toll, that White people calling the police on random Black people, has on the police dispatch workers, who take these calls. I used to wonder what the hell the dispatchers were thinking when they received such calls, and it did indeed skip my mind, that a great many of them are Black, that they receive calls like this all day ,every day, (we only know about the ones that go viral) and they have no choice but to take the calls. She talks about what an emotionally draining job it is to be Black, and taking these types of calls, where the callers make no secret about WHY they are calling.

The woman who wrote this article clearly states that the reason these people are calling the police is they are racist bigots. The yare calling becasue they want Black people to be removed from spaces they think are theirs, or punished for being in that space. She also talks about how the police are required to answer every single call. They have no choice about it, and many of the cops she knows, are every bit as sick of these non-emergency calls, as the random Black people these calls affect, because they are a complete waste of their time.

https://www.vox.com/first-person/2018/5/30/17406092/race-911-white-lady-calls-police-on-black-family-bbq-oakland

You swallow your cold oatmeal, you roll your eyes at your cubicle mate, and you enter the call for eventual dispatch even though you wish you could pretend you never got it. (If you don’t enter the call and something happens, you could lose your job for negligence.) Then you grab the next call.

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That said, it is time for ALL OF us to hold a special day for Black people, to  call the police, on any random White person, that wanders into our orbIt. Why? Because we are some petty muthafuckas, who are tired of this bullshit! Karen got on yoga pants in the office? Call ’em! Don  looking at you with pursed lips or a smirk?That’s just suspicious! Call’em! Suzan getting too loud with her mega grande, cafe latte, half mocha decaf order at the Starbucks? Call’em! cuz she can’t possibly drink that much coffee, without passing out!

https://www.theroot.com/10-wypipo-we-need-to-call-the-cops-on-1827294334

8. Lena Dunham and Post Malone

They just make me feel uncomfortable.

 

Image result for call the police on white people

Image result for call the police on white people

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I cannot stress enough how important it is to watch Nannette, by Hannah Gadsby, available on Netflix now. Its probably one of the finest standups I’ve ever  watched, and I’ve seen some of the great ones. She is up there with Robin Williams, Whoopi Goldberg, when she was at the top of her career, and George Carlin. 

Hannah talks about being  transgender, and non-binary, while living in Tasmania, childhood bullying, the foundations of comedy, and the confluence of sexism and art.  It’s a really incredible piece of work, and although Gadsby  announced their retirement, from comedy, right in the middle of their special, I hope they change their mind, and continue to bring their insights to the rest of us.

https://newrepublic.com/article/149545/nanette-rewrites-history-art

 

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There’s a subset of men who hate women who call themselves MGTOWS (Men Going Their Own Way). Except there’s only one little problem. They don’t ever go their own way. What they do is sit on the internet harassing women, and spending endless hours fantasizing about the day women are going to need them.

Here’s an article about Women Going Their Own Way, and how they seem to actually be doing what their name suggests, which is going their own damn way, and not sitting around, obsessing about the men who won’t date them.

https://www.curbed.com/2018/6/20/17479740/living-alone-tips-women-advice

Solitude is often considered a privilege when we can afford to choose it and a punishment when it’s thrust upon us, and the same seems to extend to solo-living situations: Moving out to a place of one’s own for peace, quiet, and privacy is an occasion for congratulations, while living alone as a result of being abandoned or left behind is a much more pitiable affair. In other words, there’s an assertive, active image of living alone and there’s a sad, passive image of living alone.

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Just a little post about how the Greats of history became  great in the first place. They had servants to take care of their day to day shit, like washing things, and preparing food.

how the fuck did all of those renaissance dilettantes learn so much crap? Like they spoke 3 languages and were foremost in several branches of science, plus they wrote poetry, played the violin, and were master artists? And they still had time to be gay?

none of them ever did any laundry at all

The emotional and physical labor necessary to maintain the lifestyles of Renaissance and Enlightenment polymaths was shunted almost entirely to their uncredited servants, slaves, wives, and daughters.

Whenever we compare ourselves to the ‘genius men’ of the past, and wonder why we fall so short, remember this: their intellectual capacity, energy, and freedom was because there was someone else washing the damn dishes.

Source:

 

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We’ve all been there:

 

 

 

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We still feeling the effects of the Black Panther movie which was released months ago. Here Tiffany Haddish, from Girl’s Trip, spoofed one of the best fight scenes n the movie, when she hosted the BET Awards.

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You have to watch this whole video. I guarantee that you will not see where this video is going, and you will laugh your ass off. It’s a journey!

Here’s another of my favorite gang fight videos. If I had to see this then you have to see it!

 

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I am totally here for this EPIC Art feud between the artist, Stuart Semple, and his arch-nemesis, Anish Kapoor. Yes, you have to read the entire thing. This is a SAGA!

Alright sit down for some Art World Drama bcause this is what I live for.

So, sometime last year (?) science invented Vantablack, which is the darkest possible shade of black. Art world got incredibly excited. But as it needs to be very carefully made in a lab, it’s hard to get a hold of, and is extremely expensive. Enter Anish Kapoor, aka FuckFace McGee. Anish Kapoor buys the rights to Vantablack. He is the only human being on the planet that can legally use it, and he’s kind of a prick about it.

Art world is not thrilled with that.

Enter Stuart Semple.

Stuart Semple is an artist, and also makes pigments to sell in his free time. Stuart Semple is astoundingly pissed about this Vantablack nonsense, and Anish Kapoor’s dickery. Stuart Semple makes a new pigment, the brightest shade of pink ever, called Pinkest Pink, and puts it for sale on the internet. To be bought by everybody except Anish Kapoor. Literally, to purchase, you need to confirm that you are not Anish Kapoor, do not associate with him, and will not sell or give the pigment to Anish Kapoor or his associates. Art world has a good laugh, everyone buys Pinkest Pink because it’s awesome, and damn it we deserve something.

Anish Kapoor however is a penis, and will not take this lying down, because HOW DARE he not have literally everything.

Anish Kapoor gets his London associates to buy him a thing of Pinkest Pink, and being such a classy human being, posts a picture to instagram of him with his middle finger covered in Pinkest Pink, captioned with “Up yours. #pink”

Everyone flips shit, because. Y’know. Fuck that guy. Especially Stuart Semple. For context here, Anish Kapoor is one of the richest artists on the planet, and has repeatedly been referred to as everything wrong with the art world, and the epitome of the art worlds elitism problem. He’s a giant douchebag. Meanwhile Stuart Semple makes pigments just to get them out there. He turns 0 profit from his now enourmously popular pigments.

Stuart Semple launches an investigation as to who the fuck leaked Pinkest Pink, and plans to strike back. He does so by releasing two new products. First is Diamond Dust, which is a glitter made from glass, so that a painting is still visible after it’s applied, but glitters like a mofo. It’s the most reflective glitter out there, and is available to everyone who isn’t Anish Kapoor. And it being made of glass, if you stick your finger in there, it’s going to hurt quite a bit, so that was Stuart Semple’s way of saying “shove your middle finger in this, asshole, see what happens”. Except without saying that, because he can get an insult across while still being fucking classy.

He also releases Black 2.0, created with the help of over a thousand artists worldwide.

Black 2.0 is the answer to Vantablack. Black 2.0 is a slightly less black black, but looks functionally the same to the human eye. It’s completely safe, smells like cherries, and costs four pounds. Vantablack is highly toxic, potentially explosive, needs to be applied in a special laboratory and sealed properly, can’t be moved across borders, can reach 300 degrees celsius if you’re not extremely careful, and costs thousands of dollars. Anish Kapoor is the only human being who can use Vantablack. He is the only human being who cannot use Black 2.0.

So I think we can guess who got the better deal.

And thus the feud ends, Kapoor defeated.

…But not quite.

Kapoor, in this entire afair, has made exactly two comments to the public. The first being his charming message about aquiring Pinkest Pink, the second being claiming to Buzzfeed that he and his small army of lawyers will be suing Semple, an extremely poor artist who cannot afford a lawyer.

No lawsuit has been made yet, fyi.

The point is, Kapoor is a prick, and doesn’t like talking to the lower classes. So one day in July 2017, he decides he needs another floor on his London studio apartment, and starts making arrangements to have it built. His neighbors are fucking pissed, because this will ruin the light of their apartments. They call to Semple to save them, or at the very least piss Kapoor off some more.

Semple answers to the call, and releases two new paints, Phaze and Shift, as always, banned to Kapoor. They change colours, Phaze with temperature, and Shift is just iridescent. Shift needs to be painted over Black 2.0 to work, and Phaze just works on its own.

So that’s been the art world for the last two years.

Basically, get fucked Anish Kapoor your bean sucks and so does your vantablack.

Stuart Semple is organising a bean-kissing event for Anish Kapoor’s birthday.

 

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We are probably not supposed to be talking about the link between the Dark Monster Below, (Bless His Forthcoming Eternal Reign), and his devoted disciples, the Bi-Sexuals! Question: Does being an LGBTQ ally make you complicit in the Dark Monster’s eventual takeover of Earth?

I’m just asking.

bistuffandthings Deactivated

“Bisexual women get energy from other women and then turn around and put that energy into working out their relationships with men”

Can anyone even explain what this means? What is this “energy”??

bistuffandthings Deactivated

Bi women perform seances to absorb the youth of past wlw which they use to appear more attractive to men

merengae Deactivated

A bi woman once absorbed all my energy and i couldnt help goku form a spirit bomb

But it’s a huge hassle, handling your Dark Bisexual Powers.  Especially when you’re new to it all.  Like, say you date five girls in a week.  That gets you at least ten (10) POWER ORBS.  You store them in your body and if you’re not careful they’re released whenever you come into contact with any man.

I’m just saying that when I was thirteen, I shook a guy’s hand and he exploded.

We should note- this only applies to bi women. Bisexual men on the other hand, drain the energy from literally everyone around them to feed to the Dark Monster Below, may his day of rising come soon.

I can neither confirm nor deny these facts, in the name of the Dark Monster Below, may His Calamity anoint us all.

I’m just gonna clarify that while bi woman don’t necessarily feed energy to the Dark Monster Below, we still Await Its Coming.

Everything you need to know about bisexuals!

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I was laughing about these photos for days. And yeah, I’d have a fucking heart attack, at the thought of my nieces and nephews playing on one of these contraptions. I mean, look at these things. They are massive constructs designed for children to play on. Parents really didn’t give a shit whether or not their kids lived or died back then, I guess. Talk about the literal “Survival of the Fittest”!

 

source: https://insh.world/history/playground-equipment-of-yesterday-that-would-give-todays-parents-cold-sweats/

 

Mini Reviews From Firestick TV

I got an Amazon FireStick for Christmas, and so far, I’m having good fun with it. I’ve been doing this thing, where I go to random apps, and try them, or just watch whatever movies or shows get recommended to me on Amazon Prime, Netflix, or Hulu. I’ve watched movies on Terrarium TV, and and an app called Showbox, but I’m not gonna talk about those today. I’m sticking with Netflix, and Hulu, for now.

 

Kill Order

One of the  fun things to watching movies on the Firestick, is you get to watch low budget, never heard of, movies, and this is the case with Kill Order. I knew absolutely nothing about this movie before watching it. Had never even heard of it. Although some elements of the plot are somewhat confusing (requiring you to pay close attention to some horrible acting), the plot is fairly straightforward.

The plot involves a superhuman teenager, David Lee, played by Chris  Mark, on the run from the shadowy scientific Organization that  experimented on him. David is prone to nightmares and anxiety attacks. When he’s attacked in his classroom and his home by assassins, and his adopted parent is killed, he has to outrun more of them,  sent after him by The Organization.

There’s shades of Logan in the plot, because David is an experiment, who was freed by one of the doctors working on the program. He’s been infused with some type of elemental energy from another  world, and when he becomes stressed, or concentrates hard enough, he can access this energy to be faster and stronger than human. Unfortunately, many of the assassins out to kill him are also successful experiments and can access this energy too.

I thought the acting was atrocious, but I loved the kinetic energy in this movie. I think it was worth watching, for the action scenes, although a couple of them lasted just a tad longer than they should have. The action is really fast, brutal, and bloody. My major complaint about that, was that so many of the fights took place in public spaces, well within view of spectators, who did not seem at all puzzled to see black garbed killers flailing swords around, at the park. I mean it is a fairly unusual sight in this world but I guess maybe not so much in David’s.

Kill Order is available on Hulu, and is not related to the Maze Runner series, by James Dashner, as far as I know.

 

Pose

I heard about this show on The Root, and thought I’d give it a try. It’s a new show, from the creator of American Horror Story, Ryan Murphy, and is loosely based on the 1990 movie, Paris is Burning, about the gay Ballroom scene in 1980s New York. I enjoyed that movie, and have been fascinated with Ballroom culture ever since, and this show is an interesting glimpse into the lifestyle, that comes from a place of authenticity, as many of the actors are actually transgender.

I was a little put out by the opening of the movie, as I don’t particularly enjoy watching characters be mean and bitchy to one another, but apparently that was just  setting up the (loosely named) villains of the show, House Abundance, which is the rival to House Evangelista. There’s also a B plot involving the economic boom issues going on in NY at the time, involving the rise of  Donald Trump, (although he is not featured in the series).

House Abundance is run by Dominique, who was once the House mother for Blanca, who left her (becasue she wasn’t getting any respect), to start her own House, and we get to watch as the two Houses compete in various shows, how Blanca builds her own house, and the contrast between how the two houses are run. The show also tackles issues of teen/LGBTQ homelessness, as Blanca adopts a young man from the street, whose family abandoned him.

For those of you unfamiliar with all this, here’s are some  brief primers on  Ballroom culture and voguing. You’ll hear about the two Houses, La Beija, Xtravaganza, and Ninja, which were the focus of the movie, Paris is Burning, and some of the dance moves, like The Duck Walk, and the Death Drop. The New York Black and Latinx LGBTQ Ballroom culture is where the original meaning of “Shade” and “Reading” people came from. (None of this has anything to do with the dance form which was co-opted by Madonna in the 90s.)

I’ve only spent some time watching the various clips from this move, because it just hurts too much, to watch it, in its entirety, multiple times. The stories really move you. You start to root for certain characters, only to find out they were murdered in a hate crime, a few months later, or died of Aids. it can be hard to watch, but its worth it to glimpse a culture you may have never seen before. I try to be respectful, and keep in mind, that I’m not a part of this culture, and  a spectator to all it. I just admire it from afar.

 

Here is one of my favorite moments in Paris is Burning, about the philosophy behind voguing, realness, and authenticity:

 

I enjoyed the first episode a lot, and I made a promise to myself to catch some  more episodes, although I’m not yet devoted to it. But I do love the idea that this even managed to make its way to Primetime TV. I can actually see something like this being made in the 80s for  television, but not in the 90s, which was a lot more conservative. If you have been wishing for more LGBTQ content on TV then this is your show, this is your hour, this is you! The show discusses a lot of transgender issues, which makes this show absolutely groundbreaking!

This show wasn’t recommended to me from my Firestick, although I think you can watch it on Hulu, if you don’t have cable, or satellite TV.

 

The Outsider

I was prepared not to like this movie, which is newly available on Netflix. Netflix recommended I watch this, because I’d watched several Chinese Action movies (?), and put several more on my watchlist. So, even though I was dubious, because it starred Jared Leto, I took a chance, and gave it a try.

For the record,  I am, apparently,  one of the five people on the entire planet, who does not hate Jared Leto. I’m just occasionally wary of his presence in something, mostly  based on the stories I’ve heard about him, that I should, but I’ve always been contrary. I think he’s a perfectly okay actor, and I’ve liked him ever since he got his ass beat by Brad Pitt in Fight Club. I even liked him in this movie, although he turns in, what is for him, a rather subdued performance, which is also completely unnecessary to the plot of this movie.

I have a confession to make. I am a fan of historical movies, and books, about Westerners travelling, and living, in Japan. I will watch, or read, just about anything on that subject. That said, though, I have never understood Hollywood’s need to add White men to stories that do not actually require their presence. I don’t  object to  such things per se, but sometimes, I don’t feel like looking at White guys in Asian media. I’m told this is an economic choice, because White Americans are too stupid to watch movies without any White men in them. Personally, I think that’s a grave insult to the reasonably smart White people who actually watch foreign films, with nary a White guy in sight, (and if the American school system hadn’t spent so many decades turning its citizens brains into ignorant mush about the rest of the world, this would never have created a problem, that needed to be pandered to.)

This is an acceptable movie, and Jared Leto is fine in it, as an American criminal, imprisoned in Japan, just after WW2. While there, he meets, and saves the life of, a Yakuza member. When the two of them break out of prison, he goes to work for the man whose life he saved, the son of a Yakuza leader, and gets accepted as a low ranking member of the clan, despite the protestations of his friend’s brother, who is set to inherit the title of clan leader. He meets a girl, and gets involved in some drama, that results in the entire clan being killed, after which he’s exiled.

This story could just as easily have been told without him, because the politics and infighting of Yakuza clans is fascinating, all on its own. I don’t know if the director is Japanese, but I didn’t get much of a sense of Japan in this movie, beyond the usual surface signifiers, like Sumo scenes, neon city streets, and  dancing geisha. If you’re looking for some depth of setting, like a travelogue, this is not that movie. Leto looks distinctly out of place, but I guess that’s the point of putting him in this movie.

The setting felt more like the industrial wasteland of 80s Chicago, than 50s Japan, so there could’ve definitely been some more work done on the time setting. The trailer looks more Japanese than the actual movie, and I have no idea how a director manages to accomplish such a thing.  It’s a very dark film. It’s very gloomy. There’s a lot of sitting around in bars, gambling, and drinking, while giving people shifty looks, talking smack about the American, some macho grandstanding, and some short, brutal, fight scenes, which Leto performs satisfactorily, without ever seeming as if he is a dangerous person. I think it’s because he has this wide eyed innocent look, (he is exceptionally pretty), that works against what he’s trying to portray. He really needs to work on looking more shifty eyed, unless of course,  that was the point of his character.

It’s not a bad movie, but it’s not a spectacular one either. I liked the visuals, but I like the visuals of any movie set in Japan, so that’s a very low bar. There’s nothing in it that stands out in particular, beyond the mood, and setting, and this one White guy, that the other characters keep saying doesn’t belong where he is. If you’ve got some time to spend on a Saturday evening, with nothing much to do, and you don’t mind watching Jared Leto, and some Japanese imagery, for 90 minutes or so, then it’s an engaging enough film, but if you choose not to watch it, don’t beat yourself up over that decision, too much.

 

 

Travels With My Dad

I have a pretty close relationship to my Mom, so I’m always fascinated by other peoples real life, adult, relationships with their parents. I actually really liked this show. It wasn’t recommended to me by Netflix, but eventually it would have, because I like travel shows, and I enjoyed watching the show, An Idiot Abroad.

Jack Whitehall is a British comedian that I know nothing about. I’ve never seen any of his performances, so I came into this completely clear of any expectations beyond the show’s premise. The show is about him taking his dad,Michael, along with him on a world tour. The two of them do some father/son bonding, and have some mildly amusing adventures, as Jack attempts to connect with his dad. I would say his objective is successful, and occasionally deeply amusing, as his dad is not the kind of man who minces words, makes it clear the things he will, and will not do, while still having a sense of whimsy, and being game enough to try new things.

In fact, I really loved the show, and I’m not sure what this says about me other than I’m older than Jack or American or a woman or something, but I kinda identified with Michael for most of the show. Like his dad, I was often exasperated at Jack’s attitudes about things. When they first get to somewhere in SE Asia, Jack wants to stay at a hostel, but Michael is having none of that shit, and I don’t blame him. I wouldn’t either. I would not travel halfway around the world, to live in a small room,with a bunch of strange White people, who look none too clean, or trustworthy. (Also, I have a phobia about falling asleep in the presence of White people, because apparently,  I’ve watched far too many bad comedies.) Like Jack’s dad, I’m gonna stay at a nice hotel, like a civilized human being. If I’m gonna be robbed, I want that shit done James Bond style, with class.

Michael and Jack visit a temple, and a house of dolls. Or is it the same thing? The idea behind the dollhouse is that people have these very realistic dolls made, that are supposed to House the souls of actual children. Well, they get a doll, and Michael carries this little doll around, for the rest of the show. The point is that you’re supposed to treat the doll like an actual child. I thought this was both creepy and cute. Jack just thought it was creepy. Michael named the doll, carried him openly everywhere, and doted on it, just like he was supposed to, but eventually lost the doll, when he gave it to another little boy to hold,when he went on a sort of train ride. That’s something you really have to see because it’s not actually a train, and is a deeply inefficient form of travel, that Michael absolutely hated.

But it was a very  fun show. I adored Jack’s parents. His mom has got a bit of salt in her too, which I liked. Michael would call her every evening, and they’d talk about what he’d done that day, and she would give him no nonsense advice on things to say and do with Jack. If you’ve got parents, (especially if you’re their primary caregiver), you should probably watch this show with them. I didn’t watch this with my mom, but I’m thinking about it.

 

Weekend Reading List (The Pocket Files)

Guys! I’ve been horribly slack with the postings this week, but that doesn’t mean I’m not working on stuff. (Actually, I have not been doing anything, really.) I’ve been on a sort of vacay all week, but I’ll be back with more ramblings in June, starting Monday.

Here’s some of the lighter stuff that’s been sitting in my Pocket list for a while. Some of these are not new, but they’re new for me.

I loved this piece from BNP/Facebook writer, Stephanee Killen, about one of my favorite episodes of Star Trek, The Enemy Within. I must have unknowingly taken the episode to heart because I’ve always thought of my less attractive qualities as useful, positive things. Or at the very least tried to turn them into useful things.

Like a lot of people I suffer from anxiety. I don’t take medication for this, but I manage it very well. One of the ways I manage it is by turning it into something useful, like the ability to plan ahead. Making plans within plans is one of the ways I manage anxiety about things other people would probably consider trivial, like driving to new locations. When I have anxiety about something specific, I usually research the hell out of it, and the knowledge helps to alleviate some of the problem. Turning anxiety into knowledge is one of my ways of using a negative quality for good.

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In this particular episode, Kirk gets split into halves, a  passive, lighter side, and a darker, more negative side. The argument, illustrated beautifully in the show, is that Kirk needs his darker half to function competently as a Commander. 

I think the philosophy I most disagree with in Star Wars is the concept that light and dark are two separate things, and that one of them is undesirable. Star Trek’s more nuanced argument is that both these qualities are needed to form a whole, and that taken singularly, they’re both useless.

McCoy tells him, we’re all brutal animals. We all have our dark side. It’s human. The dark side holds strength. The light side holds caring, love, and courage. Spock, who understands duality better than most, indicates that what enables him to survive the differences between his two often-contrary halves is his intellect. Scotty eventually fixes the transporter. Kirk 1 and 2 get put back together, and the question of whether half a man can live is answered: No, he cannot—but thankfully, that’s not required.

http://blacknerdproblems.com/nerd-lessons-star-trek-the-dark-side/

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I am loving this newest season of Into the Badlands, and will have some opinions about that  next week. What I’m finding a hell of a lot of fun is the character of Nathaniel Moon. He’s an important part of the show, with his own story-line, and agenda, and even a love interest. 

I’ve seen this actor there and about, from time to time, but never gave him much attention. I’m gonna fix that right now, cuz Lawd, is he foine!

And do it he has. Since his first film role in the movie Colors (1988), Sherman hasn’t stopped sharpening his craft. With a career spanning over thirty years, he says that the characters, themes, setting and coworkers on Into the Badlands continue to inspire and motivate him.

http://blacknerdproblems.com/sherman-augustus-badlands-talks-film-football-acting-black/

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Here! Have some more Donald Glover think-pieces. It seems that every couple of months there’s some new artistic piece from a Black artist. We just sat through Black Panther, and then came Beychella (which I watched online), and the release of Glover’s video was a nice addition, marking 2018 as one of the “Blackest” years ever.

Jim Crow began as mere pop culture entertainment at the expense of America’s freed slaves and became the means of their oppression. The term “Jim Crow” became so pejorative this country’s apartheid separating Africans and their descendants from white Americans its name. pic.twitter.com/IEwLwfB2i4

http://www.indiewire.com/2018/05/justin-simien-analyzes-donald-glover-this-is-america-1201961450/

http://www.thisisinsider.com/this-is-america-music-video-meaning-references-childish-gambino-donald-glover-2018-5

https://thegrio.com/2018/05/07/this-is-america-5-powerful-messages-that-will-stay-with-you-long-after-your-donald-glover-hangover/

http://time.com/5267890/childish-gambino-this-is-america-meaning/

https://www.theatlantic.com/entertainment/archive/2018/05/this-is-america-childish-gambino-donald-glover-kinesthetic-empathy-dance/559928/

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Here’s an incredible review of Kaufmann’s 1978 remake of  Albert Finney’s Invasion of the Bodysnatchers. This is one of my all time favorite alien invasion movies, and although I did a film comparison of all the Invasion movies, I have yet to do a complete analysis/review of this one. I got some thoughts, ya’know! 

Like the remake of The Thing, it is a near perfect example of Science Fiction Horror. There’s not one wrong note of dialogue in it, the acting is superb, and the setting is perfect for its message. 

In a more thrilling flourish, Kaufman channels Alfred Hitchcock by cutting back-and-forth between pod people following Matthew and Elizabeth on a city street; as the two speed up, their clacking exaggerated for effect, we see the feet of their pursuers speeding up in unison, until both reach a sprint. 

https://deepfocusreview.com/definitives/invasion-of-the-body-snatchers/

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This has been sitting in my Pocket page just waiting to be deployed. The whole thing just tickled the hell out of me.

Animals That Look Like They’re About To Drop The Hottest Albums Ever

Obviously this is Country music (The chicken, tho’!)

The Up-And-Coming Music Legends

 

He ’bout to drop that hot new Mixtape

 

 

I swear to gob, these two look like Hall &Oates

 

That hot new Norwegian Emo Band, or The Verve. Pick One!

 

This is that new Rock band with the twin guitarists

The Band With The Twin Guitarists

 

 

There’s a whole bunch of these gothic looking pet pictures all over the internet. I’m still finding these deeply hilarious…

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 I actually love the Marvel Cinematic Universe, despite all my bitching. It is an unquestionably visually stunning place to visit, and even the worse movies in the MCU look gorgeous. They also look all of a piece, as if they really all belonged in the same world.

I grew up reading Marvel Comics. In fact, those were the first comic books I read (starting with Conan and Red Sonja.) I wasn’t thrilled when Marvel started pumping out these movies, but only because I hadn’t read any of the individual character’s books, and wasn’t particularly interested in their standalone movies. I was not a Captain America, Iron man, Ant Man, or Black Widow fan. I knew all these characters because they were in The Avengers, and I read all of those books. I dutifully watched the first few movies, not especially enthused, but cautiously interested. I didn’t get excited until the first Captain America movie, which turned out to be surprisingly good, and The Avengers movie clinched it. 

I still haven’t watched all the movies. I skipped the first two Thor movies, and the first Iron Man. I never cared about Ant Man, and never will, I’m betting, although I am a big fan of  The Wasp (from the comic books), so I might see that movie.

Here are some of the better MCU music videos on Youtube. This was one of the first ones I saw. Not all of them are this good, but the editing on this one, was astounding.

 

I liked this one because it includes everything in the MCU, including all of The Defenders, all except Blade (which really should have been included, along with the X-Men and Wolverine films, even though they’re not part of the MCU. Yet!)

 

 

I skipped the first two Thor movies. I watched maybe the first thirty minutes of the second one before I fell asleep. I did enjoy this last one because I knew the director, Taika Waititi, from What We Do in the Shadows, and I trusted his film making skills.

 

 

This video was pretty good too. The editor of this one was nice enough to include  action parallels from the different films, something which helps to reinforce the idea that these movies all take place in the same cinematic world. I do object to the music of this one. I just dislike the song, and  would’ve chosen something more energetic.

Black Panther Humor

I think you heard about those attempts to get White people to NOT go see the Black Panther movie, by posting false images of White people who’d gotten beat-downs for showing up at the theaters. It seems the template  these assholes were working from, came from the 80s, when a couple of movie theaters in California had riots at a showing of Spike Lee’s Do The Right Thing. For the past thirty years White bigots (and the news media, but really, what’s the difference) have been desperately hoping that something like would happen again.

Now you know,  once Black Twitter got wind of this, it was all bets are off. They really should’ve known better than to come for BP with that nonsense. 

— All these tweets were instantly and easily debunkedreverse image lookup toolsmake it easy to trace how the pictures of the bleeding “victims” were taken from stock-footage sites, TV shows, or legitimate news stories about domestic assault or other real attacks. Twitter users begin rapidly vetting each new false assault claim, responding to the posters by revealing their image sources. Twitter has suspended some of the accounts posting false assault claims.

https://www.theverge.com/2018/2/19/17029742/black-panther-fake-assault-stories-twitter-response-mockery-humor

But the  tweet to end  all other tweets, was this magnificent response, that for some reason, made me picture John Boyega in one of the lead roles. Brace yourself for  the funniest true life story on the internetz, involving a robot, time travel, babadooks,  and the monster from It Follows. This needs to be a movie now.

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Black Nerd Problems had to get in on this post by discussing, in humorous detail, how each member of the writing  staff was getting ready for The Ascension:

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Passport To Wakanda: How To Get Your Black Ass Ready For An Audience With The King

— To get back to my birthright, I’ve changed my name to something with a Z and an apostrophe in it. I have taken to wearing hoods everywhere I go, so I can look mysterious. When it is cold, I also wear a cape. I open my corporate emails with “To the People,” and close them with “For Wakanda”. My boss is too scared to ask me why. I bought a staff and a spear, which I practice with in the backyard. Well, maybe not “practice”. Ok, I *have* a staff and a spear. Actual practice would tire me out before the movie comes. I thought about using them to go out and solve crimes—I love Black Detective Twitter and NCIS: Los Angeles (the one with LL Cool J) but this ain’t Wakanda yet. This place won’t let me be great, but one day, one day soon… – Leslie

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In the new trailer for Infinity War, Okoye got jokes:

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People are getting funny on Youtube:

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Sometimes y’all just mean:

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We got memes:

When life imitates art.

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And there’s even a Black Panther Dance Challenge:

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On a more serious note, have more essays:

https://www.peoplesworld.org/article/black-panther-villain-killmonger-is-a-symbol-of-black-pain/

https://rollingout.com/2018/02/22/black-panthers-killmonger-character-offers-painful-reflection-black-america/

https://www.rollingstone.com/movies/features/black-panther-chadwick-boseman-ryan-coogler-cover-story-w516853

Do You Remember The Sentinel TV Series

This series aired from 1996 through 1999. I remember watching the hell outta this show. It was through this show that I rediscovered slash fan fiction, having gotten away from it, from when I’d discovered Kirk/Spock.

This was very possibly one of the slashiest shows on TV next to Star Trek. Ao3 didn’t exist back then, (although yes, the internet existed) and there was so much fanfiction written about the two male leads of this show, that there were several whole archives devoted to it. (Like 852 Prospect). You can probably still find them. I feel that in some ways this show contributed to  many of the tropes of slash fan fiction, that we find so annoying today.

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The show featured a Ranger named James Ellison, played by Richard Burgi, who lost his Special Ops team in the Amazon jungle. The sole survivor, he discovered he was a member of a mystic warrior race with heightened senses, called Sentinels, whose job it was to watch over their specific tribes. After his rescue, he goes back to Cascade Washington (really just someplace in Canada), becomes a cop, and years later, has forgotten all about his time in the Amazon, until his senses get accidentally re-awakened, when solving one of his cases. At this point he gets discovered by an anthropology researcher named Blair.To help control his superpowers, Jim adopts Blair as a  spiritual focus, whose job is to bring Jim back to reality, when he gets too caught up in whatever he’s sensing.

Now, is that, or is that not, the kinda stuff slash fiction is made of. You’ve got superpowers, spiritual bonds, mystic shenanigans, cops, a handsome and gruff older man, and a cute  and excitable younger partner. It’s like the plot of every yaoi anime ever, and I was totally here for it. This show took me to church!

The popularity of this show was not at all harmed by shirtless images of Richard Burgi in his prime, and that the show’s actors were well aware they were being ‘shipped, and were all for it. Possibly they were even playing it up, since, because of censorship, the show’s creators would have been largely prevented from showing an openly gay relationship, between the two male leads. The study of slash fanfiction was also in its infancy then, and most people wouldn’t have known anything about it, as that was very much under  everyone’s radar. To give you some idea of the timelines involved, Buffy began the year this show ended, and ran until 2003. The show Supernatural began in 2005.

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Richard Burgi was the new hawtness at the time, and Garrett Maggart, who played Blair, wasn’t too shabby looking either, and a lot of the show was really suggestive. The two of them lived together as roommates, they also worked together, because Blair said he wanted  to monitor Ellison’s superpowers, they were very touchy-feely and dramatic, everyone in their lives knew they were living together, including Jim’s ex-wife (Jim simply referred to Blair as his partner, with no other explanation to the rest of the staff of the police dept.) and the two hung out together ALL the time, and everyone seemed perfectly okay with it. This show set the grand standard for queerbaiting .

But I don’t think of this show as queer baiting because that wasn’t really much of a thing back then,  and because of the time period of the show, an open homosexual relationship couldn’t be shown. (Well, rather say that it is, in fact, queer baiting, but its the same kind of queer baiting that exists in old movies, where nothing could be explicitly stated.) Neither character had any long term love interests that the viewer knew they’d eventually end up with, and both of them spent entirely too much time standing uncomfortably close to one another, and looking into each other’s eyes. Queer baiting wasn’t a term that was used yet, but people did spend a lot of time discussing whether or not the characters were gay.

I really think this was a way for the show’s creators to get around  gay relationships not being  shown (or allowed to be shown) on prime time TV. In other words, they had to be sneaky. If you were gay, or gay adjacent, you would see it, and if you weren’t, then you didn’t, (because plausible excuses had been given for why they were not), which is entirely in keeping with the way homosexuality had always been dealt with in popular culture, with innuendo, hints, and allegations, and the show made absolutely no effort to go the “no homo” route by playing up the character’s  relationship with each other, while putting them in  endgame heterosexual relationships.

https://www.amazon.com/Celluloid-Closet-Armistead-Maupin/dp/B001NI5C6U/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1519758939&sr=1-1&keywords=celluloid+closet

It helps that there  was nothing about this show that was even remotely realistic, although if you’re not gonna quibble about the mystical aspects of the show, you shouldn’t have too many problems with other stuff on the show, such as the relationships, or how the “detectiving” was done.

Has anyone else noticed how the detectives on these shows don’t seem to specialize in any one type of detection, even though you can see that wherever they work is fully staffed? Ellison shouldn’t be working a murder case, a drug deal,  and a counterfeit jewelry op, all while trying to catch a terrorist bomber, at the same time.  Most 80’s cop shows just call for the detectives to work on whatever crime pops up that day, instead of specializing in a particular type of crime like homicide, or drugs, or something, which is not how that actually works, in big cities.

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At least several times a season Jim’s senses would go haywire, and Blair would have to talk him out of it, all while trying to keep this a secret from his commanding officer, Captain Simon Banks, played by Bruce Young, because, according to Ellison, if people found out he had superpowers, all his old cases would come up for review, and all the criminals he captured would have to be released. After all, superpowers are not sanctioned by the court system. I think this was a thinly veiled metaphor for being closeted. Jim and Blair often lived in fear that the people around them would find out about Jim’s superpowers, but neither of them cared that they looked like they were in a romantic relationship.

Simon wasn’t clueless the whole time. He eventually finds out, and keeps Jim’s secret, although I do like to wonder what he was thinking about this supposed academic following Jim around, and living with him. And Jim wasn’t actually wrong either. At the end of the series, there’s a riff between him and Blair, when Blair’s dissertation on Jim is accidentally leaked to the public, Jim is outed as a superbeing, and all hell breaks loose. Jim gets suspended. His cases all come up for review. He blames Blair for the potential  loss of his career, and civilians (and the media) are harassing him in the streets. But it all gets resolved, and the series ends on a positive note.

Since there was a mystical component to Jim’s superpowers as a Sentinel, there was a lot of references to his time in the Amazon, and a black jaguar, which appeared to be Jim’s totem animal. My biggest issue was that Jim had regular sightings of this jaguar, and I feel some type of of way about a cop who regularly hallucinates about his spirit animal. That just really bothered me. I’m dubious about the motivations of most cops when they’re completely sober, so a cop who has  visions, yeah…no! But I admit,  I really enjoyed that one episode that involved Jim’s Amazonian shaman visiting Cascade. That was kinda cool.

Jim Ellison and Blair Sandburg in "The Sentinel"

 

The Powers

Jim’s hyperacute senses allow him to perceive things undetectable by normal humans. He can see perfectly in low light situations and with superb acuity at long distances, hear sounds at extremely low volume or beyond the normal range of human hearing, and sense what others cannot via taste, touch and smell; he declares himself “a walking forensic lab”. Jim’s powers have a drawback: if he concentrates too strongly on one sense, he may become oblivious to his immediate surroundings. Part of Blair’s job is preventing this, and protecting Jim when he is focusing. As a Sentinel Jim has several powers:

  • All 5 senses are strongly enhanced
  • Able to communicate with ghosts
  • Has a spirit animal, a black jaguar
  • Receives visions that guide him in the choices he makes and sometimes predict the future (Jim had a vision that showed Blair’s death before Alex killed him)
  • Used the power of his animal spirit to bring Blair back from the dead

—  https://en.wikipedia.org/wiki/The_Sentinel_(TV_series)#Powers

Despite my misgivings though, I genuinely loved the show, and not just because I thought Richard Burgi was the second coming of hawt and bothered, which…yeah!.  I  actually liked the premise of the show. It was inspired,  and I think it would be great for a remake.

 

Note:

Some of the best fanfiction I ever read came out of this ‘ship, and I’m sad that I never let those writers know just how appreciative I was of their skills, at that time. Most especially, Saraid, and Brenda Antrim who now goes by the name Glacis,  and has her own Wikipedia page. (She is so good that she’s won awards just for being a fan.)   Saraid’s  Panther Tales series can be found on Ao3.

 

Oh yeah, here is one of the funniest reviews I ever read about this show:

http://www.somethingawful.com/news/sentinel-show-senses/

 

The Sentinel is not currently available for streaming . All four seasons can  only be found on DVD.

 

 

The Blackest Videos on Youtube

Africa on Fire

I loved this little mini-movie about a Black fantasy land with superpowers, even if it is sponsored by a company that makes Vodka.

 

 

Groundhog Day for Black People

I didn’t know whether to laugh, cry, or just get mad at this video, so I did all three just to cover all the  bases.

 

 

Spiderman Lives: Miles Morales

This is the character Spiderman Homecoming should have been about, but I’ll accept Tom Holland as Spiderman, for right now.

 

 

Alexa Loses Her Voice

I included this because of the addition of Cardi B, although hers isn’t my favorite part. My favorite parts are all the other celebrities, especially Rebel Wilson.

 

 

Peter Dinklage/Morgan Freeman Rap Battle

I’ve been a fan of Dinklage since his movie The Station Agent, and a fan of Freeman since, well… forever. Combine the two of them with Busta Rhymes, and Missy Elliot though…

It Came From Youtube

You ever get on the internet to actually get something done, like look up some movie times, or some actor’s name, and then get sucked into the deep well that is YouTube. And they’ve got this formula down too, where they keep offering you these fascinating new videos that are just slightly related to stuff you were just watching. Youtube’s algorithms work just a bit too well.

Well, here’s a few videos I got sucked into watching when I had not planned on it. If my eyeballs had to see these, then so do yours. You especially deserve to see them if you’re a follower of this blog.

 

 

First up,  these videos, called Rollin’ Wild, that I stumbled across by accident. I think I was looking at panda videos when Youtube offered me a look at these. I don’t think I’ve ever laughed so hard at a cartoon before in my life. There’s an entire website devoted to producing more of these, including some Christmas themed ones, which are equally ridiculous.

The basic premise is that overnight, every animal on Earth has turned into a balloon like version of itself, and tries to continue with their regular behavior, as if nothing different had happened. Watch for the poor hamster…

 

 

I would like to introduce everyone to Lucas the Spider. Now, as a general rule, the only spiders I think are adorable are those tiny jumping spiders we keep finding on our house, and I think Lucas is probably one of those. You have done an incredible job of character, and animation, if you can get a confirmed arachnophobic, like me, to fall in love with Lucas.

 

 

There’s an entire series of these Angry Birds Hatchlings videos and I can’t get enough of them. Omg! They are soooo cute!

The creators seemed to have really captured the random funniness that is only possessed by children, ages 2- 4, who have just learned to speak. This  one is my favorite, especially that little purple fella, who isn’t even trying to participate. He’s got his own agenda:

 

 

One of my favorite parts of Cloudy with Meatballs 2 is the discovery of the Foodimal Jungle. I enjoyed the first movie a lot, and I expected the sequel to not live up to the first movie, but I was pleasantly surprised to see the creators become even more imaginative (and funny). This video is about how they came up with the various foodimals, and personalities.

Naturally my favorite character was “Barry”. I do not know why I associated the little critter with Barry White though, (and his name really should be Darryl.) My second favorite are what I like to call “The Pickle Barbarians”. Who do you think would win in a fight against The Minions?

(Another favorite part of the movie is the character voiced by Terry Crews, a cop who really loves his son, and insists on telling him that at every opportunity.)

 

 

Now, on a more serious note, this is Jay Z’s new video titled Family Feud. It presents an interesting futuristic concept, where humanity has been taken charge of by a matriarchal coalition, whose job it is to maintain peace. Movies and television rarely depict matriarchies, at least not in this way, so I was intrigued, and I’d love it if this idea was made into an entire movie.

Why is is that when Hollywood re-imagines the world, they always imagine that the bad Guys won? The Nazis? The Confederates? Hydra? The Handmaid’s Tale? The only alternative worlds they seem to be able to come up with are worse alternatives to the one we’re already in,  but only for people who are already marginalized, like gays, women, and Black people. The kind of worlds in which straight,White men act even worse than they do right now. I like this video (and Star Trek, too) because it imagines an alternative world where marginalized people are flourishing.

 

 

And finally, the video that began this whole journey, about little puffball pandas mobbing their handler. That poor man! It reminds me of that crazy scene in Raising Arizona, when Hi tries to kidnap one of the babies, and they just get the better of him.

From the Halls of Tumblr

I stumbled across this website that rates movies according to diversity and inclusion. I’m not entirely sure I agree with some of the grades. I think this website is a lot stricter in its qualifications than I am, but I found it interesting:
 https://www.mediaversityreviews.com/tv-reviews

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I laughed at this waaay harder than I should have. I’m still laughing at it!

 

 vulcandroid

i will never be over the fact that during first contact a human offered their hand to a vulcan and the vulcan was just like “wow humans are fucking wild” and took it

 

roachpatrol

Humanity’s first contact with Vulcans was some guy going “I’m down to fuck.”

Vulcans’ first contact with Humans was an emphatic “Sure.”

 

star-lord

#iiiiiiiiiiiiii mean vulcans had been watching humans for a long time#they knew the significance of a handshake but still#they had to find some fast and loose ambassador#willing to fuckin make out with a human for the sake of not offending them on first contact#lmao#star trek

give me the story of this fast and loose vulcan

 

moonsofavalon

“sir…these…these humans…they greet each other by…” *glances around before furtively whispering* “byclasping hands…”

*prolonged silence* “oh my…”

“sir…sir how will we make first contact with them? surely we…we cannot refuse this handclasping ritual, they will take it as an insult, but what vulcan would agree to such a distasteful and uncomfortable ritual??”

*several pensive moments later* “contact the vulcan high command and tell them to send us kuvak. i once saw that crazy son of a bitch arm wrestle a klingon, he’ll put his hands on anything”

 

evilminji

Elsewhere, w/ kuvak: “….my day has come.”

 

lierdumoa

The vulcan who made first contact with humans is named Solkar guys. Y’all just be makin’ up names for characters that already have names.

Bonus: here’s a screencap of Solkar doing the “my body is ready” pose right before he shakes Zefram Cochrane’s hand:

adreadfulidea

I swear Vulcans only come in two types and they are “distant xenophobes” or “horny on main for humanity”. Also apparently this guy is Spock’s great-grandfather and frankly that explains everything.

 

Source: lycanthropiste st

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For some reason, this was totally a thing about a week ago on Twitter. I have no idea how this got started or why. It’s said that J. K. Rowling thoroughly enjoyed it though.

I think it was the “Sortin’ Du-rag” tweet that  had me cough-spittin’ at work!

Black Hogwarts

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http://www.seventeen.com/celebrity/a15070314/black-hogwarts-twitter/

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lj-writes  what that fandom lifestyle is SUPPOSED to be about, and how fans who consider themselves allies, Do The Work:

Carrying the fandom load

It does get tiring at times staying conscious of bigoted tropes in fandom, deciding not to support racist art, wondering if a quote is appropriative of Jewish experiences, discarding a homophobic fanwork idea, and more.

So as a Fandom Old I can see why some fans long for the “good old days.” Back then anything went! Total creative freedom! We were wild and unfettered! None of these long-winded discussions, we just went and did it and did not give a single fuck!

Except freedom wasn’t for everyone, was it? You only had that total freedom if you were unaffected by fandom’s racism, homophobia, transphobia, antisemitism, ableism, and a host of other bigotries that are a reflection of the world we live in.

Fandom was never the carefree, escapist enterprise some of us like to think it was. It’s just that minority fans were bearing the load of others’ freedom in silence. Too often, fans who were marginalized in real life could not escape to fandom because fandom would uncritically celebrate their oppression and trauma. And if they dared to speak about it they were bullied and shouted down into silence, into leaving.

I speak in the past tense but this is still ongoing, obviously. Fans of marginalized identities are a little more vocal now, but are facing a sustained and vicious backlash that accuses them of being “bullies” and starting “discourse” and “drama” and of “virtue signalling.”

It’s not about discourse or virtue, though. It’s about fans being told that they are not welcome unless they bite their tongues, grin, and go along with a thousand stings and slaps in the very spaces they go to have fun. It’s about fans having to watch characters who look like them be constantly erased and demonized. It’s about fans having to spend endless amounts of time and energy educating other fans about their oppression when all they’d like to do is unwind after a long day made longer by those very issues.

It’s not about virtue. It’s about people.

The thing is, fans who criticize minority fans and their allies for “discourse” aren’t angry about the fact that fandom puts these psychological burdens on minority fans. They’re mad about having to share a tiny little part of the burden minority fans, most visibly Black women, have been carrying for too long. In the minds of these “discourse”-critical fans the burden of considering the impact of fandom and fanworks is not theirs to bear. It is the lot of fans who are not them, “others,” to pay the cost for the majority’s creative freedom. The very suggestion that the load exists, and worse, that all of fandom should share in it so marginalized fans don’t carry it so disproportionately, is enough to make a lot of fans uncomfortable. I know, because I feel that discomfort at times, too.

The thing is, the load of thinking about marginalization in fandom spaces was always mine to bear. It’s every fan’s responsibility to be conscious of how they create and consume fanwork so that they don’t hurt other fans, so fandom can be inclusive and fun for everyone.

No, it’s not pleasant. It’s not fun to always watch yourself and second guess your choices, to fall short anyway and be called out and confront the fact that you have so many unconscious biases and have hurt others. I get it. I do. I want to think of myself as a good person. I don’t like admitting to wrongdoing. I hate challenging myself. I don’t want to think about this hard stuff. I just want to have fun!

But think about how much LESS fun it is when it’s your own humanity on the line. Many marginalized fans don’t have the luxury of just letting go and having fun, not when they always have to brace themselves for the next psychological assault.

These fans have been carrying this fandom burden and are punished for saying it’s too heavy. If you’re feeling a little less feather light in fannish activities than you used to, that’s a good sign! It means you’re starting to carry, in a very small measure, the fandom load of consciousness. It’s something you should be carrying as part of a community, and chances are it’s still not nearly as heavy a load as many marginalized fans are still made to bear.

A community joins together, watches out for its members, shares in the good and the bad. If some members are asked to bear the costs of others’ fun and either stay silent about it or leave, then the promise of community rings pretty hollow, doesn’t it? Sometimes discomfort is a good thing, and if my small discomfort means I am sharing in a tiny measure of my rightful load in fandom spaces, then it is a very good thing indeed.

 

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I’m not a huge advocate for violence, but some of the racist wankery that various fandoms get up to,  just makes me want to give some people a very sharp pinch, with tweezers,  Sometimes several. I mean seriously! I didn’t even know this was a thing. You have got waaay too much time on your hands, and a massive hate-boner, if you are cutting PoC out of their own photos, to prop up your non-canon,  white male ship.

 stitchmediamix

So I’m writing something about how characters and actors of color are literally cut out of images in order to center white characters/actors (usually for shipping purposes) and I’d like to be able to actually link to examples of instances where that’s happened.

I’ve got an image of John and Daisy where John has been replaced by Driver (courtesy of @xprincessrey ’s recent post in the fandom racism tag) and SEVERAL images where Iris West has been erased and replaced by Caitlin that I referenced in my presentation on the misogynoir directed towards her.

I need more examples though and I honestly don’t know how to find what I’m looking for. And… I’m really bad at finding images on the internet.

So if you have collected any receipts on this particular fandom phenomenon where fans cut out characters/actors of color from images in order to focus on a white character or ship, please let me know. I’ll link to your post on the subject if you’ve made one and give you credit for finding the images that I use if you want it.

I need examples of:

  • Anthony Mackie being cut out of press images for either Winter Soldier or Civil War
  • Scott/Tyler Posey being cut out of Teen Wolf press images or scenes in the show
  • Photo manips where Finn/John Boyega has been replaced by Kylo/Adam
  • Any other fandom that cut characters of color out in this way!

I’m writing a thing and I’m working on the header image already but I’d like more examples because man… People need to know that this is a thing that happens and pictures help drive the whole thing in.

(Also, unfortunately I have no idea how y’all  can submit straight up images to me because I don’t use tumblr submit for several reasons, BUT you can always DM me images on twitter or use Tumblr IM if you don’t have links  to images, but want to send them to me anyway.)

If you can share this with your followers, that’d be awesome.

 

elandrialore

R3ylo manips

Original photoshoot with John and Daisy

St3r3k manip

Original promo image

St3r3k manip

Original image of Tyler Posey, Crystal Reed, and Tyler Hoechlin

St3r3k manip

Original image of Tyler Posey and Dylan O’Brien

St3r3k manip

Original image with Tyler Posey and Dylan O’Brien

kyberfox

 

@stitchmediamix

Here’s a video of Finn getting cut out not just of his own confession scene – a character defining moment for him – and Kylo being inserted, he’s also replaced in the hug he and Rey shares. xx

The OP of that then made a gif set of some of the scene they’d cut where they replace Finn with Kylo because they were so proud of their work. x

And here Kylo is edited in instead of Finn in the scene where Rey gives Finn a “wow he looks good” look at Jakku. x

uprisingofcolor

 

@stitchmediamix

Here’s an entire gif set of Jake Pentecost getting cut out of his own trailer to center his white co star.

Oh, and here’s OP’s Response to @kyberfox calling them out (X), they take it about as well as you’d expect. This happened a day or so(?) after the trailer dropped, just for a frame of reference.

 

diversehighfantasy

The Doctor Who series 3 “Fix It”:

Here, they didn’t erase Martha Jones entirely, they made her a third wheel in a series the fandom felt Rose was rightfully entitled to. IMO this is as much of an in-your-face “fuck you” to Martha as pretending she didn’t exist.

Britchell. This is a more obscure ship, but it relentlessly erased, sidelined and minimized one of my favorite characters, Annie Sawyer of Being Human (UK) for being romantically involved with Mitchell, played by Aidan Turner, who also played Kili in The Hobbit. Britchell was a crossover between Mitchell and another character played by the actor who played Kili’s brother Fili in The Hobbit. Anyway. Britchell is the biggest ship in the Being Human fandom to this day.

Annie x Mitchell: http://reyesbidal.tumblr.com/post/53885860951

Britchell (in a nutchell):

 

nerdsagainstfandomracism

 

In Shadowhunters Jalec and Clalec shippers always use Malec scenes for their manips in order to erase Magnus. Here’s an example of a Clalec manip (x). I stay away from their tags and blacklist Jalecs and Clalecs on sight, but pretty sure Google has plenty of more examples. Luke is constantly excluded from the group fanarts, fan videos, etc.

Also, Rickylers in TWD always try to erase Michonne from her own narrative.

 

Source: stitchmediamix fandom racismracism in fandom Erasure ShippingLong Post white prioritization ReblogMod P.

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Here’s a review of Black Lightning, written from another perspective.

Image result for black lightning

This week, the new CW show Black Lightning will introduce another Black superhero — rather, Black superheroes — who will thankfully diversify the current ranks of primarily white TV and movie heroes, but it also raises the question: How will the show address its blackness?

With Black Lightning and Black Panther on the way, we’re finally seeing Black heroes represented on both the small screen and the big screen, and with the amount of publicity they deserve. But for Black people around America — and perhaps around the world — these heroes represent more than just the newest installment of a money-making machine built on franchises. These heroes bring familiar faces — faces that resemble their own — to a universe full of magic, superpowers, superhuman feats and abilities.

Blackness in the Media

But how, exactly, do these heroes represent “blackness”? And what, exactly, is “blackness”? This question is never asked of TV shows, movies, or books that feature white heroes. In writing programs or conferences, you’ll encounter panels and workshops in which people discuss how one may write characters of color with sensitivity. In other words, “How can I make it clear that this character is Black without being offensive?” But it’s more than just an issue of figuring out how to avoid your run-of-the-mill racist language. It’s determining if a character of color needs to be defined by their race.

Because whiteness is our country’s default racial lens, if race isn’t mentioned in a story’s narrative, most people will assume a character is white (take, for example, the “Black Hermione” internet debate). White characters are never characterized by their whiteness unless it serves the plot. So many times, however, Black characters or characters of color are defined by their race. “Black” isn’t a character type, nor is it a personality. And yet, because blackness falls so outside of the norm in common thought, it becomes the defining characteristic of a protagonist.

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I could not resist putting definitions next to some of these. (Mine are in bold type.)

Image result for smiling black people

anonymous asked:

so you’re jamaican and not regular black?

What the hell is regular black?

 

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I did not know that Satan had his own Twitter feed:

Related image

It Came From The Depths Of Tumblr

I love these little gothic themes on Tumblr. I was looking for articles about knitting and stumbled across a bunch of them, and decided to put them all in one place. I even added a few myself:

Knitting Gothic

Image result for knitting memes

You tie on your next color and cut off the last one.  When your scissors snip shut, you think you hear a distant scream.  The next morning you think you hear sirens, but you’re too busy knitting to look outside.

You stop going to your knitting club because when your fellow knitters smile at you there’s too many teeth.  Too many.

The strand of yarn whispers between your fingers.  Sometimes you can almost understand what it’s saying.

You go to the yarn store to pick up more red yarn.  The dead-eyed employee that greets you says he’ll have to check if they have any left in the back.  The co-worker he grabs screams hysterically as he’s dragged away.

Your new yarn drips red all over your car seat.  By the time you get home it’s dry enough to work.

You don’t remember when you last felt the wind on your face, but sometimes you can feel it in the vibrations of the yarn that snakes across the windows throughout your house.

You only have a few more rows left to go.  The next day, you only have a few more rows left to go.  The next week, you only have a few more rows left to go.  Just a few more left to go.

You’re so eager to be done.  So desperate to be done.  When will you finally be done?

You open your mouth to scream, but no sound comes out, only yarn.  Always yarn.  You keep knitting.

  1. – K1 P1 K1 P1 K1 M1 P1 K1 P1 K1 P1 Sacrifice your first born K1 P1 K1 P1. Make sure to follow the pattern precisely.

  2. – You walk into the yarn store. Just one skein. You only need one skein to finish the sweater. You have the dye lot written down, marked on the original wrapper from the old skeins. You can’t find the dye lot. It never existed. It was never real. The arcane sigils mean nothing and pain your eyes to look upon.

  3. – The pattern takes a size 7 needle. Going through the roll, you have all but a 7. 1,2,3,4,5,6,8,9,10,10.5,11,12,13. There is no 7. You change patterns. The pattern takes a size 5 needle. Going through the roll, you have all but a 5. 1,2,3,4,6,7,8,9,10,10.5,11,12,13. There is no 5.

  4. – Finally, after years, you have found your way to Webs. No more will you buy your yarn from the big box craft store, you swear. As you reach for the 100% alpaca, it melts away. The sock yarn. The cashmere. The bamboo silk. They all fade away to nothing, leaving behind only Red Heart.

  5. – As the stitch drops, you can hear the screaming rush of the universe. The hole in your project grows larger and larger, a gaping maw that calls to you from the abyss. There is no escaping what you have wrought.

  6. – As you approach the counter to pay for your single skein, you look down and realize that you are holding two. Three. Yarn just appears in your hands. Money streams out of your wallet. There will only be yarn. You will be yarn.

  7. – You click to open your email. Ravelry opens. You click on Google. Ravelry opens. You click on Facebook. Ravelry opens. Finally, you click on Ravelry. Webs opens. Your cart is full.

You’ve been waiting for that yarn to come in stock for six months. It has not  been discontinued, but its never in stock. No one else has it in stock either. Is it even a  real yarn?

You dropped your ball of yarn on the floor and now you can’t find it. You know its in this room, because you had it in your hand a moment ago,  but it has  disappeared. It does not want to be found.

You have frogged this scarf three times because the stitch count keeps coming out incorrect. Even though you’re counting every stitch, and using stitch markers, every row is a different size.

When you bought the yarn in the store it looked green. Now that you’ve gotten it to your home it looks blue. You take it outside to see how it looks and its a dark brown. Exactly what color is it?

You have been knitting this scarf for two years. Its still not finished. It just needs two more rows, or one more row, or three. You’ve lost count of how many rows you’ve knitted. You have no idea how many more you need now, but the scarf isn’t done.

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I am much  offended, too.

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—– The real attraction are the layers, fam. The silky agility with which the show navigates generational black trauma and how it is mined/capitalized upon, is only matched by the stellar way they climax the episode. Hallelujah. Black Museum comes through like the Pell Grant of starter reparations. Black Museum talmbout they can’t give us the 40 acres but they gone slide us this refund check for That Work. Can we talk about the protagonist, Nish? How she’s instantly getting her jersey retired next to Daisy Fitzroy and Nairobi in the Ororo Munroe Fictional Black Women Hall Of Fame? Quite literally not the hero we deserve, but definitely the one we need

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I;m always here for accredited dinosaur historicity:

Historical footage of the last T-Rex serving his country in WWl.

*But isn’t that a Jeep? And the T-Rex is holding a…Browning M2? Which wasn’t used until 1933…

So I think this footage is actually of WW2.

Many people think it’s historically inaccurate because the Tyrannosaur doesn’t have feathers, but a buzz cut is pretty standard for military personnel.

 

@poshtearex

we need an authority on this

Totally accurate except that that Rex is a bit bigger so it’s actually a female Rex so she may have been pretending to be a male so she could fight. What an icon she is.

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And more in Hollywood’s ongoing war against Asian/Middle Eastern people, and people’s reactions to that. This isn’t remotely funny but I find myself laughing really hard about this. It seems White people are getting just as exasperated with this as Asian people. It is becoming creepily obviuous that Hollywood does not like Asian people.

 

Most of Hollywood seems determined to die on this hill because our clear and growing preference for diverse casts is making them face the fact that no, they aren’t pragmatists catering to the whims of racists audiences, they’re just fucking racists

 

This infuriate me so much. It’s not even gratuitous, it’s actually costing them more to disguise white people as asians, it’s inevitably gonna cause a backlash, but hey! It’s worth it if it means fewer PoCs in this movie about middle eastern people, right?

 

I’m baffled how ANYONE thought this was a good idea like…I’m not shocked that Hollywood is racist, at all but this is 2018…you’d think that the people making this film would know that this would piss people off (And rightly so) and wouldn’t do this just to avoid bad PR if for no other reason…

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I should not have found this as funny as I did:

 

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More writing instructions for conscientious people. Just because you’re creating worlds where  there is no racism, doesn’t mean you don’t need an understanding of how racism works, if for no other reason than not unconsciously reproducing racist narratives in your work, Ask yourself, and research questions about how racism works, how it manifests, and how it affects marginalized groups:

Writing without racism: its more than “what”, its also “how”.

Its great that people are asking, “how can we write fantasy worlds without racism?”  Escapism in fantasy is almost impossible for marginalized people, because we’re usually the only ones who have to accept the same bigotries in-text as we do in real life, because its tied to someone’s “escapism”.  For them, we either have a lower place in society that they can openly exploit, or we shouldn’t exist at all.  We need to deal with abuse in order for them to accept that fantasy world as a viable setting.  But I have an issue with just leaving it at “lets keep racist text out of the stories”.

See, the problem with making worlds where there is no racism is that so many people haven’t quite figured out how to do that right. Its like they take this idea of “colorblind racism’ here no one sees skin color, hence its just  “coincidence” that all the black people are subservient, or that all the Asian women are submissive and tiny.

Some examples (using my context as a mixed black person who identifies as black in most settings):

  • They’ll make a world where no one ever utters a single racial slur but still will use the same anti-blackness we see in real life (i.e. whenever they make us mammies or sacrificial lambs, using terms like “dirty” or “demonic” to describe our appearance a la Lord of the Rings, etc.)
  •   Or they’ll make sure that no one ever says “people color should be slaves” but lo and behold, that’s pretty much all you see.  (Like in Exodus, or the earlier seasons of Game of Thrones).  And we’re the only ones who HAVE to take THAT subservient role or else we’re “ruining the accuracy”. And when you call it out they say, “well that what you all were” but they won’t get why that’s just as bad as if they’d just admitted, “Hey, this is pretty racist” from the start.
  • Or (taking from what I said up there) they’ll make people who look black, and are from a culture obviously based on black people, but still claim they aren’t black, because they would rather divorce blackness from their world, instead of admitting we can be complex characters who can carry complex stories (because they still haven’t unpacked their own problematic ideas about black people)
  • Or worse still, they’ll make an entire world based off of a culture belonging to a group of people who they won’t even include.  I.e. the whole issue with Firefly and Serenity, and again Exodus.
  • Or we’ll be turned into white people with special powers or pointy ears.  Racism becomes, “hey this girl has red hair instead of blond hair lets exclude her”.  Meanwhile since there’s “no real racism” they claim there’s no need for “real” people of color (i.e. the problem with Dragon Age).
  • Or they’ll do some “colorblind” setting where everyone is mixed, but well all be reminded that only Aryan features are seen as “rare” and “special” an they’ll treat the rest of our features (i.e. brown skin, ark eyes, dark hair, etc. ) as “meh”.

Your worlds aren’t “racism free” just because make sure no one says the n-word.

Unless you really make an effort to think critically about these things (which includes trying to avoid: dehumanizing marginalized people, failing to include them as a part of the storyline unless the story “calls for it”, reducing them down to “inspiration porn” or metaphors, making them interchangeable, using fictional creatures in order to representation them, while making all humans white by default, etc.) then you run the risk of just being all talk.

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And to bring us full circle, have some knitting memes featuring Ryan Gosling. For some reason people decided to create a whole bunch of memes with Ryan Gosling saying “Hey girl…” after they found out he liked to knit. I have to admit I didn’t find these especially funny until after I saw Bladerunner 2049. Then I couldn’t stop picturing replicants in a knitting circle. Well, I am fond of mixing knitting with violence, I guess.

 

And some more general memes I thought were just funny:

Tumblr Weekend Reading

Its been a whole minute since I made a Tumblr post, so here, have some interesting thoughts, memes, and photos, that came across my  dashboard:

Yes, I am lactose intolerant, although I am to understand that I have a fairly mild case. I can eat some dairy items like yogurt, ice cream, and cheese, without  wishing I would die, but a glass of chocolate milk would probably send me to the hospital, with excruciating abdominal pain.  But for real though, most cases of lactose intolerance just end in lots of farting.

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This is funny because this was sort of my thoughts while watching this movie. Earth, and the aliens, are basically a bunch of drama queens.

dragon-in-a-fez

I know we’re always talking about how Pacific Rim embraces the ridiculousness of the human race because “just build a giant robot to punch them in the face” is probably the most full-on human bullshit response we could have thought of to an invasion of giant aliens, but can we pause and also consider that the aliens are basically doing the same thing

like they wanted to invade us and their first thought about how to do so was “let’s genetically engineer giant fucking monsters that will crawl out of the depths of the ocean and trample cities”

Pacific Rim is just the story of two species that on a scale from 1 to 10 respond to every problem with a 17

 

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Image result for cat fighting gifs

The mildly annoying fighting styles of female action characters. I think Charlize Theron, and a couple of others, are leading this charge to make female fight scenes more realistic to how a woman might actually kick some ass. Most filmmakers try to give women pretty, ballet -like, fighting styles, and I don’t mind that a whole lot, but they need to know it’s okay to show women getting down and dirty, when they fight, too. This is why I loved the movie Kill Bill, because it showcased a variety of women vs. women fighting styles.

rainbow-femme

So whenever i would watch movies and see The Badass Female Character fighting in various ways, something about it always bugged me. I just assumed it was internalized misogyny that made me dislike characters like black widow and Tauriel and tried to make myself like them.

Then I was rewatching Mad Max Fury Road the other day and I noticed that nothing bothered me about watching Furiosa fight and I realized the problem wasn’t watching women fight in movies that got on my nerves.

Watching the stereotypical Badass Female Character she always has these effortless moves and a cocky, sexy smirk on her face as everything is easy. Watching Furiosa, she grunted and bared her teeth. Her fighting was hard and it took effort and it hurt like fighting is supposed to. For once her fighting style wasn’t supposed to seduce the audience it was to be effective.

I wasn’t disliking these characters because they were women I was disliking that their fighting was meant to remind me they were women. High heels and shapely outfits and not showing effort or discomfort because it’s more attractive to effortlessly lift a long leather clad leg over your head rather than rugby tackle someone.

It’s the same with the Wonder Woman movie too. Fighting is hard and it takes effort, blocking bombs and bullets with a shield makes her grimace and bare her teeth with the effort it takes. She’s not flip kicking bombs she’s yelling and straining, not because she’s weak or bad at fighting but because that’s what it would be like.

I really hope we’re moving into an era of women having fighting styles designed for realism and not how hot it looks for the men in the audience.

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Image result for serena williams gif

I’d say the answer to this is yes. America has long been obsessed with the Black female body, while trying to pretend it’s not, and here’s why:

Is Society Fascinated with Black Women’s Body Types?

blackfeminisms

Colonialism introduced Europe as the cultural/aesthetic authority on values including beauty. While doctors in ancient times warned against obesity, diet culture began in the 1800s. Weight turned into a cultural status marker that considered fat to be negative. Whiteness as the epitome of beauty imposes a standard that devalues body types by race, gender, shape, size, and color. Society teaches women to deal with fatness through exercise. Nevertheless, Black feminists see Blackness as the site of resistance to the standards.

Society interprets Blackness as indicative of moral, sexual, and racial pollution. For example, a society threatened by Black women’s reproductive capabilities, 19th century Europe likened Black women to prostitutes through the controlling image of the Black Venus, which characterized her as the perpetual prostitute. Society discouraged coupling between Black women and White men through “blood discourses”  that projected the fear of Blackness onto mixed-race children. Some sociologists remarked on this phenomena with  Meghan Markle.

Society treats Black women’s bodies as a danger to social order. On the one hand, they might displace white women as the archetypical love and sex object. On the other, they threatened the patriarchal order of worker by having the status of worker and woman.

Society robs fat Black women of their sexual agency 

Image result for mammy stereotype gifs

Sociologist Shirley Anne Tatediscusses how we can read the iconic Venus statue as a fat Black woman. This perspective reveals which Black women’s’ bodies society reads as fat and how they represent them. Tate embraces an ‘alter/native’ view of Black women to highlight the multiplicity of body politics around Black womanhood. Society treats Black women’s bodies as other to white women’s and does so by making their forms hypervisible. This process simultaneously renders the whiteness of other women’s bodies invisible. As a result, Shirley Anne Tate argues this perspective: “enable[s] us to see that there is a corporeality of white class (Bourdieu, 1988) and gender with thinness as its epitome” (Tate 2015: 80).

The Mammy portrays Black women as undesirable sexually and desirable for service work. The Mammy symbolizes the status of a domestic servant to a white woman through her girth and dark skin. This controlling image reinforces the perception that white women were superior.  For example, Hattie McDaniel played a Mammy figure in Gone With the Wind. The UK has a similar portrayal Black women as “Big Mama. Fat Black women live in a society that paints them as undesirable and worthy of disgust. These beliefs divided fat Black women into domestic and care workers and thin white women into the domestic and care overseers.

Society ridicules Black women for their fatness

In the UK racist humor often revolves around fat Black women. In the 19th century White men dressed in drag to mimic Black women for racist ridicule, making fun of the notion of a desire for this body through minstrelsy. Far from being just a joke, racist humor has more sinister implications:

“Humour is not a harmless or benign form of communication. Rather, ‘racist humour, jokes may act as a type of coping mechanism for the racist, in the form of a palliative because the effects of joking allow for the expression, reinforcement and denial of racism’ (Weaver, 2011: 12). “ (Tate 2015: 91).

Additionally, Some White women performed minstrels too. Originally, minstrels arose from white racial fear of Black men. Minstrelsy thus demonstrates simultaneous racial aversion and desire.  Fatness and Blackness place Black women outside of beauty.Rhetoric in the U.S. frames Black women in terms of discipline, relegation, marginalization, imprisonment, and segregation away from white life, comfort, embodiment, and being. Treating Black women’s body as inferior meant colonial labor and gender roles placed Black women in the lowest rung of the social order.

Society treats muscular Black women with dark skin with fear

Whenever the former First Lady chose to wear a sleeveless outfit, some members of White society reacted to Michelle Obama’s muscular arms:

The struggle over Michelle Obama’s ‘right to (bear) bare arms’ shows that the USA is far from being post-race as the respectable femininity of the First Lady is judged by white, middle/upper-class privilege which insists on lack of musculature on women (Tate 2012:93).

Shirley Anne Tate argues Michelle Obama’s body defines norms of white upper/middle-class respectability. Her very presence creates a space of resistance that represents a deviation from the somatic norms of the U.S. First Lady. As a result, she endured a constant surveillance of her body, viewed as an outsider. Therefore, this fascination transforms her into the Black First Lady.

Why do people fetishize muscular Black women?

Image result for serena williams gif

Black women’s muscle as a spectacle dates back to racist pseudoscience of the 18th/19th  century. Shirley Anne Tate describes Black women’s bodies as a site of fascination.  A person compares themselves and others to a norm. As a viewer, a person extends their own bodies through their gaze. They interpret others through points on their body like their face, muscles, or skin. Comparison of one’s body parts to another leads a person to determine how close or different one’s body is to others:

Inassimilability or extension into the other does not mean that fasci- nation ceases. Fascination continues in the desire to find out the why of assimilation and the untranslatability of the body. Why can’t I be like her? Why do I want to be like her? What have I become? Is my becoming accompanied by fear, disgust, contempt? Fascination makes us look at ourselves first and foremost, at our very lives, to find out why we are fascinated by bodies/body parts. It is in the exchange between bodies, in the matching and untranslatability that we can begin to know ourselves, begin to understand our fascination as a pull to knowing the other, to get behind the façade that is the skin to ‘the real them’ beneath (Tate 2012: 94).

Fascination leads to a desire to find out why a woman’s body does not conform to the norm. However, narcissism motivates this fascination. Hence, people recenter themselves as they gaze upon others’ bodies to construct a sense of self. Therefore, the incorporeality of fascination makes it a fluid, simultaneous process of becoming and unbecoming through comparison to others.

How does fascination with Black women turn into fear?

Fascination is a multisensory experience that has varying degrees of effect and affect, motivated thus making the gaze a result of both desire and disgust. Therefore, fascination compels a response on the part of a viewer as it occurs not only through the senses but also through imaginings.

As a result, people pursue a means to satisfy their fascination. For example, this fascination extends to dark-skinned Black women who have muscular bodies. This affects interpersonal interactions across racial lines. Stereotypes about Black women motivate people to approach them with a feeling of insecurity or a desire to avoid her at all costs. So when Black woman’s bodies get policed in this manner, they are cast as evil and transgressive to indicate they fall outside the norms of appropriate ways of life.

Tate writes that “once it is set outside the norm it remains as it is cast, an unknowable hyper-known, knowledge of which remains within the colonial stereotype.”  White people project their fear of getting displaced in society’s racial hierarchy onto Black women through a racialization process that involves creating zones of containment by labeling her a source of fear.

How is fearing Black women racist?

Groups use fear to maintain racial regimes through the restriction of the movement of others’ bodies. Additionally, they expand their own movement. However, this involves a “racial regime of visible whiteness [that] must be kept in place to ensure that the borders of whiteness are kept firm.”Furthermore, this produces a fear of racial mixing. Rather than mix interracial, they develop resemblances through what Tate names racialized aesthetic profiling:

So expert surveillance is set up of Black women’s bodies, noses, lips, hair, skin colour, breasts, bottoms and muscles so as to mark difference and develop racialized aesthetic profiling. Racialized aesthetic profiling means that fear can be materialized in all Black women’s bodies irre- spective of who they are. This ensures the continuation, circulation and amplification of fear of the Black woman’s body as she begins to move outside of the borders established through the phenotype and stereotype (Tate 2012: 98).

One such Black woman who suffers this fascination is Serena Williams.  Serena, in particular, embraced a “girly” sports aesthetic, which contradicted social norms about appropriate muscularity for women. Yet, society characterizes women with darker skin as undesirable. Serena faces derogatory comments for posing as feminine. Nevertheless, muscular Black women experience fetishization just as fat and slim women experience hypersexualization.

Race and the sociology of emotions

The white affective matrix confers and questions womanhood as the view Black women’s bodies with varying degrees of adoration and disgust. As a result, Black women experience different treatment based on their body type.

The post Is Society Fascinated with Black Women’s Body Types?appeared first on Blackfeminisms.com.
from Is Society Fascinated with Black Women’s Body Types?

 

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These affirmations of allyship are exactly my sentiments too. I want LGBTQ people, Non-Black PoC, people with disabilities, everyone to experience all the same emotions I experience when I think of the movie Black Panther. I am deeply, and profoundly happy for Jewish female representation in Wonder Woman, Black gay men in Moonlight, Queer Latinas in Brooklyn 99, and Asians in Crazy Rich Asians, even though I’m none of those things. Everyone deserves to see themselves beautifully represented on a movie screen.

 deadletterpoets

Maybe I’m not the right person to say this as a black man but,

I hope the success of Wonder Woman doesn’t just mean more women are directing superhero movies, but are given the chance to direct/write movies from the many other franchises that exist like Mission Impossible, Transformers, Star Wars, Anything in this Dark Universe Universal is doing, a big budget Monster movie with Godzilla and King Kong, James Bond, I heard they are rebooting Resident Evil let’s let a talent woman director like Jennifer Kent with her horror background tackle that, Terminator (cause they just won’t ever let that go), Alien, Fast and Furious, and so many other I can’t even name them all. Or you know give them a big budget to adapt a popular book like Ava DuVernay is currently doing with A Wrinkle in Time, or let them have their own stories we need more original voices, or let them build their own unique franchises. And if they fail, let them try again cause lord knows even the best male directors and writers fail at times and they are still given multiple chances. We all should celebrate Wonder Woman’s success, but know it’s not the end of a long journey to true equality for women in Hollywood.

yumearashi

Maybe I’m not the right person to say this as a white woman but,

I hope that Black Panther is a *smashing* success and that it leads to not only more POC directing superhero movies, but also being given the chance to direct/write movies from the many other existing franchises and adaptations.  Plus, let them have their own stories and build their own unique franchises, we need their voices. And if they fail, let them try again cause lord knows even the best white directors and writers fail at times and they are still given multiple chances. Hopefully we’ll all be able to celebrate Black Panther’s success, but even if it breaks every box office record, it won’t be the end of a long journey to true equality for POC in Hollywood.

@deadletterpoets – thank you for being an amazing ally)

 

daughter-of-rowan

Maybe I’m not the right person to say this as a black woman, but

I hope that Crazy, Rich Asians is a roaring success. I hope it leads to doing away with the whitewashing of Asians in Asian properties (I’m talking to you, Netflix: White Light in Death Note? NO!). I would love to see Asians being able to break out of the “smart Asian friend” and “inspiring immigrant story” roles. I want to see Asian representation in CBMs. I want to see more than Japanese, Chinese, and Indian people as doctors, lawyers, shop owners, and financiers on the way up. And while we’re at it: Pacific Islanders are not replacements for Asians, and they don’t just play football and dance. Representation matters, and it has to be more than what makes Hollywood comfortable.

 

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From the comments on this one, I’d say the answer is a resounding YES!!!! Yes, White people, do indeed, get tired of looking at White people onscreen sometimes, and are just as hungry for new perspectives on old stories, as PoC.

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This pretty much was the permanent oven setting in our house. Hell, it was a major source of anxiety for me to turn the oven to 375 degrees, that first time.

luvyourmane: “The perfect temperature for everything! 🤣😂 .. . . . #sundaydinner #cooking #blackpeople #baking ”

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This conversation started out talking about how terrifying angels are, and then went in the direction of the  running commentary, on Tumblr, about how murderously dangerous is the wildlife in Australia.

Anonymous asked:

What do angels actually look like per the bible?

revelation19 answered:

Well, according to Ezekiel 1 they might look something like this…

According to Daniel 10 something like this…

According to Isaiah 6…

In Ezekiel 10…

Again in Ezekiel 10…

 

Basically, when the people writing Scripture tried to describe what they saw when they saw an angel… they run into the end of their imagination… they can never quite seem to fully explain it because they had trouble even comprehending what they saw, let alone being able to describe it to someone else.

 

musiqchild007

revelation19

Yeah, that’s usually how people responded to seeing them in the Bible…

 

the-unreadable-book

There’s a good reason why angels’ standard greeting is ‘Do not be afraid’.

 

glitterbomb-goblinking

I used to listen to this radio show and one thing I remember because it was so funny was a Christmas special where an angel showed up to tell the shepherds about the birth of Christ.  The conversations went:

Angel: “FEAR NOT.”

Shepherds: *screaming*

Angel: “I SAID FEAR NOT.”

Shepherds: *screaming LOUDER*

Angel: “WHAT PART OF FEAR NOT ARE YOU NOT UNDERSTANDING?”

 

 cameoamalthea

So demons are fallen angels but they don’t look scary because they’re fallen, that’s just what all angels look like…

Maybe that’s why so many Christians see visions of Saints or the Virgin Mary instead…like Jesus is all…no, no see being human made me realize sending Angels might not be the best idea. I don’t know if humans can handle this. So I’m gonna just send mom

 

mathblr

I’M GONNA JUST SEND MOM

 

veronica-rich

God: The humans are scared.

Mary: Fine. I’m on it.

 

 upallnightogetloki

Jesus: It’s either Mom or the thousand eyed flaming wheel, Dad, do you really think the humans are gonna be chill with that when they’re terrified of spiders already?

God: Hey now, some of those spiders eat birds.

Jesus: …Dad…

God: …To be fair, Australian wildlife was my dark creation phase.

 

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Image result for funny cartoon  nazi gifs

I touched on this in an earlier post, about Hollywood treating Nazis like a story prompt for the past fifty years, in everything from comedies, to action movies, has led to Americans seriously diminishing their influence, obscuring their crimes, and complacency, with their ideas. 

 kendrasaunders

never forget that narratives that follow “what if the nazis won” are never for those of us who faced their terror- they are for tourists to our suffering, people who wish to be saviors. no jew every gets to succeed alone in a story where nazis win- we, rromas, lgbt people, and disabled people are shunted to the sidelines, in an eternal genocide from which we cannot escape. they forget the persecution that we still face- to them, to the tourists, this is clever. to them, we are helpless. we cannot fight nazis, that’s why they won.

this is a false retelling of history, and YES, in ALL CASES, it is a glorification of nazis. they DIDN’T win because they COULDN’T. and to my jewish, rroma, lgbt, and disabled followers, they lost because WE FOUGHT. We closed camps with our riots. We killed nazis. We scalped them. Our stories aren’t told because every tourist wants to act like they would Stop The Nazis- WE were doing it LONG before anyone came to our aid.

Don’t let people fool you into thinking you are helpless. Don’t let narratives that put white, straight, able-bodied and able-minded characters at the forefront make you think you need them.

Superman was originally created as a gollum- A character of jewish magic who protects us. He is not Christ, he is not Goy, he is not Theirs. We are our own protectors. We are a community, a family, and a riot.  You don’t not have to accept the idea that the Nazis could’ve won. Because the only thing Nazis are good at is dying. And the only thing a person who writes this storyline is good at is violence.

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A call out post on fandoms faux-progressivism. I think I wrote about how fandom isn’t nearly as imaginative, in its treatment of characters, as they like to believe they are, and that the vast majority merely reproduce the same racist and stereotypical narratives they’ve seen in popular media, since its inception. They just don’t have enough imagination to create anything outside of the boxes that have been created for them to play in.

Many of them are in the business of upholding the status quo, too. And far too many think being progressive is just writing about two white men, having sex, or holding hands, and that’s as far as they need to go to be considered woke. Anytime fandom ignores canon gay relationships of PoC, in a show or movie,  my argument is that their insistence on slashing every white man who merely wanders into the orbit of another for longer than a minute or two, amounts to nothing more than a straight girl fetish, which parallels the straight male  obsession with lesbians.

We are supposed to be the most progressive and transformative community in pop-culture.

We who…

  • Hyper-focus on white, male characters
  • Contort these male characters into heteronormativity
  • Marginalize and erase characters of color
  • Write out women and replace them with men, especially in shipping
  • Attack women for “getting in the way” of our preferred ships
  • Hold female characters to higher standards than male characters
  • Hold characters of color to higher standards than white characters
  • Latch onto any single excuse to marginalize female characters
  • Utilize any single excuse to demonize characters of color
  • Put women on pedestals and act as if we’re doing them a favor
  • Justify white and male abuses or dismiss them as “mistakes”
  • Use actual mistakes to denigrate female and non-white characters
  • Romanticize white, male pain and mental illness
  • Expect female characters to perform all the emotional labor
  • Expect characters of color to be perfectly mentally healthy forever
  • Expect everyone to subsume their own mental health for the white males’
  • Dismiss the traumas and experiences of characters of color
  • Minimize the achievements of female characters

And then we wonder why mainstream media is so regressive, especially compared to us. We all talk as if mainstream media creators are behind the times.

They’re not.

Fandom likes to imagine itself as being progressive because of all the slash – a mechanism of progress which conveniently boils down to extra attention on overwhelmingly male (and overwhelmingly white) characters. This form of progress is one which takes a minor deviation from the social norm (homosexuality), only to end up ultimately supporting or even amplifying the status quo, by virtue of over-focusing on male characters (and over-representing white ones in the process).

Strip back that gay window dressing, though, and you’ll see that at best, fandom is just as socially stagnant as mainstream media and mainstream culture – or even worse, by virtue of engaging in media that overwhelmingly sidelines several other marginalized groups in order to prop up one.

Professional women have long known the old adage, “Whatever women do they must do twice as well as men to be thought of half as good.” What no one seems to realize is that fandom is still doing exactly the same thing.

We expect female characters to be twice as good for half the acclaim, we expect characters of color to be three times as good for a third of the acclaim, and we let white, male characters be only a quarter as good for four times the acclaim.

Mainstream media is keeping up with the times and with social progress just fine, it’s us who’ve deluded ourselves into believing that we, as a community, are more progressive than we actually are.

It’s been a while, but since this post just got a bunch of notes recently, I figure this is as good a time as any to add on some more thoughts.

Comparative Progressivism

Historically speaking, fandom has been progressive when compared to mainstream media. What most people don’t realize is just how little that’s really saying. When mainstream media is built on white male heteronormative power fantasy, it’s easy for any “alternative” depiction to come off as progressive.

A world where most of the women are fag-hags is certainly progressive compared to a world where most of the women are walking sex toys. That does not mean we should settle for this as a good depiction of women, or the marginalization of female characters.

Same goes for race. A character of color who is not a stereotype while supporting a white character is certainly better than a world where characters of color are stereotypes who are subsumed by white characters. That does not mean we should accept these as good representation of POC, or settle for their marginalization – or ignore their demonization as racism rears its ugly head, anew, in fandom.

And quite frankly, for a community where the overwhelming majority of our stories are based on mlm relationships, it speaks a lot to our internal attitudes and beliefs that we still, even after decades of existence, continue to write gay relationships as straight relationships with different genitals. The subtle heteronormativity that permeates the gay relationship tropes of fandom are astounding, and sometimes reek of internalized misogyny.

We Are All Joss Whedon

Joss Whedon was once considered tremendously feminist, and hailed as a paragon and idol of feminism in mainstream media. But contemporary analysis of his works shows that feminism was often a shroud covering some serious fetishization and occasional bursts of downright misogyny – and somewhat more disconcerting is the fact that more and more, his current works demonstrate that he hasn’t progressed forward from this much, if at all.

Fandom is the same.

We have long prided ourselves upon a history of progressivism and being transformative. It certainly was, back in era of Star Trek slash in an era where homosexuality was still illegal in many parts of America and the world. Fandom was truly transgressive when it wrote content that challenged such a deeply entrenched status quo. Even the most misogynistic and heteronormative portrayal of a gay relationship was transgressive against the staunch heteronormativity of mid-20th century mainstream media.

“Was.”

Because we’re still writing a lot of our fics on that model. Take a look at how many people debate hotly on who in a gay pairing is “the top” and “the bottom”. They are rarely ever discussing the hypotheticals of which male finds a certain sex position/act physically pleasurable. They’re asking, which one is the penetrative and active partner, and which is the receptive and passive partner. They’re asking which one is the “dominant” and which one is the “submissive” partner (with terms like ‘power bottom’ still relying on those baselines). They’re asking, “which one is the man and which one is the woman”. *( And often engaging in racialized transphobia and homophobia, by casting any people of color in inter-racial relationships, as the “top”, who is often described as bigger, and more muscular looking, than their slighter, more feminine/ effeminate same sex partner. This goes for both mlm, and wlw, relationships.

Meanwhile, actual female characters are rarely more than props to the men’s emotional health and personal narrative. A lot of them are written as little more than a fag hag or a “Straight BFF”.

We’ve gone from characters of color being walking stereotypes in the white characters’ narrative, to characters of color being either obstacles or non-existent in the white characters’ narratives. We don’t expect characters of color to literally serve the white characters while saying “yes, massa” all the time, now – but we still expect characters of color to to subsume themselves to white characters, with white characters’ feelings coming ahead of their own mental and physical health, their safety, and sometimes even their lives. Characters of color who have the audacity to act with a fraction of the self-absorption that is routine for white characters are castigated for being irresponsible and selfish.

This is if they’re even included at all. Ranging from marginalization to outright demonization, fandom constantly sidelines characters of color. Some fandoms have the unique anti-honor of being more racist – more sociall conservative, more prejudiced, and sometimes even more bigoted – than the mainstream media source material. Think about that for a minute. Mainstream media is finally moving forward and fandom is staying right where it is.

Fandom Wants the 1960s Back

Fandom can talk about feminism and progressivism all it wants. The reality of the true desires of fandom as a collective and as a community are expressed in its fanworks – not only in what is created in the first place, but which works become popular and get attention…and which ones don’t.

Fandom wants a world where white men are still front and center of everyone’s attention, where women are kickass but their stories aren’t that interesting, and where POC don’t need any care or attention.

Peel back the white mlm fetishization, and fandom hasn’t budged more than an inch since the first slashy Star Trek zines. Joss Whedon’s got nothing on us.

Coming Soon To A TV Near You

Image result for coming soon gif

Here’s a list of various upcoming TV programs and series, that I might watch, or am excited about, this month. Some of these will available for streaming on Amazon, Hulu, and Netflix.

For the rest of December:

 

Happy:

Starring Christopher Meloni, and Patton Oswalt, this has already aired, and I haven’t yet watched the episode. As soon as I do I’ll let you know what I think. I was kind of excited about this mostly because I’m a Christopher Meloni fan, who will watch him in just about anything, and Patton Oswalt’s not a bad comedian. This looks almost as zany as Legion, but probably less confusing, and maybe it will be funny. It’s definitely very graphic, so if you have trouble watching lots of gore, maybe take a rain-check on this one. Believe it or not, its actually based on a comic book, and does not star a superhero, so it will be interesting to see other things besides superhero shows from comics in the next couple of years.

Meloni’s character is some kind of cop, or hitman, I’m not sure which, who starts to hallucinate a tiny blue horse that is the polar opposite of his demeanor, in that its named Happy, and tries to get him to see the bright side of living.

 

Knightrfall

This has also just aired after the new episodes of Vikings. I wasn’t impressed, not because its a bad show, but because I’m not interested in this particular era of history, or this area of the world. I checked out after the anti-semitic sentiment (which was common for the time period) started to work on my nerves, a bit. So if you’re Jewish, and were planning to watch it, maybe you can skip it, and that’s okay. I can say it’s an extremely pretty show, but the dialogue needs some help. I don’t think this show is going to blow up the same way Vikings did, though.

 

7th: Psych :The Movie

I was an on again off again fan of the series, so I’m mildly excited about this, even though Tim Omundsen isn’t making an appearance, (or so I’ve been lead to believe). Tonight, we get to find out what Gus and Shawn have gotten up to since the series ended. One of the biggest draws of the show was their friendship, and I’d like to immerse myself in their silliness for a while, and I’ll let you know what happened.

 

13th: The Librarians

I’m not a fan of this show, and have never seen a single episode, which is really weird, because I’m a librarian and, I believe I’m required, by some law, to watch it. Maybe I will.

 

15th: Jean Claude Van Johnson

I saw the first episode of this and was shocked to see Phylicia Rashad in it, as Jean Claude Van Damme and Phylicia Rashad are not two names I ever associated with one another. Here, he plays a government agent whose secret identity is being the famous Jean Claude. I sort of liked it. I thought his self-deprecation was pretty funny, but the humor is uneven and  doesn’t fit well with some of the violence in the show, even if some of that violence is played for laughs. It’s worth a watch if you like Kung Fu, and comedy.The show airs on Amazon Prime.

 

18th: Gunpowder

I’m  looking forward to this, even though it airs on HBO, and I don’t have that network anymore. It’s  about the events leading up to Guy Fawkes Day in England and star Kit Harrington from Game of Thrones..

 

19th: The Indian Detective

I like the idea of this. I enjoy watching detectives of other cultures, as they attempt to solve crimes within their respective cultures, or attempt to navigate someone else’s. Also, Russell Peters is the star, and I think he’s pretty funny. This airs on Netflix, too.

 

21st: Peaky Blinders

This also airs on Netflix. I only partially watched the first couple of  seasons of this show, which stars Cillian Murphy, about a criminal gang from Birmingham England called, what else, Peaky Blinders. I’m excited for this new season which also stars Tom Hardy.

 

22nd: Bright

This is being touted as one of the most expensive original  shows on Netflix, and we know why. Will Smith costs money! I’m very excited about this because I don’t think I’ll ever get tired of Will Smith smartin’ off at strange creatures any time soon, and who can resist the mashup of Elves, Orcs, and the gangbangers of LA. This is the very definition of “Urban” Fantasy, and I’m here for it. It also has music videos.

 

25th: Dr. Who Xmas Special: Twice Upon A Time

As usual, every year there’s a Xmas special that introduces the old Doctor Who to the new Doctor Who, or to the viewers. Since the new Doctor is now a woman, I might actually watch it this year. It’s also my last chance to see Pearl Mackie and Peter Capaldi together, again. What happens is, rather than recording the show like a normal human being, I usually end up skipping it, going to bed, and then forgetting that it ever aired.Well, maybe this year I may remain awake (if the day hasn’t been too strenuous), and get to watch it this time.

 

29th: Black Mirror

I’m not a huge Black Mirror fan. I watched bits and pieces of the last season, and my attitude was “It’s okay.”, but I like the new trailer for this season, which looks fun rather than gloomy, or tragic, so I guess I’m going to be watching a lot, (and I mean, a lot), of Netflix this December.

 

31st: Dave Chappelle 

I didn’t care for Chappelle’s last show on \Netflix. I just didn’t think it was as funny as I expected it to be, but I’m glad to see he’s working again, and I’ve always been a huge fan, so I’ll check this out, instead of partying on New Year’s Eve.

 

Next Up: What’s coming in January

We have a lot to look forward to next month, not just on TV but in theaters.

Also: a list of forthcoming TV shows for the next year, and which movie remakes are in the works, or being discussed for 2018

 

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